Zdeněk Fibich a český koncertní melodram:
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| Main Author: | |
|---|---|
| Format: | Book |
| Language: | Czech |
| Published: |
Olomouc
Univ. Palackého
2014
|
| Edition: | 1. vyd. |
| Series: | Monografie
|
| Subjects: | |
| Online Access: | Inhaltsverzeichnis Literaturverzeichnis Abstract Register // Personenregister |
| Item Description: | Zsfassung in engl. Sprache u.d.T.: Zdeněk Fibich and the Czech concert melodrama |
| Physical Description: | 295 S. Ill., Notenbeisp. |
| ISBN: | 9788024442631 |
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Record in the Search Index
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| adam_text | 7 SEZNAM PRAMENŮ A LITERATURY
Prameny
Rukopisy
FIBICH, Zdeněk. ERBEN, Karel Jaromír. Štědrý den, op. 9, autorizovaný opis klavírní verze
z 23. 3. 1886 (NM-ČMH, sig. S 80/107)
FIBICH, Zdeněk. ERBEN, Karel Jaromír. Štědrý den, op. 9, autograf partitury orchestrální verze
z roku 1899 (NM-ČMH, sig. S 80/106, nedatováno)
FIBICH, Zdeněk. ERBEN, Karel Jaromír. Vodník, op. 15, autograf partitury původní orchestrální
verze z 4. 2. 1883 (NM-ČMH, sig. S 80/108)
FIBICH, Zdeněk. ERBEN, Karel Jaromír. Vodníky op. 15, autograf klavírní verze, nedatováno
(NM-ČMH, sig. S 80/109)
FIBICH, Zdeněk. VRCHLICKÝ, Jaroslav. Hakon, op. 30, autograf čistopisu orchestrální partitury
z 17. 2. 1888 (NM-ČMH, sig. S 80/98)
FIBICH, Zdeněk. VRCHLICKÝ, Jaroslav. Hakony op. 30, autograf tiskové předlohy klavírní verze
z 16. 1. 1888 (NM-ČMH, sig. S 80/99)
FIBICH, Zdeněk. VRCHLICKÝ, Jaroslav. Námluvy Pelopovy, op. 31, autograf partitury - jeden
svazek, psáno 13. 3. 1888 - 17. 5.1889 (NM-ČMH, sig. S 80/100)
FIBICH, Zdeněk. VRCHLICKÝ, Jaroslav. Námluvy Pelopovy, op. 31, úplná klavírní skica s českým
textem, psáno 13. 3. 1888 ֊ 19. 10. 1888 (NM-ČMH, sig. S 80/101)
FIBICH, Zdeněk. VRCHLICKÝ, Jaroslav. Smír Tantalův, op. 32, autograf partitury - dva svazky,
psáno 3. 9. 1890 - 21. 10. 1890 (NM-ČMH, sig. S 80/102/1-2)
FIBICH, Zdeněk. VRCHLICKÝ, Jaroslav. Smír Tantalůvy op. 32, úplná klavírní skica s českým tex-
tem, psáno 15. 3. 1890 - 4. 7. 1890 (NM-ČMH, sig. S 80/103)
FIBICH, Zdeněk. VRCHLICKÝ, Jaroslav. Smrt Hippodamie, op. 33, autograf partitury - dva svazky,
psáno 6. 4. 1891 - 22. 6. 1891 (NM-ČMH, sig. S 80/104/1-2)
FIBICH, Zdeněk. VRCHLICKÝ, Jaroslav. Smrt Hippodamie, op. 33, úplná klavírní skica s českým
textem, psáno 14. 1. 1891 - 10. 3. 1891 (NM-ČMH, sig. S 80/105)
FOERSTER, Josef Bohuslav. VRCHLICKÝ, Jaroslav. Amarus, op. 30a, autograf, nedatováno
(NM-ČMH, č. 220)
FOERSTER, Josef Bohuslav. BEER, H. A. Cargamon, op.l49a, autograf z 2. 3. 1943 (NM-ČMH,
č. 221)
FOERSTER, Josef Bohuslav. SLÁDEK, Josef Václav. Cikánské děcko, op. 162, č. 1. (autorský zápis
na společném notovém papíru s Hlasatelem velkého krále), nedatováno (NM-ČMH, č. 222)
FOERSTER, Josef Bohuslav. KLÁŠTERSKÝ, Antonín. Dolorosa, op. 176b, autograf z 27. 12. 1946
(NM-ČMH, č. 223)
202
7 Seznam pramenů a literatury
FOERSTER, Josef Bohuslav. VRCHLICKÝ, Jaroslav. Dvě laně, pozdější autograf z ?. 2.1932; 1. verze
s věnováním Karlu Kolářovi, 2. verze - čistopis z roku 1828 (NM-ČMH, č. 224), 3. verze - au-
torizovaný opis (NM-ČMH, sig. Tr. B 125)
FOERSTER, Josef Bohuslav. VRCHLICKÝ, Jaroslav. Helmaladur, op. 111, č. 3, autograf z 21.12.1920
(NM-ČMH, sig. XXXI C 467)
FOERSTER, Josef Bohuslav. KLET, Pavel. Hlasatel velkého krále, op. 155b, dvě rukopisné verze
z 4. 4. 1942; 1. verze: viz č. 222 od s. 4 spolu s autografem melodramu Cikánské děcko, 2. verze
samostatně (NM-ČMH, č. 225)
FOERSTER, Josef Bohuslav. VRCHLICKÝ, Jaroslav. Jacopone Todiy op. 111, č. 2, autograf
z 12. 11. 1920; 1. verze s věnováním Evě Vrchlické (NM-ČMH, sig. XXXI C 467), 2. verze
autografu (NM-ČMH, sig. XXX E 130)
FOERSTER, Josef Bohuslav FISCHER, Otokar. Kejklíř, op. 176a, pozdější čistopis orchestrální par-
titury z ?. 3. 1949 a opis (NM-ČMH, č. 226)
FOERSTER, Josef Bohuslav. KIRILOV. Klášter, op. 139 I., č. 2, pozdější rukopis z 25. 2. 1929
(NM-ČMH, sig. Tr B 117) a autograf, s. a. (NM-ČMH, č. 227)
FOERSTER, Josef Bohuslav. TRNKA, Tomáš. Květy na Tatrách, klavírní verze z 15. 4. 1932 a par-
titura pro malý orchestr datovaná 11. 5. 1932 (NM-ČMH, č. 315)
FOERSTER, Josef Bohuslav. SLÁDEK, Josef Václav. Laň, op. 162, č. 2, pozdější rukopis z 23.4.1942
(NM-ČMH, č. 228)
FOERSTER, Josef Bohuslav. VRCHLICKÝ, Jaroslav. Mše biskupa Turpina, op. 111, č. 4, autograf
z 26. 12. 1920 (NM-ČMH, sig. XXXI C 466)
FOERSTER, Josef Bohuslav. HORALOVA, Renata. Pan učitel, op. 149b, autograf z 24. 1. 1944
a autorizovaný opis (NM-ČMH, č. 229)
FOERSTER, Josef Bohuslav. TĚSNOHLIDEK, Rudolf. Pravda a pohádka, op. 139 L, č. 1, autograf
z 23. 9. 1928 (NM-ČMH, sig. XXXI C 465)
FOERSTER, Josef Bohuslav. NERUDA, Jan. Romance štědrovečerní, autograf z roku 1934 (NM-ČMH,
č. 230)
FOERSTER, Josef Bohuslav VRCHLICKÝ, Jaroslav. Sníh, op. 162, č. 3, pozdější autograf z 29.1.1940
a skica perem z 23.10.1931. Později připsán nový konec: 2 takty s datem 29.1.1940 (NM-ČMH,
č. 231)
FOERSTER, Josef Bohuslav. VRCHLICKÝ, Jaroslav. Tři jezdci, op. 21, pozdější rukopis z 20. 3.1890
(NM-ČMH, sig. XXXI E 70)
FOERSTER, Josef Bohuslav. SLÁDEK, Josef Václav. Tři králové, op. 111, č. 1, autograf z 31.10.1920
(NM-ČMH, sig. XXXI C 467)
FOERSTER, Josef Bohuslav. RILKE, Rainer Maria. Z třicetileté války, op. 174, sedmidílný cyklus
melodrama. Rukopis z 29. 9. 1941 (NM-ČMH, č. 232)
KOVAŘOVIC, Karel. ERBEN, Karel Jaromír. Štědrý večer, nedokončená skica z roku 1878 (NM-ČMH,
sig. S 115/29)
KOVAŘOVIC, Karel. JANDA, Bohumil. Před popelcem, krasopis, nedatováno (NM-ČMH, sig,
S115/30)
KOVAŘOVIC, Karel. JANDA, Bohumil. Před popelcem, čistopis L a II. autorské verze z roku 1879
(NM-ČMH, sig. S 115/31)
KOVAŘOVIC, Karel. ERBEN, Karel Jaromír. Zlatý kolovrat, tisková předloha pro Fr. A. Urbánka
z roku 1887 (NM-ČMH, sig. S 115/32)
203
Zdeněk Fibich a český koncertní melodram
KOVAŘOVIC, Karel. ČECH, Svatopluk. Loutkářův sirotek, autograf z roku 1892 (NM-ČMH, sig.
