Veronika Vejvodová | National Museum in Prague (original) (raw)

Papers by Veronika Vejvodová

Musicalia, 2023

In this article, we are presenting some valuable acquisitions of recent years, which have enriche... more In this article, we are presenting some valuable acquisitions of recent years, which have enriched the holdings of the Czech Museum of Music. In this year’s issue, we are focusing on the collections of the Department of Musical Instruments, the Bedřich Smetana Museum, and the Antonín Dvořák Museum.

Musicologica Brunensia, 2023

This article focuses on selected details of the deep relationship between Antonín Dvořák and Leoš... more This article focuses on selected details of the deep relationship between Antonín Dvořák and Leoš Janáček, which began during Janáček‘s studies at the Prague Organ School in 1874–1875. The paper discusses Janáček‘s detailed analyses of Antonín Dvořák‘s four symphonic poems based on the ballads by Karel Jaromír Erben, which demonstrate the creative parallels between the two composers, as well as Brno performances of the symphonic poems during Dvořák‘s lifetime and reflection in the contemporary press. The article also shows that Janáček, in analysing
the symphonic poems, made use of his work on the theory of speech melody, and that he became the first theorist of Dvořák‘s work.

Dílo a proměna myšlení v české kultuře 19. století, 2023

The first performance of Dvořák’s opera Rusalka, which took place at the National Theatre in Prag... more The first performance of Dvořák’s opera Rusalka, which took place at the National Theatre in Prague on 31 March 1901, provoked a range of critical reflection from contemporary critics. Reviews of Rusalka by prominent critics were published in the contemporary daily press as well as specialist journals. Critics were very strict in their evaluation of Jaroslav Kvapil’s libretto, to which they applied the requirement of “Czechness” and originality, since the author himself admitted in the preface to the libretto that he was inspired by foreign models (Hauptmann, Fouqué, Andersen), but also by the ballads by K. J. Erben. Dvořák’s music arrangement was analysed in terms of style (modern drama or number opera), in which individual critics differed considerably. The greatest opponent of Rusalka, and the opponent of the entire critical community, was Zdeněk Nejedlý. His criticism described the work as a reactionary modern music drama, the only possible form to which Rusalka in no way corresponds. Nejedlý thus foreshadowed the future fights over Dvořák (1910–1914), which divided Czech cultural society and whose reverberations are still felt today.

Opus musicum, 2022

The article, based on a study of sources on the genesis of the libretto of Dvořák’s Rusalka, puts... more The article, based on a study of sources on the genesis of the libretto of Dvořák’s Rusalka, puts into context and maps in detail the short period from the creation of the libretto of this opera, through its journey to other composers (Alois Jiránek, Oskar Nedbal, Josef Suk, Karel Kovařovic and J. B. Foerster), to its adoption by Antonín Dvořák. The main sources for this period are the correspondence of Jaroslav Kvapil, the librettist of Rusalka, with the composer J. B. Foerster and Jaroslav Kvapil’s memoirs. Towards the end of his life, Dvořák concentrated exclusively on opera and chose librettos based on fairy-tale themes. He was distrustful, however, of texts and took advice from the director of the National Theatre, F. A. Šubert and the music critic Emanuel Chvála, who eventually recommended the text of Rusalka from the pen of the young writer Jaroslav Kvapil. Before Christmas 1899, the writer decided to offer the libretto, through the director Šubert, to Dvořák who eventually accepted it.

Museum: Museum and Regional Studies , 2022

The study brings a new perspective and unknown facts about the world premiere of Dvořák’s most fa... more The study brings a new perspective and unknown facts about the world premiere of Dvořák’s most famous opera Rusalka, which was first performed on 31 March 1901 at the National Theatre in Prague. Through previously unheeded sources and literature, the text provides a detailed description of the circumstances of the premiere and the dramatic situation in the management of the National Theatre, which underwent a major change in 1900. The premiere of Rusalka was given exceptional care by the theatre: the composer attended rehearsals of the orchestra led by the newly elected head of the opera, Karel Kovařovic, who had a reputation as an excellent conductor. Great attention was also paid to the costume and stage design. However, the premiere was jeopardised on the day of its performance by the main character of the prince, the European renowned tenor Karel Burian, who cancelled the performance on the same day. He was replaced by Bohumil Pták, who, according to his recollection of these events, had studied the role with Burian. The issue of the premiere of Rusalka also opens up the topic of the relationship between Kovařovic and Dvořák, two prominent figures of Czech opera at the end of the 19th century, which is discussed against the background of the later so-called struggle for Dvořák (1913).

Musicologica Olomucensia, 2010

Na pozadi recepce Straussova dila se přitomna prace snaži vymezit vztah Leose Janacka a Richarda ... more Na pozadi recepce Straussova dila se přitomna prace snaži vymezit vztah Leose Janacka a Richarda Strausse. Leos Janacek se živě o Straussovo dilo zajimal, což doklada straussovska literatura v jeho knihovně a citace ze Straussových děl v Janackově hudebně teoretickem dile. Na Janacka měl pravděpodobně i vliv typ Straussovy bohate instrumentace.

Musicalia, 2020

The article is based primarily on Josef Kořenský’s travelogue and diary, and in broader historica... more The article is based primarily on Josef Kořenský’s travelogue and diary, and in broader historical contexts it reports on Kořenský’s contacts with Antonín Dvořák in Prague in the 1870s and ’80s and in New York, where the two men met in late May and early June of 1893. There is a detailed description of the voyage to America, including the realities of ocean crossings and information about Dvořák’s family. There are also introductions of other figures from the circle of Czech artists and intellectuals in New York at the time, such as Alfred Baštýř, who took stereoscopic photographs of the Dvořák family, and the violinist Karel Ondříček. The connections between Kořenský’s journey to America and the Czech patriotic milieu also receive attention.

