Zdeněk Nejedlý a Vítězslav Novák : ke vztahu hudebního kritika a skladatele

Název: Zdeněk Nejedlý a Vítězslav Novák : ke vztahu hudebního kritika a skladatele
Variantní název:
  • Zdeněk Nejedlý and Vítězslav Novák : a relationship between the critic and the composer
Zdrojový dokument: Musicologica Brunensia. 2015, roč. 50, č. 1, s. [165]-176
Rozsah
[165]-176
  • ISSN
    1212-0391 (print)
    2336-436X (online)
Type: Článek
Jazyk
Licence: Neurčená licence
 

Upozornění: Tyto citace jsou generovány automaticky. Nemusí být zcela správně podle citačních pravidel.

Abstrakt(y)
A musicologist and a historcian Zdeněk Nejedlý aimed his lasting attention to a composer Vítězslav Novák in the first two decades of the 20th century. Nejedlý was dealing with Novák's oeuvre and personality in numerous articles in the newspapers and in the music journals. In 1910 and between 1913–14 he published a comprehensive study in the journal Smetana, where he at¬tempted to grasp critically Novák's artistry. The study was published separately in 1915 and extended into a smaller monography in 1921. A basis for Nejedlý's critical activities was created by a new concept of art criticism by F. X. Šalda (Boje o zítřek, 1905), by Nietzsche's monumentalistic history and by the ideals of the Czech national revival. There was also an important influence of Otakar Hostinský who predetermined Nejedlý's concept of the Czech modern music (especially a polarity between Dvořák and Smetana). Bedřich Smetana and his oeuvre represented a criterion of progressivnes in music for Nejedlý. Analysing Nejedlý's critical statements concerning Novák it attracts particularly Nejedlý's emphasizing of artistic subjectivism on the one hand and his reject¬ing of exogenous (objective) factors on the other hand (i.e. fundamental rejection of folk music as a base for creation of national music, refusing of musical naturalism, onomatopoeia and illustrativness). The mutual personal disputes affected the relationship between Nejedlý and Novák as well, particularly the so-called "struggless for Dvořák" after 1912. If and how much these struggles influenced Nejedlý's negative judgements about Novák's compositions (Specter's bride, Zvíkovský rarášek, Karlštejn) remains questionable. In his monography about Novák from 1921 attempts Nejedlý to reconstruct mental experience and states of the composer; he uses empathy, intuition and introspection (methodological probably influenced by Wilhelm Dilthey) what place his methodolgy near to period Einfühlungsästhetik and musical hermeneutics.
Note
Předložená práce vznikla za finanční podpory Ministerstva kultury v rámci institucionálního financování na dlouhodobý koncepční rozvoj výzkumné organizace Moravské zemské muzeum (DKRVO, MK000094862).