Page 281 - Weiss, Jernej, ur. 2017. Glasbene migracije: stičišče evropske glasbene raznolikosti - Musical Migrations: Crossroads of European Musical Diversity. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 1
P. 281
music and migration: contribution to the history of czech modern music (1870–1945)
delio Finke, Hans Krasa, Egon Kornauth, Erich Wolfgang Korngold, Er-
win Schulhoff, Viktor Ulmann, Bruno Weigl etc.). Slovak composers, on
the other hand, are getting into the domestic national culture sphere of in-
fluence. Authors who spent their whole life in one place were transferred
into a new cultural field. This is an extreme example of cultural migration
which occurred with the new interpretation that takes into account ethni-
cal and cultural context.
It is worth mentioning that German and French editions of Helfert’s
book (Die Musik in der tschechoslowakischen Republik/Histoire de la musique
dans la République Tchécoslovaque) were released in the same year as the
original. Section focused on German music (Zur deutschen Musik in der
schechoslovakischen Republik) was added into this publication. Its author
was Erich Steinhard (1886–1941).4
Situations positively influenced by a relationship we can call migration
(emigration or immigration) are common to find after 1870. Well recogniz-
able is a migration stream of musicians associated with military music and
different types of entertaining and dance music. In 19th century Czech mu-
sicians significantly contributed to the development of the East and South
European, primarily Slavic, cultures. Work of Jernej Weiss Češki glasbeni-
ki v 19. in na začetku 20. stoletja na Slovenskem (2012) can serve as an exam-
ple of this influence.5 Musicians working in Slovakia after the foundation of
Czechoslovakia (1918) played a special role.
Number of cases illustrates situations where the composers conduct-
ed long journeys for creative or existential reasons. Existential problems and
family losses brought Bedřich Smetana to Göteborg (1856–1861). Antonín
Dvořák also belonged among “migrating composers”. From 1892 to 1895 he
worked at the National Conservatory of Music in New York and in this short
period influenced professional musical life in the USA. Dvořák, as one of the
first leading European composers, reacted to American cultural and musi-
cal impulses: with his thoughts he joined the discussion about American na-
tional music. American stylized adaptations of dance folklore inspired by Indi-
an and black music originated under his influence. He also tried to musically
align with the incentives of Longfellow’s The Song of Hiawatha. Dvořák com-
posed the cantata The American Flag, New World Symphony, String Quartet
No. 12 in F major, Op. 96 with attribute “American”.
4 Vladimír Helfert, and Erich Steinhard, Die Musik in der tschechoslowakischen Re-
publik (Prag: Orbis, 1936).
5 Jernej Weiss, Češki glasbeniki v 19. in na začetku 20. stoletja na Slovenskem (Maribor:
Litera, 2012).
279
delio Finke, Hans Krasa, Egon Kornauth, Erich Wolfgang Korngold, Er-
win Schulhoff, Viktor Ulmann, Bruno Weigl etc.). Slovak composers, on
the other hand, are getting into the domestic national culture sphere of in-
fluence. Authors who spent their whole life in one place were transferred
into a new cultural field. This is an extreme example of cultural migration
which occurred with the new interpretation that takes into account ethni-
cal and cultural context.
It is worth mentioning that German and French editions of Helfert’s
book (Die Musik in der tschechoslowakischen Republik/Histoire de la musique
dans la République Tchécoslovaque) were released in the same year as the
original. Section focused on German music (Zur deutschen Musik in der
schechoslovakischen Republik) was added into this publication. Its author
was Erich Steinhard (1886–1941).4
Situations positively influenced by a relationship we can call migration
(emigration or immigration) are common to find after 1870. Well recogniz-
able is a migration stream of musicians associated with military music and
different types of entertaining and dance music. In 19th century Czech mu-
sicians significantly contributed to the development of the East and South
European, primarily Slavic, cultures. Work of Jernej Weiss Češki glasbeni-
ki v 19. in na začetku 20. stoletja na Slovenskem (2012) can serve as an exam-
ple of this influence.5 Musicians working in Slovakia after the foundation of
Czechoslovakia (1918) played a special role.
Number of cases illustrates situations where the composers conduct-
ed long journeys for creative or existential reasons. Existential problems and
family losses brought Bedřich Smetana to Göteborg (1856–1861). Antonín
Dvořák also belonged among “migrating composers”. From 1892 to 1895 he
worked at the National Conservatory of Music in New York and in this short
period influenced professional musical life in the USA. Dvořák, as one of the
first leading European composers, reacted to American cultural and musi-
cal impulses: with his thoughts he joined the discussion about American na-
tional music. American stylized adaptations of dance folklore inspired by Indi-
an and black music originated under his influence. He also tried to musically
align with the incentives of Longfellow’s The Song of Hiawatha. Dvořák com-
posed the cantata The American Flag, New World Symphony, String Quartet
No. 12 in F major, Op. 96 with attribute “American”.
4 Vladimír Helfert, and Erich Steinhard, Die Musik in der tschechoslowakischen Re-
publik (Prag: Orbis, 1936).
5 Jernej Weiss, Češki glasbeniki v 19. in na začetku 20. stoletja na Slovenskem (Maribor:
Litera, 2012).
279
