https://journals.phil.muni.cz/musicologica-brunensia cs-CZ mb@phil.muni.cz (Musicologica Brunensia) journals@phil.muni.cz (Technická podpora OJS FF MU) St, 11 pro 2024 00:00:00 +0100 OJS 3.2.1.4 http://blogs.law.harvard.edu/tech/rss 60 https://journals.phil.muni.cz/musicologica-brunensia/article/view/39950 Jiří Vysloužil, professor of musicology at the Faculty of Arts, Masaryk University, would have celebrated the 100th anniversary of his birth on 11 May 2024. He is one of the main representatives of Brno musicology as he devoted his major scholarly works to music lexicography, 20th century music, Alois Hába, Karel Husa, Leoš Janáček. Furthermore, his organizational activities are also valuable. During his lifetime, he educated and influenced a long line of his students, his successors. Petr Macek Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/39950 St, 11 pro 2024 00:00:00 +0100 https://journals.phil.muni.cz/musicologica-brunensia/article/view/39951 The paper focuses on the congratulatory cantata Picciol tributo musico with music by Carl Ditters von Dittersdorf set to a text by Salvatore Ignazio Pinto. The work was performed in 1780 in the Brno city theatre and is the only known opus in Ditters' oeuvre dedicated to the Habsburg emperor Joseph II. Apart from the basic characteristics of the piece or its previous reflections in the literature, the paper presents newly discovered music sources, which are the original music numbers of the cantata. It also places the composition in the musical context of the city of Brno. At the same time, it points to the network of relationships among the musicians of Silesian aristocratic bands and to their (not always researched) ties to other locations. Jana Burdová Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/39951 St, 11 pro 2024 00:00:00 +0100 https://journals.phil.muni.cz/musicologica-brunensia/article/view/39952 This paper presents the concept of "latent periodicity" and a method of computational, computer-assisted analysis of musical works based on the concept. The musical work is viewed here through two sets of relatively unrelated paradigms. The first is aesthetics, music theory and philosophy, supported by psychoanalysis as an aiding science. The second is the application of exact methods of computational analysis assisted by computer science. The article is divided into two parts. The first explains the basic theses of the concept and the second is an example of computational analysis performed on a piece for solo flute, Density 21.5 (Edgar Varèse, 1936). Petr Haas Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/39952 St, 11 pro 2024 00:00:00 +0100 https://journals.phil.muni.cz/musicologica-brunensia/article/view/39953 The article accounts for the most important trends in Józef Elsner's Polish operatic output from the years 1797–1814, as considered within the conceptual framework of dialogue opera research. The existing literature frames the "dialogue opera problem" primarily as an opposition of the French and North-German aesthetics – characterized by the awareness of problematic nature of juxtaposing singing with speech – and the South-German attitude that adhered to the Italian-inspired autonomy of music. While the Polish's theater belonging to this latter circle seems evident, deviation from this basic attitude comes rather from impulses of non-operatic genres and the aesthetic of the spoken theater. The most unique phenomena arose from conservatively classicist and literary rather than musical attitude prevalent among the most influential circles of the Warsaw cultural elite. Jakub Chachulski Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/39953 St, 11 pro 2024 00:00:00 +0100 https://journals.phil.muni.cz/musicologica-brunensia/article/view/39954 František Wojciechowicz Kučera is one of the most conspicuous representatives of the Czech music community in Kharkiv in the late 19th and early 20th centuries. He played an important role in the professionalization of music education and the formation of chamber-instrumental and orchestral culture of Eastern Ukraine. As a teacher at Kharkiv Music College and a multi-instrumentalist, he confidently presented the bassoon at the city's concert venues. At the same time, his performances as a violist in the string quartet contributed to the intensification of musical and educational activities of the local branch of the then Russian Music Society. The most significant achievement of Franz Kučera in the development of Kharkiv's musical culture was the founding of a summer symphony orchestra in 1898, which for twelve years performed free public concerts for the townspeople. Until recently, the name of F. Kučera remained obscure, and only the perusal of old prints and Kharkiv periodicals of the late 19th to early 20th centuries made it possible to rediscover the lesser-known pages of this Czech artist's creative career within Ukraine. Volodymyr Kachmarchyk, Oleksandr Ovchar Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/39954 St, 11 pro 2024 00:00:00 +0100 