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«MUSICOLOGICA OLOMUCENSIA VII Univerzita Palackého v Olomouci Olomouc 2005 The present volume was submitted to print on 6 April 2005. Dieser Band ...»

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ACTA

UNIVERSITATIS PALACKIANAE OLOMUCENSIS

FAKULTAS PHILOSOPHICA

PHILOSOPHICA – AESTHETICA 28 – 2005

ACTA

UNIVERSITATIS PALACKIANAE OLOMUCENSIS

FACULTAS PHILOSOPHICA

PHILOSOPHICA – AESTHETICA 28 – 2005

MUSICOLOGICA

OLOMUCENSIA

VII Univerzita Palackého v Olomouci Olomouc 2005 The present volume was submitted to print on 6 April 2005.

Dieser Band wurde am 6. April 2005 in Druck gegeben.

Předáno do tisku 6. dubna 2005.

The authors are responsible for the content and the linguistic correctness of the papers.

Die autoren sind für den Inhalt and die sprachliche Richtigkeit der Arbeiten verantwortlich.

Za obsah prací a jejich jazykovou správnost odpovídají autoři.

© Paul Christiansen (editors), 2005 ISBN 80-244--1055-9 ISSN 1212-1193

ACTA UNIVERSITATIS PALACKIANAE OLOMUCENSIS

FAKULTAS PHILOSOPHICA PHILOSOPHICA – AESTHETICA 28 – 2005 Contents Foreword............................................................. 13 Lucie Brázdová Moravian Musical Inventories of the Seventeenth Century...................17 Alena Burešová MUSIC IN OLOMOUC – Past and Present II, In Honor of Robert Smetana.......................................... 27 Božena Felgrová Don Giovanni in Prague and Versions of the Opera in the Czech Lands at the Turn of the 18th and 19th Centuries................ 31 Naďa Hrčková Politics, Music, and Theater in Juraj Beneš’s Opera Das Festmahl (1980)...... 47 Lucie Kaucká RUDOLFINUM – The “Temple of Beauty” in the Heart of Prague: Architecture of the Rudolfinum Music Hall in the Context of Prague Musical Life Toward the End of the 19th Century.................................................59 Markéta Kratochvílová A Comparison of Compositional Procedures in Some Atonal Piano Cycles of Erwin Schulhoff to Those of Arnold Schoenberg’s Atonal Works........... 73 Lenka Křupková A Heroine’s Drama.................................................. 79 Elena Letňanová Thus Composed the Philosopher: On the Occasion of the 160th Anniversary of the Birth of Friedrich Nietzsche..................................... 99 Ivan Poledňák On (Musical) Taste and Fashion...................................... 107 Jaroslav Pszczolka The Relation between Visual Art and Music in Luboš Fišer’s Fifteen Sheets According to Dürer’s Apocalypse and

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List of Bachelor and Master Theses at the Department of Musicology of Palacký University in Olomouc in the Years 1993–2004.................... 135 List of Dissertations at the Department of Musicology of the Palacký University in Olomouc in the Years 1996–2003................. 143

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Božena Felgrová Don Giovanni in Prag und Fassungen der Oper in den Böhmishcen Ländern an der Wende des 18. und 19. Jahrhunderts.............................. 31 Naďa Hrčková Politik, Musik und Theater in der Oper von Juraj Beneš Das Festmahl (1980)... 47

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Markéta Kratochvílová Ein Vergleich der kompositorischen Verfahren in einigen atonalen Klavierzyklen von Erwin Schulhoff mit dem atonalen Werken Arnold Schönbergs............................ 73

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Elena Letňanová So komponierte der Philosoph: Zum Anlass des 160. Jahrestags der Geburt von Friedrich Nietzsche.................................... 99

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Jaroslav Pszczolka Das Verhältnis zwischen bildener Kunst und Musik in den „Fünfzehn Blätter nach Dürer’s Apokalpse“ und „Caprichos“ von Luboš Fišer......................................117 Verzeichnis der Diplom- Und Bakkalaureatarbeiten Im Bereich der Musikwissenschaft der Palacký-universität in Olomouc in Jahren 1993–2004........................................ 135 Verzeichnis der Dissertationarbeiten im Bereich der Musikwissenschaft der Palacký-universität in Olomouc in Jahren 1996–2003..................... 143

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Naďa Hrčková Politika, hudba a divadlo v opeře od Juraje Beneše Das Festmahl (1980)....... 47 Lucie Kaucká RUDOLFINUM – „Chrám krásy“ v srdci Prahy: k architektuře Rudolfina v kontextu pražského hudebního života ke konci 19. století.................. 59 Markéta Kratochvílová Srovnání kompozičních procedur ve vybraných atonálních klavírních cyklech od Erwina Schulhoffa s procedurami v atonálních dílech Arnolda Schönberga.. 73

