Studie Marie Škarpové se zabývá literárními prameny a okruhy duchovních písní, které byly inspirací pro repertoár kancionálu "Jesličky, staré a nové písničky", jehož autorem byl přední český barokní básník a duchovní Fridrich Bridelius., This study deals with that portion of the repertoire of the Czech Advent and Christmas songbook Jesličky (Prague, 1658) by Fridrich Bridelius, which newly appeared in Czech hymnography thanks to this song book, and it summarizes the various results of the search for textual sources from other languages for these “new” songs in Jesličky. It points out their ties to contemporary German written hymnography (of both German and Bohemian provenience) and to Latin hymnography, i.e. to contemporary Latin songs. The text is thus not only a contribution towards discovering the ways that Czech hymnographers of the 17th century became familiar with the new, i.e. baroque, poetic language, but also, above all, an attempt to stimulate further hymnological research on baroque hymnographic works in the early modern history of Central Europe and the interconnections and relationships between them., Marie Škarpová., Rubrika: Studie, and České resumé na s. 397, anglický abstrakt na s. 377.
Studie Evy Myslivcové se zabývá korespondencí mezi hudebním skladatelem Antonínem Dvořákem a jeho blízkým přítelem Aloisem Göblem., This article introduces newly found photocopies of two letters from Antonín Dvořák to Alois Göbl with heretofore unknown and unpublished contents (newly discovered facts about Dvořák’s life and about period reception of his masterpieces – e.g. the Symphony No. 9 in E Minor “From the New World”, op. 95, and the Cello Concerto in B Minor, op. 104) and places them within the context of Dvořák’s correspondence addressed to his friend Göbl in Sychrov that has already been published in several different editions., Eva Myslivcová., Rubrika: Studie, and Německé resumé na s. 299, anglický abstrakt na s. 289.
Studie Heleny Matějčkové se zabývá obchodními kontakty mezi hudebním skladatelem Antonínem Dvořákem a londýnským nakladatelem Augener & Co., In the course of research focusing on the history of publication of the works of A. Dvořák, printed editions have been discovered for five works that were issued in 1885 and 1886 by the London publishing house Augener & Co. The literature and sources concerning the life and work of A. Dvořák, however, make no mention of this publisher or of its editions of Dvořák’s music. The study maps the history and activity of the publishing house, devoting the greatest attention to describing the new sources and to consideration of the possible circumstances of their publication – Augener’s editions of Dvořák’s compositions appear to have been prepared on the basis of already issued printings by the Prague publisher F. A. Urbánek – and of aspects of publishing practice at the time, especially with regard to copyright issues., Helena Matějčková., Rubrika: Studie, and Anglické resumé na s. 265, anglický abstrakt 247.
Studie Evy Veselovské se zabývá notovanými kodexy, které vznikly na území dnešního Slovenska od 14. do začátku 16. století a do jejichž způsobu notace se promítl vliv českého kulturního prostředí., Recent research of Slovakian medieval notated codices and manuscript fragments raised an important fact: the written culture of the late 14th and 15th centuries in Slovakia was strongly influenced by education from Czech lands. Particularly between 1370 and 1520, the direct impact of the scribal notation tradition from Czech lands to Slovak area can be detected in a number of Slovakian music sources. Codices and dozens of manuscript fragments documenting Bohemian notation in the Slovak geographical area have become the subject of research, along with the systematization, analysis and evaluation of all currently known and edited medieval notated sources from Slovakia. The main purpose of this research is to organise the information gained from these sources, and to determine the general structural features of Bohemian notation in Slovakia., Eva Veselovská., Rubrika: Studie, and Slovenské resumé na s. 376, anglický abstrakt na s. 337.
Studie Davida Kozla je věnována formě hudební koláže ve vztahu k princpipu mytologického myšlení, stejně jako jejího použití v postmoderní hudební tvorbě., The term neo-mythologism can be used as an interpretative approach to reflect the new 20th-century music paradigm, which helps to explain changes in the understanding of basic structural elements of myth and music. The study identifies certain possible correlations between mythological thinking and music by analysing the concept of collage (bricolage). The underlying theoretical concept employed is Claude Lévi-Strauss’ structural anthropology as proposed in La Pensée Sauvage (1962). Collage is viewed as a manifestation of neo-mythologism and as a narrative in the postmodern musical discourse, which is accompanied by changes in the understanding of the essence of the musical matter and compositional techniques of composers. The compositional treatment of several different layers of the musical structure within a musical collage with a view to conveying a new meaning is in principle akin to how meaning is generated in mythological thinking through the combination of various materials., David Kozel., Rubrika: Studie, and České resumé na s. 192, anglický abstrakt na s. 181.
Studie Tomáše Slavického se zabývá kancionálem "Jesličky, staré a nové písničky" od českého barokního básníka a duchovního Fridricha Bridelia a zasazením jeho repertoáru do kontextu evropské tvorby duchovních písní., The songbook Jesličky (1658) has tended to be cited primarily as an example of direct contacts between Czech and German hymnography of the 17th century. Opening the door to consideration of a broader context was the presence of certain tunes in Latin-Slovak and Latin-Croatian printed material as well. An entire set of identical tunes has subsequently been confirmed in Latin, German, Czech, Slovak, Hungarian, and Croatian hymnography. The situation outlined above has thus shifted the original issue – the “new” songs printed in Jesličky are not just a new layer of the Czech Christmas repertoire with proven German sources, but also an attempt at creating Czech versions of a supranational repertoire. The search for source models is thus growing into research surveying the new repertoire of Christmas songs that was spreading its way around Central Europe near the middle of the 17th century., Tomáš Slavický., Rubrika: Studie, and České resumé na s. 415, anglický abstrakt na s. 399.
