Dvorák's Cello Concerto, composed during his second stay in America, is one of the most popular works in the orchestral repertoire. This guide explores Dvorák's reasons for composing a concerto for ...an instrument which he at one time considered unsuitable for solo work, its relationship to his American period compositions and how it forms something of a bridge with his operatic interests. A particular focus is the concerto's unique qualities: why it stands apart in terms of form, melodic character and texture from the rest of Dvorák's orchestral music. The role of the dedicatee of the work, Hanus Wihan, in its creation is also considered, as are performing traditions as they have developed in the twentieth century. In addition the guide explores the extraordinary emotional background to the work which links it intimately to the woman who was probably Dvorák's first love.
Antonin Dvorák made his famous trip to the United States one hundred years ago, but despite an enormous amount of attention from scholars and critics since that time, he remains an elusive figure. ...Comprising both interpretive essays and a selection of fascinating documents that bear on Dvorák's career and music, this volume addresses fundamental questions about the composer while presenting an argument for a radical reappraisal.
The essays, which make up the first part of the book, begin with Leon Botstein's inquiry into the reception of Dvorák's work in German-speaking Europe, in England, and in America. Commenting on the relationship between Dvorák and Brahms, David Beveridge offers the first detailed portrait of perhaps the most interesting artistic friendship of the era. Joseph Horowitz explores the context in which the "New World" Symphony was premiered a century ago, offering an absorbing account of New York musical life at that time. In discussing Dvorák as a composer of operas, Jan Smaczny provides an unexpected slant on the widely held view of him as a "nationalist" composer. Michael Beckerman further investigates this view of Dvorák by raising the question of the role nationalism played in music of the nineteenth century.
The second part of this volume presents Dvorák's correspondence and reminiscences as well as unpublished reviews and criticism from the Czech press. It includes a series of documents from the composer's American years, a translation of the review ofRusalka's premiere with the photographs that accompanied the article, and Janácek's analyses of the symphonic poems. Many of these documents are published in English for the first time.
An American Sound Mercer, Stephanie
The American music teacher,
10/2021, Letnik:
71, Številka:
2
Journal Article
Recenzirano
Celebrating Native American Music through the "Indianist" Movement and the American Piano Composer After gaining independence from Great Britain at the conclusion of the Revolutionary War in 1783, ...the newly labeled "Americans" sought to forge a distinct identity for themselves in all areas including music. Since its inception in 1876, Music Teachers National Association has encouraged immigrant and native-born American composers. Adrienne Fried Block (1990,141-142) explained that for a national school of composition to develop, there needs to be a sense of national identity, the availability of a useable musical past that was collected and published, and above all, composers would need to be convinced that the creation of a national style was desirable. Composers set out to create music that would be identifiably America by using or replicating melodies of Native Americans, African Americans and Creole Americans. ...this set of 10 pieces is suitable for the mid- to late-intermediate student and gives a snapshot of some of the melodies that were part of everyday life in the Omaha tribe.
Celotno besedilo
Dostopno za:
DOBA, IZUM, KILJ, NUK, PILJ, PNG, SAZU, SIK, UILJ, UKNU, UL, UM, UPUK
Dvorak's "Biblical Songs," Op. 99, composed in 1894, presents a challenge to many vocalists in that they require comprehension of Czech pronunciation, a language that is not a common study for most ...vocal students. This article will provide a concise background on the work, as well as tools to prepare a performance of the cycle, including basic rules of Czech pronunciation and expression.
RECENT RESEARCH IN SINGING Simonson, Donald
Journal of singing,
01/2019, Letnik:
75, Številka:
3
Journal Article
Recenzirano
Czech opera receives little attention in collegiate voice programs, whether it be the study of the repertoire, the language, or its historical context. Since emphasis is largely placed on English, ...French, German, and Italian opera, it is reasonable that many voice teachers and vocal coaches may not have expertise in either the repertoire or the language, and as a result, so few selections are performed by young singers, much to their detriment. Interview participants completed an initial interview based on a priori themes (four sources of self-efficacy), and a follow-up interview, which explored contextual factors (i.e., student/teacher relationship, environment, cognitive self-regulation, practice habits, and gender). Voice students in this study described how they progressed in self-belief by moving from a reliance on external assessments of ability to a reliance on selfappraisal as they (a) developed their technique through practice, studio learning, and performance (enactive mastery experience)1; (b) watched coping and master models (vicarious experience); (c) received feedback (verbal/social persuasion); (d) knew and felt physically when they were singing freely (physiological and affective states); and (e) learned to exercise agency (cognitive self-regulation).
Discussions of Dvořák's Sixth Symphony typically focus on its connections with Vienna. Dvořák wrote the symphony for the Vienna Philharmonic and dedicated it to Hans Richter. Its allusions to Brahms ...and Beethoven led David Brodbeck to describe it as a piece in which Dvořák 'speaks German with an unusual degree of clarity'. Contemporary Czech critics tell a different story. After its 1881 Prague première, the work was dubbed the 'Czech Spring Symphony'. One critic stated that it 'speaks to us in pure Czech'. Indeed, the Sixth is Dvořák's only symphony to include a furiant, and Czech scholars have long sought to prove that the work's themes were derived from Bohemian folk songs. Can these narratives be reconciled? This article suggests that political tensions and Dvořák's growing international renown made Czech critics eager to claim him, giving Czech labels to a piece that could be interpreted as conforming to the Austro-German tradition.
...gehorten zum Bekanntenkreis dieser Unternehmer nicht nur lokale Grosen wie Frantisek Palacky und sein Schwiegersohn Frantisek Ladislav Rieger, sondern auch Johann Wolfgang von Goethe, Heinrich ...Heine und Rahel Varnhagen. Sie widerspricht der gangigen Interpretation der Nobilitierung als einem Akt, in dem die judische Elite die individuelle Emanzipation der allgemeinen vorgezogen habe. The Politics of Ethnic Survival: Germans in Prague, 1861- 1914.
This case study presents an analysis of the author’s approach to translating Dvořák’s UnaccompaniedMale Voice Choruses (B 66, B 72, B 73). A strategy is outlined for the rendering of cognitive and ...aestheticvalues of the Czech song texts in English, with particular reference to principles for the derivationof rhyme pairs. Other features of style and of cultural transfer are also noted.
