{"id":702,"date":"2020-06-18T10:40:28","date_gmt":"2020-06-18T09:40:28","guid":{"rendered":"https:\/\/www.dvorak-society.org\/New\/?page_id=702"},"modified":"2020-06-18T11:03:13","modified_gmt":"2020-06-18T10:03:13","slug":"journal-czech-music-volume-20-abstract","status":"publish","type":"page","link":"https:\/\/www.dvorak-society.org\/?page_id=702","title":{"rendered":"Journal \u201cCzech Music\u201d Volume 20 (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>Dvo\u0159\u00e1k\u2019s and Jan\u00e1\u010dek\u2019s Dumka\u00a0<a href=\"#dumka\">\u25ba\u00a0<\/a><\/li><li>Dvo\u0159\u00e1k\u2019s Idea for an American National Anthem\u00a0<a href=\"#american_national_anthem\">\u25ba<\/a><\/li><li>Retouches and Alterations in Smetana\u2019s M\u00e1 Vlast\u00a0<a href=\"#ma_vlast_retouches\">\u25ba<\/a><\/li><li>Bohuslav Martin\u016f and V\u00edt\u011bzslava Kapr\u00e1lov\u00e1\u00a0<a href=\"#martinu_and_kapralova\">\u25ba\u00a0<\/a><\/li><li>Young Martin\u016f and Fascination with Death\u00a0<a href=\"#martinu_death\">\u25ba\u00a0<\/a><\/li><li>Martin\u016f in Cleveland\u00a0<a href=\"#martinu_cleveland\">\u25ba\u00a0<\/a><\/li><li>Josef Anton\u00edn \u0160t\u011bp\u00e1n (1726-1797): A Bicentenary Tribute\u00a0<a href=\"#stepan\">\u25ba<\/a><\/li><li>Ji\u0159\u00ed Anton\u00edn Benda\u2019s Singspiels: A Comparison with the Dramatic Works of Mozart\u00a0<a href=\"#benda_singspiels_mozart\">\u25ba\u00a0<\/a><\/li><li>The Melodramas: Rad\u00faz a Mahulena and Pod Jablon\u00ed by Josef Suk and Julius Zeyer\u00a0<a href=\"#suk_zeyer_melodramas\">\u25ba<\/a><\/li><li>Popular Melodrama in the Czech Lands: From the Paris Boulevard du Crime to Prague\u2019s Stavovsk\u00e9 Divadlo\u00a0<a href=\"#czech_melodramas_popular\">\u25ba\u00a0<\/a><\/li><li>Czech and Slovak Musical Philately\u00a0<a href=\"#philately_czech_slovak\">\u25ba\u00a0<\/a><\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"dumka\"><\/a>Dvo\u0159\u00e1k\u2019s and Jan\u00e1\u010dek\u2019s Dumka<br><small><em>by Jarmil Burghauser<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 20 (1997-8), pp. 41-56]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The interest of Dvo\u0159\u00e1k and Jan\u00e1\u010dek in the dumka, originally an east European folk song genre, stemmed partly from the nineteenth-century growth of Panslavic resistance to Hapsburg rule. In art music, as distinct from folk music, it was the practice for a sung dumka to be followed by a dance. It was also used in purely instrumental music, as for example by Liszt and Wieniawski. The first dumka composed by Dvo\u0159\u00e1k appeared in the late 1870s, and this type of material appears in many subsequent compositions. Much influenced by Jan\u00e1\u010dek\u2019s attraction to the dumka, and maintaining its essential character, Dvo\u0159\u00e1k transformed its inspirations into highly personal formations.<\/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=\"american_national_anthem\"><\/a>Dvo\u0159\u00e1k\u2019s Idea for an American National Anthem<br><small><em>by Jarmil Burghauser<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 20 (1997-8), pp. 56-61]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Dvo\u0159\u00e1k considered it regrettable that the North American song&nbsp;<em>My Country \u2018tis of Thee<\/em>, a kind of second American National Anthem, should have been set to the tune of the English&nbsp;<em>God Save the Queen<\/em>. He sought to offer an alternative, but this never materialised. Much later, however, his one-time Secretary Kova\u0159ic added the words of&nbsp;<em>My Country \u2018tis of Thee<\/em>&nbsp;to Dvo\u0159\u00e1k\u2019s sketched out proposal. If Dvo\u0159\u00e1k\u2019s tune is to be reconstructed to these words as a \u2018new\u2019 American National Anthem, however, then it is could not be musically correct for it to be shaped as Kova\u0159ic suggested. Burghauser offers a more viable version.<\/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<hr class=\"wp-block-separator\"\/>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"ma_vlast_retouches\"><\/a>Retouches and Alterations in Smetana\u2019s&nbsp;<em>M\u00e1 Vlast<\/em><br><small><em>by Jarmil Burghauser<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 20 (1997-8), pp. 62-71]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">A performer\u2019s interpretation of a musical work should be distinguished from \u2018retouching\u2019 or \u2018revision\u2019, which involve a changing of the standing instructions of the score. While retouching leaves the overall parameters intact, revision means alteration of the work\u2019s structure and instrumentation. Older conductors, particularly from abroad, were suspicious of aspects of the orchestration in&nbsp;<em>M\u00e1 Vlast<\/em>&nbsp;which did not reflect current standard practice. Suspicions were strengthened by errors in the notation of the original published edition. A number of conductors retouched or even revised the work. Supraphon appointed a commission to fashion a new performing edition which avoided \u2018wild retouchings\u2019 but attended to the indisputable problems of some of the work\u2019s passages as written by Smetana.