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Jaroslav Pszczolka Vztah mezi vizuálním uměním a hudbou v Patnácti listech podle Dürerovy Apokalypsy a Caprichos od Luboše Fišera..................117 Seznam diplomových a bakalářských prací obhájených na katedře muzikologie filozofické fakulty Univerzity Palackého v Olomouci v letech 1993–2003........ 135 Seznam dizertačních prací obhájených na katedře muzikologie filozofické fakulty Univerzity Palackého v Olomouci v letech 1996–2003................. 143

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Předkládaný sborník Musicologica Olomucensia VII obsahuje studie členů a spolupracovníků Katedry muzikologie Filozofické fakulty Univerzity Palackého. Stejně jako v předchozích svazcích řady Musicologica se zde setkáváme se širokým spektrem témat, jež se vztahují k hlavním oblastem odborného zaměření jednotlivých členů katedry. Ivan Poledňák se ve svém příspěvku věnuje obecnější reflexi estetického tématu (On [Musical] Taste and Fashion), Lenka Křupková pak svou pozornost zaměřila na adaptaci textů Karla Čapka pro Janáčkovo libreto Věci Makropulos (Drama einer Heldin: Die Umwandlung Čapeks Drama in Janáčeks Libretto), Lucie Kaucká se zabývá architektonickými aspekty Rudolfina (Rudolfinum – The Temple of Beauty in the Heart of Prague: Architecture of the Rudolfinum Music Hall in the Context of Prague Musical Life toward the End of the Nineteenth Century), Lucie Brázdová píše o barokních hudebních sbírkách na Moravě (Moravian Musical Inventories of the Seventeenth Century), Jaroslav Pszczolka pojednává o vztahu mezi vizuálním uměním a hudbou v Patnácti Listech podle Dürerovy Apokalypsy a Caprichos od Luboše Fišera (The Relation between Visual Art and Music in Luboš Fišer’s Fifteen Sheets According to Dürer’s Apocalypse and Caprichos) a Markéta Kratochvílová o atonálních klavírních cyklech Ervina Schulhoffa (A Comparison of Compositional Procedures in Some Atonal Piano Cycles of Erwin Schulhoff to those of Arnold Schoenberg). Alena Burešová pak přináší recenzi konference Hudba v Olomouci – Historie a současnost II: In honorem Robert Smetana, která se konala v listopadu 2003 ke stému vyročí narození profesora Smetany. Božena Felgrová, absolventka doktorandského studia na naší katedře, píše o uvádění opery Don Giovanni v českých zemích na konci 18. a začátku 19. století (Don Giovanni in Prague and Versions of the Opera in the Czech Lands at the Turn of the Eighteenth and Nineteenth Centuries).

Ve sborníku se rovněž objeví příspěvky muzikologů z Bratislavy. Naďa Hrčková se zamýšlí nad politickým pozadím opery Das Festmahl od Juraje Beneše (Oper und Totalität: Politik, Musik und Theater in der Oper von Juraj Beneš Das Festmahl 1980) a Elena Letňanová se zabývá skladatelskými pokusy Friedricha Nietzscheho (Thus Composed the Philosopher: On the Occasion of the 160th Anniversary of the Birth of Friedrich Nietzsche).

Při editování sborníkových prací se více než jinde osvědčuje tvrzení: „Více hlav, více rozumu“. Rád bych proto poděkoval Janu Vičarovi a Ivanu Poledňákovi za cenné připomínky. Marku Keprtovi vděčím za pečlivé korektury příspěvků v němčině. Lucii Kaucké děkuji za její pomoc při redigování celého sborníku.

For the seventh issue, Musicologica Olomucensia VII, we present articles covering a wide spectrum of topics, largely from members of the Department of Musicology in the Philosophical Faculty at Palacký University. Ivan Poledňák has written about musical aesthetics (“On [Musical] Taste and Fashion”), Lenka Křupková on the transformation of Karel Čapek’s text into Janáček’s libretto for The Makropulos Affair (“Drama einer Heldin: Die Umwandlung Čapeks Drama in Janáčeks Libretto”), Lucie Kaucká on the architectural aspects of the Rudolfinum (“Rudolfinum – The “Temple of Beauty” in the Heart of Prague: Architecture of the Rudolfinum Music Hall in the Context of Prague Musical Life toward the End of the Nineteenth Century”), Lucie Brázdová on Baroque Moravian musical inventories (“Moravian Musical Inventories of the Seventeenth Century”), Jaroslav Pszczolka on the relation between visual art and music in Luboš Fišer’s Fifteen Sheets According to Dürer’s Apocalypse and Caprichos (“The Relation between Visual Art and Music in Luboš Fišer’s Fifteen Sheets According to Dürer’s Apocalypse and Caprichos”), and Markéta Kratochvílová on the atonal piano cycles of Ervín Schulhoff (“A Comparison of Compositional Procedures in Some Atonal Piano Cycles of Ervín Schulhoff to those of Arnold Schoenberg”). Alena Burešová offers a review of the conference Music in Olomouc – Past and Present II: In honorem Robert Smetana that took place in November 2003 to commemorate the 100th anniversary of Professor Smetana’s birth. Božena Felgrová, graduate of the Musicology Department’s doctoral program, has written on late eighteenth- and early nineteenth-century productions of Don Giovanni in the Czech lands (“Don Giovanni in Prague and Versions of the Opera in the Czech Lands at the Turn of the Eighteenth and Nineteenth Centuries”).

