The Reception of Janáček’s Programmatic Orchestral Music

a 2016

The Reception of Janáček’s Programmatic Orchestral Music

ZAPLETAL, Miloš

Základní údaje

Originální název

The Reception of Janáček’s Programmatic Orchestral Music

Autoři

ZAPLETAL, Miloš

Vydání

Nineteenth-Century Programme Music, 25.-27. 11. 2017, Complesso Monumentale di San Micheletto, Lucca, 2016

Další údaje

Jazyk

angličtina

Typ výsledku

Konferenční abstrakt

Obor

Umění, architektura, kulturní dědictví

Stát vydavatele

Itálie

Utajení

není předmětem státního či obchodního tajemství

Označené pro přenos do RIV

Ano

Kód RIV

RIV/00216224:14210/16:00092432

Organizační jednotka

Filozofická fakulta

Klíčová slova anglicky

programme music; Janáček; Janáček's programme music; musical reception; reception studies; Janáček reception

Štítky

rivok

Změněno: 2. 4. 2017 21:38, doc. PhDr. Martin Flašar, Ph.D.

Anotace

V originále

Leoš Janáček is largely viewed as one of the most significant innovators of opera. The fact that his achievements in the field of orchestral, chamber and piano music were (in a context of the ‘long’ nineteenth century) no less innovative remains obscure. Furthermore, all of his instrumental music, except for a few marginal cases, can be regarded as programme music: Janáček was a composer of a fundamentally programmatic and dramatic musical disposition. In my paper I will focus on the critical reception of Janáček’s programmatic compositions, namely symphonic poems by his Czech contemporaries; critiques and other texts from both the press and musicological publications from the period 1877-1928 will be taken into account. Principally, my paper monitors the evaluation of Janáček with respect to the tradition of Czech programmatic music of the «Smetanian line» (B. Smetana, Z. Fibich, J. B. Foerster, and O. Ostrčil) on the one hand, and in the context of Dvořák’s programme overtures and symphonic poems on the other. Attention is paid to the issue of receptive constants or «conceptual fields» (Eggebrecht), produced by individual newspapers, journals and artistic, social, and political groups; this issue includes various conceptualizations of Czech-ness and Slavic-ness in terms of either folkloristic and nationalist inspirations of Janáček or literary prototypes of his compositions ( J. Vrchlický and S. Čech were the two most famous Czech poets of the late nineteenth century; N. V. Gogol was perceived as a Classical figure of ‘Great Russian’ literature).

Návaznosti

MUNI/A/0988/2015, interní kód MU

Název: Výzkumné sondy k dějinám hudební kultury na Moravě, především v Brně, část III.

Investor: Masarykova univerzita, Výzkumné sondy k dějinám hudební kultury na Moravě, především v Brně, část III., DO R. 2020_Kategorie A - Specifický výzkum - Studentské výzkumné projekty

Citovat

ZAPLETAL, Miloš. The Reception of Janáček’s Programmatic Orchestral Music. In Nineteenth-Century Programme Music, 25.-27. 11. 2017, Complesso Monumentale di San Micheletto, Lucca. 2016.

@proceedings{1365484,
   author = {Zapletal, Miloš},
   booktitle = {Nineteenth-Century Programme Music, 25.-27. 11. 2017, Complesso Monumentale di San Micheletto, Lucca},
   keywords = {programme music; Janáček; Janáček's programme music; musical reception; reception studies; Janáček reception},
   language = {eng},
   title = {The Reception of Janáček’s Programmatic Orchestral Music},
   year = {2016}
}

TY  - CONF
ID  - 1365484
AU  - Zapletal, Miloš
PY  - 2016
TI  - The Reception of Janáček’s Programmatic Orchestral Music
KW  - programme music
KW  - Janáček
KW  - Janáček's programme music
KW  - musical reception
KW  - reception studies
KW  - Janáček reception
N2  - Leoš Janáček is largely viewed as one of the most significant innovators of opera. The fact that his achievements in the field of orchestral, chamber and piano music were (in a context of the ‘long’ nineteenth century) no less innovative remains obscure. Furthermore, all of his instrumental music, except for a few marginal cases, can be regarded as programme music: Janáček was a composer of a fundamentally programmatic and dramatic musical disposition. In my paper I will focus on the critical reception of Janáček’s programmatic compositions, namely symphonic poems by his Czech contemporaries; critiques and other texts from both the press and musicological publications from the period 1877-1928 will be taken into account. Principally, my paper monitors the evaluation of Janáček with respect to the tradition of Czech programmatic music of the «Smetanian line» (B. Smetana, Z. Fibich, J. B. Foerster, and O. Ostrčil) on the one hand, and in the context of Dvořák’s programme overtures and symphonic poems on the other. Attention is paid to the issue of receptive constants or «conceptual fields» (Eggebrecht), produced by individual newspapers, journals and artistic, social, and political groups; this issue includes various conceptualizations of Czech-ness and Slavic-ness in terms of either folkloristic and nationalist inspirations of Janáček or literary prototypes of his compositions ( J. Vrchlický and S. Čech were the two most famous Czech poets of the late nineteenth century; N. V. Gogol was perceived as a Classical figure of ‘Great Russian’ literature).
ER  -

ZAPLETAL, Miloš. The Reception of Janáček’s Programmatic Orchestral Music. In \textit{Nineteenth-Century Programme Music, 25.-27. 11. 2017, Complesso Monumentale di San Micheletto, Lucca}. 2016.

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