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- Choreografie jako vyvážená kompozice dramatu a virtuozityBožena BrodskáIn her article Professor Božena Brodská recalls one of the greatest personalities of the world ballet scene – Marius Petipa, who died 100 years ago. Marius Petipa was born into the family of French dancer and ballet master, Jean-Antoine Petipa, in Marseille on March 11, 1818 and made his début a s a dancer in Brussel in 1831. While his older brother Lucien Petipa became the first soloist of the Paris Opera in 1839, Marius went on a not very successful tour of the USA, then danced in Bordeaux and Madrid, where he learned Spanish dance. Being more a demi-character kind of dancer, he never entered the Paris Opera, but took classes with the acclaimed Auguste Vestris. In 1847 he finally established his long career in St. Petersburg, which lasted until 1903. He danced in most of the ballets of Jules Perrot and Arthur Saint- Léon and from 1862 he became the first ballet master of the Imperial Ballet in St. Petersburg, following the success of his ballet La fille du Pharaon to the music of Cesare Pugni. Nevertheless, it was his collaboration with the composer P. I. Tchaikovsky which kept his choreography alive on contemporary stages all over the world. He died on July 14, 1910 at Gurzuf, Crimea.
- Nelineární čas v post-cageovské hudběIva OplištilováThe main focus of the study is the issue of non-teleological listening strategies for music. They are described based on a phenomenological approach from the first person perspective. Phenomenological reduction is suggested as a method of work with phenome na for which classical tools of musical theory have proven insufficient. Non-teleological compositions are related to J. T. Fraser’s theory of temporalities, specifically to non-linear temporalities. The characteristic phenomena in non-linear temporalities are described as experiences, i.e. phenomenologically, as well as from the viewpoint of the material utilized, i.e. as compositional procedures. The concept of duration is explored.
- Zrcadlová forma jako originální přínos 20. století do tradiční soustavy hudebních foremJaroslav SmolkaMusic of the 20th century has not presented many new basic types of musical forms. However, the formation of what is called mirror form (for the purposes of this article) was created in this period. Older music theory used the term mirror mainly in the theory of musical forms referring to relations of much more compact units. Here we mean a form working with mirror sequences of single tones or simultaneities and not bigger aggregates such as measures, sections or larger parts of a form. It is not an exact acoustic application of the optical phenomenon of mirroring, but is the closest that possibly analogically resembles live musical performance. The first cases of this method can be seen in the works of the first and second decade of the century while in the second half of the 20th century, the occurrence of mirror form is obvious in the works of many composers, both Czech and across the world. This article deals with the possibilities of its practical use in composition and analyses of such works and sections of compositions.
- CalcastrumLukáš MatoušekPaulus Paulirinus de Praga writes about musical instruments in the chapter Musica instrumentalis of his treatise Liber viginti artium (ca 1459–61). For many of them he used names which are rare or completely unknown from any other period sources. Sometimes he writes about a known instrument using a name for it current for quite different instruments. Calcastrum is one of them. From its description it is possible to compare it with other period instruments in Middle Europe and assume that Paulus Paulirinus is describing an instrument known by organologists of 20th c entury a s a psaltery-harp, harp-psaltery or double-resonator harp. This assumption is aided by the described shape of the instrument (plus trigonale quam quadrangulare), the use of gut strings (cordas nervales) as well as the way of playing the instrument (cum digittis cordas tangens). The manner of holding the instrument when playing is possible to compare with other chordophones (neckless) in the medieval Czech regions (these instruments were held with strings running parallel to the axis of the player’s body). By eliminating instruments used in Middle Europe in the middle of 15th century it is possible to come to the conclusion that Paulus Paulirinus describes the psaltery-harp using the name calcastrum.
- Georg Friedrich Händel a hudební provoz v Londýně v 18. stoletíVeronika HyksováThe following text endeavours to describe the phenomenon of Italian opera and music business in 18th century London while focusing on its economical and organisational aspects which substantially differed from Continental practices. George Friedrich Händel’s personality embodied both, that is, his experience of the Italian musical life as well as his role in creating suitable conditions for Italian opera in the capital city of the British Isles.
- Tanec v hudbě Bohuslava Martinů – baletní tvorbaLucie DercsényiováThe article Dance in the Music of Bohuslav Martinů focuses on Martinů‘s fourteen ballets that have been staged so far. In the beginning, Martinů‘s ballet compositions were not successful and met with rejection. Martinů nevertheless persevered and learned from his mistakes. The world premieres of his ballets – if staged at all – took place in Prague or Brno. Martinů composed fourteen ballets, which he perceived as a synthesis of music and visual art. His notes and correspondence reveal that he had a clear idea about how the staging of his ballets as well as his operas should look. Individual chapters of this article focus on specific ballets, the atmosphere of their creation and their first night performance. Their staging and reception are described in reviews of that time. An appendix to the article consists of an overview of all ballets by B. Martinů and photographs of selected performances.
- Cage selon Metzger für Heinz-Klaus Metzger zum 60. GeburtstagMartin ErdmannThis material was presented at the Darmstädter Ferienkurse in 1992. It highlights some features of Heinz-Klaus Metzger’s writings on John Cage introducing some perspectives that have not been sufficiently previously followed. A pupil of Arnold Schoenberg’s, Cage is viewed within the tradition of the Second Viennese School and therefore belongs among Webern, Berg, and Eisler, not Stockhausen and Boulez. Cage’s experimental music has been interpreted as a consequence of Schoenberg’s prohibition of tone repetition in the twelvetone technique. Also Metzger was the first to state that after his abolition of compositional coherence Cage started to write coherent music again, but on a different level than before. Close observation of musical notation is crucial in Metzger’s texts. In the piece called Music Walk dedicated to Metzger, Cage uses the graphic symbols of conventional Western notation, but assigns them different functions.
- John Cage – Usměvavý Frankenstein?Jaroslav ŠťastnýThe first part of a larger study on John Cage and his approach to composition. The various aspects of his work are discussed in separate chapters, concerning his position in musical world, his role as a symbol of avantguarde, his use of chance, and the impact of his ideas on contemporary dance and theatre. Also dealt with are his Oriental influences, the transformation of Nature in his work and also the problems of understanding his aesthetics and compositional aims caused by the contradictory nature of his activities.