S115/33)
KOVAŘOVIC, Karel. KLÁŠTERSKÝ, Antonín. Všichni svati tancovali, čistopis i úplná skica z roku
1896 (NM-ČMH, sig. S 115/34 a sig. S 115/35)
KOVAŘOVIC, Karel. SOVA, Antonín. Princezna Lyoleja, úplná skica z roku 1919 (NM-ČMH, sig.
S115/36)
OSTRČIL, Otakar. LEGER, Karel. Balada o mrtvém ševci a mladé tanečnici, autograf z roku 1904
(NM-ČMH, sig. Tr. В 180, sig. Tr. В 468)
OSTRČIL, Otakar. NERUDA, Jan. Balada česká, op. 8, autograf z roku 1905 (NM-ČMH, sig.
Tr. В 467)
OSTRČIL, Otakar. ŠŤASTNÝ, Vladimír. Kamenný mnich, autograf u roku 1893 (NM-ČMH, sig.
Tr. В 382)
ŠKROUP, František. ŠTĚPÁNEK, Jan Nepomuk. Bratrovrah. autograf partitury z roku 1831
(NM-ČMH, sig. XIX E 2)
VYCPÁLEK, Ladislav, skotská balada - QUIS, Ladislav (překlad). Dívka z Lochroyanu, op. 2, kla-
vírní verze z roku 1907, autograf orchestrální partitury melodramu s autorových přípisem:
„instrumentováno v březnu 1918“ (NM-ČMH, sig. Tr. ВІЗ)
Tisky
1. melodramy pro recitaci a klavír
AXMAN, Emil. BEZRUČ, Petr. Jen jedenkrát. Praha: Fr. A. Urbánek a synové, 1928.
BARTOŠ, František. ŠRÁMEK, Fráňa. Jaro, op. 2. Praha: V. Čechák, 1926.
BARVITIUS, Karel. VRCHLICKÝ, Jaroslav. Legenda. Praha: Karel J. Barvitius, 1920.
BENDL, Karel. CROSS, Charles - překlad VRCHLICKÝ, Jaroslav. Uzený slaneček. Praha: Fr. A. Ur-
bánek, s. a.
BODOROVÁ, Sylvie. KAFKA. Franz. Kafkovy sny. Praha: ArcoDiva, 2011.
BOŘKOVEC, Pavel. BEZRUČ, Petr. Jen jedenkrát, op. 2. Kutná Hora: Česká hudba, 1928.
CÍSAŘ, Josef. RUBÍN, Ivo. Dvě české pohádky. [Praha]: vlastní náklad, 1928.
ČELAKOVSKÝ, Ludvík Vítězslav. KLÁŠTERSKÝ, Antonín. Balada o duši Jana Nerudy. Kutná Hora:
Česká hudba, 1922.
DVOŘÁK, Antonín. ŠAMBERK, František Ferdinand. Josef Kajetán Tyl, op. 62. Praha: E. Starý, 1882.
FIBICH, Zdeněk. Melodramy (Souborné vydání), Praha-Bratislava: Společnost Zdeňka Fibicha
a Editio Supraphon, 1967.
FIBICH, Zdeněk. ERBEN, Karel Jaromír. Melodramy Štědrý den a Vodník. Praha: Amos Editio, 2003.
FIBICH, Zdeněk. VRCHLICKÝ, Jaroslav. Melodramy Královna Ema a Hakon. Olomouc: Univerzita
Palackého v Olomouci, 2009.
FIBICH, Zdeněk. ERBEN, Karel Jaromír. Štědrý den, op. 9. Praha: Fr. A. Urbánek, 1880.
FIBICH, Zdeněk. ERBEN, Karel Jaromír. Štědrý den, op. 9. Praha: Fr. A. Urbánek a synové, 1946
(8. vydání).
FIBICH, Zdeněk. FREILIGRATH, Ferdinand - překlad VRCHLICKÝ, Jaroslav. Pomsta květin. Pra-
ha: Fr. A. Urbánek, 1881.
FIBICH, Zdeněk. MAYER, Rudolf. Věčnost, op. 14. Praha: Fr. A. Urbánek, 1883.
204
OBSAH
1 Úvod.............................................................. 7
Slovo úvodem......................................................7
Prameny a literatura.............................................11
2 Melodram jako umělecký druh................................ 23
Vymezení pojmu...................................................23
3 Koncertní melodram jako samostatný žánr........................ 28
Počáteční vývojová etapa melodramu...............................28
Rozvoj melodramu v Evropě jako východisko vzniku
koncertního melodramu............................................38
První německé koncertní melodramy................................43
Podmínky pro vznik koncertního melodramu v českých zemích........49
4 Koncertní melodramy Zdeňka Fibicha ...................... 62
Okolnosti vzniku Fibichových koncertních melodramů...............62
Fibichovy osobnostní předpoklady pro tvorbu melodramu...........68
Fibichův výběr básnických textů pro melodramatické zpracování....69
Analýzy Fibichových koncertních melodramů........................78
Štědrý den....................................................79
Pomsta květin.................................................90
Věčnost.......................................................97
Vodník.......................................................103
Královna Ema.................................................115
Hakon........................................................120
Problematika pramenné základny k melodramům Zdeňka Fibicha......128
Fibichovští interpreti a specifika interpretace koncertního melodramu.... 140
Kritická reflexe koncertních melodramů Zdeňka Fibicha.......145
5
Zdeněk Fibich a český koncertní melodram
5 Charakteristika Fibichových koncertních melodramů
ve srovnání s celoevropským kontextem...........................156
Stěžejní díla v celoevropském vývoji koncertního melodramu.......156
Charakteristika Fibichovy kompozice melodramu....................165
Shrnutí..........................................................170
6 Další generace skladatelů českého koncertního melodramu.........171
Fibichovi žáci a pokračovatelé...................................171
Meziválečná generace skladatelů..................................186
Český melodram v období 1948-1989................................189
Oživení koncertního melodramu v české kultuře
na přelomu 20. a 21. století.....................................193
7 Seznam pramenů a literatury................................ 202
Prameny..........................................................202
Rukopisy......................................................202
Tisky.........................................................204
Nahrávky......................................................209
Literatura.......................................................213
Slovníky a encyklopedie.......................................213
Kolektivní díla, sborníky.....................................214
Monografie....................................................214
Články v periodikách, sbornících a slovníková hesla...........217
8 Resumé ...................................................... 227
9 Přílohy...................................................... 240
Soupis českých koncertních melodramů.............................241
Ukázky z dochovaných autografu a dobových tisků
koncertních melodramů Zdeňka Fibicha.............................274
Jmenný rejstřík...................................................290
6
8 RESUMÉ
Zdenék Fibich and the Czech concert melodrama
This publication is a contribution to a hitherto less explored issue of concert
melodrama as a separate genre. On the global scale the Czech concert melo-
drama is, for its abundance, quality and type diversity, of the richest and most
important. In the last thirty years it is known and appreciated abroad, as well as
evidenced by sustained interest, primarily by US researchers. This rating does
not yet respond the degree of scientific interest and the current state of profes-
sional treatment of the topic in our republic. The issue of concert melodrama is
very multifaceted due to the fact that it affects several artistic disciplines. The
current development of Czech concert melodrama revives the fundamental
question of the definition of melodrama by bringing new and new forms,
which to some extent disputes the validity of previously cherished definitions.
It proved necessary to show the material specifics of this artistic genre,
which developed separately in the Czech environment and received in conne-
ction with close links to the Czech literature and the development of Czech
artistic recitation its own characteristics, different from the German concert
melodrama, with which it has common roots.
