The Academies of St John presented by the Society of Bohemian Journalists in the form of a series of orchestral concerts held in Prague took place as a part of celebrations in honour of St John of Nepomuk held each May from 1878 until 1885. The Society of Bohemian Journalists held the events for the purpose of raising money, and on an ideological level, the events were intended to create room for the presentation of orchestral works by Bohemian composers. The organizer of the Academy was the writer, poet, and journalist Jan Neruda, whose feuilletons and reviews in the newspaper Národní listy reflect on the academies that they produced, but on a broader level, they also reveal his attitude towards the saint and the traditional veneration of John of Nepomuk. As a source, this period correspondence of the direct or indirect participants in the Academies of St John or in another project with similar aims (the Slavonic Concerts of the Academic Readers Association) has not previously been exhaustively studied, and it offers insight into Prague’s concert life at the time., Petra Kolátorová., Rubrika: Studie, Obsahuje seznam literatury, and Anglické resumé na s. 296-298.
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.
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.
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.
The two hundred and twenty-fifth anniversary of the Don Giovanni premiere, in 1787, and the one hundred and seventy-fifth anniversary of the foundation, in 1837, of Pragues Mozart Denkmal, the first ever Mozart Memorial Collection, housed from then until now in Pragues Klementinum, offer the opportunity to take a look at Mozarts standing in the early 19th century in Bohemia through the eyes of press and writing on music of the time (August Wilhelm Ambros, Wenzel Johann Tomaschek, Joseph Proksch, Ed. Murelli), as well as period arrangements of his works and the ways of their interpretation., Michaela Freemanová., Obsahuje seznam literatury, and České resumé na s. 102.
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.
A large number of songs have been preserved in the Strahov Codex (ca. 1465/67-1470), an important collection of polyphony from the latter half of the fifteenth century. These songs were once generally regarded as cantiones in Latin or as instrumental compositions, but a detailed study of this repertoire shows that the manuscript is an important source of secular compositions, and especially of chansons. Most of these songs have been preserved only in this manuscript. Questions remain as to when they were composed and how they found their way into a manuscript that originated in one of the Catholic regions of Bohemia., Lenka Hlávková-Mračková., and České resumé na s. 270.
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 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.
This study examines the life and performing artistry of the pianist Barbara Kozeluchova (1781-1821), daughter of Johann Anton Kozeluch (1738-1814), an important Prague composer and choir director at the Cathedral of St Vitus. On the basis of period reports in the Bohemian and foreign press, it also discusses her performances at the Estates Theatre. During the eighteenth and nineteenth centuries, the theatre building also served the function of a concert hall where leading Bohemian and foreign performers appeared., Ludmila Mikulášová., Obsahuje seznam literatury, and Německé resumé na s. 69, anglický abstrakt na s. 63.
The article presents a manuscript collection of texts of evangelical provenance that has recently been purchased in a German second-hand bookshop. According to a chronogram, this manuscript is likely to come from 1840. The manuscript consists of fifteen relatively independent text sections thematically related to the denominational controversies before and after the battle of White Mountain. The paper examines possible printed or manuscript models of individual parts and as well as their reflection in both earlier and more recent bibliographic literature. and David Mach.
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.
This review-study aims to present a critical exposition of the ground-breaking work in the study of secularisation, Charles Taylor's Secular Age. The study points to the links with Taylor's preceding work, Sources of the Self, which consist above all in the contrast between the porous self and the buffered self. It also presents Taylor's conception of secularisation: secularisation is not the retreat of religion from the public sphere, but the widening of the social process that makes it impossible for one world-view to make claim to a privileged status. The study also focuses on Taylor's rejection of modernity which, in the shape of a scientistic world-view and a universalistic morality understood as the hegemony of exclusively-human categories. In the context of this rejection, the article discusses Taylor's attempt to weaken the "hegemony of the human" by a relation to transcendence., Tereza Matějčková., and Obsahuje poznámky a bibliografii
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.
This study is dedicated to a collection of compositions titled Hudební album (A Musical Album), volumes of which were issued in print from 1891 until 1896 by the Prague publisher Fr. A. Urbanek. The collection focused primarily on piano compositions by contemporary Bohemian composers. The first part of the study is devoted principally to the contents of the collection and to the circumstances of its publishing, then the second part examines the printing of compositions by A. Dvořák (All through the night a bird will sing from the song cycle Evening Songs, op. 31, Furiant, op. 12/2, and Dumka, op. 12/1) in Hudební album in versions that differ from the first editions published by Fr. A. Urbanek. This fact has not yet been researched by Dvořák scholars., Helena Matějčková., and Anglické resumé na s. 333.
