{"id":665,"date":"2020-06-17T16:02:39","date_gmt":"2020-06-17T15:02:39","guid":{"rendered":"https:\/\/www.dvorak-society.org\/New\/?page_id=665"},"modified":"2020-06-17T16:37:04","modified_gmt":"2020-06-17T15:37:04","slug":"journal-czech-music-volume-14-abstract","status":"publish","type":"page","link":"https:\/\/www.dvorak-society.org\/?page_id=665","title":{"rendered":"Journal \u201cCzech Music\u201d Volume 14 (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=\"#ullman_opera\">Viktor Ullmann\u2019s Last Opera<\/a><\/li><li><a href=\"#reicha_wind_quintets\">Reicha\u2019s Wind Quintets<\/a><\/li><li><a href=\"#czech_melodrama\">Czech Melodrama<\/a><\/li><li><a href=\"#suchon_eighty\">Eugen Sucho\u0148 at Eighty<\/a><\/li><li><a href=\"#Jan\u00e1\u010dek_women\">Jan\u00e1\u010dek\u2019s Women: Vision and Reality<\/a><\/li><li><a href=\"#rusalka\">How Rusalka became Czech<\/a><\/li><li><a href=\"#tucapsky\">Anton\u00edn Tu\u010dapsk\u00fd at Sixty<\/a><\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"ullman_opera\"><\/a>Viktor Ullmann\u2019s Last Opera<br><small><em>by Graham Melville-Mason<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 14 No. 1 (1988), pp. 9\u2009\u2013\u200912]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Ullmann\u2019s last opera&nbsp;<em>The Emperor of Atlantis<\/em>, was written in 1943 while the composer was incarcerated in Terez\u00edn. The main influences on his music were Sch\u00f6nberg and H\u00e1ba. These were absorbed into his own compositional style, which was not distinctively Czech but rather lay with the Germanic side of Bohemia. In&nbsp;<em>The Emperor of Atlantis<\/em>&nbsp;there are also hints of the influence of Mahler, Zemlinsky, Stravinsky, and Weill. Yet the final result is not merely derivative. In daring to write the opera, Ullmann challenged Nazi philosophy head on, its anti-war theme and inclusion in the music of a parody of the German National Anthem antagonised the Nazi authorities, who cancelled the first performance. Ullmann was then transported to his death in Auschwitz.<\/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=\"reicha_wind_quintets\"><\/a>Reicha\u2019s Wind Quintets<br><small><em>by Patrick Lambert<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 14 No. 1 (1988), pp. 13\u2009\u2013\u200917]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Though born in Prague, Anton Reicha spent much of his life in Germany, Austria and particularly in France. In his youth he was in regular contact with Beethoven, and also received advice on composition from Haydn. The Napoleonic Wars drove him to Hamburg where his ideas on composition matured. His main works in this period were operas to which, however, that city proved unreceptive. Reicha finally moved to Paris in 1808. Having evolved a theory of composition, he attracted distinguished pupils, among them Adam, Berlioz, Flotow, Franck, Gounod, Liszt, Onslow and Thomas. He became a Professor at the Paris Conservatoire in 1818. Above all his fame in Paris rested on his 24 wind quintets, performed by Professors of the Conservatoire, establishing this combination of instruments as a viable form of chamber music.<\/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=\"czech_melodrama\"><\/a>Czech Melodrama<br><small><em>by R.S. Hopkins<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 14 No. 1 (1988), pp. 18\u2009\u2013\u200921]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">In its true sense melodrama means placing spoken word against a musical background. One pioneer of the genre was the Bohemian composer Ji\u0159i Benda whose melodramas so impressed Mozart. Apart from in Bohemia, the form almost died out until the late nineteenth century. It was revived by Fibich, most notably in the&nbsp;<em>Hippodamia<\/em>&nbsp;trilogy, in which he established a cohesive structure by using Wagnerian leitmotifs. The only other prolific composer of melodramas at the time was Foerster. There was a revival of the melodrama in more experimental modes, mostly with chamber groups in mind, in the 1960s. Interest was increased also by a series of LP recordings of melodramas by Supraphon, covering the period from Fibich to the 1980s.<\/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=\"suchon_eighty\"><\/a>Eugen Sucho\u0148 at Eighty<br><small><em>by Graham Melville-Mason<\/em><br>Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 14 No. 2 (1988), pp. 12\u2009\u2013\u200914<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Sucho\u0148 was one of the trio now regarded as the most distinguished Slovak composers of their generation, the others being Moyzes and Cikker. After early training in Bratislava, he became a pupil of Vit\u011bslav Nov\u00e1k. Sucho\u0148 composed successfully in a variety of forms. Like other Slovak composers, he turned to folk music for inspiration. He was created National Artist by the State in 1958 and appointed Professor of Music Theory at Bratislava University in 1959. During the 1960s his work became more experimental, influenced by ideas from abroad. In this later period he increasingly made use of his own theories relating to the use of twelve tones. He continued to write prolifically in the 1970s and into the 1980s.