Antonin Dvořak komponoval svou posledni operu po patnactiměsicni kompozicni přestavce, kdy hledal... more Antonin Dvořak komponoval svou posledni operu po patnactiměsicni kompozicni přestavce, kdy hledal nový vhodný operni namět. Rozhodl se pro Vrchlickeho libreto z roku 1888 Armida na namět Tassova Osvobozeneho Jeruzalema. Samotna geneze opery se sklada z několika kompozicnich fazi (prvni nacrty, souvisla skica, orchestralni partitura). Armida vsak neměla na divadelni sceně uspěsný start. Premiera v roce 1904 vzbudila spise rozpaky a na dalsi uvedeni na prknech Narodniho divadla musela opera cekat do roku 1928. Edicni historie Armidy zahrnuje pouze klavirni výtah opery (1941, 1951), partitura stale ceka na sve vydani.

Dvořakova posledni opera Armida měla premieru ihned po svem dokonceni. Připravy prvniho provedeni... more Dvořakova posledni opera Armida měla premieru ihned po svem dokonceni. Připravy prvniho provedeni vsak provazely nesnaze - konflikty s dirigentem Frantiskem Pickou, onemocněni představitele Rinalda Bohumila Ptaka a nedbala scenicka výprava. Ani samotna premiera se nesetkala s přilisným uspěchem. Ackoliv byl po představeni skladatel publikem vyvolavan, na podium se již dostavit nemohl - premieru musel opustit v jejim průběhu kvůli zacinajicim zdravotnim problemům, ktere později způsobily jeho smtr. Kritika se v nazorem na operu lisila - jedni vyzdvyhovali jeji modernismus, jini ji zas považovali za nepřilis povedenou. Sam Leos Janacek, který byl přitomen na některých zkouskach a na generalce, vyjadřil nazor, že Armida by bývala byla zacatkem noveho Dvořakova operniho slohu.

Musicologica Brunensia, 2019

Musicologica Brunensia, 2013

Performing Arts and Technical Issues. International Conference, 2019

After the success of Rusalka on the stage of the National Theatre in Prague in 1901, the theatre ... more After the success of Rusalka on the stage of the National Theatre in Prague in 1901, the theatre direction was very interested Dvořák’s next opera. The composer chose the libretto by Czech poet Jaroslav Vrchlický which was based on the motifs from Torquato Tasso’s famous Gerusalemme liberata (Jerusalem Delivered). After finishing the opera, the manuscript was submitted to the theatre and preparation for the premiere begun. Dvořák was faced with many musical problems during the rehearsals, but there were also complications with the staging. The first performance of Armida in 1904 was unconvincing. The set was poor and critics reacted to the opera itself with evasive criticism. The unsuccessful premiere caused Armida to fade unjustly into obscurity up to the present days. This paper will be dealing with the details regarding the staging of Armida’s premiere. Only two photos relevant to staging have been preserved — both of Armida’s main character in costume posing on stage. There are no surviving photos of the set or costume costume designs. However we can still gather information about the premiere’s staging from different materials such as the printed libretto of the premiere deposited at the National Theatre Archive with handwritten technical notes, articles from different newspapers and magazines, the original composer’s manuscript of Armida, the original manuscript of libretto, Dvořák’s correspondence and his contemporaries’ recollections. I will be dealing with the set design of all 4 acts of Armida which are situated in different, exotic or spectacular environments (1. act – gardens of the royal palace in Damascus, 2. act – Christian military camp near Damascus, 3. act – Armida’s magic gardens, 4. act – oasis in the desert). Armida was composed as a spectacular opera in Wagnerian style and the problems with the set may have been one of the main reasons why was not the opera accepted by the critics. Critics evaluated the staging as very poor and insufficient. Special attention will be given to the technical implementation of the magical scenes in the opera in this paper. In the 3rd act Armida and the magician, Ismen, have a witchcraft fight, where castles suddenly disappear and the set changes immediately. In this paper I will reconstruct the way the National Theatre dealt with this technical problem at the premiere production of Armida, both in the context of a regular Theatre operations and other opera productions of this time period.

Musicalia, 2019

The article is based primarily on Josef Kořenský’s travelogue and diary, and in broader historica... more The article is based primarily on Josef Kořenský’s travelogue and diary, and in broader historical contexts it reports on Kořenský’s contacts with Antonín Dvořák in Prague in the 1870s and ´80 and in New York, where the two men met in late May and early June of 1893. There is a detailed description of voyage to America, including the realities of ocean crossings and information about Dvořák’s family. There are also introductions of other figures from the circle of Czech artists and intellectuals in New York at the time, such as Alfred Baštýř, who took stereoscopic photographs of the Dvořák family, and the violinist Karel Ondříček. The connections between Kořenský’s journey to America and the Czech patriotic milieu also receive attention.

Musicalia, 2019

Především na základě cestopisu a deníku Josefa Kořenského a v širších historických souvislostech ... more Především na základě cestopisu a deníku Josefa Kořenského a v širších historických souvislostech líčí článek Kořenského kontakty s Dvořákem v Praze v 70. a 80. letech 19. století a v New Yorku, kde se oba muži setkali na přelomu května a června 1893. Detailně je popsána lodní cesta do Ameriky včetně reálií a údajů z rodinného života Dvořákových. Představeny jsou i další osobnosti z kroužku českých umělců a intelektuálů v New Yorku této doby, např. Alfred Baštýř - autor stereoskopických fotografií Dvořákovy rodiny či houslista Karel Ondříček. Opomenuta není ani souvztažnost Kořenského cesty do Ameriky s domácím vlasteneckým prostředím.

