Founded 1974
 
President:
Jakub Hrůša
 
Patron:
Graham Melville-Mason
Vice-Presidents:
Antonín Dvořák III †
Radomil Eliška
Markéta Hallová
Miloš Jurkovič
Radoslav Kvapil
Alena Němcová
Sylvie Bodorovà

Journal “Czech Music” Volume 26 (Abstract)

Contents of this page

A first supplement to the Vilém Tauský discography
Richard Beith
[Journal of Czech and Slovak Music, 26 (2017), pp.5–6]

      Building on the 19-page discography which appears in the same author’s volume on the Czech composer and conductor (Dvořák Society, 2010), this supplement presents for the first time off-air recordings from the Tauský archive.

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Towards a stemma of the MS sources of Dvořák’s Mass in D
Haig Utidjian
[Journal of Czech and Slovak Music, 26 (2017), pp.7–18]

      Drawing on the corpus of familiar available sources, but also on a copy of a particular version of the mass with added parts for cello and bass, the author demonstrates how Dvořák in his correction of a copyist’s errors did not return to the original autograph but came up with new alternative solutions. This procedure has potential implications for the composer’s proofing in respect of others of his compositions.

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Czech music through the eyes (and ears) of an Englishman
Patrick Lambert
[Journal of Czech and Slovak Music, 26 (2017), pp.19–37]

      In the first of a series of personal contributions on the topic the author charts the gradual reception of Janáček’s music in Britain. Sections describe the roles played by Rosa Newmarch, the BBC, Rafael Kubelík and Charles Mackerras, also the visit by the Moravian composer to London in 1926 and the participation of a host of Czech musicians at the Edinburgh Festival in 1964. The impact brought about by the emergence of recordings in the 1950s is also discussed, and the text is accompanied by colour illustrations of some of the covers.

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Uncovering early Martinů
Michael Crump
[Journal of Czech and Slovak Music, 26 (2017), pp.39–62]

      Until relatively recently a significant portion of Martinů’s orchestral music, i.e. those compositions written before his departure to France in 1923, suffered from an almost complete state of neglect. In this article the author describes his work in the rehabilitation of the repertory through publications and or recordings. Of particular interest is the minefield of unclear directions and inconsistencies which faced him as an editor in the interpretation of the composer’s intentions in his scores and the author’s rationale in arriving at his solutions.

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The November 1943 London production of Smetana’s The Bartered Bride (Prodaná nevĕsta)
Richard Beith
[Journal of Czech and Slovak Music, 26 (2017), pp.63–76]

      This article traces the considerable support received by the Sadler’s Wells Opera Company from the London-based Czechoslovak government-in-exile in the mounting of a new production of Smetana’s most famous opera during World War II. The author quotes from the 32-page illustrated booklet which was issued to accompany the event and also provides biographical profiles of the principal figures involved.

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Václav Jan Tomášek’s Goethe lieder
Kenneth DeLong
[Journal of Czech and Slovak Music, 26 (2017), pp.77–93]

      The Czech composer set forty-one of Goethe’s poems in 1815, the year in which Franz Schubert produced fifty songs to texts by the German poet. Most of the Tomášek settings are short in length and cast in a variety of forms: strophic, through-composed, ternary and modified strophic. He was especially attracted to texts containing pastoral images. With a number of music examples the author highlights features of the composer’s musical language. Despite Goethe’s interest in Tomášek’s songs, they have lain largely neglected for the last two hundred years.

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Oskar Nedbal (1874–1930)

[Journal of Czech and Slovak Music, 26 (2017), pp.95–101]

      This is a general overview of the Czech composer and conductor’s life and work from the chairwoman of the International Oskar Nedbal Society. It includes a useful list of selected published works and a selective bibliography.

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Talich: On the problem of national purification (Part Two)
Jiří Křest’an
[Journal of Czech and Slovak Music, 26 (2017), pp.103–133]

      Having in the first part of his study detailed the Czech conductor’s skilful manoeuvrings in his dealings with the authorities during the German occupation of his homeland, the author now turns the spotlight on those personalities, both hostile and supportive, who became embroiled in the complicated narrative which featured Talich as he defended himself against the charge of collaboration with the Nazis and strove to maintain his artistic integrity. These figures included Mirko Očadlík and Zdenĕk Nejedlý in the first camp, Milan Kuna and Ivan Medek in the second. Regardless of Talich’s ultimate vindication, his case is reflective of the political, artistic and spiritual world in which he lived.

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A second supplement to the Rudolf Firkušný discography
Richard Beith
[Journal of Czech and Slovak Music, 26 (2017), pp.135–138]

      The original tribute to the Czech pianist by Graham Melville-Mason and Richard Beith (Dvořák Society, 1999) incorporated a 15-page discography, and this was followed by a first supplement of six pages (Richard Beith, Czech Music, 24 (2005–2006), pp.196–201). The latest supplement introduces reissues and some previously unknown recordings, including one of Dvořák’s Piano Concerto from Cologne.

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