Musicologica Olomucensia, 2023, vol. 35(1)

Studies

Držitelé lóží v opeře: identita a funkce v divadlech bývalé Benátské republiky

Boxholders at the Opera: Identity and Functions at the Theatres of the ex-Serenissima

Cristina Scuderi

Musicologica Olomucensia vol. 35(1), (2023):7-22 | DOI: 10.5507/mo.2023.001

This article sheds light on the identity and functions of the boxholders in the coastal theatres of part of the former Venetian republic at the turn of the 20th century, investigating which social categories were represented among them and in what economic terms of "ownership" they were related to the theatre. The boxholders held regular meetings. How were their assemblies organised? What was discussed? Those who paid a social fee for the opera season had a say in the works to be performed, the endowment to be granted to the impresario, and even the cost of admission tickets to the theatre. There were many disputes that could arise from these collective...

Moc a zábava ve stínu generála Antona von Galgótzyho - přínos vojenské hudby ke kulturnímu životu pevnosti Przemyśl (1891-1905)

Power and Entertainment in the Shade of General Anton von Galgótzy - the Contribution of Military Music to the Cultural Life of the Przemyśl Fortress (1891-1905)

Tomasz Pudłocki

Musicologica Olomucensia vol. 35(1), (2023):23-43 | DOI: 10.5507/mo.2023.003

Although the subject of the Przemyśl Fortress has been incessantly popular for years, little space has been devoted so far to the merging of power and entertainment, whereas for the distribution of power the culture of leisure and its development was vital; developing appropriate habits and tastes as well as promoting appropriate (from the point of view of the authorities) forms of spending free time was by no means neutral in terms of content and form. The article discusses the relations between the Przemyśl garrison under Commandant Anton von Galgótzy (i. e., between 1891 and 1905) and the local civilians. Galgótzy used specific practices, abusing...

Otázka národní identity v multietnické Šoproni prostřednictvím díla Dalfüzér/Liederkranz (1847-1867)

The Question of National Identity in the Multiethnical Sopron Through the Work of the Dalfüzér/Liederkranz (1847-1867)

Rudolf Gusztin

Musicologica Olomucensia vol. 35(1), (2023):44-61 | DOI: 10.5507/mo.2023.004

Richard Taruskin describes the German choral movement as the hotbed of German nationalist unification, the musical precursor of a new nation-building ideology. However, the Liedertafel movement did not stop in Germany, but spread to the whole of Europe, practically without exception the founding of choirs had a national-political dimension, including Hungary. It is interesting to examine how nationalism overtones could take hold in the multiethnical Hungary, especially in the German-dominated cities. Sopron is an excellent case study, since this town, which lies in the western corner of the country, bordering Austria, had a large part of German population,...

Mezinárodní charakter budapešťských kvartetů konce 19. století a jejich ne zcela bez předsudků přijímaná recepce v tisku

The Inter-nationality of Late Nineteenth-Century Budapest Quartets and Their not Entirely Prejudice-free Reception in the Press

Zsolt Vizinger

Musicologica Olomucensia vol. 35(1), (2023):62-72 | DOI: 10.5507/mo.2023.005

Pest-Buda already had two permanent ensembles during the 1830s - the Táborszky and the Szervacinszky quartets; in the 1850s, ambitious programs, explicitly labeled as "quartet concerts," were performed by the short-lived Ridley-Kohne quartet. However, it was only in 1876, that the first Budapest-based quartet was founded that remained stable for the years to come. Although this ensemble, which was led by Dragomir Krančević and disposed of an excellent playing technique, was referred to in the press as the "Budapest quartet," only the second violinist was of Hungarian origin and native of Pest. The case of the Hubay-Popper quartet - established ten...

Národní divadlo v Kolozsváru [Kluž] v síti uherských divadelních společností (Mapování "divadelních" měst v druhé polovině 19. století)

The National Theatre of Kolozsvár [Cluj] in the Network of Hungarian Theatre Companies (Mapping Theatre Towns in the Second Half of 19th Century)

Katalin Ágnes Bartha

Musicologica Olomucensia vol. 35(1), (2023):73-96 | DOI: 10.5507/mo.2023.006

The paper is focusing on historical particularities in close connection with spaces described in terms of geospatial mapping, as enduring places (as recognizable dots on maps). At the same time, different dynamics are to be reckoned with; as such, the once existing stone theatre building in Cluj is considered as a stock of functions and forms tied to processes of the past and the present. On the one hand a geospatial mapping highlights the spatial spreading of Hungarian acting against the backdrop of the ethnically mixed population of the so-called theatre towns in the second half of the 19th century. On the other hand, given the network of theatre...

Kdo byl Herr von Infeld, první učitel Vilemíny Nerudové

Who Was Herr von Infeld, the First Teacher of Vilemína Nerudová

Radek Hasalík

Musicologica Olomucensia vol. 35(1), (2023):97-112 | DOI: 10.5507/mo.2023.007

Data from birth and death registers, censuses of Brno 1850 and 1857, and Brno theater almanacs prove, the violinist Baroch von Imfeld, introduced to literature by Vladimír Helfert (1939), in reality never existed. The figure of Baroch von Imfeld was created by mixing two, respectively three real persons, namely the violinist Josef Baroch, or his brother, violinist Anton Baroch, and the violinist Vinzenz Innfeld. These findings bring more light into the biography of Leoš Janáček, but also into the biography of Vilemína Nerudová and Adolf Zelníček. Both Nerudová and Zelníček were Innfeld's pupils in their childhood.

P. Carolus Weldamon (zemř. 1736), augustinián kanovník z fulneckého kláštera - neznámý skladatel a jeho hudba

Father Carolus Weldamon (d. 1736), Canon Regular from Fulnek Monastery - Unknown Composer and His Music

Ewa Hauptman-Fischer

Musicologica Olomucensia vol. 35(1), (2023):113-133 | DOI: 10.5507/mo.2023.008

In the collection of the University of Warsaw Library, there are three musical sources that testify to the musical culture of the monastery of Canons Regular of the Lateran in Fulnek. The paper focuses on three manuscripts (probably autographs) of sacred vocal-instrumental music by unknown composer Carolus Weldamon (d. 1736). He was a Canon Regular active in the Fulnek monastery in the turn of the 17th and 18th centuries. His compositions from the first decade of the 18th century were obtained by Conventual Franciscans in Głogów monastery in Silesia. The paper contains a biography of the composer and a brief overview of the sources and the music written...

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