We have also reached out to musicologists from Bratislava. Naďa Hrčková presents a look into the political background of the opera Das Festmahl by Juraj Beneš (“Oper und Totalität: Politik, Musik und Theater in der Oper von Juraj Beneš Das Festmahl 1980”) and Elena Letňanová discusses Nietzsche attempts at composition (“Thus Composed the Philosopher: On the Occasion of the 160th Anniversary of the Birth of Friedrich Nietzsche”). The articles published here represent a rich array of musicological studies and each reader should find something of interest.

In editing any work, the adage “The more eyes, the better” generally holds true. In this regard I would like to thank Jan Vičar and Ivan Poledňák for allowing me to draw from the deep wells of their experience. Marek Keprt also deserves my gratitude for carefully proofreading the articles in German. Finally, I am grateful to Lucie Kaucká for her editorial assistance.

Der vorliegende Sammelband Musicologica Olomucensia VII beinhaltet Studien der Mitglieder und Mitarbeiter des Lehrstuhls für Musikwissenschaft der Philosophischen Fakultät der Palacký-Universität. Ebenso wie in den früheren Bänden der Reihe Musicologica finden wir hier ein breites Spektrum von Themen, die in Beziehung zu den Hauptbereichen des Forschungsinteresses der einzelnen Mitglieder des Lehrstuhls stehen.

Ivan Poledňák wiedmet sich in seinem Beitrag der allgemeinen Reflexion des ästhetischen Themas (On /musical/ Taste and Fashion), Lenka Křupková lenkte ihre Aufmerksamkeit auf die Adaptierung der Texte von Karel Čapek für Janáčeks Libretto zu der Oper Die Sache Makropulos (Drama einer Heldin: Die Umwandlung von Čapeks Drama in Janáčeks Libretto), Lucie Kaucká befasst sich mit den architektonischen Aspekten des Rudolphinums (Rudolfinum – The Temple of Beauty in the Heart of Prague: Architecture of the Rudolfinum Music Hall in the Context of Prague Musical Life toward the End of the Nineteenth Century), Lucie Brázdová schreibt über barocke Musiksammlungen in Mähren (Moravian Musical Inventories of the Seventeenth Century), Jaroslav Pszczolka behandelt die Beziehung zwischen bildender Kunst und Musik in den Fünfzehn Blätter nach Dürers Apokalypse und Caprichos von Luboš Fišer (The Relation between Visual Art and Music in Luboš Fišer‘s Fifteen Sheets According to Dürers Apocalypse and Caprichos) und Markéta Kratochvílová untersucht die atonalen Klavierzyklen von Erwin Schulhoff (A Comparison of Compositional Procedures in Some Atonal Piano Cycles of Erwin Schulhoff to those of Arnold Schoenberg). Alena Burešová bringt dann die Rezension der Konferenz Musik in Olmütz – Geschichte und Gegenwart II: in honorem Robert Smetana, die im November 2003 zum hundertsten Jahrestag der Geburt von Professor Smetana stattfand. Božena Felgrová, Absolventin des Doktorandenstudiums an unserem Lehrstuhl, schreibt über Aufführungen der Oper Don Giovanni in den böhmischen Ländern am Ende des 18. und Anfang des 19. Jahrhunderts (Don Giovanni in Prague and Versions of the Opera in the Czech Lands at the Turn of the Eighteenth and Nineteenth Centuries).

Im Sammelband erscheinen auch Beiträge von Musikwissenschaftlern aus Bratislava.

Naďa Hrčková behandelt den politischen Hintergrund der Oper Das Festmahl von Juraj Beneš (Oper und Totalität: Politik, Musik und Theater in der Oper von Juraj Beneš Das Festmahl 1980) und Elena Letňanová befasst sich mit den kompositorischen Versuchen von Friedrich Nietzche (Thus Composed the Philosopher: On the Occasion of the 160th Anniversary of the Birth of Friedrich Nietzche).



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