<\/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=\"Jan\u00e1\u010dek_women\"><\/a>Jan\u00e1\u010dek\u2019s Women: Vision and Reality<br><small><em>by Patrick Lambert<\/em><br>Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 14 No. 2 (1988), pp. 15\u2009\u2013\u200917<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Jan\u00e1\u010dek adored women, though his relations with them were frequently based on idealism rather than reality, resulting in unhappy relationships, as in his marriage. His preoccupation with women was constantly reflected in his music, his works frequently based those he knew who functioned as \u2018models\u2019. In his early sixties he was captivated by Kamila St\u00f6sslov\u00e1, in her mid-twenties, who provided the inspiration for&nbsp;<em>The Diary of One who Disappeared<\/em>, and for&nbsp;<em>Kat\u2019a Kabanov\u00e1<\/em>. He confessed that the&nbsp;<em>2nd String Quartet Intimate Letters<\/em>&nbsp;had sprung from \u2018directly-experienced emotion\u2019. In the Glagolitic Mass he visualised their wedding taking place in a cathedral of his imagination.<\/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=\"rusalka\"><\/a>How Rusalka became Czech<br><small><em>by John Tyrrell<\/em><br>Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 14 No. 2 (1988), pp. 18\u2009\u2013\u200921<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The librettist of&nbsp;<em>Rusalka<\/em>, Kvapil, acknowledged his non-Czech sources, the myth of the water nymph being widespread in European literature, rather than distinctively Czech. Three characters in the opera, however, stand out as different from water nymphs appearing in analogous European works, namely Je\u017eibaba, the Vodn\u00edk and Rusalka herself. The grim violence of Je\u017eibaba can be linked with the folk tales of Erben, which include malevolent witches and water gnomes. The pessimistic, Cassandra-like Vodn\u00edk, and the serious, suffering Rusalka, sacrificing her voice to acquire a human soul, also respond to tragic elements in the Czech spirit.<\/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=\"tucapsky\"><\/a>Anton\u00edn Tu\u010dapsk\u00fd at Sixty<br><small><em>by Graham Melville-Mason<\/em><br>Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 14 No. 2 (1988), pp. 22\u2009\u2013\u200928<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A Moravian, born in 1928, Anton\u00edn Tu\u010dapsk\u00fd studied in Brno before embarking on his career as composer, teacher and conductor. From 1964\u2009\u2013\u200972 he was conductor of the famous Moravian Teachers\u2019 Male Voice Choir. He came to Great Britain in 1975, and was appointed Professor of Composition at Trinity College of Music. Here he had more time to develop his creative side, many of his compositions, mostly choral or chorally based, having first performances in this country. Overall Tu\u010dapsk\u00fd\u2019s works evade any pigeon-holing of his style. Conversant with the various compositional theories and trends of the twentieth century, he remains essentially a tonal composer, as well as being a first-class all-round musician.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#top_of_page\">\u25b2<\/a>\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Contents of this page Viktor Ullmann\u2019s Last Opera Reicha\u2019s Wind Quintets Czech Melodrama Eugen Sucho\u0148 at Eighty Jan\u00e1\u010dek\u2019s Women: Vision and Reality How Rusalka became Czech Anton\u00edn Tu\u010dapsk\u00fd at Sixty Viktor Ullmann\u2019s Last Operaby Graham Melville-Mason[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 14 No. 1 (1988), pp. 9\u2009\u2013\u200912] &nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Ullmann\u2019s last opera&nbsp;The Emperor of Atlantis, &hellip; <a href=\"https:\/\/www.dvorak-society.org\/?page_id=665\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Journal \u201cCzech Music\u201d Volume 14 (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-665","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\/665","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=665"}],"version-history":[{"count":5,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/665\/revisions"}],"predecessor-version":[{"id":673,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/665\/revisions\/673"}],"wp:attachment":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=665"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}