Musicologica Olomucensia, 2024, vol. 36(1)

Studies

Hudební dialog ve Smyčcovém kvartetu č. 4 Johna Harbisona

Musical Dialogue in John Harbison’s String Quartet No. 4

Kheng K. Koay

Musicologica Olomucensia 1, (2024):7-23 | DOI: 10.5507/mo.2024.001  

The study explores different instrumental dialogues that experimented in Harbison's String Quartet No. 4 (2001). Harbison imagines each instrument as an operatic character in the composition. The musical dialogues are presented in different fashions, including between two or more instruments in either confrontation, or with agreeable manners. The piece significantly displays Harbison creatively reintroducing the late 18th century musical dialogue fashion in a new way. Not only is Mozart's and Bach's music the main source of inspiration for Harbison, but also stresses of the off-beats and syncopated jazz fashion are at times heard in the fugal-like...

Beethovenova Sedmá a Osmá symfonie: dualistická polarita a konečná jednota

Beethoven's Seventh and Eighth Symphonies: Dualistic Polarity and Eventual Unity

Nors S. Josephson †

Musicologica Olomucensia 1, (2024):24-39 | DOI: 10.5507/mo.2024.002  

Beethoven's Seventh and Eighth Symphonies already forecast the integrated tonal architecture and cyclical structures of his third stylistic period (1815-1826). In particular, the composer highlights descending bass lines and third-related pitch centers, such as C and C♯. As a result the linear movements in all four movements of each work are intricately interwoven. In addition, the Finale of Mozart's E♭ Symphony K.543 apparently influenced the harmonic organization of the Finale in Beethoven's Seventh. Whereas Beethoven's Seventh accentuates the stylistic links between its outer movements (i and iv), his Eighth...

Ančerl, Jílek, Mackerras, Abbado dirigují Sinfoniettu

Ančerl, Jílek, Mackerras, Abbado conduct Sinfonietta

Ondřej Jirásek

Musicologica Olomucensia 1, (2024):40-108 | DOI: 10.5507/mo.2024.003  

Janáček's Sinfonietta is one of his fundamental compositions. Since its performance in 1926, it has been frequently played not only by Czech orchestras, but also by philharmonics around the world. The approach to the artwork has thus already passed through a number of phases, and Janáček's unique musical poetics can be grasped and portrayed in different ways today. Four orchestras were therefore selected for analysis: the Czech Philharmonic, the Filharmonie Brno, the Wiener Philharmoniker, the Berliner Philharmoniker, and four important conductors: Karel Ančerl, František Jílek, Alan Charles MacLaurin Mackerras and Claudio Abbado. In the analysis...

Liturgický zpěv ve statutech vídeňského kláštera sv. Doroty řeholních kanovníků sv. Augustina z 15. století

Liturgical Song in the Statutes of the Viennese Monastery of St. Dorothea of the Canons Regular of St. Augustine from the 15th Century

Pavel Krafl

Musicologica Olomucensia 1, (2024):109-118 | DOI: 10.5507/mo.2024.004  

The statutes of the individual monasteries of the Order of Canons Regular of St. Augustine, inter alia, normatively regulate the form of the liturgy. Information concerning music or song is also scattered throughout the statutes in connection with this. The article focuses attention on the statute of the Monastery of St. Dorothea in Vienna from the 15th century. There is considerable information on song in the statutes of the Viennese convent of St. Dorothea, the statutes primarily concentrating on the sung mass and the singing of psalms. References to song can be found, in particular, in the first book of the statutes: in Article IX, regulating the...

Research Report

Vilemína Nerudová. Genealogická sondaVilemína Nerudová. Genealogická sonda

Vilemína Nerudová. A Genealogical Study

Radek Hasalík

Musicologica Olomucensia 1, (2024):119-127 | DOI: 10.5507/mo.2024.005  

In an interview for Cassell's Family Magazine from 1894, Lady Hallé (born as Vilemína Nerudová) declared that she was an offspring of Johann Baptist Georg Neruda, a court musician in Dresden. Johann Baptist Georg Neruda's older son, then, should be a grandfather of Vilemína's father Josef Neruda. Research in registries brought a few valuable findings: data from the birth, wedding and death registers partly confirm Lady Hallé's words, however, a birth register of Vilemína's grandfather Johann Neruda was not found. Johann Neruda's wedding register confirms that Johann Neruda was a cottager from Mohelno and the birth registers of his children mostly...