In the history of Czech concert melodrama it was Zdenek Fibich the first of
Czech composers, who systematically dealt with this genre. He created a dis-
tinctive compositional technique to be continued and further developed by the
next generation of Czech composers. Therefore, the six concert melodramas
by Fibich became a central topic of this work. Unlike previous treatise on
Fibich’s melodrama in relation to his life and work, this paper aims to monitor
primarily the context of concert melodramas as a separate genre and the place-
ment of Fibich’s works in it. The work was created with the full knowledge of
the fact that musical development can not be reduced to the development of
musical forms, genres, but it is strongly linked to overall social development;
that what may appear to be the development of melodrama, is undoubtedly
a consequence of the general cultural development, and that subjective factors,
which were the immediate impulse of formation and fundamental changes of
227
Zdeněk Fibich a český koncertní melodram
melodrama, are conditioned by objective circumstances. However, based on
previous published appraisals of melodramatic creations by Zdeněk Fibich
(Hostinský, Nejedlý, Bartoš, Plavec, Očadlík, Jiránek etc.), we can suggest that
the specificity of melodrama requires a separate discussion on its own imma-
nent issues and the focus of this work is warranted.
Many of the lack of clarity in the existing interpretations of melodrama
causes insufficiently unified understanding of the concept itself and its content.
The definition of the term melodrama with its historical volatility is highly
problematic, as demonstrated by the studies of Jaroslav Jiránek. The work is
based on the definition in the Dictionary of Czech musical culture from 1997
(password “melodrama” by Jiří Vysloužil) and it complements and clarifies
some aspects of the current state of research. Within this type of art it is
focused on the self defined genre of concert melodrama. It briefly outlines
the prior development of melodrama in Europe and the nascence of concert
melodrama in the Romantic period. In particular, it notes the adoption of
assumptions of concert melodrama in Bohemia. It deals with the bases of
melodramatic creations of Zdeněk Fibich, his personal conditions and his
selection of poetic texts. On the basis of extant sources it explores six concert
melodramas by Zdeněk Fibich. For the first time there is an equivalent analysis
of textual and musical elements of individual melodramas, which allows to
interpret, what constitutes Fibich’s musical poetry grip patterns and whether
and how these grips modify the semantic tone of the poetic artwork. The
analysis of the compositions is supplemented with information about the first
versions of these melodramas, the performing artists and their interpretation
specifics. The paper follows only those works of other authors that could have
an impact on the creation of Zdeněk Fibich. For this comparison, are chosen
works by Robert Schumann, Franz Liszt, Carl Reinecke, Friedrich von Flotow,
Edward Hagerup Grieg. Based on these findings, it tries to determine the
distinctive characteristics of Fibichs concert melodramas and contributes to
a more accurate assessment of his contribution to the history of the genre of
concert melodrama from the current perspective.
From the Czech followers it notes closer Fibichs melodramatic pupils Karel
Kovařovic and Otakar Ostrčil and the most prolific composer Josef Bohuslav
Foerster. About works of other composers, following a period when there was
a gradual attenuation of interest in this genre, it brings rather overview infor-
mation and focuses on the involvement of new phenomena in the composi-
228
8 Resumé
tion and performance practice of concert melodrama in the last twenty years,
when Czech concert melodrama was going through a new wave of interest.
The work offers a list of sources and literature. Attached is a list of Czech con-
cert melodramas, which is the result of the author s heuristic work. It records
965 Czech concert melodramas from the years 1875 to 2015.
Today, the term melodrama refers to a combination of spoken word with
instrumental music that has an artistic intent. The form of melodrama consists
of two equal components: one of them is the interpreted word (in the sense
of artistic interpretation of the text, whether it be poetry, prose or dramatic
monologue), the second is a musical expression, that does not have a character
of mere accompaniment (refers to any instrumental cast - or even the involve-
ment of the singing voice) and lets you include all historically variable musical
component variants of melodrama. Both components are compositionally
equivalent, processing on a syncretic connection. This very specific structure
seems to be so fundamental that it defines melodrama as an independent
artistic kind, although its formal external appearance and use may be differ-
ent. The syncretic way of connection leaves the horizontal development of
the two components, based on their own principles (in melodrama differs the
realization of a word or sentence melody and the melodic of music, layouts of
the word and sentence accents in spoken language and in music, the rhythm
of phrases and verses and the rhythms of the music directory of strophic
structure of the text from, etc.). The new unit is here formed by linking in the
vertical co-creation on the basis of common content and expression, wherein
the ratio of the proportions of both components in the course of the composi-
tion is not constant but variable. This assumption is based on specific compo-
sitional solutions. The composer is a guarantee of the so called “responsible
ties” of the two components of the music unit. His choice of means organizing
a mutual time coordination during the music stream and interpreted word,
must take into account the different time and dynamic parameters of both
zones (continuously sounding music and punctual character of the sound-
ing words). The meaning weave of words and music may not always proceed
in mutual strengthening, exponentiating and adding a unified concept, but
can be a hidden or completely open dialogue, can be mutually questioning
and directly contradicting. In this case, the maximum functional use of dif-
ferent means of expression of individual components (own melody, rhythm
and tempo of speech adequate to content of communication and different
229
Zdeněk Fibich a český koncertní melodram
rhythm of expression, or other musical dynamics, that do not correlate with
the content intentionally) is coordinated only by a temporal arrangement of
larger units of higher common structure. Especially this inner tension be-
tween the two components can be a source of extraordinary emotional effect.
Melodrama is, therefore, a work based on the principles described above and
exists as a separate piece of art. Further definitions of melodrama, however,
vary between countries, probably also with regard to their own traditions and
creation specifics. As a reflection of this situation there are differences in the
scope and content of the password “melodrama” in various encyclopedias and
dictionaries. Melodrama in its historical evolution includes various (often
quite different) modifications, spreading out to existing genres. According to
genre diversification, exists either scenic melodrama (classical and modern),
which belongs, by its assignment to the stage, to musical theater, or concert
melodrama (chamber and orchestral), which is assigned in concert genres (an
analogy with artificial songs and cantata). Melodrama is then approached by
more or less musical experiments with words, up to contemporary perfor-
mances with live-electronics. Even the own internal structure of melodrama,
given by specific link of words and music, underwent its historical develop-
ment: from simple alternation with an emphasis on the text part, through
an increasingly important component of music participation and growing
interconnection (albeit temporary) of both zones.
In Romanticism, the effort to newly resolve the relationship of words and
music with a tendency to maximize interconnection is evident. At first, the
relationship to literary artwork was entirely reverent, until the early 20th cen-
tury the composers begin to claim the right to customize the literary model,
if it does not fully meet their compositional intent. In the second half of the
20th century there are works combining both approaches - the principle of
alternation of words and music and compositions including parallel structures.
Melodrama is seen as a solid piece of music with rich internal links, which is
fixed in the notation. The inside solid organization of the work leaves a rela-
tively wide range of creative interpretation of performance work. In melo-
drama, more than in any other genre of music, is the co-creator of the work
the actor - reciter (and a director). It is due to the smaller options of detailed
fixation of sounding words than of the music component.
According to the relationship of words and music and their codification,
types of melodrama are divided into “free” (text freely supported by the in-
ternal musical units, its placing in time follows the logic of musical structure,
230
8 Resumé
but the construction of the speech within musical phrases is left to the reciter
and his natural diction) and “tied”, when the composer prescribes a separate
speech rhythm and sometimes even a quasi melody (rhythm and melody as
opposed to vocal genres are based on the parameters of speech more than of
musical parameters). Such works (such as Schoenbergs Ode to Napoleon or
Monthly Pierrot) are essentially untranslatable into another languages, be-
cause the musical texture is strictly bound to the acoustic parameters of the
text. Similarly, we can find examples of free melodrama, where the musical
structure is derived from the parameters of speaking, thereby it firmly anchors
words, without requiring to be indicated in musical notation.
With the development of Romanticism compared to the classical ideal, it
moves to the forefront the individualization and focus on the content and the
emotional side of artistic expression, leading to a search for new expressive
possibilities. Music at this time gets the primary position, since according to
the Romantics it is the most pronounced romantic view of the world: subjec-
tivity of expression, admiration for nature and the ability to directly express
its atmosphere and mood swings, tendency to idealized historical and fanciful
substances, individual approach to human and deeply emotional potency ex-
pressing mental processes, feelings and passions. The formal aspects submit to
the content and expression, which leads to a relaxation of musical forms based
on non-musical associations or literary models, and to the creation of program
music. Entirely new loose formations originate and they change the hierarchy
of various genres. Above all, Romanticism is interested in those fields where
various arts interact. Concert melodrama thus originates somewhere here.
