Three places, three acts: the early receptions of Janáček’s Sinfonietta

ZAPLETAL, Miloš. Three places, three acts: the early receptions of Janáček’s Sinfonietta. In Sounding Czech: Towards an Aural History of Bohemia and Moravia. 2015.

Základní údaje

Originální název

Three places, three acts: the early receptions of Janáček’s Sinfonietta

Autoři

ZAPLETAL, Miloš

Vydání

Sounding Czech: Towards an Aural History of Bohemia and Moravia, 2015

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Další údaje

Jazyk

angličtina

Typ výsledku

Prezentace na konferencích

Obor

Umění, architektura, kulturní dědictví

Stát vydavatele

Česká republika

Utajení

není předmětem státního či obchodního tajemství

Označené pro přenos do RIV

Ne

Organizační jednotka

Filozofická fakulta

Klíčová slova anglicky

music reception studies; Janáček; Sinfonietta; Czech inter-war music; music and ideology; First Czechoslovak Republic ideology

Příznaky

Mezinárodní význam

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Anotace

V originále

The paper, which is drawn from my PhD research project, examines transformations of reception of Leoš Janáček’s Sinfonietta during the first three Czech performances of the composition (thus the three Czech performances during Janáček’s lifetime). The Prague premiere was held as a part of the 8th Sokol-Rally [Všesokolský slet] on 26th June, 1926. There, Sinfonietta (or the opening fanfares, respectively) was played at least two times: by trumpeters during the daytime festive parade and as a part of evening symphonic concert “for the youth” in Smetana Hall; therefore it oscillated between positions of autochthonal work of art and functional music. Brno premiere was held in the City Theatre on 3rd April, 1927, as a symphonic concert of the National Theatre in Brno, whose program consisted mainly of the 20th century avant-garde. And the second Brno performance of the composition happened on 27th May, 1928, as an opening concert of the Exhibition of contemporary culture [Výstava soudobé kultury] held in the City Theatre. This paper explains how the concrete material and discursive factors and contextual conditions shaped and fundamentally changed these three receptive acts – in terms of both aural experience and “reading”.