Musicologica Brunensia, 2019

Dvořák’s last opera Armida to the libretto of Jaroslav Vrchlický (on the motives of Jerusalem Del... more Dvořák’s last opera Armida to the libretto of Jaroslav Vrchlický (on the motives of Jerusalem Delivered by Torquato Tasso) has remained practically forgotten to this day. The negative public and critical reception of the 1904 premiere meant that Armida had only a brief initial run before being pulled from the National Theatre’s repertoire. The myth-veiled work was abandoned until the arrival of a new political regime and a new artistic generation, which endeavoured to enter Dvořák’s opera into the repertoire of Czech theatres. The most prominent of these efforts was Ostrčil’s production of Armida at the National Theatre in 1928, but even that failed to secure a decisive victory for Armida. The critics questioned the quality of the libretto and the overall dramatic structure of the opera. They also discussed the style, the choice of exotic theme,
and the stage design, which went against the essence of Wagnerian drama and “grand opera”.

Musicalia, 2023

In this article, we are presenting some valuable acquisitions of recent years, which have enriche... more In this article, we are presenting some valuable acquisitions of recent years, which have enriched the holdings of the Czech Museum of Music. In this year’s issue, we are focusing on the collections of the Department of Musical Instruments, the Bedřich Smetana Museum, and the Antonín Dvořák Museum.

Musicologica Brunensia, 2023

This article focuses on selected details of the deep relationship between Antonín Dvořák and Leoš... more This article focuses on selected details of the deep relationship between Antonín Dvořák and Leoš Janáček, which began during Janáček‘s studies at the Prague Organ School in 1874–1875. The paper discusses Janáček‘s detailed analyses of Antonín Dvořák‘s four symphonic poems based on the ballads by Karel Jaromír Erben, which demonstrate the creative parallels between the two composers, as well as Brno performances of the symphonic poems during Dvořák‘s lifetime and reflection in the contemporary press. The article also shows that Janáček, in analysing
the symphonic poems, made use of his work on the theory of speech melody, and that he became the first theorist of Dvořák‘s work.

Dílo a proměna myšlení v české kultuře 19. století, 2023

The first performance of Dvořák’s opera Rusalka, which took place at the National Theatre in Prag... more The first performance of Dvořák’s opera Rusalka, which took place at the National Theatre in Prague on 31 March 1901, provoked a range of critical reflection from contemporary critics. Reviews of Rusalka by prominent critics were published in the contemporary daily press as well as specialist journals. Critics were very strict in their evaluation of Jaroslav Kvapil’s libretto, to which they applied the requirement of “Czechness” and originality, since the author himself admitted in the preface to the libretto that he was inspired by foreign models (Hauptmann, Fouqué, Andersen), but also by the ballads by K. J. Erben. Dvořák’s music arrangement was analysed in terms of style (modern drama or number opera), in which individual critics differed considerably. The greatest opponent of Rusalka, and the opponent of the entire critical community, was Zdeněk Nejedlý. His criticism described the work as a reactionary modern music drama, the only possible form to which Rusalka in no way corresponds. Nejedlý thus foreshadowed the future fights over Dvořák (1910–1914), which divided Czech cultural society and whose reverberations are still felt today.

Opus musicum, 2022

The article, based on a study of sources on the genesis of the libretto of Dvořák’s Rusalka, puts... more The article, based on a study of sources on the genesis of the libretto of Dvořák’s Rusalka, puts into context and maps in detail the short period from the creation of the libretto of this opera, through its journey to other composers (Alois Jiránek, Oskar Nedbal, Josef Suk, Karel Kovařovic and J. B. Foerster), to its adoption by Antonín Dvořák. The main sources for this period are the correspondence of Jaroslav Kvapil, the librettist of Rusalka, with the composer J. B. Foerster and Jaroslav Kvapil’s memoirs. Towards the end of his life, Dvořák concentrated exclusively on opera and chose librettos based on fairy-tale themes. He was distrustful, however, of texts and took advice from the director of the National Theatre, F. A. Šubert and the music critic Emanuel Chvála, who eventually recommended the text of Rusalka from the pen of the young writer Jaroslav Kvapil. Before Christmas 1899, the writer decided to offer the libretto, through the director Šubert, to Dvořák who eventually accepted it.

Museum: Museum and Regional Studies , 2022

The study brings a new perspective and unknown facts about the world premiere of Dvořák’s most fa... more The study brings a new perspective and unknown facts about the world premiere of Dvořák’s most famous opera Rusalka, which was first performed on 31 March 1901 at the National Theatre in Prague. Through previously unheeded sources and literature, the text provides a detailed description of the circumstances of the premiere and the dramatic situation in the management of the National Theatre, which underwent a major change in 1900. The premiere of Rusalka was given exceptional care by the theatre: the composer attended rehearsals of the orchestra led by the newly elected head of the opera, Karel Kovařovic, who had a reputation as an excellent conductor. Great attention was also paid to the costume and stage design. However, the premiere was jeopardised on the day of its performance by the main character of the prince, the European renowned tenor Karel Burian, who cancelled the performance on the same day. He was replaced by Bohumil Pták, who, according to his recollection of these events, had studied the role with Burian. The issue of the premiere of Rusalka also opens up the topic of the relationship between Kovařovic and Dvořák, two prominent figures of Czech opera at the end of the 19th century, which is discussed against the background of the later so-called struggle for Dvořák (1913).