The determining evolutionary lineage of European melodrama was re-
ported in Germany, where the onset of Romantic music was created, and
gradually constituted concert melodrama as a genre. Unlike earlier Rousseaus
and Bendas type of stage melodrama, for which texts comparable with opera
librettos were written with regard to the scenic use of music, concert melo-
drama was composed already using a separately and independently existing
text document. At first it was an ode, but soon it was completely replaced by
a ballad.
In the first phase of the search, the experiments of Romantics were fo-
cused on smaller forms with a fashionable instrument in those days ֊ piano:
Neoromantic composers then developed large programmatic forms (program
symphony, symphonic poem, a musical drama), among them was the concert
melodrama newly equipped with a large orchestra. Especially in Germany
231
Zdeněk Fibich a český koncertní melodram
the composers found a suitable basis in the high level of German poetry.
Characteristic for the period was an attempt to capture by the musical means
primarily the content of literary models, while not disturbing its formal con-
struction. This adoration of poetic texts and desire to “serve” a literary work
has led some of the first composers to write weak works and this excessive
consideration procured a poem by kind of an illustrative accompaniment.
The admiration for qualities of literary works and the effort of a reverent ap-
proach to it, are a typical sign that marks the Czech concert melodrama in
its infancy. Also the maximization of interconnection and creation of new
higher structures, without in any way disturbing the natural qualities of the
two components, has become characteristic for further development of pri-
marily Czech melodrama, while the later works of German authors remain
considerably not interconnected.
In the Czech lands, melodrama was not a completely unknown concept.
Through a nomadic society of actors, mono-drama and duo-drama came here
already in the seventies of the 18th century. Especially Jiří Antonín Benda
persisted in awareness as the author of Czech origin, who was famous for his
works Ariadne on Naxos and Medea throughout whole Europe. Even in the
early 19th century, his melodramas lived on Czech stages. At the same time,
the newest German creations appeared in Bohemia. Also, popular melodrama
had its long tradition here.
In 1831 the Estates Theater premiered the original Czech melodrama by
František Škroup Bratrovrah (Fratricide). The almost revolutionary libretto
by Jan Nepomuk Štěpánek showing before Karel Hynek Mácha the persona-
lity of a torn romantic, was probably the main reason why the work was not
retained on the repertoire. Although Škroup still based his work on the type of
Bendas duo-drama, where music alternates the word, whole passages are also
spoken unaccompanied by music in analogy to the first concert melodramas
by German Romantics. Romantic elements are reported in the music itself.
They consist mainly of meaning-refined instrumentation and instrumental
effects, even in developed motivic-thematic work. The characters of Abel and
Cain are distinguished by their own contrasting themes and instrumental
characteristics.
Bendas cult was also maintained later, even though he had no direct imita-
tors. The evidence is the 100th anniversary of Ariadne and Medea in Prague
Provisional Theater on December 22nd, 1875. (Coincidentally, their prepara-
tion was commissioned to Zdeněk Fibich.) Bendas celebrations apparently
232
8 Resumé
sparked at least outwardly the interest of composers as well as new experi-
mental works in the field of melodrama. From the following year 1876 dates
the, now lost, first concert melodrama by Josef Bohuslav Foerster on the text
of Josef Václav Sládek U potoka (By the creek) and the missing work of Leoš
Janáček Smrt (Death) on the poem by Michail Lermontov. While the alleged
melodrama by Janáček remained a completely unique attempt, Foerster has re-
turned after thirteen years into this area and created an extensive work, which
makes him the most prolific Czech composer of melodrama. Neither Bedřich
Smetana nor Antonín Dvořák could avoid attempts to use the new compo-
sitional techniques. By Smetana it is the well-known part of the opera from
1874 Dvě vdovy (Two Widows), where the melodramatic passages distinguish
reading a letter from a private conversation (Ladislav). Smetana is attributed
to the concert melodrama Rybář (Fisherman), original music inspired by the
Johann Wolfgang Goethes poem and written for a pageant already in 1869.
The poem was apparently recited separately, but the relationship of music to
this artwork is so tight, that Otakar Zich dared to underlay the text of the
poem to the music for a later print edition. In this form the Fisherman was
often performed and was still very popular even in the twenties and thirties
of the 20th century. A unique issue in the work of Antonín Dvořák is the six
melodramatic scenes from his stage music to Šamberks play Josef Kajetán ,
op. 62b from 1882. Reportedly, at the request of the author of the play, Dvořák
used as the main thematic material the song Kde domov můj (Where is my
home). As whimsical contradiction he chose the melody of the folk songs
Na tom našem dvoře (In our yard), Tyl’s favorite tune. Dvořák in his musical
setting confined himself only to melodramatic underlining of the conclusions.
The content of melodramatic texts is so intertwined with plot lines developing
the play, that these numbers can be hardly performed separately. (Dvorak’s
melodramas for piano were published separately and printed in 1882 by Ema-
nuel Starý Publishing.)
The first person who tried to systematically cultivate the new genre -
concert melodrama - was Zdeněk Fibich, who followed the efforts of the
German Romantics and successfully established already in his first concert
melodrama, the ballad Christmas Eve by Karel Jaromír Erben at the turn of
the years 1874/75, a fully interwoven unit. Fibichs melodramas did not consist
in a continuous sequence, but sometimes with multi-year breaks, in which
the author dealt with other musical genres. ( den - Christmas Eve 1875
on K. J. Erben, Pomsta květin - Flowers Revenge 1877 on Vrchlický s transla-
233
Zdeněk Fibich a český koncertní melodram
tion of the poem by Ferdinand Freiligrath, Věčnost - Eternity 1878 on the
text of Rudolf Mayer, Vodník - Watersprite 1883 on K. J. Erben, Královna
Ema - Queen Ema 1883 and 1888 Hakon, poems by Jaroslav Vrchlický) The
analysis of individual Fibich concert melodramas clears, what the specificity
of Fibichs concert melodrama means. In comparison with the analyzes of the
fundamental works of his predecessors, contemporaries, and his closest fol-
lowers, it is possible to infer, what is Fibichs role in the creation of this genre.
Fibich in his concert melodramas satisfactorily solved the fundamental
problem of melodrama - the syncretic connection of words and music. He
organized the word in relation to music, especially with regard to avoid weak-
ening of the spontaneity of acting, which arises from the internal understand-
ing of the text and from a personal experience. Therefore, he tried not to
destroy by a detailed codification the actors authenticity and persuasiveness
of the recitation performance. In his concert melodramas he gradually came
to the way, how to subtly direct the actor s utterance in terms of metric units
of text placement over the bars (mostly two-strokes) in music. So he could in
a “prescribed rate” of speech, emphasize and vice versa suppress certain motifs
of the poem, and thereby affect its semantic shifts in the overall tone. This re-
quired him to estimate the rate of natural slope of speech even in emergency
situations (expressing joy, horror, surprise, etc.). Conversely, he left the rhyth-
mic course of recitation to the artist with the confidence that a professionally
trained actor controls the correct diction, and based on his own interpretation
of the content of the text, he can create an adequate rhythmic and melodic
structure. It is likely, that due to practical theater work, he knew that concen-
trating unnecessary attention to the reciter to be as accurate as possible, may
induce the speech, which sounds artificially stylized, ridiculously distorted.
Fibich in his concert melodramas never attempted to use the rhythmisation of
the text. (Except for only one case of a very specific reason: the scenic trilogy
Hippodamia consistently prescribes the rhythm of the words spoken by the
chorus). This fixation of the text here, however, fulfills a very specific function:
it builds the character of an antique chorus - static and deliberately styled - in
contrast to the ongoing storyline, i. e. the solo recitation. At the same time he
also solved the practical problem, of how to unify choral recitation.
Typical bond for Fibich is the so-called “free,” which allows within the
internal construction of the unit to leave room for the reciter to apply his
acting skills. The composer, however, did not resigne to the idea of closer ties
of the whole.
234
8 Resumé
His music does not illustrate details, but creates some larger areas with
integrated mood. In this framework, he applies the text component in relation
to higher units of musical structure. Therefore, not the timing of syllables is
organized, but the run of the whole phrases, verses, couplets and quatrains.
