Situace, perzekuce a cenzura big beatu na Valašsku v komunistické éře: Vzpomínky dvou pamětníků

Situation, Persecution and Censorship of Rock Music in Moravian Wallachia in the Communist Era: Memories of Two Witnesses

Linda Chmelařová, Miroslav Vrzal

Musicologica Olomucensia 2, (2024):7-26 | DOI: 10.5507/mo.2024.006  

The article deals with the situation of big beat in Moravian Wallachia in Czechoslovakia in the 1970s and 1980s, focusing on the topic of censorship and repression. Within the oral history method, interviews with two musicians who were active in the regional big beat scene in the 1970s and 1980s were conducted for the purpose of the text. The first is a member of the now defunct bands Paranoid and Lunochod from Rožnov pod Radhoštěm. The second one is Petr Fiala, the frontman of Mňága a Žďorp (formerly Slepé střevo) from Valašské Meziříčí, who is still an active musician today. Both interviews provide insights into the way the local bands functioned...

Kantáta Osvienčim Ilju Zeljenku – "cesta správnym smerom"

The cantata Osvienčim by Ilja Zeljenka – "The Way in the Right Direction"

Mária Čelková

Musicologica Olomucensia 2, (2024):27-57  

Ilja Zeljenka (1932-2007) set the tragic poem of Mikuláš Kováč called Osvienčim in cantata in 1960. It was during this period that vocal music in Slovakia was particularly closely connected with socialist realism. As it turned out, the composer stands out from this context, and the cantata Osvienčim is, in a way, an expression of defiance against the official mainstream. Zeljenka chose compositional means oscillating between the tradition and the current Western avant-garde to set the work to music, which contradicted Ždanov's doctrine and the principles of the aesthetics of socialist realism. The Czechoslovak premiere of Zeljenka's work...

Mapping Ukrainian Works Performed in French Musical Institutions Since 2022

Louisa Martin-Chevalier

Musicologica Olomucensia 2, (2024):58-73  

This article examines the representation of Ukrainian music abroad through an analysis of programming in French musical institutions since 2022. Numerous concerts featuring Ukrainian compositions have occurred in France, signifying a renewed interest in, and at times a novel encounter with, this repertoire since the onset of Russia's full-scale invasion. We explored how two leading Parisian musical institutions, the Philharmonie de Paris and the Opéra National de Paris, have supported Ukraine, both symbolically and practically. Further, we analysed how the selected works, chosen to represent Ukrainian cultural identity on European musical stages, have...

Vítězslava Kaprálová on the French Music Scene: A Gradual Rediscovery Since 2001

Nolwenn Danhyer

Musicologica Olomucensia 2, (2024):74-91  

The Czech composer Vítězslava Kaprálová (1915–1940) maintained a profound connection with Paris throughout her career, undertaking studies at the École Normale de Musique. As both a composer and conductor, Kaprálová distinguished herself within domains traditionally dominated by men, and integrated successfully into the artistic milieu of her era. Despite her achievements, however, her legacy in France diminished after her premature death, remaining largely confined to brief and sporadic references until the early 21st century. This article critically assesses Kaprálová’s position within French music programming since 2001. Many aspects...

K rodišti Josefa Nágla a Františka Jindřicha Zvěřiny

On the Birthplace of Josef Nágl and František Jindřich Zvěřina

Radek Hasalík

Musicologica Olomucensia 2, (2024):95-100 | DOI: 10.5507/mo.2024.011  

A survey in the parish registers of the village Rosice (the district Chrudim) resulted in the findings that Rosice was the birthplace of musician Josef Nágl, and the nearby village Chrast was the birthplace of musician František Jindřich Zvěřina. The parish office was located in Chrast and administered Rosice as well. František Jindřich Zvěřina and Josef Nágl knew each other probably since childhood and, as far as is known, even after having left abroad, they always performed together. They both worked for many years in Wallerstein where they were best men at each other's weddings (Zvěřina married twice). This paper complements the basic biographical...

Es webt darin ein leidenschaftlich-männlicher Geist. Neue Perspektiven auf Orchestermusik von Komponistinnen (14-16 November, 2024, Graz)

Miriam Hasíková

Musicologica Olomucensia 2, (2024):103-107