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.
Slovenský teolog Inocent-Mária V. Szaniszló se ve svém článku Má človek vo vesmíre zvláštne postavenie medzi inými živočíchmi? pokouší podrobit filosofické kritice etické myšlení Petera Singera. Ve své polemické reakci ukazuji, že autor interpretuje Singera velmi zavádějícím, často zcela chybným způsobem. Určuji, že příčinou je poměrně závažný fakt: slovenský teolog pravděpodobně nečetl hlavní díla kritizovaného autora. Pokouším se některé nejvážnější omyly uvést na správnou míru a v rámci diskuze přiblížit, jak Singer skutečně smýšlí o speciesismu a o svém preferenčním utilitarismu., The Slovak theologian Inocent-Mária V. Szaniszló, in his article Does man have a special status in the world in relation to other animals?, attempts to subject the ethical thought of Peter Singer to a philosophical critique. In this polemical reaction I show that the author interprets Singer in a very misleading, and often quite mistaken, way. I attribute the reason for this to a relatively serious fact: the Slovak theologian has probably not read the main works of the criticised author. I attempt to set forth the most serious mistakes and, in the context of this discussion, to describe in detail how Singer really understands speciesism and his own preference utilitarianism., and David Černý.
Studie Jarmily Procházkové se zabývá písněmi hudebního skladatele Leoše Janáčka, které byly inspirovány srbskou kulturní tradicí., This study is concerned with determining the previously unknown textual sources for Janáček’s lost chorus Ženich vnucený (The Enforced Bridegroom) from 1873, the composition of which testifies, as does that of his chorus Osudu neujdeš (You Cannot Escape Your Fate), to the composer’s interest at that time in South Slavic folklore. He took the texts for both pieces from the collection Zpěvy lidu srbského (Songs of the Serbian People) – Vol. I, Prague 1872 – in Czech translations by Siegfried Kapper (1821–1879), in which Kapper presented to the Czech public folk poetry from the collections of Vuk Stefanoviç Karadžiç (1787–1864). Kapper’s edition of the Czech translation was known also by Antonín Dvořák and Josef Suk, who used it in their vocal works composed to translations of Serbian folk texts., Jarmila Procházková., Rubrika: Studie, and Anglické resumé na s. 402, anglický abstrakt 393.
Johannes Tourout is known to us from several Central European music sources and from a Vatican document dated 3 July 1460, which mentions him as a cantor of Emperor Frederick III. The author establishes a timeframe for his period of activity in Central Europe (late 1450s before 1467) and postulates several hypotheses concerning the composers career. The author has reconstructed the personnel of the imperial cantors ensemble around the year 1460 and provides detailed biographies of its members., Pawel Gancarczyk., Rubrika: Studie, and České resumé na s. 257, anglický abstrakt na s. 239.
The article presents two likely and so far unknown compilers of the third edition of Koniáš’s Key from 1770. Their names have been revealed by a handwritten note in a copy that was originally a part of the library of the private collector Josef Bartsch (1731-1803). Concerning the first figure, the Jesuit Josef Kögler, the treatise describes his career in the Jesuit Order and the posts that he held. In the case of his co-worker Jan Kohout, the text outlines the possible connections that might help identify him precisely. and David Mach.
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.
The article summarises the known information about the life of the politician and significant bibliophile Veit Ulrich Marschall von Ebnet (ca 1565 - ca 1625). Based on the provenance research into Lipník nad Bečvou and Mikulov castle libraries, the National Museum Library and other collections as well as auction catalogues, the paper lists the identified books from his library, describes Marschall’s armorial bindings and other provenance marks, on the basis of which it attempts to characterise the content of this extraordinary library. and Miroslav Koudela, Petr Mašek.