This method allows to the composers a control over the text in terms of tec-
tonic construction of musical lines and to the reciter sufficient space for imple-
menting distinctive experience and maximizing the individual artistic quality.
To maintain the harmony of the two components in the dramatical key mo-
ments of the composition, Fibich prescribes crowns, all-bard-held notes and
chords, longer tremolos, general pauses, etc., which are placed either in static
moments of the narrative or, conversely, to dramatically justified breaks and
pauses. In this way, the musical flow is not disturbed and the dramatic effect
is even more functionally enhanced. These technical means Fibich revealed
gradually.
Most of them he uses in his Water Sprite, where he had to think out at first
the coordination of reciters part together with a full orchestra. He used func-
tional tempo changes of the location of verses in tact units, which prescribed
to the reciter a quite natural manner of pace of speech. In one case Fibich
choses an optional tact, which allows to subtly coordinate the completion of an
extremely challenging passage. In contrast, in places that require continuous
description or lyrical suspension, follows the music completely continuous in
the uniform rate of longer segments and its regular periodicity binds with the
textual phrase, usually after two to four-strokes. Only very rarely Fibich uses
binding to the location by an imitative effect (the movement of water in the
Water Sprite, lightning in Eternity, etc.). Prescribing accelerando or ritardando
to the music component, on the contrary, gives the possibility of multiple rip-
ple motion of the musical flow, but always functionally used to capture specific
theatrically physical representation of emotions (eg. accelerated gradation
arcade in Christmas Eve when Hana is looking into the lake is not mechanical,
but plastically, her joy is growing up to a scream: “Václav alone!”). In some
places where Fibich was convinced of the need to leave the trail of a very
poetic communication, he is not afraid to relax the link of words and music
to the extent that it leaves to the music really only the role of a musical bland
background, a mood-generating scenery. It is indeed a legitimate practice even
in other musical genres, when the leading voices are mutually taking over
their functions. As a result, these temporary retreats into the background by
235
Zdeněk Fibich a český koncertní melodram
re-taking the lead role of music, contribute to a greater enhance and overall
plasticity of the musical grip.
Fibich uses mere recitation with complete silence of the music in the second
part of his first melodrama Christmas (“what whom you bring in mem-
ory?” etc.), in other works very rarely, and only on the size of less than a tact
as a dramatic climax (eg. Water Sprite “the footbridge broke under her”), or
only in counterpoint with sforzatto chords ( Isfzl “Behind you”
“to Valhalla” Isfzl “goes my defiance!”). He lets the music itself, undisturbed
and unmanaged by the course of text, resound mostly in the preludes and
postludes, mini introductions to new parts inside the composition (mostly
they expose new motive material), in the connecting interludes, etc. Extraor-
dinary cases are the Waltz in Christmas Eve, which grows in a separate area
of 32 bars, and a 22 sequential evolutionary area Allegro maestoso in Hakon,
which creates an image of a free homeland celebration. Fibich can even find
opportunities tectonically justified by specific situations, of how to use all the
variations described above of the relationship of words and music, so that in
result he focused attention on the importance and meaning of each word. This
is confirmed not only by his extraordinary sense of proper enunciation, but
also for mental and emotional shades of actors recitation.
Fibich s melodramas offer outstanding balance of words and music; music
and verses assume a dominant role and complement each other. Fibich so
peacefully solved the problem of the acoustic session of words and music,
even at full orchestral rate. The formal integrity of Fibich’s compositions is
achieved by using peculiar motives and thoughtful motivic work, functional
use of the harmonic plan, often also a thematic principle of economy. This
means that each of his six melodramas solves preferably another “technical”
task. Therefore, their quality does not appear linearly progressive. Each of the
six concert melodramas by Fibich presents another way of grasping words and
music, therefore, it can not be unequivocally said, that there are closer links
between melodramas on the texts of the same poets. This Fibich’s search of
the optimal solution appeared with full fruition in his last concert melodrama
Hakon, which represents the pinnacle of Fibich’s efforts in the genre of con-
cert melodrama. As demonstrated in the scenic composition Hippodamia, he
managed to successfully maintain multifaceted intellectual and musical factors
even in the context of the entire trilogy of feature-length work.
236
8 Resumé
By comparing the compositional principle of Fibichs concert melodramas
with works of selected authors, we can conclude, that he surpassed his Ger-
man predecessors and contemporaries Robert Schumann, Franz Liszt, Carl
Reinecke, Friedrich von Flotow, because he solved the architectural problem
of melodrama. By using peculiar motives and motivic work to avoid mosaic
descriptiveness, he created a separate stream music, but with a fully balanced
proportion of words and music, even in a semantic way. In this manner, he ful-
filled the aesthetic requirement of complete equality and relative autonomy of
the two components of melodrama - poetry and music. He proved, that both
can run continuously and do not overlap each other, but rather complement
and amplify themselves. In doing so, he, like his predecessors, always set the
poem to music immutably, so he sought for a most reverent observance of all
its qualities. From his melodramatic creation we can read an accurate estimate
for the degree of verbal gradient in any situation and an excellent instinct for
time correlation of recited poems and musical phrases. His musical phrases
fully respect the whole speech-verse and a psychological tone of its contents.
By occasional use of musical motifs, derived from the rhythm and intonation
of poetic diction, he accomplished that certain keywords exactly fit in a certain
location.The orchestral instrumentation of Fibichs melodramas Watersprite,
Hakon, 2nd version of Christmas Eve are also masterpieces. Here he solved
successfully the ratio of appropriately chosen instruments in the orchestra to
the spoken word, so that the instruments support the voice and not overlap it,
without causing depletion of the full sound of the orchestra. For these qualities
he also stands above the whole range of his contemporaries. (However, due
to the example of melodramas by Grieg, it is evident that Fibichs way is not
the only possible and that it is possible to reach a maximum dramatic effect
by a different approach.).
Fibichs influence can be seen in future generations of Czech composers,
whether directly or indirectly affected. From the immediate successors, in
further development of the orchestral melodrama continued only Otakar
Ostrčil, a little later joined in through various works Otakar Jeremiás, Ladis-
lav Vycpálek, Otakar Zich, Miloš Čeleda, Vojta Mádlo, Karel Moor, Ludvik
Vitezslav Čelansky and others. In response to Fibich, the composers Karel
Kovarovic and Josef Bohuslav Foerster developed different types of chamber
melodrama with piano, which became during the further evolution of Czech
concert melodrama most widespread. The developed of concert melodrama
was continued by the next generation of composers, including major names
237
Zdeněk Fibich a český koncertní melodram
such as: Bohuslav Martinů, Jaroslav Jeremiáš, Emil Axman, Pavel Bořkovec,
Bohuslav Taraba, Emil František Burian, Záboj Bláha-Mikeš and others. In the
thirties of the 20th century they were gradually joined by Vít Nejedlý, Jarmil
Burghauser, Zbyněk Vostřák, Vítězslava Kaprálova, Josef Plavec and Vladimir
Polívka, in the ’40s Jan Hanuš or Vratislav Vycpálek. During the so called pe-
riod of Socialist Realism, concert life favored large musical forms and genres
of mass. Fragile chamber concert melodrama gradually almost disappeared
from public life. As a result, rather important works of purely meditative char-
acter and intimate lyricism remained in the shadow of attention. In the late
fifties, again, appear works of young composers, who created a range of good
melodramas; some continue writing up to these days, firstly Jiří Matys and
Zdeněk Zahradník, Jan Klusák and Lukáš Matoušek. In the sixties and seven-
ties, originated instrumentally interesting works by Luboš Fišer, experimental
compositions by Marek Kopelent, Alois Hába, and less lyrical songs by Karel
Boleslav Jirák, Jitka Snížková and Petr Fiala. In the eighties, they were joined
by Jan F. Fischer, Václav Kučera and Sylvie Bodorová. On the concert stages
their concert melodramas were mostly performed only once ֊ in the context
of concerts of new works. Their widespread has never taken place.