Musicologica Olomucensia, 2010

Na pozadi recepce Straussova dila se přitomna prace snaži vymezit vztah Leose Janacka a Richarda ... more Na pozadi recepce Straussova dila se přitomna prace snaži vymezit vztah Leose Janacka a Richarda Strausse. Leos Janacek se živě o Straussovo dilo zajimal, což doklada straussovska literatura v jeho knihovně a citace ze Straussových děl v Janackově hudebně teoretickem dile. Na Janacka měl pravděpodobně i vliv typ Straussovy bohate instrumentace.

Musicalia, 2020

The article is based primarily on Josef Kořenský’s travelogue and diary, and in broader historica... more The article is based primarily on Josef Kořenský’s travelogue and diary, and in broader historical contexts it reports on Kořenský’s contacts with Antonín Dvořák in Prague in the 1870s and ’80s and in New York, where the two men met in late May and early June of 1893. There is a detailed description of the voyage to America, including the realities of ocean crossings and information about Dvořák’s family. There are also introductions of other figures from the circle of Czech artists and intellectuals in New York at the time, such as Alfred Baštýř, who took stereoscopic photographs of the Dvořák family, and the violinist Karel Ondříček. The connections between Kořenský’s journey to America and the Czech patriotic milieu also receive attention.

Antonin Dvořak komponoval svou posledni operu po patnactiměsicni kompozicni přestavce, kdy hledal... more Antonin Dvořak komponoval svou posledni operu po patnactiměsicni kompozicni přestavce, kdy hledal nový vhodný operni namět. Rozhodl se pro Vrchlickeho libreto z roku 1888 Armida na namět Tassova Osvobozeneho Jeruzalema. Samotna geneze opery se sklada z několika kompozicnich fazi (prvni nacrty, souvisla skica, orchestralni partitura). Armida vsak neměla na divadelni sceně uspěsný start. Premiera v roce 1904 vzbudila spise rozpaky a na dalsi uvedeni na prknech Narodniho divadla musela opera cekat do roku 1928. Edicni historie Armidy zahrnuje pouze klavirni výtah opery (1941, 1951), partitura stale ceka na sve vydani.

Dvořakova posledni opera Armida měla premieru ihned po svem dokonceni. Připravy prvniho provedeni... more Dvořakova posledni opera Armida měla premieru ihned po svem dokonceni. Připravy prvniho provedeni vsak provazely nesnaze - konflikty s dirigentem Frantiskem Pickou, onemocněni představitele Rinalda Bohumila Ptaka a nedbala scenicka výprava. Ani samotna premiera se nesetkala s přilisným uspěchem. Ackoliv byl po představeni skladatel publikem vyvolavan, na podium se již dostavit nemohl - premieru musel opustit v jejim průběhu kvůli zacinajicim zdravotnim problemům, ktere později způsobily jeho smtr. Kritika se v nazorem na operu lisila - jedni vyzdvyhovali jeji modernismus, jini ji zas považovali za nepřilis povedenou. Sam Leos Janacek, který byl přitomen na některých zkouskach a na generalce, vyjadřil nazor, že Armida by bývala byla zacatkem noveho Dvořakova operniho slohu.

Musicologica Brunensia, 2019

Musicologica Brunensia, 2013

Performing Arts and Technical Issues. International Conference, 2019

After the success of Rusalka on the stage of the National Theatre in Prague in 1901, the theatre ... more After the success of Rusalka on the stage of the National Theatre in Prague in 1901, the theatre direction was very interested Dvořák’s next opera. The composer chose the libretto by Czech poet Jaroslav Vrchlický which was based on the motifs from Torquato Tasso’s famous Gerusalemme liberata (Jerusalem Delivered). After finishing the opera, the manuscript was submitted to the theatre and preparation for the premiere begun. Dvořák was faced with many musical problems during the rehearsals, but there were also complications with the staging. The first performance of Armida in 1904 was unconvincing. The set was poor and critics reacted to the opera itself with evasive criticism. The unsuccessful premiere caused Armida to fade unjustly into obscurity up to the present days. This paper will be dealing with the details regarding the staging of Armida’s premiere. Only two photos relevant to staging have been preserved — both of Armida’s main character in costume posing on stage. There are no surviving photos of the set or costume costume designs. However we can still gather information about the premiere’s staging from different materials such as the printed libretto of the premiere deposited at the National Theatre Archive with handwritten technical notes, articles from different newspapers and magazines, the original composer’s manuscript of Armida, the original manuscript of libretto, Dvořák’s correspondence and his contemporaries’ recollections. I will be dealing with the set design of all 4 acts of Armida which are situated in different, exotic or spectacular environments (1. act – gardens of the royal palace in Damascus, 2. act – Christian military camp near Damascus, 3. act – Armida’s magic gardens, 4. act – oasis in the desert). Armida was composed as a spectacular opera in Wagnerian style and the problems with the set may have been one of the main reasons why was not the opera accepted by the critics. Critics evaluated the staging as very poor and insufficient. Special attention will be given to the technical implementation of the magical scenes in the opera in this paper. In the 3rd act Armida and the magician, Ismen, have a witchcraft fight, where castles suddenly disappear and the set changes immediately. In this paper I will reconstruct the way the National Theatre dealt with this technical problem at the premiere production of Armida, both in the context of a regular Theatre operations and other opera productions of this time period.