The article draws on the list of separate manuscripts and manuscripts forming part of binders’ volumes coming from the library of the Domažlice Augustinians, a component of the first volume of the Soupis rukopisů Studijní a vědecké knihovny Plzeňského kraje v Plzni [A Compendium of the Manuscripts from the Education and Research Library of the Pilsener Region in Pilsen (Plzeň 2006)]. Since the first and at the same time last description of the library comes from as early as 1950, when the book collection was taken over by the State Education Library in Pilsen, we attempted to study the development of the Augustinian book collection on the basis of indirect sources, such as mainly books of accounts and ownership notes in extant printed books and manuscripts. From the original ca 4,000 volumes, only 272 volumes have been preserved in the Education and Research Library of the Pilsener Region (ERLPR) to this day; two separate manuscripts and 16 manuscripts forming part of binders’ volumes from the 17th-19th centuries have been described in the above-mentioned compendium; two manuscripts that were bound to other manuscripts come from a nearby convent in Pivoň. A noteworthy piece among the literary texts preserved in Prague archives is a manuscript fragment of a Czech play containing a dialogue between two merchants taking place at the Pilsen market, which comes from the second half of the 18th century, or the attempt of the Pivoň Augustinian Bruno Knez to write and even publish the history of his convent from 1753, which may be considered as the first printed monastic monograph from West Bohemia. and Jaromír Linda.
Studie Elišky Baťové se zabývá dosud nepříliš hodnocenou koncepcí liturgického roku v duchovních písních od biskupa Jednoty bratrské a teologa Jana Augusty., The goal of the present study is to bring together the questions of hymnological research with the history of the liturgy and homiletics. In the integrated liturgical conception of Jan Augusta as it is known to us thanks to two Viennese manuscripts and a newly processed, unique printed document from the Unity of the Brethren church, these areas cannot be separated, since they mutually support each other to create a whole. The author has therefore dedicated herself to the broader context of the creating of a new arrangement of Biblical readings and songs in the Unity of the Brethren church, regarding which there were disputes from its inception in 1545 until the deaths of Jan Blahoslav and of Jan Augusta in 1572., Eliška Baťová., Rubrika: Studie, and Anglické resumé na s. 43, anglický abstrakt 33.
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.
This study deals with the heretofore unknown activity of Leoš Janáček at the two main museum institutes in Brno. It asserts that from ca. 1888 until the end of his life, Leoš Janáček was a member of the Brno Museum Association, and it also makes reference to previously unknown sources from scholarly literature to which he had access as a member of the association. A surprising discovery is that the composers participation in the German-Czech Moravian Museum Society from 1900 was connected with the creation of the first collection of Moravian composers manuscripts (1903) and with an attempt to obtain financial support from the Provincial Committee for a printed edition of works by Moravian composers. We thus get a more complete picture of Janáčeks interactions and contacts in the environment of the Czech and German intellectuals who surrounded him and of the composers involvement in professional activities., Jarmila Procházková., Obsahuje seznam literatury, Rubrika: Studie, and Anglické resumé na s. 350.
Studie Jany Spáčilové se zabývá mešními kompozicemi hudebního skladatele Antonia Caldary, dochovanými v moravských hudebních sbírkách., This article is dedicated to the problem of the erroneous attribution of authorship of Masses to Antonio Caldara in Moravian collections of church music. It contains information about extant records of Masses by Caldara and methodological discussion concerning the reliability of sources with respect to authorship. Also included is an overview of Caldara sources of Moravian provenience, including both extant music and entries in period inventories. Attention is dedicated both to compositions by others regarded in Moravia as works by Antonio Caldara, and to works by Caldara under the names of other composers. Works identified as having been written by other composers are presented in the form of tables, including signatures of all concordant sources found so far in European libraries. The purpose of the article is to give an idea of the standing of Caldara’s works in the repertoire of Moravian church music and to prepare material for a future thematic catalog of Moravian sources of Masses by Caldara., Jana Spáčilová., Rubrika: Studie, and Anglické resumé na s. 75, anglický abstrakt 45.
The aim of this article is to show the course of castle-library auctions in the 1930s on the specific example of the Dietrichstein family. The sale of the Mikulov castle library is placed in the broader context of legal and social changes after the collapse of the Habsburg monarchy and the establishment of the First Czechoslovak Republic (the abolition of fideicommissum, a change in the status of the former nobility). and Kristýna Kaucká.
The article is a continuation of the author’s paper given at the professional conference on historical collections in Olomouc in 2013, which was published in the proceedings of the conference, Bibliotheca Antiqua.1 The author has corrected and expanded some of the data on the life story of Count Pötting on the basis of information from Pötting’s handwritten Diary from 1664-1674 (Diario del conde de Pötting, embajador del Sacro Imperio en Madrid). She provides an overview of the books that are known to have formed part of Pötting’s book collection (26 manuscripts, mostly codices comprising more units, and 46 printed books from the 16th and 17th centuries have been recorded as yet)., Jaroslava Kašparová., and Článek je pokračováním příspěvku předneseného na konferenci k historickým fondům v Olomouci v roce 2013, jehož písemná podoba vyšla ve sborníku Bibliotheca Antiqua.