<\/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=\"martinu_and_kapralova\"><\/a>Bohuslav Martin\u016f and V\u00edt\u011bzslava Kapr\u00e1lov\u00e1<br><small><em>by Michael Henderson<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 20 (1997-8), pp. 71-84]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Meeting in 1937, the promising young composer Kapr\u00e1lov\u00e1 became a pupil of Martin\u016f. An intimate relationship developed as they worked together in Paris. In June 1938 the two attended an ISCM festival in London where Kapr\u00e1lov\u00e1 conducted her&nbsp;<em>Military Sinfonietta<\/em>. Some of their finest works were composed as political storm clouds gathered over Czechoslovakia. Early in 1939, Kapr\u00e1lov\u00e1 decided she could not continue the affair with Martin\u016f, though the two remained close friends. Soon diagnosed as having tuberculosis, she died in Montpellier in June 1940, aged 25. Concurrently, Martin\u016f and his wife were fleeing occupied France for the United States. While his time in America gave his emotional wounds chance to heal, Martin\u016f\u2019s memories of his relationship with Kapr\u00e1lov\u00e1 were to haunt him for the rest of his life.<\/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=\"martinu_death\"><\/a>Young Martin\u016f and Fascination with Death<br><small><em>by Jaroslav Mihule<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 20 (1997-8), pp. 85-95]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">The \u2018mysterious motif of death\u2019 was a consistent thread in Martin\u016f\u2019s compositions and was closely related to shifts in his musical style. His preoccupation with the subject often related to life crises. The death motif had offered a similar inspiration for composers such as Mahler, Dvo\u0159\u00e1k, Smetana, Nov\u00e1k and Suk, all of whom influenced the composer. The associated theme of martyrdom also is strong in Czech culture and it can be argued that Martin\u016f\u2019s life and death in exile contained such an element, representing an important and continuing facet of his art.<\/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=\"martinu_cleveland\"><\/a>Martin\u016f in Cleveland<br><small><em>by Greg Terian<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 20 (1997-8), pp. 95-99]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">During his sojourn in the United States, Martin\u016f\u2019s connections with Cleveland were strong. His&nbsp;<em>2nd Symphony<\/em>&nbsp;was premiered by the Cleveland Orchestra under Leinsdorf in October 1943. Heralded as a tribute to the large Czech community in the city, it was enthusiastically received. In 1946 Szell became director of the Cleveland Orchestra. Prior to the German occupation, as director of the German Opera in Prague, he had performed Martin\u016f works in his orchestral concerts there. He conducted the premiere of the&nbsp;<em>Rhapsody-Concerto<\/em>&nbsp;in 1953, and in 1957 gave the first American performance of the&nbsp;<em>Fresques de Piero della Francesca<\/em>. Less successful than these was a subsequently neglected work commissioned for the fortieth anniversary of the Cleveland Orchestra, the symphonic prelude&nbsp;<em>The Rock<\/em>.<\/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=\"stepan\"><\/a>Josef Anton\u00edn \u0160t\u011bp\u00e1n (1726-1797): A Bicentenary Tribute<br><small><em>by Howard Picton<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 20 (1997-8), pp. 100-110]<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">Acknowledged as founder of the Viennese Lied, Bohemian-born \u0160t\u011bp\u00e1n was also a master of the keyboard, showing a distinctive personal style in his piano music of the second half of the eighteenth century. By the 1760s his compositions were becoming known in Leipzig and Paris as well as Vienna. \u0160t\u011bp\u00e1n\u2019s German language songs, printed in the late 1770s and early 1780s, were epoch-making, in effect the precursors of Schubert. \u0160t\u011bp\u00e1n also made changes to concerto design, foreshadowing the tendency of later composers to exalt the soloist. He can be regarded as the most advanced composer of keyboard concertos of his time, apart from Mozart.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2\u00a0<a href=\"#top_of_page\">top of page<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Contents of this page Dvo\u0159\u00e1k\u2019s and Jan\u00e1\u010dek\u2019s Dumka\u00a0\u25ba\u00a0 Dvo\u0159\u00e1k\u2019s Idea for an American National Anthem\u00a0\u25ba Retouches and Alterations in Smetana\u2019s M\u00e1 Vlast\u00a0\u25ba Bohuslav Martin\u016f and V\u00edt\u011bzslava Kapr\u00e1lov\u00e1\u00a0\u25ba\u00a0 Young Martin\u016f and Fascination with Death\u00a0\u25ba\u00a0 Martin\u016f in Cleveland\u00a0\u25ba\u00a0 Josef Anton\u00edn \u0160t\u011bp\u00e1n (1726-1797): A Bicentenary Tribute\u00a0\u25ba Ji\u0159\u00ed Anton\u00edn Benda\u2019s Singspiels: A Comparison with the Dramatic Works of Mozart\u00a0\u25ba\u00a0 &hellip; <a href=\"https:\/\/www.dvorak-society.org\/?page_id=702\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Journal \u201cCzech Music\u201d Volume 20 (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-702","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\/702","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=702"}],"version-history":[{"count":4,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/702\/revisions"}],"predecessor-version":[{"id":706,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/702\/revisions\/706"}],"wp:attachment":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=702"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}