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2. Giulio Cesare in Egitto am Wiener Kärntnertortheater im Jahre 1731: Ein Beitag zur Rezeption der Werke von G. F. Händel in der Habsburgermonarchie in der 1. Hälfte des 18. Jahrhunderts

Creator:
Jana Perutková
Format:
print, bez média, and svazek
Type:
article, studie, studies, model:article, and TEXT
Subject:
Händel, Georg Friedrich, 1685-1759, 1701-1750, dějiny hudby, dějiny opery, hudební skladatelé, muzikologie, recepce hudby, composers, history of music, musicology, reception of music, Vídeň (Rakousko), Vienna (Austria), 78.01, 78.071.1, 78(091), 782(091), 78.073, and (048.8)
Language:
Czech
Description:
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.
Rights:
http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public

3. Polystylovost a koláž v české hudbě 2. poloviny 20. století (teorie, publicistika a recepce skladatelské tvorby v letech 1960-2000) /

Creator:
Škarda, Robert
Type:
text and studie
Subject:
Muzikologie. Dějiny hudby, hudba česká, teorie hudební, publicistika hudební, skladatelé, skladby hudební, recepce hudby, Československo 1945-1992, české země od r. 1993 do současnosti, and hudba, tanec, hudební nástroje
Language:
Czech
Description:
Polystylism and Collage in Czech Music of the 2nd Half of the 20th Century (theory, journalism, and reception of works composed between 1960 and 2000).
Rights:
unknown

4. Polystylovost a koláž v české hudbě 2. poloviny 20. století: (teorie, publicistika a recepce skladatelské tvorby v letech 1960-2000)

Creator:
Škarda, Robert
Format:
print, bez média, and svazek
Type:
article, studie, studies, model:article, and TEXT
Subject:
1951-2000, hudební kompozice, hudební publicistika, hudební styly, hudební teorie, muzikologie, recepce hudby, composition (music), music journalism, music styles, music theory, musicology, reception of music, Česko, Czechia, 78.01, |78.03, 78.02, 781, 78:070.4, 78.073, and (048.8)
Language:
Czech
Description:
Studie Roberta Škardy se zabývá tvorbou českých skladatelů, využívajících ve svých kompozicích polystylovost a koláž, stejně jako teoretickými aspekty takového typu děl a jejich reflexí v odborných časopisech., The topic of this study is the music of Czech composers based mainly on the juxtaposition of styles, stylizations of historical or jazz music, and the use of quotations in the years between 1960 and 2000. It deals with reconstruction of the meanings of the period musical terms polystylism and collage, and it maps out the use of these terms in the reception of this music at the time and in the compositional theory and practice of Czech musical culture during that forty-year period. The main sources for the analysis of terms were reviews, articles, and scholarly studies in music journals along with the contemporary statements of the composers themselves at the time and at the present. In that context, the study follows the leading representatives from among composers and critics, derives the meanings of the terms polystylism and collage, and places them in the context of Czech music of that period. As an example of a specific composition reflected upon in the context of polystylism and collage and exhibiting a number of elements typical of this compositional orientation, the study contains an analysis of the composition Útěk (The Flight) written by Arnošt Parsch in 1973., Robert Škarda., Rubrika: Studie, and Anglické resumé na s. 199, anglický abstrakt 169.
Rights:
http://creativecommons.org/licenses/by-nc-sa/4.0/ and policy:public