{"id":674,"date":"2020-06-17T16:38:21","date_gmt":"2020-06-17T15:38:21","guid":{"rendered":"https:\/\/www.dvorak-society.org\/New\/?page_id=674"},"modified":"2020-06-17T17:04:09","modified_gmt":"2020-06-17T16:04:09","slug":"journal-czech-music-volume-15-abstract","status":"publish","type":"page","link":"https:\/\/www.dvorak-society.org\/?page_id=674","title":{"rendered":"Journal \u201cCzech Music\u201d Volume 15 (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_symphony\">Dvo\u0159\u00e1k and the Symphony<\/a><\/li><li><a href=\"#rejcha_wind_instruments\">Anton\u00edn Rejcha\u2019s Music for Wind Instruments<\/a><\/li><li><a href=\"#czech_national_opera\">The Notion of a Czech National Opera<\/a><\/li><li><a href=\"#Jan\u00e1\u010dek_campaigning\">Jan\u00e1\u010dek\u2009\u2013\u2009The Campaigning Composer<\/a><\/li><li><a href=\"#Jan\u00e1\u010dek_katya_kabanova\">An Introduction to Jan\u00e1\u010dek\u2019s K\u00e1\u0165a Kabanov\u00e1<\/a><\/li><li><a href=\"#Jan\u00e1\u010dek_violin_sonata\">The Versions of Jan\u00e1\u010dek\u2019s Violin Sonata<\/a><\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"dvorak_symphony\"><\/a>Dvo\u0159\u00e1k and the Symphony<br><small><em>by Jan Smaczny<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 15 No. 1 (1989), pp. 6\u2009\u2013\u200912]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Somewhat against the mid-nineteenth century domestic trend of composing operas as an expression of Czech nationalism, Dvo\u0159\u00e1k wrote his&nbsp;<em>first symphony<\/em>&nbsp;in 1865. His first two symphonies suggest he had not yet got the measure of the style. There was a huge leap in mastery of this style in the&nbsp;<em>third symphony<\/em>. This and the fourth symphony display balance between broader European classical and romantic traditions. In the&nbsp;<em>fifth symphony<\/em>Dvo\u0159\u00e1k uses stronger Czech colouring. By the time of the&nbsp;<em>sixth<\/em>&nbsp;Dvo\u0159\u00e1k had become a major international figure. Though some have seen the&nbsp;<em>sixth<\/em>&nbsp;and&nbsp;<em>seventh symphonies<\/em>&nbsp;as written in the shadow of Brahms, the influence is more likely to have been the other way round. The&nbsp;<em>eighth symphony<\/em>successfully harnesses seemingly spontaneous lyricism in an ingeniously constructed symphonic mould. The&nbsp;<em>ninth symphony<\/em>&nbsp;is formally more correct. In their variety of styles the symphonies reflect Dvo\u0159\u00e1k\u2019s musical concerns at various stages in his career.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<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=\"rejcha_wind_instruments\"><\/a>Anton\u00edn Rejcha\u2019s Music for Wind Instruments<br><small><em>by Michael Bryant<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 15 No. 1 (1989), pp. 13\u2009\u2013\u200922]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Following formative musical experiences in Bonn, Hamburg and Vienna, including contacts with Haydn and Beethoven, Rejcha became one of the most important \u00e9migr\u00e9 Czech musicians of his day. Returning to Paris in 1808, he was esteemed not only as a composer, but as a teacher, and writer of textbooks of musical theory. Eminent among Rejcha\u2019s compositions were the twenty-five wind quintets, played by and dependant upon the skills of the best wind players in Paris. Infrequently performed over the years, these magnificent quintets and other works of Rejcha have been rescued in the CD era, the Albert Schweitzer Quintet having issued complete recordings on the CPO label.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<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_national_opera\"><\/a>The Notion of a Czech National Opera<br><small><em>by Alena N\u011bmcov\u00e1<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 15 No. 1 (1989), pp.23\u2009\u2013\u200929<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The return of Smetana to Prague in the 1860s coincided with a competition for the best new historical or comic opera based on Czech themes, and elements of Czech folk music. Smetana responded by composing&nbsp;<em>Branibo\u0159i v \u010cech\u00e1ch (The Brandenburgers in Bohemia)<\/em>. Though it won the prize, some argued it was not sufficiently based on domestic folk music, an issue redressed in Smetana\u2019s next opera,&nbsp;<em>Prodan\u00e1 nev\u011bsta (The Bartered Bride)<\/em>, in which he included Czech dances. The Czech national opera style which followed built on Smetana\u2019s achievements, Dvo\u0159\u00e1k\u2019s&nbsp;<em>Tvrd\u00e9 palice (The Stubborn Lovers)<\/em>&nbsp;and&nbsp;<em>\u0160elma sedl\u00e1k (The Scheming Farmer\/The Cunning Peasant)<\/em>&nbsp;being set in Czech villages, and&nbsp;<em>\u010cert a K\u00e1\u010da (The Devil and Kate)<\/em>&nbsp;being based on an Erben ballad. Jan\u00e1\u010dek\u2019s early opera&nbsp;<em>Po\u010d\u00e1tek rom\u00e1nu (The Beginning of a Romance)<\/em>&nbsp;was hailed by patriotic opinion as the first Moravian national opera, but it failed and was discounted by the composer himself for its over-obvious use of folk tunes.