Studie Jany Perutkové se zabývá provedením opery "Giulio Cesare in Egitto" od hudebního skladatele Georga Friedricha Händela v divadle U Korutanské brány v císařském hlavním městě Vídni a též širší recepci Händelovy hudby v habsburském soustátí v uvedeném časovém období., The goal of the study is to present certain Händel sources that are unknown or have not yet been researched and to investigate the connection of those sources with the capital city of the Habsburg Monarchy, Vienna. At the center of attention is a performance of a pasticcio of Giulio Cesare in Egitto at the Theater am Kärntnertor in Vienna (Kärntnertortheater) in 1731. The study introduces the printed libretto, which has heretofore been regarded as lost, as well as the score of the work that L. Bennett first brought to light. The rediscovery of the libretto has made possible the comparison of these two sources. Also brought to attention is a copy of a collection of arias from this pasticcio that is held in Bratislava. There is furthermore presentation of certain possibilities regarding the identity of the probable compiler of the pasticcio, the composer Francesco Rinaldi, whose three extant operas premiered in Vienna date from the years 1730–1732. Reference is made in the study to the increased interest in Händel’s works in Vienna around the year 1730, and in connection therewith, reference is also made to a Viennese copy of his opera Admeto, which is kept in Meiningen. The study also asserts that at least one of the scores of Händel’s Agrippina held in the Musiksammlung der Österreichischen Nationalbibliothek had been the property of Count Johann Adam von Questenberg., Jana Perutková., Rubrika: Studie, and České resumé na s. 121, anglický abstarkt na s. 95.
Studie Petry Kolátorové se zabývá osobností hobojisty Arnošta (Ernsta) Königa (1838-1915), významného hudebníka pražského hudebního života druhé poloviny 19. století., This contribution maps the activity of Arnošt König (1838–1915), an oboist of German origin, primarily in Prague’s musical life at the time. During the years 1870–1913, A. König was the professor of oboe at the Prague Conservatory, and from 1876 he was an oboist at the Prague Provisional Theatre and then at the National Theatre. Reviews and articles from the period show what an exceptional musician he was, as he earned recognition even beyond Bohemia. Many mentions praising him in the press have been preserved in connection with the difficulty for performers of Dvořák’s Serenade in D Minor, op. 44, in which A. König excelled repeatedly. It can be documented at least twice from Dvořák’s extant correspondence that performances elsewhere of the Serenade were cancelled because of its difficulty. Together with the aforementioned reviews, this fact shows that in Prague Antonín Dvořák (and others) had exceptional conditions for musical performances., Petra Kolátorová., Rubrika: Studie, and Anglické resumé na s. 287, anglický abstrakt 267.
Studie Martina Voříška je věnována hudebnímu životu na zámku v Českém Krumlově v roce 1780. Autor jej sleduje prostřednictvím neobvyklé události. 12. srpna 1780 totiž byla vykradena knížecí pokladna, z níž se ztratilo více než 950 zlatých. V té době ji měl na starosti kancelista a dvorní hudební ředitel Antonín Jan Jüngling. Aby se zbavil z podezření, že byl pachatelem tohoto činu, vytvořil detailní soupis své denní činnosti, díky níž tak zcela mimoděk vznikl unikátní dokument reflektující činnost schwarzenberské kapely v té době. Výňatky z tohoto dokumentu, jež se týkají hudby, jsou citovány v příloze., The article is based on a lengthy report by Anton Johann Jüngling on his own activities on 12 August 1780; Jüngling was at the time the Schwarzenbergs’ music director and also a highly placed official. This unique historical source affords a very detailed look at Jüngling’s daily life as a person and a professional, and in combination with other sources, it also enables the creating of a quite detailed picture of the musical events at the Schwarzenberg court over a period of just under two weeks, when the Schwarzenbergs were staying in Český Krumlov with their guests. The musical activities included theatrical performances, a ball, a private concert with repertoire consisting of orchestral arrangements of music from singspiels currently being performed (Die schöne Schusterin and Die abgeredte Zauberey), and accompaniment for worship services. The study documents that the musicians at the princely court were able to secure the music for most of these occasions, and that they were supplemented or substituted for as needed by hired musicians from the town or the military., Martin Voříšek., Rubrika: Studie, and Anglické resumé na s. 141-142, anglický abstrakt na s. 117.
Studie Michaely Freemanové se zabývá působením pražské varhanické školy, která patřila k významným vzdělávacím institucím v čechách v 19. století., In the early decades of the 19th century, three important music institutions were founded in Prague – the Tonkünstler Wittwen-und-Waisen Societät, the Conservatoire and the Organists College, opened in 1830 by the Verein der Kunstfreunde für Kirchenmusik in Böhmen (the Society for Sacred Music in Bohemia, founded in 1826). The aim of the Society was to awaken an interest among the wider public in sacred music which, at that time, was neglected and in decline. The Organists College offered tuition to members of the Christian churches as well as to Jewish communities. During the one-year course, later extended to two, and subsequently to three years, the organists, and later also choirmasters, acquired a knowledge of harmony, counterpoint, figured bass, improvisation and composition, and also learnt how to perform sacred music. The school was attended by numerous outstanding musicians, from home and abroad, among them Antonín Dvořák and Leoš Janáček; in 1890, it merged with the Prague Conservatoire., Michaela Freenamová., Rubrika: Studie, and České resumé na s. 392, anglický abstrakt na s. 369.