{"id":720,"date":"2020-06-18T12:14:56","date_gmt":"2020-06-18T11:14:56","guid":{"rendered":"https:\/\/www.dvorak-society.org\/New\/?page_id=720"},"modified":"2022-02-18T09:09:32","modified_gmt":"2022-02-18T09:09:32","slug":"journal-czech-music-volume-23-abstract","status":"publish","type":"page","link":"https:\/\/www.dvorak-society.org\/?page_id=720","title":{"rendered":"Journal \u201cCzech Music\u201d Volume 23 (Abstract)"},"content":{"rendered":"\n<h4 class=\"wp-block-heading\" id=\"contents-of-this-volume\"><a id=\"top_of_page\"><\/a>Contents of this Volume<\/h4>\n\n\n\n<ul class=\"wp-block-list\"><li><strong>Martinu<\/strong>\u2019s \u201cImpressive Quiet\u201d&nbsp;<a href=\"#martinu-impressive-quiet\">\u25ba<\/a><\/li><li>Places of Residence of the Young Antonin&nbsp;<strong>Dvo\u0159\u00e1k<\/strong>&nbsp;and His Parents, 1841-1860&nbsp;<a href=\"#places-of-residence-of-the-young-dvo\u0159\u00e1k\">\u25ba<\/a><\/li><li>Bed\u0159ich&nbsp;<strong>Smetana<\/strong>&nbsp;<a href=\"#bed\u0159ich-smetana\">\u25ba<\/a><\/li><li>Josef Barto\u0161\u2019s View of&nbsp;<strong>Dvo\u0159\u00e1k <\/strong><a href=\"#josef-barto\u0161\u2019s-view-of-dvo\u0159\u00e1k\">\u25ba<\/a><\/li><li><strong>Dvo\u0159\u00e1k<\/strong>&nbsp;as Criticised in the Periodical Smetana and in the Writings by Members of its Editorial Circle&nbsp;<a href=\"#dvo\u0159\u00e1k-as-criticised-in-the-periodical-smetana\">\u25ba<\/a><\/li><\/ul>\n\n\n\n<p class=\"wp-block-paragraph\"><a name=\"martinu-impressive-quiet\"><\/a>Martinu\u2019s \u201cImpressive Quiet\u201d<br><small><em>F. James Rybka and Sally Ozonoff<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 23 (2003-2004), pp. 31-49]&nbsp;<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Unusual quirks in Martinu\u2019s personality became apparent from an early age. These included extreme shyness, chilly and subdued emotional reactions, and proneness to social gaffes. The authors postulate these may have been symptoms of him suffering from Asperger\u2019s syndrome, a disorder which was, however, unrecognised at the time. Criteria for diagnosing the syndrome are outlined, and are illustrated from many episodes in the composer\u2019s life. The disorder is argued to have hampered Martinu\u2019s acceptance in some musical circles through inhibiting his capacity to teach, conduct, self-promote and generally to appear before the public. While the evidence might well meet current criteria for diagnosing Asperger\u2019s syndrome, it is accepted that this is a retrospective diagnosis which cannot be proved.&nbsp;<\/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=\"places-of-residence-of-the-young-dvo\u0159\u00e1k\"><\/a>Places of Residence of the Young Antonin Dvo\u0159\u00e1k and His Parents, 1841-1860<br><small><em>David Beveridge<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 23 (2003-2004), pp. 51-161]&nbsp;<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A lengthy and copiously footnoted article first analyses critically previous work on the residential moves in Dvo\u0159\u00e1k\u2019s early life between 1841 and 1860, during which time he lived at six different addresses in four different settlements. Many of the earlier accounts are shown to be inaccurate and\/or speculative. In meticulous detail, the author links previous research with more recent and reliable evidence on these residential moves, offering what now can be regarded as a more definitive history. Uncertainties still remain, however.<\/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=\"bed\u0159ich-smetana\"><\/a>Bed\u0159ich Smetana<br><small><em>Cecil Parrott<\/em><br>Czech Music: Journal of the Dvo\u0159\u00e1k Society, 23 (2003-2004), pp. 162-167&nbsp;<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Smetana was brought up speaking German and was influenced from an early stage by German culture. Among his idols were Liszt and Wagner. Uncomfortable with the Czech language, he was regularly accused of being insufficiently nationalistic in his music. Later, however, he came to regard his prime mission as to be a composer for his own country, his motivation reinforced by mid-century Austrian oppression and duplicity which had provoked and strengthened the movement for Czech independence. Smetana may well have regarded his patriotic opera Libu\u0161e as his crowning achievement. By concentrating on composing for national purposes, however, he gained stature at home though less so abroad, despite the widespread success of The Bartered Bride and Vltava. The author concludes that the composer\u2019s mission was first and foremost musical and only secondly patriotic.