{"id":1090,"date":"2020-07-27T10:23:30","date_gmt":"2020-07-27T09:23:30","guid":{"rendered":"https:\/\/www.dvorak-society.org\/New\/?page_id=1090"},"modified":"2022-02-18T15:33:08","modified_gmt":"2022-02-18T15:33:08","slug":"journal-of-czech-and-slovak-music-volume-28-abstract-2019","status":"publish","type":"page","link":"https:\/\/www.dvorak-society.org\/?page_id=1090","title":{"rendered":"Journal of Czech and Slovak Music: Volume 28 (Abstract) 2019"},"content":{"rendered":"\n<h4 class=\"wp-block-heading\" id=\"contents-of-this-volume\"><a name=\"top-of-page\"><\/a>Contents of this Volume<\/h4>\n\n\n\n<ul class=\"wp-block-list\"><li>The \u2018Stamitz\u2019 caprices for solo flute <a href=\"#1\">\u25ba<\/a><\/li><li>\u2018Rare in a generation of remarkable women\u2019: Mildred Hill, Dvo\u0159\u00e1k, Black\nstreet cries and the making of \u2018Happy Birthday\u2019 <a href=\"#2\">\u25ba<\/a><\/li><li>The United Kingdom career of Jarmila Novotn\u00e1 in the late 1920s and 1930s <a href=\"#3\">\u25ba<\/a><\/li><li>The Panocha Quartet: A catalogue of recordings <a href=\"#4\">\u25ba<\/a><\/li><li>The position of Martin\u016f\u2019s music in Great Britain <a href=\"#5\">\u25ba<\/a> <a href=\"#5\"><\/a><\/li><li>The role of the motto in Dvo\u0159\u00e1k\u2019s Requiem <a href=\"#6\">\u25ba<\/a><\/li><li>Ferdinand Sabathil, Bohemian flautist and composer (1852\u20131937) <a href=\"#7\">\u25ba<\/a><\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"1\"><\/a><strong>The \u2018Stamitz\u2019 caprices for solo flute<\/strong><br>Tom Moore<br><em>Journal of Czech and Slovak Music<\/em> 28 (2019), pp4\u20136<br>The authorship of a set of eight caprices, for some time attributed to Anton Stamitz, is challenged in this article, where the author presents compelling evidence to support his identification of four of the individual pieces as the work of the French composer Joseph Tacet.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2&nbsp;&nbsp;<a href=\"#top-of-page\">top of page<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"2\"><\/a><strong>\u2018Rare in a generation of remarkable women\u2019: Mildred Hill, Dvo\u0159\u00e1k, Black<br>street cries and the making of \u2018Happy Birthday\u2019<\/strong><br>Michael Beckerman<br><em>Journal of Czech and Slovak Music<\/em> 28 (2019), pp7\u201350<br>This wide-ranging article begins with a biographical profile of Mildred J. Hill (1859\u20131916), journalist, researcher, historian, publisher, energetic organiser and composer of piano pieces and children\u2019s songs, most famously the music of \u2018Happy Birthday to You\u2019. The correspondence between Hill and Anton\u00edn Dvo\u0159\u00e1k during the Czech composer\u2019s stay in America is discussed, and her major contribution to the landmark \u2018Woman\u2019s Edition\u2019 (an all-female issue of the <em>Louisville Courier-Journal<\/em> newspaper, 1895), i.e. her article \u2018Unconscious composers\u2019 in which she responds to comments made by Dvo\u0159\u00e1k and includes a selection of Black street cries, is considered in the context of the Czech composer\u2019s pronouncements on the raw material for the creation of a national school of American composition. The author also establishes thematic connections between some Black cries and the structure of \u2018Happy Birthday\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2&nbsp;&nbsp;<a href=\"#top-of-page\">top of page<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"3\"><\/a><strong>The United Kingdom career of Jarmila Novotn\u00e1 in the late 1920s and 1930s<\/strong><br>Richard Beith<br><em>Journal of Czech and Slovak Music<\/em> 28 (2019), pp51\u201360<br>The Prague-born soprano Jarmila Novotn\u00e1 (1907\u20131994) was a major star of the European opera house circuit from the late 1920s until 1939, when she reached the USA and settled in New York. Her career developed in Berlin, Milan, Paris, Prague, Salzburg and Vienna under conductors such as Klemperer, Korngold, Krauss, Krips, Walter and Toscanini. This article explores the singer\u2019s visits to London, where she participated not in opera but in a number of concerts between 1928 and 1937.