{"id":661,"date":"2020-06-17T15:18:23","date_gmt":"2020-06-17T14:18:23","guid":{"rendered":"https:\/\/www.dvorak-society.org\/New\/?page_id=661"},"modified":"2020-11-18T11:33:05","modified_gmt":"2020-11-18T11:33:05","slug":"journal-czech-music-volume-13-abstract","status":"publish","type":"page","link":"https:\/\/www.dvorak-society.org\/?page_id=661","title":{"rendered":"Journal \u201cCzech Music\u201d Volume 13 (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><a href=\"#dvorak_basset\">Dvo\u0159\u00e1k and the Basset Horn<\/a><\/li><li><a href=\"#fact_fiction_czech_composers\">Fact and Fiction about Czech Composers<\/a><\/li><\/ul>\n\n\n\n<h5 class=\"wp-block-heading\"><\/h5>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"dvorak_basset\"><\/a>Dvo\u0159\u00e1k and the Basset Horn<br><small><em>by Graham Melville-Mason<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 13 No. 1 (1987), pp. 5\u2009\u2013\u20098]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The heyday of the basset horn, a form of tenor clarinet, was between about 1777 and 1830. Interest was centred on Vienna and Prague. Popular in Court and Palace Harmonie bands, many Czech players and some composers used the instrument, but it later became a rarity in orchestral scores, Dvo\u0159\u00e1k employed the basset horn just once, in the fourth movement of his&nbsp;<em>Czech Suite<\/em>, but subsequent performances used the cor anglais rather than the basset horn as originally scored. Research into the autograph score indicates that Dvo\u0159\u00e1k changed his mind and agreed the use of the cor anglais on the pragmatic ground that the basset horn was in scarce supply. The revival of interest in the basset horn in the late twentieth century encourages the belief the work may now be played following the composer\u2019s original intention.<\/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=\"fact_fiction_czech_composers\"><\/a>Fact and Fiction about Czech Composers<br><small><em>by John Clapham<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 13 No. 1 (1987), pp. 9\u2009\u2013\u200912]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In recent years there has been a marked increase in plays with music, and in books, offering speculative and romanticised accounts of the lives of great composers, the musical&nbsp;<em>Lilac Time<\/em>&nbsp;(Schubert), the film&nbsp;<em>Amadeus<\/em>&nbsp;(Mozart) and \u0160kvoreck\u00fd\u2019s book&nbsp;<em>Dvo\u0159\u00e1k in Love<\/em>&nbsp;being examples. In the latter there are numerous errors of fact, including misinterpretations of the relationship between Dvo\u0159\u00e1k and Mrs. Thurber in New York. The book is condemned as cavalier and irresponsible.&nbsp;<em>The Life of Smetana: the Pain and the Glory<\/em>, by L. Nolan and J.B. Hutton, however, is seen as more punctilious, though the book contains significant omissions. The authors cover the controversies between Smetana and his critics in a restrained manner, and show accuracy and a sense of dedication in creating a remarkable \u2018documentary novel\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><img loading=\"lazy\" decoding=\"async\" src=\"images\/bullet_up_triangle.gif\" alt=\"\" width=\"12\" height=\"11\">&nbsp;&nbsp;<a href=\"#top_of_page\">top of page<\/a><\/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 Dvo\u0159\u00e1k and the Basset Horn Fact and Fiction about Czech Composers Dvo\u0159\u00e1k and the Basset Hornby Graham Melville-Mason[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 13 No. 1 (1987), pp. 5\u2009\u2013\u20098] &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The heyday of the basset horn, a form of tenor clarinet, was between about 1777 and 1830. Interest was centred &hellip; <a href=\"https:\/\/www.dvorak-society.org\/?page_id=661\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Journal \u201cCzech Music\u201d Volume 13 (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-661","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\/661","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=661"}],"version-history":[{"count":3,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/661\/revisions"}],"predecessor-version":[{"id":668,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/661\/revisions\/668"}],"wp:attachment":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=661"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}