Musicalia, 2019

The article is based primarily on Josef Kořenský’s travelogue and diary, and in broader historica... more The article is based primarily on Josef Kořenský’s travelogue and diary, and in broader historical contexts it reports on Kořenský’s contacts with Antonín Dvořák in Prague in the 1870s and ´80 and in New York, where the two men met in late May and early June of 1893. There is a detailed description of voyage to America, including the realities of ocean crossings and information about Dvořák’s family. There are also introductions of other figures from the circle of Czech artists and intellectuals in New York at the time, such as Alfred Baštýř, who took stereoscopic photographs of the Dvořák family, and the violinist Karel Ondříček. The connections between Kořenský’s journey to America and the Czech patriotic milieu also receive attention.

Musicalia, 2019

Především na základě cestopisu a deníku Josefa Kořenského a v širších historických souvislostech ... more Především na základě cestopisu a deníku Josefa Kořenského a v širších historických souvislostech líčí článek Kořenského kontakty s Dvořákem v Praze v 70. a 80. letech 19. století a v New Yorku, kde se oba muži setkali na přelomu května a června 1893. Detailně je popsána lodní cesta do Ameriky včetně reálií a údajů z rodinného života Dvořákových. Představeny jsou i další osobnosti z kroužku českých umělců a intelektuálů v New Yorku této doby, např. Alfred Baštýř - autor stereoskopických fotografií Dvořákovy rodiny či houslista Karel Ondříček. Opomenuta není ani souvztažnost Kořenského cesty do Ameriky s domácím vlasteneckým prostředím.

Musicologica Brunensia, 2019

Dvořák’s last opera Armida to the libretto of Jaroslav Vrchlický (on the motives of Jerusalem Del... more Dvořák’s last opera Armida to the libretto of Jaroslav Vrchlický (on the motives of Jerusalem Delivered by Torquato Tasso) has remained practically forgotten to this day. The negative public and critical reception of the 1904 premiere meant that Armida had only a brief initial run before being pulled from the National Theatre’s repertoire. The myth-veiled work was abandoned until the arrival of a new political regime and a new artistic generation, which endeavoured to enter Dvořák’s opera into the repertoire of Czech theatres. The most prominent of these efforts was Ostrčil’s production of Armida at the National Theatre in 1928, but even that failed to secure a decisive victory for Armida. The critics questioned the quality of the libretto and the overall dramatic structure of the opera. They also discussed the style, the choice of exotic theme,
and the stage design, which went against the essence of Wagnerian drama and “grand opera”.

Summary Bedřich Smetana (1824–1884), Antonín Dvořák (1841–1904), Leoš Janáček (1854–1928) and Boh... more Summary
Bedřich Smetana (1824–1884), Antonín Dvořák (1841–1904), Leoš Janáček (1854–1928) and Bohuslav Martinů (1890–1959) together comprise the most well-known quartet of Czech composers, whose influence surpassed the borders of Czech lands, and to a certain extent and time, successfully reached world renown. Their differing destinies and the various social and political conditions of their time played a significant role in promoting their works, some of which did not reach appreciation until the end of their life, or reached recognition only after their death.
The authors of the catalog for the exhibition Famous Czech Composers focus on the destinies of these four composers, while simultaneously searching for common denominators that characterized their creations. A look at the individual personalities is navigated through foundational life events and through a deeper look at their general lives, such as existential conditions, environments, professions, travels, as well as glances at their personalities and character traits. Their creations can be examined through four central works – Bedřich Smetana’s Vltava (1874) from the cycle Má Vlast, Antonín Dvořák’s Symphony No. 9 in E minor “From the New World“ (1893), Leoš Janáček’s Sinfonietta (1926) and Bohuslav Martinů’s Double Concerto for Two String Orchestras, Piano, and Timpani (1938). Readers will also be able to compare four iconic operas from each composer – Smetana’s The Bartered Bride (1866), Dvořák’s Rusalka (1900), Janáček’s The Cunning Little Vixen (1923) and Martinů’s Juliette (1937). Another aspect that merges the creations of these composers, while also dividing them, are the inspirations that comprise the individual chapters and contain varying themes – nature, Czech history and nationalism, contemporary events, folk songs and dances, women, literature, foreign cultures, human speech, as well as modern trends of the time and the development of technology. The texts are also dedicated to the daily rituals of the composers, which are closely related to their compositional process. The last chapter focuses on the relationships and connections between the four composers. The catalog offers a wealth of supplementary visual materials and representative photographs of the subjects of the exhibition.

The book is the first complete edition of a unique source for understanding the personality of An... more The book is the first complete edition of a unique source for understanding the personality of Antonín Dvořák. It contains the correspondence of the Dvořák's faithful assistant during his American stay, excellent violist Josef Jan Kovařík with Dvořák's biographer Otakar Šourek. The book contains historical study, medallions of important personalities, publishing and editorial report, registers and pictures. The book brings alive, new and sometimes surprising view of the great composer.

Kniha představuje první kompletní vydání jedinečného zdroje k poznání osobnosti Antonína Dvořáka,... more Kniha představuje první kompletní vydání jedinečného zdroje k poznání osobnosti Antonína Dvořáka, a sice korespondence, kterou o Dvořákovi vedl jeho věrný pomocník za amerického pobytu, vynikající violista Josef Jan Kovařík s Dvořákovým životopiscem Otakarem Šourkem. Kromě samotných dopisů kniha obsahuje zasvěcenou hudebněhistorickou studii, medailonky osobností, vydavatelskou zprávu, rejstříky a barevnou přílohu. Přináší živý a čtenářsky velmi vděčný (a občas i překvapivý) pohled na velkého skladatele.