This study focuses on marches in 19th century Serbian salon music for piano composed by Czech musicians. It deals in particular with piano arrangements of orchestral works. Reference is also made to the contribution of Czech musicians towards the Europeanization of Serbian music in the 19th century as well as to their versatile activities in the roles of conductors of military bands and theatre orchestras, orchestral players, choirmasters, music teachers, and composers., Marijana Kokanović Marković., Rubrika: Studie, and Německé resumé na s. 116, anglický abstrakt na s. 103.
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.
The catastrophic floods in the Czech lands in July 1997 and August 2002 showed that historical flood memory had been lost. The little used sources to recover it include early printed books. This article brings a selection of several exceptional flood cases captured by printed documents from the 16th-18th centuries. Extant early printed books and the information that they contain (verified from other sources where possible) suitably complement and extend the potential of historical hydrology and meteorology for the study and documentation of early floods that occurred before the beginning of instrumental observations and measurements. and Jan Munzar, Stanislav Ondráček, Lubor Kysučan.
Studie Tomáše Hlobila se zabývá náplní přednášek estetika Johanna Heinricha Dambecka, které Dambeck přednášel během svého pedagogického působení na pražské univerzitě., This article examines contemporaneous reports about two versions of lectures in aesthetics, which were given at Prague University by Johann Heinrich Dambeck (1774–1820). They were recorded by the publisher Joseph Adolf Hanslik (1785–1859) in a manuscript summary in 1819 and a two-volume book published in 1822 and 1823. The article presents a comparison of the two sources in order to determine which parts of the commentary originate with Dambeck and which with Hanslik. Considering the large scope and the bibliographical nature of the chief part of the appendices to the book, the author of the article concludes that they originated not with Dambeck, but with Hanslik., Tomáš Hlobil., Rubrika: Studie, and Německé resumé na s. 130, anglický abstrakt na s. 123.
Studie Karla Veverky se zabývá mešními díly hudebního skladatele Antonia Caldary, jejichž opisy se dochovaly v hudebních sbírkách v Praze, se zaměřením na významnou sbérku hudebnin z kůru pražských křižovníků., This study deals with individual aspects and problems of research on the Masses by Antonio Caldara with source materials held in Prague. Representing the basic material are two copies from the collection of the Knights of the Cross with the Red Star along with concordant sources amassed from Czech and foreign archives. The effectiveness of the standard methods used for studying musical sources is put to the test on a selected sampling of material. The comparison of individual copies helps answer questions not only about provenience or filial relationships between materials, but also about period performance practice. The goal of the study is to make at least a partial contribution towards systematic research on the musical life of Prague in the first half of the 18th century, when Caldara’s Masses were significantly represented in church music collections., Karel Veverka., Rubrika: Studie, and Anglické resumé na s. 93, anglický abstrakt 81.
Upon closer study, the brief three-voice compositions by Johannes Tourout preserved in Bohemian sources of 15th-century polyphony with Latin texts turn out to be problematic. By analyzing the musical component of these compositions, the author of the study has determined that the works are contrafacta of chansons. At the same time, he has attempted to find the French texts for which Tourouts music may have been originally composed. Although the reconstruction is purely hypothetical, the results are an important argument in the current discussions of the musical culture of Central Europe in the latter half of the fifteenth century., Jaap van Benthem., Rubrika: Studie, and České resumé na s. 238, anglický abstrakt na s. 221.