Thanks to establishing international contacts, after the year 1989 arose
a new interest in classic Czech concert melodrama and the Zdeněk Fibich
Society untertook the task to place it again on the concert stages in the form
of the International Festival of Concert Melodrama Prague and the Inter-
national Zdeněk Fibich Competition in Interpretation of Melodrama. The
project “Revival of Concert Melodrama” awakened an unprecedented produc-
tion of the new Czech production. More than a hundred composers started
to compose melodrama repeatedly. They were mostly: Sylvie Bodorová, Vít
Ciar, Jan Dušek, Jiří Hlaváč, Lukáš Hurník, Martin Hybler, Daniel Chudovský,
Olga Ježková, Zdena Košnarová, Ivan Kurz, Jiří Matys, Markéta Mazourová,
Jan Šmolka, Jiří Sternwald, Jiří Teml, Jan Vičar, Emil Viklický and others.
Extremely prolific composers of contemporary melodrama are Zdeněk Zah-
radník and Josef Marek, by interesting particulars are represented, for example,
Vladimir Franz or Jakub Dvořáček. At first sight it is a stylish diversity. In the
current Czech melodrama production music resounds as neoclassical, draw-
ing on Fibich tradition, as well as sonic music, aleatoric, jazz music or simply
using elements of jazz, but also pop, rapp, klezmer. In addition to the musical
setting of traditional literary genres we can meet prosaic texts such as a short
story, journalistic column or mission statement. Obvious is the tendency of the
238
8 Resumé
authors of concert melodramas to dramatization, which is reflected already in
the choice of texts, interventions in them and some ideas of the authors about
the realization of the work. In an unprecedented extent, the Czech composi-
tions tend to humorous and satirical themes and mainly use the appellative
function of melodrama.
Translation by Marta Hrachovinová
239
JMENNÝ REJSTŘÍK
Abt, Karl Friedrich 41
Adamova, Jaroslava 138
Adamova, Jitka 198
Anderson, Warren 28
Andresíková, Jana 138
Apolinaire, Guillaume 200
Arany, János 71
Aspelmayer, Franz 33, 49
Axman, Emil 73, 147, 148, 150, 185
Bábo, Joph Marius 41
Bach, Johann Sebastian 151
Barak, Josef 73
Bartoš, František 186
Bartoš, Josef 9, 63, 147, 150,151, 152, 153
Basler, Ladislav 72
Baudelaire, Charles Pierre 74, 200
Baudron, Antoine Laurence 30, 42
Bayer, Franz 52
Beckerman, Michael 193
Beer, Michael 46
Beers, H. A. 180, 184
Beethoven, Ludwig van 39, 46, 47, 52, 53, 149
Bellinghausen, Joachim Münch von 51
Benda, Jiŕí Antonín 20, 26, 29, 34, 36, 37, 38,
40, 41, 42, 45, 49, 50, 51, 52, 63, 68, 148, 151
Bendl, Karel 18, 72,150
Benoniová, Hana 176
Bergrová, Zdena 198
Berton, Henri-Montan 52, 53
Bertuch, Friedrich Justin 33
Bezruč, Petr 185, 188
Björnson, Björnstjern 163
Bláha-Mikeš, Záboj 188,189
Blažek, Gabriel 218
Blom, Erik 213
Bodorová, Sylvie 192, 197
Boháček, Ludvík 147, 148, 152, 154
Bolzano, Bernard 65
Bondeli, Julie von 30
Bořkovec, Pavel 188
Brandes, Johann Christian 33, 34, 35, 39
Brandesová, Esther Charlotte 33, 36
Branscombe, Peter 224
Branscombe, Petr 221
Brell, Jacques 198
Brendler, Eduard 43
Bretzner, Christian Friedrich 50
Brousek, Otakar 139
Brunian, Johann Joseph von 49
Bruno, Giordano 200
Bubelová, Lily 188
Buchvaldek, Zdeněk 138
Bukowski, Charles 200
Bülow, Hans von 54, 145
Bu rešová, Alena 10
Bürger, Gottfried August 43, 44, 46, 71, 159
Burghauser, Jarmil 132, 188, 189
Burian, Emil František 188
Burney, Charles 30
Byron, George Gordon 46, 150
Cannabich, Johann Christian 40
Clar, Vít 197
Coignet, Horace 30, 33
Cvetajeva, Marina 200
Čapek, Bedřich 150
Čapek, Karel 186
Čech, Adolf 66, 67,140, 142, 144
Čech, Svatopluk 140
Čechov, Anton Pavlovic 199
Čelakovský, František Ladislav 63, 69
Čelanský, Ludvík Vítězslav 185
Čeleda, Miloš 72,185
290
Jmenný rejstřík
Dalberg, Wolfgang Heribert von 40, 44
Dante (Dante Alighieri) 74
Danzi, Franz 40
Dawison, Bohumil 54
Deutsch, O. E. 40
Devine, Patrick F. 8
Dobiáš, Dalibor 70
Drake, Erik 43
Ducange, Victor 149
Durrenmat, Friedrich 197
Dušek, František Xaver 51
Dušek, Jan 10, 197
Dvořáček, Jakub 197
Dvořák, Antonín 15, 58, 61, 72, 146, 179
Dvořák, Ladislav 198
Džbánek, Antonín 217
Eberhardt, Johann August 41
Eberlin, Johann Ernst 28
Eberwein, Carl 40
Erben, Karel Jaromír 57, 63, 64, 66, 69, 70, 71,
72, 74, 77, 79, 84, 89, 90, 97, 98, 103, 104,
105, 108, 113, 131,132, 138, 140, 143, 146,
150, 160, 171, 172, 175
Fiala, Petr 191
Fibichova, Betty 128
Fibich, Richard 48, 150
Fibich, Zdeněk 8, 9, 12,13, 14, 18, 20, 21, 47,
48, 56, 57, 58, 61, 62, 63, 65, 66, 67, 68, 69,
71, 72, 73, 74, 75, 76, 77, 78, 81, 83, 85, 88,
89, 91, 95, 96, 97, 98, 100, 102, 105, 106,
107, 108, 111, 112, 113, 114, 116, 117, 119,
121, 122, 123, 126, 127, 128, 129, 130, 131,
132, 133, 139, 140, 141, 143, 145, 146, 149,
150, 151, 152, 153,154, 155, 156, 158, 159,
160, 162, 163, 164, 165, 167, 168, 169, 170,
171, 172, 173, 175, 176, 177, 179, 180, 182,
185, 189, 193, 194
Fischer, Jan Frank 191, 192
Fischer, Otokar 70, 180, 184, 186
Fischer, Václav 191
Fišer, Luboš 190, 192
Flotow, Friedrich Adolph Ferdinand von 47,
65, 72, 90, 162, 163, 164
Foerster, Josef Bohuslav 12, 20, 27, 57, 150,
152, 173, 179, 180, 181, 182, 183, 184, 185,
188, 189
Fojtíková, Jana 8, 131, 132
Fomin, Jevstigněj Ipatovič 43
Forkel, Johann Nikolaus 41
Franz, Vladimír 196
Freiligrath, Ferdinand 47, 64, 69, 72, 90, 163,
180
Gabrielová, Jarmila 10
Gaveaux, Pierre 42
Gebler, Tobiáš Philipp Freiherr von 41
Gemmingen, Otto Heinrich von 40
Gerstenberg, Heinrich Wilhelm von 34, 42
Girgal, Otto 175
Gluck, Chrisloph Willibald 35
Goethe, Johann Wolfgang von 39, 43,46, 52,
57, 58, 71, 74, 200
Gotter, Friedrich Wilhelm 36
Gótz, Joseph Franz 41
Grégrová, Isa 177
Grieg, Edvard Hagerup 156, 163,165,166,170
Grund, Antonín 70
Hába, Alois 191
Halas, František 189
Hálek, Vítězslav 73
Hallenstein, Conrad Adolf 54
Halm, Friedrich 47
Hanslick, Eduard 16
Hanuš, Jan 131, 189, 191
Hebbel, Friedrich von 46,156
Heine, Heinrich 47, 159
Hejda, František K. 217
Helfert, Vladimír 39,150
Henke, Josef 138
Heyduk, Adolf 73, 140
Hillar, Karel Hugo 142
Hlaváč, Jiří 197
Hoffmanstahl, Hugo von 180