Antonín Dvořák composed his last opera after 15 months of searching a new operatic topic. He deci... more Antonín Dvořák composed his last opera after 15 months of searching a new operatic topic. He decided for Jaroslav Vrchlický's libretto Armida from 1888, wchich was written after T. Tasso's Jerusalem Delivered. The genesis of the opera consist of a few compositional phases (first sketches, consistent sketch, full score). On stage wasn't Armida successful. It's first performance in 1904 was embarrassed and for the next performance at the stage of National Theatre in Prague Armida had to wait till 1928. Editional history of the opera includes only the vocal score (1941, 1951), full score still waits for its publication.

Dvorák’s song cycle Gypsy Songs op. 55 on words by the Czech poet Adolf Heyduk, were written at t... more Dvorák’s song cycle Gypsy Songs op. 55 on words by the Czech poet Adolf Heyduk, were written at the beginning of 1880 at the request of the Bohemian tenor Gustav Walter, a member of the Vienna Court Opera and the work’s dedicatee. For this Urtext edition the editor Veronika Vejvodová has taken the original print as her main source. The edition appears in two volumes, one for high voice and another for low voice.

• Extensive Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editor, vocal texts in three languages (Cz/Eng/Ger)

Dvorák’s song cycle Gypsy Songs op. 55 on words by the Czech poet Adolf Heyduk, were written at t... more Dvorák’s song cycle Gypsy Songs op. 55 on words by the Czech poet Adolf Heyduk, were written at the beginning of 1880 at the request of the Bohemian tenor Gustav Walter, a member of the Vienna Court Opera and the work’s dedicatee. For this Urtext edition the editor Veronika Vejvodová has taken the original print as her main source. The edition appears in two volumes, one for high voice and another for low voice.

• Extensive Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editor, vocal texts in three languages (Cz/Eng/Ger)

“Songs II” includes the mature works from Dvorák’s late period. Besides the well-known cycle “Lov... more “Songs II” includes the mature works from Dvorák’s late period. Besides the well-known cycle “Love Songs” and the less well-known cycle “Three Modern Greek Songs”, the volume also contains some entirely unknown and previously unpublished pieces: “Lullaby” and the posthumously published “Song from The Smith of Lešetín” completed by Josef Suk.

The songs are presented in chronological order in volumes for high and low voice. Each volume contains the vocal text underlaid in three languages (Cz/Eng/Ger). For the most part the translations have been taken from the first edition.

• Second volume of the new five-volume Urtext edition of the complete songs
• First Urtext edition with detailed Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editor
• Some songs appear for the first time in print
• Vocal texts in three languages (Cz/Eng/Ger)

“Songs II” includes the mature works from Dvorák’s late period. Besides the well-known cycle “Lov... more “Songs II” includes the mature works from Dvorák’s late period. Besides the well-known cycle “Love Songs” and the less well-known cycle “Three Modern Greek Songs”, the volume also contains some entirely unknown and previously unpublished pieces: “Lullaby” and the posthumously published “Song from The Smith of Lešetín” completed by Josef Suk.

The songs are presented in chronological order in volumes for high and low voice. Each volume contains the vocal text underlaid in three languages (Cz/Eng/Ger). For the most part the translations have been taken from the first edition.

• Second volume of the new five-volume Urtext edition of the complete songs
• First Urtext edition with detailed Foreword (Cz/Eng/Ger) and Critical Commentary (Eng) by the editor
• Some songs appear for the first time in print
• Vocal texts in three languages (Cz/Eng/Ger)

Editio Janáček Brno, 2010

The volume introduces torsos of following operas: Paní mincmistrová/The Mintmaster´s Wife, Gazdin... more The volume introduces torsos of following operas: Paní mincmistrová/The Mintmaster´s Wife, Gazdina roba/The farmer´s Wench, Živá mrtvola/The Living Corpse and stage music Schluck und Jau. Janáček left each of these operatic drafts in a different phase of work. While Živá mrtvola is a fragment of an orchestral score and Schluck und Jau is an orchestral sketch,Paní mincmistrová and Anna Karenina resemble a sketch outline in the form of a piano score with particular musical instruments atypically marked. Sketches of Gazdina roba are in most fragmentary state which often are in the form of outlines with only particular music ideas. The edition aims to to show the developement of Janáček´s creative work as well as to illustrate the original compositional thinking of the composer.

Výstava, Historická budova Národního muzea, Praha

Exhibition at the Antonín Dvořák Museum, 30. 4. 2019 – 30. 4. 2020. Nature played a major role i... more Exhibition at the Antonín Dvořák Museum, 30. 4. 2019 – 30. 4. 2020.

Nature played a major role in the life of Antonín Dvořák and had a strong impact on his work. Walks were a daily habit of his, and he would even set out several times a day to relax from his strenuous work. At his summer house in Vysoká, he did gardening, planted trees, kept pigeons, and would set out on his favourite morning walks in the countryside, enjoying the songs of birds along the way. He would take his children with him for an afternoon stroll. Antonín Dvořák was a competent pedestrian who liked to travel with his friends. He visited a number of places in Bohemia with Leoš Janáček in 1883, including Říp Mountain, Strakonice, Orlík Castle, Husinec, or Prachatice. He often sought encouragement in nature during his summer stay in Spillville in the American countryside. Nature was a powerful source of inspiration for Dvořák, as evidenced, among others, by the song cycle Cypresses, Silent Woods for cello and piano (or orchestra), the concert overture In Nature’s Realm, or the piano cycle From the Bohemian Forest.

The exhibition presents Dvořák’s love of nature and shows Dvořák as an enthusiastic hiker, pigeon fancier, gardener, and especially as a composer frequently inspired by nature.