https://journals.phil.muni.cz/musicologica-brunensia/article/view/39955 The study traces public concerts and musical-dramatic activities carried out by the Ukrainian minority settled in Bohemia and Moravia from 1919, when the first such performances appeared. The phenomenon is explored up to the establishment of the Protectorate of Bohemia and Moravia in 1939. Information on these events is found mainly in Ukrainian and Czech archival institutions as well as in the periodicals of the time. It has been managed to find more than two hundred such performances, most of which consisted of concerts given by choirs. The study analyses following matters, such as: frequency of these events, the venue in which were those realized, the organizing institutions as well as the epertoire, which consisted of Ukrainian, often Czech and world compositions. The study also discusses the performers, among whom we also find Czech artists. Ukrainian musical performances in the interwar Czech lands were far from being performed only within the closed Ukrainian community, but were intended for a domestic audience as well. Petr Kalina Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/39955 St, 11 pro 2024 00:00:00 +0100 https://journals.phil.muni.cz/musicologica-brunensia/article/view/39956 Pavel Haas' only opera Šarlatán (The Charlatan), composed in 1934-1937, is the composer's most extensive work and in many ways the culmination of his interwar output. The creation of The Charlatan was preceded by a series of plans and unfinished opera attempts, but these mostly failed in negotiations with the authors of the subjects. These included Stanislav Lom's play Kající Venuše (Penitent Venus), Karel Čapek's Loupežník (The Robber) and Salomon Anski's Dybbuk. In 1932 Haas also negotiated about a libretto for an opera with the poet Vítězslav Nezval. Sometime around this time, probably during the summer months of 1933, Pavel Haas got his hands on a novel by the German writer Josef Winckler, Doctor Eisenbart, which he decided to adapt as an opera. The newly discovered correspondence of Pavel Haas from 1933–1934, addressed to Josef Winckler, helps to reveal the reasons that complicated the negotiations between the artists. Due to the political situation in Hitler's Germany, the negotiations did not reach a final agreement, so Pavel Haas, who himself had adapted the libretto from the novel, had to conceal the name of the author of the novel's subject during the premiere production in Brno in April 1938. Ondřej Pivoda Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/39956 St, 11 pro 2024 00:00:00 +0100 https://journals.phil.muni.cz/musicologica-brunensia/article/view/39957 This study is focused on fragments of oratorios from the music collection of the Church of St. James in Brno. On the basis of their reconstruction, it is possible to enrich the repertoire of the collection with previously unknown compositions. At the same time, their setting in the context of Brno oratorio productions completes and expands the picture of the local musical activity in the first half of the 18th century. Michaela Ratolístková Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/39957 St, 11 pro 2024 00:00:00 +0100 https://journals.phil.muni.cz/musicologica-brunensia/article/view/39958 The study strives to find parallels between Friedrich Nietzsche and Igor Stravinsky. It focuses on the anti-Romantic elements representing by Richard Wagner's music-drama, the rejection of subjectivity in art, the inclination towards play-elements both in philosophy and music, the critical admiration for Antiquity, the dissonance between Dionysian chorus and individual, the awareness of possibilities of salvation by rationality, the affection for dance. By means of parody, Nietzsche and Stravinsky reveal the essence of different original models. Pavel Sýkora Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/39958 St, 11 pro 2024 00:00:00 +0100 https://journals.phil.muni.cz/musicologica-brunensia/article/view/39959 There are several parallels between Leoš Janáček's Její pastorkyňa (Jenůfa, 1903) and Eugen Suchoň's Krútňava (The Whirlpool, 1949). Její pastorkyňa is one of the most important operas of the 20th century. Krútňava fulfilled the function of a national opera and is still the most performed opera in Slovakia. It has also been staged abroad, although it is not yet widely known internationally. Both works were written during almost a decade and had a similar fate after their creation. The composers were confronted with the problem of interference with their authorial conception, and the debate as to whether these changes constituted an infringement of their personal freedom or whether they benefited the works to a certain extent is still going on today. This article aims to highlight some similarities between the operas and the unique dramatic and musical conception of Krútňava. Markéta Štefková Copyright © https://creativecommons.org/licenses/by-sa/4.0/legalcode.cs https://journals.phil.muni.cz/musicologica-brunensia/article/view/39959 St, 11 pro 2024 00:00:00 +0100