Holan, Vladimír 192, 200
Holásek, Oldřich 19
Holbein, Franz Ignaz von 42
Holub, Miroslav 191
Hora, Josef 198
Horalova, Renata 184
Hořejší, Jindřich 191
Hostinský, Otakar 9, 14, 15, 16, 30, 49, 62, 63,
65, 67, 77,147, 148, 149, 150, 151, 154, 175
Hovorka, František 72
291
Zdeněk Fibich a český koncertní melodram
Hrabě, Václav 200
Hradská, Viktorie 199
Hrachovinová, Marta 10,139, 167, 201
Hrubý, Josef 190
Huber, Johann Ludwig 41
Hudec, Vladimír 9, 12, 13, 18, 57, 66, 67, 73,
81,89, 96, 97, 100, 102, 105, 114, 116, 119,
122, 126, 128, 138, 139,149, 154
Hugo, Victor 74
Humperdinck, Engelbert 167
Hurník, Ilja 198
Hurník, Lukáš 196, 197
Hybler, Martin 197
Hynšt, Miloš 155
Chadová, Anna 128
Charvátová, Julie 138
Chudovský, Daniel 197
Iriarte, Tomáš de 43
Istel, Edgar 33, 41
Jakobson, Roman 70
Jakubcová, Alena 14, 30, 39, 41,44, 48, 50, 51
Janáček, Leoš 57
Jančák, Pavel 19
Janda, Bohumil 172
Jansen, F. G. 46
Jaroslav, Kvapil 244
Jelínek, Alfred 72
Jemelík, Antonín 190
Jeremiáš, Jaroslav 185
Jeremiáš, Otakar 20, 138, 185, 186
Ježek, Jaroslav 20, 25
Ježková, Olga 197
Jindřich, Jindřich 72
Jirák, Karel Boleslav 153, 191
Jiránek, Jaroslav 9, 18, 21, 22,23, 66, 132, 154
Jirát, Vojtěch 70
Jírovec, Vojtěch 42
Jókay, Moritz 46, 159
Juřica, Leon 197
Káan z Albestů, Jindřich 15, 56, 57, 58, 59, 60
Kafíka, Johann Christoph 50
Kafka, Franz 190, 196, 200
Kainar, Josef 189, 191,199
Kalkbrenner, Fridrich Wilhelm 42
Kaprálova, Vítězslava 188
Karsten 52
Kempelen, Wolfgang Ritter von 41,50
Kirchberger 30
Klášterský, Antonín 180,185,189
Klem, Jiří 139
Klet, Pavel 184
Klinger, Friedrich Maxmilián 43
Klopstock, Friedrich Gottlieb 41,44
Klusák, Jan 20, 189
Knjažnin, Jakov Borisovič 43
Kohoutek, Ctirad 190
Kolářová, Augusta 54
Kopecká, Vladislava 8
Kopecký, Jiří 8, 10, 133, 149
Kopelent, Marek 191, 192
Korn, Josef 130
Košnarová, Zdena 197
Kounicová, Elisabeth 56
Kovařovic, Karel 12, 72, 152,171,172,173,
174,185
Kozderková, Jarmila 138
Kráčmar, Tomáš 133
Krajník, Miroslav 9
Král, Robin 199
Krásnohorská, Eliška 175
Krautschneiderová, Daniela 155
Křička, Petr 188
Křupková, Lenka 10
Kučera, Karel 75
Kučera, Václav 192
Kúgele, Richard 45
Kundera, Milan 189
Kunzen, Friedrich Ludwig Aemilius 45
Kurz, Ivan 197
Kvapil, Jaroslav 142
Kvapilová, Hana 142
Kyrilov 180
Lábus, Jiří 139
Lasser, Johann 50
Lauchery, Etienne 40
Leger, Karel 176
Lenau, Nicolas 46, 159, 161
Lenz, Jakob Michael Reinhold 43
Lermontov, Michail Jurjevič 57
Lichtenberg, Christian Friedrich 40
Lindpaintner, Peter Josef von 45
292
Jmenný rejstřík
Liszt, Franz 15, 45, 46, 47, 49, 54, 159, 161,
162, 163
Lorzing, Gustav Albert 47
Loudova, Ivana 196
Lýko, Petr 10
Maass, Johann Gebhard Ehrenreich 41
Mabary, Judith Ann 7, 19, 20, 21, 28, 29, 31,
33, 39, 76, 193
Macan, Karel Emanuel 152
Maciuchová, Hana 139
Mádlo, Vojta 185, 186
Macháček, Simeon Karel 52
Mácha, Jaroslav 72
Mácha, Karel Hynek 53, 71, 190
Malá, Otílie Sklenářová 144
Malát, Jan 66
Málková, Marie 139
Mannerhófer 52
Marek, Josef 196, 197, 198, 199, 201
Mareš, Jan 189
Marschner, Heinrich August 45, 46, 53, 149
Martinů, Bohuslav 186,187
Marx, Adolf Bernhard 42
Mařík, Antonín Ferdinand 72,191
Masaryk, Tomáš Garrigue 183
Matoušek, Lukáš 190
Mattiesen, Emil 45
Matula, Josef 105
Matys, Jiří 189, 192, 197
Mayer, Rudolf 65, 69, 73, 74, 97, 98, 140
Mayerová, Carmen 139
Mazourová, Markéta 195,197
Mederitsch, Johann 41
Měchura, Leopold 72
Meissner, August Gottlieb 39, 49, 50
Mendelssohn֊Bartholdy, Felix 46
Meraviglia, Olga 56
Meyerbeer, Giacomo 46
Mezger, Franz 40
Mickiewicz, Adam 71
Mihulová, Alena 155
Mikota, Václav 148
Mikulášek, Oldřich 191
Milizia, Francesco 33
Mokrý, Otakar 75
Moor, Karel 185
Motiers 30
Mozart, Wolfgang Amadeus 40
Mukařovský, Jan 70
Müller, Rudolf 53
Müllner, Adolf 45
Musil, František 72
Nasková, Růžena 142
Navrátil, Bořivoj 139
Neefe, Christian Gottlob 39, 49
Nejedlý, Vít 188
Nejedlý, Zdeněk 9, 18, 66, 81, 147, 148, 149,
150, 175, 179, 180, 181
Neruda, Jan 73, 140, 171, 177, 180, 185, 188
Nešvera, Josef 15, 131, 152
Neukomm, Sigismund 42
Neumann, Johann Leopold 40
Nezval, Vítězslav 188, 199
Nierostek, Lech 199
Noha, Jan 190
Nosticová, Johana 56
Nováček, Otakar 189
Novák, Vítězslav 72
Noverre, Jean-Georges 31
Novotný, Václav Juda 18, 81, 145
Očadlík, Mirko 9, 147, 153, 154, 179, 181, 182,
183, 185
Orten, Jiří 190
Ossian 41
Ostrčil, Otakar 12, 20, 72, 138, 152, 175, 176,
177, 178, 183, 185
Otto, Jan 76
Ovidius (Publius Ovidius Naso) 30
Pakandl, Jiří 197
Palla, Hynek 18
Pandulová, Renata 191
Pešek,Josef 150
Petrarca, Francesco 74
Pihert, Jindřich 76
Pich, František 17, 18, 146
Pilková, Zdena 34
Pippich, Karel 130, 150
Piskáček, Adolf 150
Pixérecourt, René Charles Guilbert de 51
Plantade, Charles-Henri 42
Plavec, Josef 9, 18, 54, 66, 83, 152, 153, 179,
188, 189, 191
293
Zdeněk Fibich a český koncertní melodram
Podaný, Josef 190
Podlipská, Sofie 73
Podroužek, Jaroslav 70
Pokorný, Antonín 132
Polívka, Vladimír 189
Pospíšil, Jaroslav 70
Poživil, Lubomír 12, 138, 192
Pratobevera, Adolf von 47
Praupner, Václav 14, 20, 30, 41, 44, 48, 50, 51
Procházka, Ludevít 62
Procházková, Markéta 192
Procházková, Marta 57
Pujman, Ferdinand 131, 132, 142
Radziwilll, Anthony Henry 42
Ramler, Karl Wilhelm 39
Rauscher, Julius 150
Reichardta, Johanna Friedricha 42
Reichardt, Johann Friedrich 39
Reichert, Ignaz 40
Reinecke, Carl 15, 47, 49, 159,160
Reittererová, Vlasta 10, 48
Rejcha, Antonín 47
Rektorys, Artuš 150
Richter, Carl Ludwig (pseudonym Anežky
Schulzové) 147
Rilke, Rainer Maria 180, 184, 188
Rochlitz, Johann Friedrich 53
Romberg, Andreas Jakob 45
Rosner, Boris 139
Rossler, Josef 52
Rostand, Edmond 199
Rousseau, Jean Jacques 20, 29, 30, 31, 32, 33,
35,37
Roždestvenskij, Genadij 195
Ruml, Ivan 19, 29, 30, 33, 40, 45, 51
Russolo, Luigi 196
Rust, Franz Wilhelm 41
Rutte, Eugen Miroslav 72
Sachs, Hans 198, 199
Sardou, Victorien 9
Seckendorif, Karl Siegmund 39
Seifert, Jakub 67, 131,142
Seifert, Jaroslav 192, 200
Seyfried, Ignaz Xaver 42, 52, 53
Seyler, Abel 39
Seyler, Sophie 36, 39
Shakespeare, William 46, 65, 74, 75, 97, 192,
195, 198, 199, 200