The exhibition includes original items from Dvořák’s personal estate, such as his walking sticks, hats, drinking bottle (flask), or the composer’s own copy of an expert book on birdsong from the collection of the National Museum. Visitors will also have the opportunity to see Dvořák’s straw hat and hats that he usually wore in the summer months in his house in Vysoká, which were kindly loaned by Petr Dvořák (Antonín Dvořák’s great grandson).

Exhibition at the Gallery of Czech Center New York, USA - October 13 - November 9, 2018. The las... more Exhibition at the Gallery of Czech Center New York, USA - October 13 - November 9, 2018.

The last work Dvořák composed in America was his beloved Cello Concerto in B minor. Dvořák had doubts about the cello as a solo instrument, but after hearing the premiere performances of the Cello Concerto No. 2 by Victor Herbert, his colleague at the National Conservatory of Music of America, he was inspired to fulfill a request by a prominent Czech cellist, Hanuš Wihan, and composed a cello concerto of his own. The concerto was first read through in February 1895, in the parlor of Dvořák's house on Manhattan's East 17th Street, during a visit of the Kneisel Quartet from Boston by the quartet's cellist, Alwin Shroeder––the "first hearing in history"–– with the maestro at the piano.

Manuscript of Dvořák's Cello Concerto for the first time on view in NYC.

In collaboration with the National Museum in Prague and Carnegie Hall Archives, Ministry of Foreign Affairs and Ministry of Culture of the Czech Republic.

Exhibition at the Antonín Dvořák Museum, 29. 3. 2018 – 30. 4. 2019. The exhibition, titled The G... more Exhibition at the Antonín Dvořák Museum, 29. 3. 2018 – 30. 4. 2019.

The exhibition, titled The Guilty Pleasures of Antonín Dvořák, presented the famous Czech composer in an uncommon light – as a man of ordinary pastimes and pleasures.

Dvořák was a passionate smoker, who enjoyed playing his favourite card game “darda” and loved good food (especially Czech cuisine). He frequented pubs and cafés with his friends in Prague, he would go “for a beer” to the local pub in Vysoká near Příbram, where the family stayed over summer. He played darda in the evenings with his friends and family, even when he was in America, as remembered by his American guide and companion Josef J. Kovařík. They never played for money, only occasionally for matches or buttons.

The composer’s favourite Czech dishes were plum dumplings, beef with saffron sauce, and veal steak. Dvořák relished the chance to have Czech food even in America. In the first year of their stay, the family often took meals at a boarding house, which offered local cuisine, as Dvořák wrote to his friend Josef Hlávka: “soup, different sorts of meat each day, turkeys, poultry, pastries, sometimes even dumplings and pancakes (but a bit different), compote, cheese, coffee, wine, and beer.”

As a smoker, Dvořák enjoyed pipes but also used cigars and cigarettes. Although he smoked freely in his office, he did not smoke in any of the other rooms. At the behest of his wife Anna, he likewise limited his use of the pipe to when he was at the pub (Fencls’) in Vysoká or outside in the garden.

Smoking was usually associated with an evening spent in the company of his friends or family. The merry company would sometimes play cards – Dvořák would play both at home and at his usual pubs and cafés in Prague. Dvořák’s favourite card game “darda” was played with a deck of 32 “mariáš” (marriage) cards with German pips, which was very popular among Czechs.

Dvořák was a regular visitor at Café Paris, which was located opposite the Dvořáks’ flat in Žitná Street. He also frequented Mahulíks’, a restaurant in Myslíkova Street, where he even held the role of “protector” of a merry company of musicians that gathered there. After a performance at the Provisional theatre, where he was employed as a violist in the orchestra from 1862 to 1871, Dvořák and his colleagues would visit The Little Singers, a pub on Na Struze Street, for the superb potato soup they made there.

The exhibition will display items from the composer’s personal estate, which document these pastimes – such as pipes, cigar tips and cases, cards, bowling pins, crockery from his villa in Vysoká near Příbram, or the cookery book of Terezie Liehmannová, his classmate and first love from Zlonice.

Visitors can take the original recipes from the cookery book of Terezie Liehmannová – Dvořák’s first love from Zlonice or the rules of Dvořák’s favourite card game “darda”.

Exhibition at the Gallery of Czech Center, New York, USA (1. 2. – 23. 2. 2017) and at the Czech M... more Exhibition at the Gallery of Czech Center, New York, USA (1. 2. – 23. 2. 2017) and at the Czech Museum of Music, Prague, Czech Republic (10. 4. – 17. 4. 2017).

An exhibition of the original manuscript and other treasures related to Antonín Dvořák's beloved opera accompanied by a month-long program of special events.

How does a work of art begin it’s journey? When is a piece of music born? Experience how a famous composer conceived his masterpiece in a special exhibition for opera lovers.

In connection with the Metropolitan Opera’s new production of Antonín Dvořák’s opera, admirers of the maestro will see a rare exhibition of original scores, letters and other treasures related to the opera Rusalka, including Renée Fleming´s costumes from the Metropolitan Opera, presented to American audiences for the first time.

Guided tours will also include the exhibition Mythic Bohemia: Dvořák’s Villa and Lake Rusalka organized by the Dvořák American Heritage Association in the Dvořák Room.

The exhibition RUSALKA is organized by the Czech Center New York in collaboration with the National Museum in Prague, the Metropolitan Opera, Harmony Foundation and the Dvořák American Heritage Association. Presented under the auspices of the Consul General of the Czech Republic in New York Martin Dvořák.

Exhibition at the Antonín Dvořák Museum, 29. 3. 2017 – 29. 3. 2018.

