{"id":644,"date":"2020-06-17T14:16:31","date_gmt":"2020-06-17T13:16:31","guid":{"rendered":"https:\/\/www.dvorak-society.org\/New\/?page_id=644"},"modified":"2020-06-17T14:31:29","modified_gmt":"2020-06-17T13:31:29","slug":"journal-czech-music-volume-9-abstract","status":"publish","type":"page","link":"https:\/\/www.dvorak-society.org\/?page_id=644","title":{"rendered":"Journal \u201cCzech Music\u201d Volume 9 (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>Slovak Music: A Introduction (1)&nbsp;<a href=\"#slovak-music-introduction-1\">\u25ba<\/a><\/li><li>Slovak Music: A Introduction (2)&nbsp;<a href=\"#slovak-music-introduction-2\">\u25ba<\/a><\/li><li><strong>Dvo\u0159\u00e1k<\/strong>\u2019s Australian Success&nbsp;<a href=\"#dvo\u0159\u00e1k\u2019s-australian-success\">\u25ba<\/a><\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"slovak-music-introduction-1\"><\/a>Slovak Music: A Introduction (1)<br><small><em>Robert Hopkins<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 9, No. 1 (1983), pp. 7-16]&nbsp;<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;In contrast to the outburst of Czech nationalist music in the nineteenth century, Slovak music essentially a twentieth century phenomenon. The first identifiable figure in the rebirth of Slovak music was Bella (1843-1936). The first to discover the riches of Slovak music we V\u00edt\u011bzslav Nov\u00e1k and significantly his pupils included Moyzes, Sucho\u0148 and Cikker, the three most eminent Slovak composers of the early twentieth century. In most of their works are Slovak stylistic features, though not necessarily using folk material directly. All composed successfully in a wide range of musical genres. Apart from Ferenczy, the most distinguished of the second generation of Slovak composers were pupils of Moyzes or Sucho\u0148. These included Holoubek, Kardo\u0161, O\u010dena\u0161 and Zimmer. Zimmer was the last to reach maturity during this nationalistic era of Slovak music. From the 1960s Czechslovakia became more open to western influences, and a new period in the region\u2019s music began.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2&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=\"slovak-music-introduction-2\"><\/a>Slovak Music: A Introduction (2)<br><small><em>Robert Hopkins<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 9, No. 3 (1983), pp. 6-14]&nbsp;<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;From the late 1950s there was a cultural thaw in communist eastern Europe which led to composers in the region radically modifying their approach to musical composition, in response, for example, to western serial techniques, electronic methods, and others. Folklore and nationalistic elements were increasingly regarded as anachronistic. Affected were composers of the earlier generation such as Cikker, as reflected in his finest opera, Resurrection, thoroughly post-Bergian in character, and Sucho\u0148, though less so Moyzes who found it more difficult to adapt his musical style to the new influences. Kardo\u0161, Holoubek, Kowalski, Ferenczy and Zimmer found it easier to convert to serialism. A third generation of composers varied in their responses. Pupils of Moyzes such as Burlas, Popi\u0161il, and Marti\u010dek tended towards conservatism. At the other extreme were more radical experimental voices such as Kupkovi\u010d, Malovec and the prolific Zeljenka. During the 1970s there was some return to older influences, with a revival of the nationalistic spirit in works by Cikker and Sucho\u0148, and in some of the second generation composers such as Kardo\u0161, O\u010dena\u0161 and Ferenczy. Others, such as Berger, Malovec and Zeljenka have maintained their allegiance to the more international influences. The introduction of a new Slovak record label, OPUS, from the late 1960s had advantages in the recording more Slovak music, but the negative impact that Supraphon deleted most of its recordings of Slovak music, making it more difficult to purchase this music in the west.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2&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\u2019s-australian-success\"><\/a>Dvo\u0159\u00e1k\u2019s Australian Success<br><small><em>John Clapham<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 9, No. 4 (1983), pp. 5-8]&nbsp;<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Following other successes abroad, and particularly in England, Dvo\u0159\u00e1k\u2019s music reached Australia in the mid-1880s, a performance of the Stabat Mater in Melbourne in September 1885 arousing great enthusiasm and aspirations to hear more of the composer\u2018s music. This was followed by a performance of the D major Symphony, again in Melbourne, which confirmed the local judgement that Dvo\u0159\u00e1k was in the front rank of contemporary composers. The success of The Spectre\u2019s Bride in Birmingham led to demands for a Melbourne performance which took place in October 1886. The enterprise was so much appreciated that to cater for the excess of demand a repeat performnce was arranged. Notably the work received twenty-four performances by the end of the 1886 season, of which not one was in Europe, outside the Czech lands and Britain.<\/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 Slovak Music: A Introduction (1)&nbsp;\u25ba Slovak Music: A Introduction (2)&nbsp;\u25ba Dvo\u0159\u00e1k\u2019s Australian Success&nbsp;\u25ba Slovak Music: A Introduction (1)Robert Hopkins[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 9, No. 1 (1983), pp. 7-16]&nbsp; &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;In contrast to the outburst of Czech nationalist music in the nineteenth century, Slovak music essentially a twentieth century &hellip; <a href=\"https:\/\/www.dvorak-society.org\/?page_id=644\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Journal \u201cCzech Music\u201d Volume 9 (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-644","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\/644","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=644"}],"version-history":[{"count":4,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/644\/revisions"}],"predecessor-version":[{"id":653,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/644\/revisions\/653"}],"wp:attachment":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=644"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}