Shelley, Percy Bysshe 46,158
Scheinpflug, Karel 141
Scherl, Adolf 140, 141
Schiller, Friedrich 42, 43, 46, 47, 74
Schillings, Max von 167
Schnidt, J. F. 33
Schnierer, Miloš 18
Schónberg, Arnold 27, 167
Schubert, Franz 47
Schulzová, Anežka 147, 148
Schumann, Robert 15, 46, 48, 56, 68, 145, 148,
150, 153, 156, 157, 158, 162, 163
Schwarz-Danuser, Monika 22, 42
Schweitzer, Anton 33, 34
Signorelli, Pietro Napoli 33
Skácel, Jan 195, 200
Skjóldebrand, Anders Frederik 43
Sklenářová-Malá, Otilie 57, 63, 65, 66, 140,
141, 142
Skuherský, František Zdeněk 18
Sládek, Josef Václav 57, 75, 140, 171, 179, 180,
182, 184, 188
Smaczny, Jan 221
Smetáček, Václav 12, 138
Smetana, Bedřich 15, 56, 58, 62, 75, 151, 179
Šmolka, Jan 197
Snížková, Jitka 191
Sofokles 46
Sova, Antonín 173
Spartská, Helena 180
Spohr, Louis 45, 46, 53
Stach, Petr 201
Starý, Emanuel 61
Stecker, Karel 18
Sternwald, Jiří 197
Stóhr, Karel 45
Strauss, Richard 167
Suk, Josef 20
Svatoš, Tomas 193
Světlá, Karolína 73
Sychra, Filip 201
Sýkora, Václav Jan 51
Salda, František Xaver 70
Šamberk, František Ferdinand 15, 58,146, 149
Šejna, Karel 138
294
jmenný rejstřík
Šikl, dr. 67
Šiktanc, Karel 198, 200
Šimáček, Jiří 189
Škroup, František 20, 53, 54, 55
Šmaha, Josef 67, 142, 144
Šolc, Karel 132
Šolc, Václav 73
Špička, Jiří 10
Šrámek, Fráňa 185, 188, 190
Šťastný, Vladimír 175
Štědroň, Bohumír 171
Štěpánek, Jan Nepomuk 53
Šubert, František 150
Šustík, Jaroslav 10
Šustíková, Věra 8, 11, 131, 132, 139, 167, 181
Taraba, Bohuslav 186, 189
Tausinger, Jan 191
Teml, Jiří 197
Těsnohlídek, Rudolf 183, 184
Thambarskelfira, Einara 164
Thám, Václav 50
Theer, Otakar 180
Tichý, Vladimír 23
Tolstoj, Alexej Konstantinovič 159
Tolstoj, Alexej Nikolajevič 46
Trnka, Tomáš 180
Trojan, Jan 196
Uber, Christian Friedrich Hermann 45
Urbánek, František Augustin 12, 64, 130, 163
Urbánek, Mojmír 49, 62, 131, 177
Urbánek, Velebín 130
Urbánkově 65
Vacek, Jaroslav Václav 72
Vajnar, František 139
Valenta, Miroslav 177
Vaň orná, Zdeňka 189
Veen, Jan Van der 33, 37
Verhaeren, Emile 180
Verlain, Paul 190
Vičar, Jan 10,195, 197, 201
Viklický, Emil 195, 197
Vilímek, Josef Richard 13,131
Vitásek, Jan August 51
Vodička, Felix 70, 71
Vogler, Georg Joseph 40
Voltaire, Francoise 29
Vomáčka, Boleslav 72
Voska, Václav 138
Vostřák, Zbyněk 188
Vrchlický, Jaroslav 47, 66, 67, 72, 73, 74, 75, 76,
77, 90, 97, 115, 120, 123, 133, 140, 146, 152,
153, 154, 163, 171, 180, 182, 183, 184, 185
Vycpálek, Ladislav 18, 185
Vy cpálek, Vratislav 189
Vysloužil, Jiří 25
Wagner, Richard 145, 148, 152, 153
Wagner, Undine 224
Wahr, Karel 49, 50
Waldová, Andrea 198
Weber, Bernard Anselm 41, 45
Weber, Carl Maria von 15, 45, 46, 53, 149
Weigl, Josef 52, 53
Wenig, Antonín 72
Wezel, Johann Carl 50
Whitman, Walt 74
Wiesner, Daniel 139
Winter, Peter von 42
Wolf, Pius Alexander 46, 67
Wolker, Jiří 188
Zahradník, Zdeněk 189, 190,195,197
Závada, Vilém 192, 199, 200
Zawitzer, Franz 41
Zelenka, Jan Dismas 28
Zelený, Václav Vladimír 18, 146
Zelinka, Gustav 72
Zelinka, Jan Evangelista 188, 189
Zemánek, Vilém 176
Zeyer, Julius 75, 179, 180, 181
Zich, Otakar 58, 150, 185
Zimmermann, Anton 41, 50
Zumsteeg, Johann Rudolf 41,44
Žáček, Jiří 195,200
295
|
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| author | Šustíková, Věra 1956- |
| author_GND | (DE-588)1075390559 |
| author_facet | Šustíková, Věra 1956- |
| author_role | aut |
| author_sort | Šustíková, Věra 1956- |
| author_variant | v š vš |
| building | Verbundindex |
| bvnumber | BV042695434 |
| ctrlnum | (OCoLC)919475209 (DE-599)BVBBV042695434 |
| edition | 1. vyd. |
| era | Geschichte gnd |
| era_facet | Geschichte |
| format | Book |
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| series2 | Monografie |
| spelling | Šustíková, Věra 1956- Verfasser (DE-588)1075390559 aut Zdeněk Fibich a český koncertní melodram Věra Šustíková 1. vyd. Olomouc Univ. Palackého 2014 295 S. Ill., Notenbeisp. txt rdacontent n rdamedia nc rdacarrier Monografie Zsfassung in engl. Sprache u.d.T.: Zdeněk Fibich and the Czech concert melodrama Fibich, Zdeněk 1850-1900 (DE-588)117749443 gnd rswk-swf Geschichte gnd rswk-swf Melodram (DE-588)4169388-7 gnd rswk-swf Böhmische Länder (DE-588)4069573-6 gnd rswk-swf Fibich, Zdeněk 1850-1900 (DE-588)117749443 p Melodram (DE-588)4169388-7 s DE-604 Böhmische Länder (DE-588)4069573-6 g Geschichte z Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028127039&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028127039&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028127039&sequence=000003&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028127039&sequence=000004&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA Register // Personenregister |
| spellingShingle | Šustíková, Věra 1956- Zdeněk Fibich a český koncertní melodram Fibich, Zdeněk 1850-1900 (DE-588)117749443 gnd Melodram (DE-588)4169388-7 gnd |
| subject_GND | (DE-588)117749443 (DE-588)4169388-7 (DE-588)4069573-6 |
| title | Zdeněk Fibich a český koncertní melodram |
| title_auth | Zdeněk Fibich a český koncertní melodram |
| title_exact_search | Zdeněk Fibich a český koncertní melodram |
| title_full | Zdeněk Fibich a český koncertní melodram Věra Šustíková |
| title_fullStr | Zdeněk Fibich a český koncertní melodram Věra Šustíková |
| title_full_unstemmed | Zdeněk Fibich a český koncertní melodram Věra Šustíková |
| title_short | Zdeněk Fibich a český koncertní melodram |
| title_sort | zdenek fibich a cesky koncertni melodram |
| topic | Fibich, Zdeněk 1850-1900 (DE-588)117749443 gnd Melodram (DE-588)4169388-7 gnd |
| topic_facet | Fibich, Zdeněk 1850-1900 Melodram Böhmische Länder |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028127039&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028127039&sequence=000002&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028127039&sequence=000003&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=028127039&sequence=000004&line_number=0004&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT sustikovavera zdenekfibichaceskykoncertnimelodram |