<\/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=\"josef-barto\u0161\u2019s-view-of-dvo\u0159\u00e1k\"><\/a>Josef Barto\u0161\u2019s View of Dvo\u0159\u00e1k<br><small><em>Rudolf Pe\u010dman<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 23 (2003-2004), pp. 168-172]&nbsp;<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The Czech music critic Josef Barto\u0161 sought to steep Czech culture with the aesthetics of the Romance world and particularly of France. His writings were polarized, valuing the music of, for example, Smetana, Fibich and Foerster, but scorning that of Dvo\u0159\u00e1k, Nov\u00e1k and Jan\u00e1\u010dek. He looked at Dvo\u0159\u00e1k\u2019s work through a double prism, to an extent appreciating the orchestral, instrumental and chamber music, but denouncing that of the operas and choral works. In general, he was negative towards Dvo\u0159\u00e1k\u2019s music and influence, dismissing the composer\u2019s works as eclectic and backward looking, shying away from big ideas and developments abroad, and acting as a brake on the development of Czech music.Though Barto\u0161 distanced himself to a degree from the extreme invective of the journal Smetana, he none the less presented Dvorak\u2019s music in poor light, not least in comparison with that of Smetana, whom he regarded as the real dramatist. The author concludes that Barto\u0161\u2019s arguments were largely ideological, decrying anything that was not in his perception \u2018progressive\u2019.&nbsp;<\/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=\"dvo\u0159\u00e1k-as-criticised-in-the-periodical-smetana\"><\/a>Dvo\u0159\u00e1k\u2019 as Criticised in the Periodical Smetana and in the Writings by Members of its Editorial Circle<br><small><em>Jind\u0159i\u0161ka B\u00e1rtov\u00e1<\/em><br>[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 23 (2003-2004), pp. 173-178]&nbsp;<\/small><\/p>\n\n\n\n<p class=\"wp-block-paragraph\">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;The musical periodical Smetana provided a platform for the extremist views of the critic Nejedl\u00fd and his camp followers, in particular Helfert and Barto\u0161. Confrontational in tone, it nevertheless was to shape Czech musical life over more than two decades. The polemic was antithetical: negative towards Dvo\u0159\u00e1k, Nov\u00e1k, Suk and Jan\u00e1\u010dek, and positive towards Smetana, Fibich and Foerster. Special condemnation was reserved for Dvo\u0159\u00e1k, who was accused of parochialism and musical plagiarism, copying and caricaturing Smetana. The New World Symphony was dismissed as having no trace of symphonic structure. The abuse was particularly venomous in the period 1911-15, after which it switched to attacks on Suk and Jan\u00e1\u010dek. None of the judgements were based on musical analysis but rather on an ideological preoccupation with late-nineteenth century German influences, both Wagnerian and Mahlerian, promoted as musical progressivism. Helfert, however, later disassociated himself from the general criticism, describing the invective as \u2018passing thought and poorly understood second-hand doctrine\u2019.<\/p>\n\n\n\n<p class=\"wp-block-paragraph\">\u25b2&nbsp;&nbsp;<a href=\"#top_of_page\">top of page<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Contents of this Volume Martinu\u2019s \u201cImpressive Quiet\u201d&nbsp;\u25ba Places of Residence of the Young Antonin&nbsp;Dvo\u0159\u00e1k&nbsp;and His Parents, 1841-1860&nbsp;\u25ba Bed\u0159ich&nbsp;Smetana&nbsp;\u25ba Josef Barto\u0161\u2019s View of&nbsp;Dvo\u0159\u00e1k \u25ba Dvo\u0159\u00e1k&nbsp;as Criticised in the Periodical Smetana and in the Writings by Members of its Editorial Circle&nbsp;\u25ba Martinu\u2019s \u201cImpressive Quiet\u201dF. James Rybka and Sally Ozonoff[Czech Music: Journal of the Dvo\u0159\u00e1k Society, 23 (2003-2004), &hellip; <a href=\"https:\/\/www.dvorak-society.org\/?page_id=720\" class=\"more-link\">Continue reading <span class=\"screen-reader-text\">Journal \u201cCzech Music\u201d Volume 23 (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-720","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\/720","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=720"}],"version-history":[{"count":3,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/720\/revisions"}],"predecessor-version":[{"id":3520,"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=\/wp\/v2\/pages\/720\/revisions\/3520"}],"wp:attachment":[{"href":"https:\/\/www.dvorak-society.org\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=720"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}