Exhibition at the Antonín Dvořák Museum, 11. 4. 2016 – 28. 3. 2017.

Exhibition at the Antonín Dvořák Museum, Prague, 30. 3. 2015 – 28. 3. 2016.

Exhibition at the Antonín Dvořák Museum, Prague, 21. 3. 2014 – 29. 3. 2015.

Exhibition at Besední dům, Brno, 5. 4. – 21. 4. 2013.

Exhibition at the Leoš Janáček Memorial, Brno, 22. 6. – 30. 9. 2012; Moravian Library in Brno, 5.... more Exhibition at the Leoš Janáček Memorial, Brno, 22. 6. – 30. 9. 2012; Moravian Library in Brno, 5. 3. – 29. 3. 2013; Foyer of Rudolfinum, Prague (Rudolf Firkušný Piano Festival), 24. – 30. 11. 2013.

Exhibition at the foyer of Janáček Theatre Brno, 2010.

Exhibition at the foyer of Besední dům, Brno, 10. – 30. 4. a 17. – 31. 5. 2009 and at the Academy... more Exhibition at the foyer of Besední dům, Brno, 10. – 30. 4. a 17. – 31. 5. 2009 and at the Academy of Performing Arts in Prague (HAMU), Respirium 9. 4. – 12. 5. 2010.

Registration is now open for Dvořák and Opera Workshop This workshop will be held online and re... more Registration is now open for

Dvořák and Opera Workshop

This workshop will be held online and registration is free. To register please see:

https://www.eventbrite.co.uk/e/195929268717

The personal presence at the Czech Museum of Music, Prague, Karmelitská No. 2/4 is also possible, please register here:

https://www.eventbrite.com/e/195914183597

The links will be sent to registered participants (for the online event) shortly before the conference.

For more information please contact: veronika.vejvodova@nm.cz

Registration is now open for Dvořák and Opera Workshop This workshop will be held online an... more Registration is now open for

Dvořák and Opera Workshop

This workshop will be held online and registration is free. To register please see:
https://www.eventbrite.co.uk/e/195929268717

The personal presence at the Czech Museum of Music, Prague, Karmelitská No. 2/4 is also possible, please register here:
https://www.eventbrite.com/e/195914183597

The links will be sent to registered participants (for the online event) shortly before the conference.

For more information please contact: veronika.vejvodova@nm.cz

Operní tvorba zaujímá v díle Leoše Janáčka výsadní postavení. Během svého života zkomponoval devě... more Operní tvorba zaujímá v díle Leoše Janáčka výsadní postavení. Během svého života zkomponoval devět dokončených oper a vedle těchto "známe asi třicet hudebně dramatických pokusů" 1. Důkazem jsou prameny uložené v Hudebním oddělení Moravského zemského muzea. Jedná se především o knihy, které Janáček četl a v nichž si podtrhával či opatřoval text poznámkami. Dalšími prameny jsou vypracovaná libreta, scénáře, korespondence a notové zápisy (skica nebo fragment partitury). Některé podněty zůstaly u přečtené knihy, jiné mají vypracovaný scénář, libreto nebo notové záznamy. Problematikou Janáčkových hudebně dramatických námětů se zabývala Theodora Straková ve svých studiích z padesátých a osmdesátých let, ve kterých na základě pramenů (zejména korespondence) poskytuje výčet všech námětů, kterými se Janáček vzněcoval 2. Ruským tématům ve skladatelově tvorbě se věnovala také ruská badatelka Marina A. Melniková v disertační práci z roku 1988 Ruská literatura v operní tvorbě Leoše Janáčka 3. Předkládaná práce s názvem "Ruské fragmenty L. Janáčka" se věnuje dvěma výraznějším podnětům v Janáčkově tvorbě: nedokončeným operám na ruské náměty Lva Nikolajeviče Tolstého Živá mrtvola a Anna Karenina. Příčiny ruské inspirace Jaké byly příčiny Janáčkova zaujetí právě ruským tématem? Živá mrtvola a Anna Karenina nejsou jedinými Janáčkovými díly s ruskou tematikou: Melodram Smrt na slova M. N. Lermontova (1876), Orchestrální dílo Taras Bulba na literární předlohu N. V. Gogola (1915), Pohádka pro violoncello a klavír na epickou báseň V.A.Žukovského Pohádka o caru Berenději (1910), nenalezené Trio pro housle, violoncello a klavír podle Tolstého Kreutzerovy sonáty (1908) obměněné ve smyčcovém kvartetu z podnětu téhož díla (1923), opera Káťa Kabanová podle Bouře A. N. Ostrovského (1921) nebo Z mrtvého domu na F. M. Dostojevského atd. jsou dokladem Janáčkova zájmu o ruskou kulturu 4. V Janáčkově knihovně se vedle českých a západoevropských spisovatelů nachází díla N. V. Gogola, F. M. Dostojevského, A.S.Puškina, I.A.Gončarova a také L. N. Tolstého 5. Z Tolstého děl najdeme v knihovně Kreuzerovu sonátu 6 , Sevastopolské povídky 7 , román Vzkříšení 8 a trojdílné vydání díla, ve kterém první díl obsahuje drama Živá mrtvola 9. Seznam ruských knih v Janáčkově knihovně ale úplně nevypovídá o tom, co vše skladatel z této oblasti četl.

Český hudební slovník osob a institucí (online), 2017

Entry in the Czech Dictionary of Personalities and Institutions (online)

Český hudební slovník osob a institucí (online), 2017

Entry in the Czech Dictionary of Personalities and Institutions (Online)