{"id":637,"date":"2020-06-17T13:53:29","date_gmt":"2020-06-17T12:53:29","guid":{"rendered":"https:\/\/www.dvorak-society.org\/New\/?page_id=637"},"modified":"2020-06-17T14:05:04","modified_gmt":"2020-06-17T13:05:04","slug":"journal-czech-music-volume-8-abstract","status":"publish","type":"page","link":"https:\/\/www.dvorak-society.org\/?page_id=637","title":{"rendered":"Journal \u201cCzech Music\u201d Volume 8 (Abstract)"},"content":{"rendered":"\n<h4 class=\"wp-block-heading\"><a id=\"top_of_page\"><\/a>Contents of this page<\/h4>\n\n\n\n<ul class=\"wp-block-list\"><li>Goethe and\u00a0<strong>Tom\u00e1\u0161ek<\/strong>\u00a0<a href=\"#goethe-and-tom\u00e1\u0161ek\">\u25ba<\/a><\/li><li><strong>Josef Bohuslav Foerster<\/strong>\u00a0<a href=\"#josef-bohuslav-foerster\">\u25ba<\/a><\/li><li><strong>Dvo\u0159\u00e1k<\/strong>, Josefina and the Cello Concerto\u00a0<a href=\"#dvo\u0159\u00e1k-josefina-and-the-cello-concerto\">\u25ba<\/a><\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"goethe-and-tom\u00e1\u0161ek\"><\/a>Goethe and Tom\u00e1\u0161ek<br><em>Sir Cecil Parrott<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 8, No. 2 (1982), pp. 4-12]<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;Having informed Goethe that he had set some of his poems to hear how German classical poetry sounded when set to music by a Czech, Tom\u00e1\u0161ek was finally able to perform before the poet eighteen of his settings at a morning recital in Cheb. Goethe expressed his appreciation stating he had set Mignon\u2019s song with greater understanding than Beethoven or Spohr. The fact that he also ignored the many settings of his poems by Schubert may have reflected Goethe\u2019s interest in the time in Bohemian culture and the social life of the spas, and also perhaps the more conservative musical settings of Tom\u00e1\u0161ek. His perceived conservatism and lack of contribution to national political revival led also to criticism of the composer in reformist Czech circles. These criticisms fail to appreciate the important contributions Tom\u00e1\u0161ek made to Czech music, not least in his piano works.<\/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<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"josef-bohuslav-foerster\"><\/a>Josef Bohuslav Foerster<br><em>Robert Hopkins<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 8, No. 3 (1982), pp. 4-13]<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;Foerster was born into a musical family, his father a Professor at Prague Conservatory. His long life makes Foerster difficult to classify among Czech composers. Influenced by foreign composers such as Schumann, Brahms, Grieg and Tchaikovsky, Fibich being his only Czech precursor, Foerster composed in a wide range of musical genres. The social realism of operas such as Eva was pioneering and clearly influenced Jan\u00e1\u010dek\u2019s Jenufa. Among his orchestral works, the 4th Symphony (Easter) and Cyrano de Bergerac are probably the most significant. He wrote some fine song cycles, while his choruses are considered second only in quality to those of Jan\u00e1\u010dek though, as in other works, they are marked by lyrical beauty rather than the profound originality of the latter. Foerster\u2019s musical style changed little over his long life and over 200 works with opus numbers, marked by some unevenness of quality, particularly in his later works. Numbered among Foerster\u2019s pupils were Jir\u00e1k, Borkove\u010d, Hab\u00e1, Ridky and Jeremia\u0161.<\/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<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"dvo\u0159\u00e1k-josefina-and-the-cello-concerto\"><\/a>Dvo\u0159\u00e1k, Josefina and the Cello Concerto<br><em>John Clapham<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 8, No. 4 (1982), pp. 5-9]<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;Two of Dvo\u0159\u00e1k\u2019s early works, the Cypresses song cycle and his 1st Symphony (The Bells of Zlonice) were the outcomes of his love for Josefina \u010cerm\u00e1kov\u00e1. After his rejection by her, he transferred his affections to her younger sister Anna, whom he married in 1873. The significance of these compositions for the composer is relfected in the fact that he returned to music from these in composing later works, adapting the music from Cypresses for String Quartet while the piano cycle Silhouettes is closely based on The Bells of Zlonice. Dvo\u0159\u00e1k\u2019s affections for his sister-in-law remained and her ill health while he was in the United States caused him great anxiety. He had introduced into the slow movement of his 2nd Cello Concerto one of his songs which was a favourite of Josefina\u2019s. On learning of her death soon after his return to Prague in 1895, he totally revised the conclusion of his 2nd Cello Concerto with a brooding coda which acted as a fitting memorial to Josefina.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#top_of_page\">\u25b2&nbsp;Top<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Contents of this page Goethe and\u00a0Tom\u00e1\u0161ek\u00a0\u25ba Josef Bohuslav Foerster\u00a0\u25ba Dvo\u0159\u00e1k, Josefina and the Cello Concerto\u00a0\u25ba Goethe and Tom\u00e1\u0161ekSir Cecil Parrott[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 8, No. 2 (1982), pp. 4-12] &nbsp;&nbsp;&nbsp;&nbsp;Having informed Goethe that he had set some of his poems to hear how German classical poetry sounded when set to music &hellip; <a href=\"https:\/\/www.dvorak-society.org\/?page_id=637\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Journal \u201cCzech Music\u201d Volume 8 (Abstract)<\/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-637","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\/637","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=637"}],"version-history":[{"count":5,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/637\/revisions"}],"predecessor-version":[{"id":1076,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/637\/revisions\/1076"}],"wp:attachment":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=637"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}