Studie je vnitřně soudržnou interpretací Rortyho pojetí poznání, jak je lze rekonstruovat na základě knihy Filosofie a zrcadlo přírody. Ačkoli Rorty kritizuje v podstatě všechny teorie poznání, lze ukázat, že sám pracuje s jistou pozitivní představou nejen o tom, v čem poznání nespočívá, nýbrž také o tom, oč v něm pozitivně jde. Studie popisuje podstatné ohledy Rortyho pojetí poznání (poznání jako praxe zdůvodňování, poznání jako popis, poznání jako upravování teorie, poznání jako zvládání) a předvádí Rortyho kritiku epistemologie s pozitivní oporou v konceptu sebeurčení. Závěr studie tematizuje otázku, jakým způsobem Rorty může zdůvodnit odmítnutí epistemologie a přijetí hermeneutického hlediska., This study is a systematic interpretation of Rorty’s conception of knowledge as it can be reconstructed on the basis of the book Philosophy and the Mirror of Nature. Although Rorty is sweeping in his criticism of theories of knowledge, it can still be shown that he himself works with a certain positive conception not only of what knowledge does not consist in, but also of what it positively concerns. The study describes the basic points of Rorty’s conception of knowledge (knowledge as the practice of justification, knowledge as description, knowledge as the modification of theory, knowledge as coping), and it presents Rorty’s critique of epistemology in favour of the concept of self-determination. The conclusion of the study looks at the question of how Rorty is able to justify the rejection of epistemology and the acceptance of a hermeneutical viewpoint., and Martin Ritter.
The Library of the Academy of Sciences of the Czech Republic (ASL) manages a significant collection of books on aeronautics. The collection was assembled by the collector Eduard Langer more than a hundred years ago. Its part kept in the ASL consists of 67 printed books in 61 volumes. These are rarely preserved books from the 18th and 19th centuries in Italian, French, English, German and Latin. No other such extensive collection on this topic has been found in domestic libraries, and, although it is only a part of Langer’s original collection, it bears comparison even with collections of world-famous institutions. The text presents this remarkable collection in terms of provenance, authors and genres and is complemented by a list of printed books. and Andrea Jelínková.
Studie Vojtěcha Kyase se analyticky zabývá originálním zpracováním částí mešního textu Gloria, konkrétně Domine Deus a Agnus Dei, v mši Es dur, D 950, hudebního skladatele Franze Schuberta, This study focuses on the question of Schubert’s handling of the Mass text in the Gloria of his Mass in E-Flat Major, D 950. Schubert adapts the text of the Mass to his compositional and conceptual intent. Contrary to usual practice during that period, he joins the section Domine Deus, Agnus Dei together with the qui tollis peccata mundi into a single unit, attempts to make it sound as dramatic as possible, and understands it as a breaking point. This extensive musical passage of 86 measures differs from the surrounding music with its own tempo, meter, and tonal center. At the conclusion of the article, the author also makes reference to the importance of so-called historical concerts held at the home of the music historian R. G. Kiesewetter, which Schubert appears to have attended already before the year 1820., Vojtěch Kyas., Rubrika: Studie, and České resumé na s. 138, anglický abstrakt 131.
Studie Kateřiny Nové se zabývá vzájemnými vztahy mezi dirigentem Václavem Talichem a hudebním vědcem Otakarem Šourkem, které vykládá s pomocí dochované korespondence těchto osobností., The friendship between the music writer, critic, and organizer Otakar Šourek and the world-famous conductor Václav Talich lasted nearly 50 years. We can get an idea of the intensity of their friendship by studying their mutual correspondence. Šourek always deeply admired Talich, and he tried to support him with all of his might (although not unconditionally). Talich, on the other hand, respected Šourek, and he confided in him about his everyday cares and joys, but in their correspondence we also find deep reflections about the music of Antonín Dvořák or comments about current politics and social issues. Talich’s letters thus give us a glimpse beneath the surface of the daily life of one of the most prominent Czech conductors., Kateřina Nová., Rubrika: Studie, and Anglické resumé na s. 319, anglický abstrakt 301.
The music critic, writer, and organizer Otakar Šourek was bound to the world-famous conductor Václav Talich by a close friendship practically throughout their lifetimes. The study of their mutual correspondence provides valuable information about their experiences during the difficult years of the Nazi occupation and following the Communist putsch. Šourek was Talichs advisor and confidant, and even during the hardest years, he always expressed his support for Talich and gave him practical assistance. Talich greatly valued Šourek for his personal character and for the work he had done in the field of Dvořák scholarship. The article is a continuation of a study published in Hudební věda 49 (2012), No. 3, pp. 301-320., Kateřina Nová., Rubrika: Studie, and Anglické resumé na s. 143-144.
The library of the chateau in Strážnice contains a binder’s volume of 25 German printed books from the 16th century, three of which may be considered as unique. Several of them were owned by the famous Lutheran theologian Matthias Flacius Illyricus, who gave them to his fellow believers, Erasmus Minckwitz von Minckwitzburg and Nicolaus von Ansdorf. and Petr Mašek.
