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

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 19...

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Main Author: Ondřej Pivoda
Format: Article
Language:ces
Published: Masaryk University, Faculty of Arts 2015-06-01
Series:Musicologica Brunensia
Subjects:
Online Access:https://journals.phil.muni.cz/musicologica-brunensia/article/view/23819
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author Ondřej Pivoda
author_facet Ondřej Pivoda
author_sort Ondřej Pivoda
collection DOAJ
description 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.
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spelling doaj.art-444177a15ac84aacb16362fc6a8cdab02023-09-06T09:10:30ZcesMasaryk University, Faculty of ArtsMusicologica Brunensia1212-03912336-436X2015-06-0150110.5817/MB2015-1-14Zdeněk Nejedlý a Vítězslav Novák : ke vztahu hudebního kritika a skladateleOndřej PivodaA 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.https://journals.phil.muni.cz/musicologica-brunensia/article/view/23819Zdeněk NejedlýVítězslav Novákcriticism
spellingShingle Ondřej Pivoda
Zdeněk Nejedlý a Vítězslav Novák : ke vztahu hudebního kritika a skladatele
Musicologica Brunensia
Zdeněk Nejedlý
Vítězslav Novák
criticism
title Zdeněk Nejedlý a Vítězslav Novák : ke vztahu hudebního kritika a skladatele
title_full Zdeněk Nejedlý a Vítězslav Novák : ke vztahu hudebního kritika a skladatele
title_fullStr Zdeněk Nejedlý a Vítězslav Novák : ke vztahu hudebního kritika a skladatele
title_full_unstemmed Zdeněk Nejedlý a Vítězslav Novák : ke vztahu hudebního kritika a skladatele
title_short Zdeněk Nejedlý a Vítězslav Novák : ke vztahu hudebního kritika a skladatele
title_sort zdenek nejedly a vitezslav novak ke vztahu hudebniho kritika a skladatele
topic Zdeněk Nejedlý
Vítězslav Novák
criticism
url https://journals.phil.muni.cz/musicologica-brunensia/article/view/23819
work_keys_str_mv AT ondrejpivoda zdeneknejedlyavitezslavnovakkevztahuhudebnihokritikaaskladatele