This study deals with the relationship of Prince Joseph Adam von Schwarzenberg to music and theatre and with the way in which his theatrical preferences revealed themselves in the repertoire of his private castle theatre in Cesky Krumlov from 1766 until 1768. Through a careful study of the extant sources (correspondence, libretti, scores and parts, accounting books etc.), the author has managed to specify the reasons for the precipitous renovation of the castle theatre in late 1765 and early 66 and to determine what specific dramatic works were performed there. Among other things, she has succeeded in compiling the entire list of performances planned for the fourteen-day wedding celebration in the summer of 1768. The author furthermore focuses on information about the musicians who were then in the princes services and also about commissioned musical instruments and musical scores and parts., Helena Kazárová., Obsahuje seznam literatury, and Anglické resumé na s. 45.
This study is dedicated to the role of Czech musicians in the shaping of the modern musical culture of Bosnia and Herzegovina. The discontinuity of development there is a consequence of the countrys complicated political history after centuries under Ottoman rule, its annexation by Austria-Hungary (1878) was a major turning point for all spheres of society. Bosnian-Herzegovinian musical culture was also shaped by the influence of West-European music and of musicians from Europe, among whom the Czechs were the most numerous. On the basis of extensive archival research and work with literature, the author provides a comprehensive overview of their amateur and professional activities, paying attention in particular to musicians in military orchestras, and she also investigates their work in the areas of pedagogy, composition, and folkloristics., Fatima Hadžić., Obsahuje seznam literatury, and Anglické resumé na s. 143.
The diaries of the Bohemian nobleman Johann Nepomuk Chotek (1773-1824) are an important new source for the history of music in Prague. In particular, they describe 17 concerts given by the Society of Musicians between 1804 and 1822 in the Estates Theater. The programmes of seven concerts were previously unknown. Chotek not only gives accurate dates for the performances, but also names the pieces and performers, thus supplementing the information in Michaela Freemanová‘s 2003 article on this society. As a trained music connoisseur, Chotek also critiques the orchestra and singers, judges the music, and describes the reaction of the public., Rita Steblin., and České resumé na s. 61, anglický abstrakt na s. 47.
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 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.
Studie Jarmily Gabrielové se zabývá inspiračními předlohami libreta k opeře "Vanda" hudebního skladatele Antonína Dvořáka a zaměřuje se rovněž na dramaturgickou strukturu díla., The article deals with select adaptations of the Vanda-theme in the 19th century dramatic writing (Zacharias Werner, Tekla Łubieńska, Francyszek Więżyk, and Matija Ban). On the basis of these works, possible models for the libretto of Antonín Dvořák’s Vanda op. 25 are discussed., Jarmila Gabrielová., Rubrika: Studie, and Německé resumé na s. 245, anglický abstrakt na s. 233.
Studie Evy Velické se zabývá okolnostmi vzniku a rané recepci první opery hudebního skladatele Bohuslava Martinů "Voják a tanečnice"., The first opera by Bohuslav Martinů (from the total of 16) named Voják a tanečnice (The Soldier and the Dancer), H.162 was created in the initial years of Martinů’s stay in Paris (1926–1927), when the effort to reflect different contemporary music trends and influences can be traced in his compositions. Voják a tanečnice is an original example of absorbing such influences. Together with the librettist, Jan Löwenbach, they tried to create a “new opera buffa”, which was not understood by the contemporary reviewers. The opera was first performed in Brno in 1928. The frequency of the first performances of Martinů’s stage works in the National Theatre in Brno indicates that the first performance of his first opera was not a coincidence but a part of targeted dramaturgy at the Brno stage., Eva Velická., Rubrika: Studie, and Anglické resumé na s. 167, anglický abstrakt 139.
Discantus and Altus part-books (sign. NM-CMH AZ 84) were made by the later binding of component parts consisting of four prints and five manuscripts from the 1540s through about the 1590s. For the first time, the professional community can familiarize itself with their external description and contents. Those contents consist predominantly of compositions intended for Vespers (Magnificat settings and hymns). Special attention is paid to two Magnificat settings Bohemian Christmas and Easter songs in the discant part. For each of the twelve songs, the oldest known incidences of their melody and text were identified, and transcriptions of the songs are also included. The discant part-book AZ 84 represents an indispensable source for the genesis of some of the songs (Všem věc divná, neslýchaná [To All Something Strange, Unheard-Of], Hory se zelenají [The Hills Turn Green], Plešíc již všecko stvoření [All Creation Now Rejoicing], Šalomúnovy postele šedesáte ostříhalo [Sixty Men around Solomons Bed]), Dagmar Štefancová., Rubrika: Studie, and Anglické resumé na s. 22.
Studie Michela Dineura se zabývá vzájemnými kontakty, uskutečňovanými prostřednictvím korespondečního kontaktu mezi belgickou hudební skladatelkou Jacqueline Fontyn a českým hudebním skladatelem a muzikologem Jarmilem Burghauserem a jejich osudy od šedesátých do devadesátých let 20. století., Michel Dineur., Rubrika: Studie, and České resumé na s. 390, anglický abstrakt na s. 351.