Studie Veroniky M. Mráčkové se zabývá problematikou přejímání středověkých hymnických melodií, ilustrovanou na konkrétním zvoleném příkladu., The hymn, one of the most frequently encountered songs in Western European sources, poses many questions with regard to the conflict between common and local traits. The Office hymns on which I focus were transmitted mainly in fourteenth- and fifteenth-century sources, which contain huge collections of hymns for different liturgical occasions, including those in honour of local saints. We still do not have a reasonable explanation of how or why the same tunes were adapted for different texts (or vice versa). The ‘Franciscan’ hymn melody Stäblein 752 (originally devoted to St Francis), for example, which occurs with different hymn texts in Austria, Germany, Bohemia, Poland and Spain, has many melodic variants reflecting regional characteristics. Why was this particular melody transferred to and adopted in other parts of Europe, where there was certainly no shortage of alternative hymn melodies? Is it a question of the adoption of favourite melodies in the Middle Ages? Were the same tunes used for hymns in honour of both male and female saints? What are the implications for us when the same ‘local’ tune can be identified in polyphonic hymn settings?, Veronika M. Mráčková., Rubrika: Studie, and České resumé na s. 32, anglický abstrakt na s. 19.
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.
Článek je odpovědí prof. Munzarové, jež kritizovala mou obhajobu sebevraždy za asistence lékaře. Článek upozorňuje na nedostatky v replice prof. Munzarové, jež plynou z autorčina podceňování normativní teorie. Mezi tyto nedostatky patří: přehlížení argumentů oponenta; zpochybňování morálního kreditu nositelů konkurenční teorie (utilitarismu) namísto její kritické analýzy; nevyjasněná vlastní teoretická východiska (lavírování mezi paternalismem a autonomií, vydávání „principu dvojího účinku“ za stanovisko zdravého rozumu); nepřesvědčivá verze „argumentu kluzkého svahu“ (ignorování diametrálních rozdílů mezi současnými požadavky některých pacientů na asistovanou smrt a nacistickým programem nedobrovolné eutanazie)., The article is an answer to prof. Munzarová who criticised my defence of physician‑assisted suicide. The article points to shortcomings in the reply of prof. Munzarová which flow from the author’s underestimation of normative theory. Among these shortcomings are the ignoring of the arguments of her opponent; her calling into question the moral credit of the proponents of the competing theory (utilitarianism) rather than a critical analysis; unclear theoretical principles (a switching between paternalism and autonomy, the presentation of the “principle of double-effect” as the standpoint of common sense); an unconvincing version of the “argument of the slippery slope” (ignoring the diametrical differences between the contemporary demand of some patients for assisted death and the Nazi programme of involuntary euthanasia)., and Tomáš Hříbek.
This study is dedicated to documenting the relationship between these two important musicians on the basis of excerpts from extant written sources. The most important documentation of contacts between Vaclav Jan Tomasek (1774-1850) and Carl Maria von Weber (1786-1826), who worked in Prague from 1813 until 1817 as Kapellmeister of the Estates Theatre, is Tomaseks autobiography published in Prague in 1845-1850 in a yearbook titled Libussa. We find additional brief documentation in Weber's diaries and in the correspondence of both men addressed to other persons. Tomasek's autobiography is also important documentation of how Weber's works were viewed by the German public and music critics., Obsahuje seznam literatury, and Anglické resumé na s. 82.
The article outlines the book culture of the Rudolphine period on the examples of several works by Tycho Brahe (Instruments of the Renewed Astronomy), Johannes Kepler (Somnium: The Dream, or Posthumous Work on Lunar Astronomy; Conversation with the Starry Messenger) and Galileo Galilei (The Starry Messenger). It is based on both research outcomes that have already been published and those that are being prepared for printing. and Alena Hadravová.
Studie Klause Dögeho obsahuje analytické poznámky ke kompozici hudebního skladatele Bohuslava Martinů, věnovanému památce vyhlazení Lidic., In his Memorial to Lidice (composed in the summer of 1943) Martinů pays tribute to the complete extinction of the Czech village Lidice and its inhabitants by the Nazis. In the composition he uses – as he has never done before in this way – many traditional idioms and quotation-like elements in order to express all the sadness, fright and pain of his subject., Klaus Döge., Rubrika: Studie, and Německé resumé na s. 18, anglický abstrakt 5.