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2&nbsp;&nbsp;<a href=\"#top-of-page\">top of page<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"4\"><\/a><strong>The Panocha Quartet: A catalogue of recordings<\/strong><br>Peter Herbert<br><em>Journal of Czech and Slovak Music<\/em> 28 (2019), pp61\u2013103<br>This is a comprehensive list of almost 160 individual works and of all known recordings by the Czech string quartet.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2&nbsp;&nbsp;<a href=\"#top-of-page\">top of page<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"5\"><\/a><strong>The position of Martin\u016f\u2019s music in Great Britain<\/strong><br>Patrick Lambert<br><em>Journal of Czech and Slovak Music<\/em> 28 (2019), pp104\u2013132<br>This is the first of two articles on Bohuslav Martin\u016f in a series entitled \u2018Czech music through the eyes (and ears) of an Englishman\u2019, in which the author offers a personal view on how the British perceived the music of a \u2018far-off land\u2019. Beginning with Vil\u00e9m Tausk\u00fd\u2019s championing of the composer in the 1940s the survey reaches the late 1960s, including the BBC television film about the composer which was made in 1967.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2&nbsp;&nbsp;<a href=\"#top-of-page\">top of page<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"6\"><\/a><strong>The role of the motto in Dvo\u0159\u00e1k\u2019s Requiem<\/strong><br>Wolfgang Marx<br><em>Journal of Czech and Slovak Music<\/em> 28 (2019), pp133\u2013154<br>One of the central features of Dvo\u0159\u00e1k\u2019s Requiem is its use of a motto that opens the work and is repeated in almost all movements. Later in the work several variations of it appear, particularly one identified by the author as the \u2018counter motto\u2019 and which develops an identity in its own right. This essay attempts an interpretation of the role of the motto entirely based on reception and proposes a new reading of it, according to which it represents a musical \u2018other\u2019, namely death.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2&nbsp;&nbsp;<a href=\"#top-of-page\">top of page<\/a><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"7\"><\/a><strong>Ferdinand Sabathil, Bohemian flautist and composer (1852\u20131937)<\/strong><br>Tom Moore<br><em>Journal of Czech and Slovak Music<\/em> 28 (2019), pp155\u2013166<br>The flautist and prolific composer Ferdinand Sabathil is among the many German-speaking natives of the Kingdom of Bohemia and subjects of the Austro-Hungarian Empire whose heritage has tended to be forgotten in the later part of the twentieth century and early twenty-first century, with the disruptions to centuries-old German communities in eastern Europe caused by the effects of the Second World War. One connection with Smetana is the fact that Sabathil worked briefly in Gothenburg before returning to central Europe. His principal employments tended to be in provincial centres, and he is listed as a member of the Bayreuth orchestra in the late 1880s. The article incorporates a list of compositions.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2&nbsp;&nbsp;<a href=\"#top-of-page\">top of page<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Contents of this Volume The \u2018Stamitz\u2019 caprices for solo flute \u25ba \u2018Rare in a generation of remarkable women\u2019: Mildred Hill, Dvo\u0159\u00e1k, Black street cries and the making of \u2018Happy Birthday\u2019 \u25ba The United Kingdom career of Jarmila Novotn\u00e1 in the late 1920s and 1930s \u25ba The Panocha Quartet: A catalogue of recordings \u25ba The position &hellip; <a href=\"https:\/\/www.dvorak-society.org\/?page_id=1090\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Journal of Czech and Slovak Music: Volume 28 (Abstract) 2019<\/span> <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"advanced_seo_description":"","jetpack_seo_html_title":"","jetpack_seo_noindex":false,"jetpack_seo_schema_type":"","footnotes":""},"class_list":["post-1090","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/1090","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1090"}],"version-history":[{"count":9,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/1090\/revisions"}],"predecessor-version":[{"id":3537,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/1090\/revisions\/3537"}],"wp:attachment":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1090"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}