&nbsp;<em>Jej\u00ed pastorky\u0148a (Jen\u016ffa)<\/em>&nbsp;reflected a new approach to folk music, a synthesis of folklore elements in a genuinely mature and creative musical style.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<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_campaigning\"><\/a>Jan\u00e1\u010dek\u2009\u2013\u2009The Campaigning Composer<br><small><em>by Karel Janovick\u00fd<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 15 No. 2 (1989), pp. 17\u2009\u2013\u200922]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The distinction in perceptions of the later and earlier Jan\u00e1\u010dek as on the one hand the \u2018great opera composer\u2019 and on the other as the \u2018struggling provincial\u2019 is inaccurate: both elements co-existed throughout his life. At all times his composing had an ulterior motive. This often reflected a campaigning purpose, not least for the Czech cause in Brno, where Czech inhabitants were outnumbered by German. There was also a Panslavist element in his music, which drew upon Russian themes. The&nbsp;<em>Glagolitic Mass<\/em>&nbsp;was based on an old Slavonic texts. From the close connections between Jan\u00e1\u010dek\u2019s personal life and his music he took as his cue Czech language and translated this into his musical notation. Similarly he imitated the sounds of nature in his music.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><a name=\"Jan\u00e1\u010dek_katya_kabanova\"><\/a>An Introduction to Jan\u00e1\u010dek\u2019s&nbsp;<em>K\u00e1\u0165a Kabanov\u00e1<\/em><br><small><em>by Alena N\u011bmcov\u00e1<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 15 No. 2 (1989), pp.23\u2009\u2013\u200929]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><em>K\u00e1\u0165a Kabanov\u00e1<\/em>&nbsp;was the starting point of Jan\u00e1\u010dek\u2019s most creative period, and the first opera he composed after the inauguration of Czechoslovakia. By now his understanding of Moravian folk music and investigation of speech intonation was integrated into his compositional and dramatic style. The choice of subject, the story of a tragic marriage, was influenced both by his newly found love for young Kamila St\u00f6sslov\u00e1, and also by his interest wider Slavonic culture. Jan\u00e1\u010dek was fascinated by this Russian story depicting the conflict between the guilty emotions of a suffering wife and the hypocritical morality of family and rural society around her. In expressing the psychology of the characters in the opera, Jan\u00e1\u010dek demonstrates a mastery of musical invention, composing lyrical melodies of great beauty, with motifs illustrating precisely the psychological situation of the opera\u2019s characters.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n\n\n\n<hr class=\"wp-block-separator\"\/>\n\n\n\n<p><a name=\"Jan\u00e1\u010dek_violin_sonata\"><\/a>The Versions of Jan\u00e1\u010dek\u2019s&nbsp;<em>Violin Sonata<\/em><br><small><em>by Alena N\u011bmcov\u00e1<\/em><br>Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 15 No. 2 (1989), pp.30\u2009\u2013\u200934<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">As a student Jan\u00e1\u010dek had twice before worked on writing violin sonatas. The one which remains today was his third attempt, and has a special position in his output, influenced by tensions in his own musical development and the crisis of the outbreak of World War One. Its composition extended over seven years, with the four movements of the original version, composed in 1914, differing substantially from the final one, the first performance of which took place in Brno in 1922. As with&nbsp;<em>K\u00e1t\u2019a Kabanov\u00e1<\/em>, to which the&nbsp;<em>Violin Sonata<\/em>&nbsp;has some connections, Jan\u00e1\u010dek\u2019s musical ideas were again associated with his interest in things Russian, and the possibility of a Russian invasion of Moravia at the beginning of World War One.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\"><a href=\"#top_of_page\">\u25b2<\/a>\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Contents of this page Dvo\u0159\u00e1k and the Symphony Anton\u00edn Rejcha\u2019s Music for Wind Instruments The Notion of a Czech National Opera Jan\u00e1\u010dek\u2009\u2013\u2009The Campaigning Composer An Introduction to Jan\u00e1\u010dek\u2019s K\u00e1\u0165a Kabanov\u00e1 The Versions of Jan\u00e1\u010dek\u2019s Violin Sonata Dvo\u0159\u00e1k and the Symphonyby Jan Smaczny[Czech Music: Journal of the Dvo\u0159\u00e1k Society, Vol. 15 No. 1 (1989), pp. 6\u2009\u2013\u200912] &hellip; <a href=\"https:\/\/www.dvorak-society.org\/?page_id=674\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Journal \u201cCzech Music\u201d Volume 15 (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-674","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\/674","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=674"}],"version-history":[{"count":4,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/674\/revisions"}],"predecessor-version":[{"id":679,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/674\/revisions\/679"}],"wp:attachment":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=674"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}