Karel Stecker Videos
tschechischer Musiktheoretiker Organist und Komponist
- Orgel
- klassische Musik, liturgische Musik
- Musikwissenschaftler, Komponist, Organist, Musikpädagoge, Lehrer, Musiktheoretiker
Letzte Aktualisierung
2024-05-14
Aktualisieren
Vítězslav Novák Josef Suk Jan Panenka Novak Antonín Dvořák Oskar Nedbal Rudolf Karel Karel Stecker Brahms Debussy Richard Strauss Alexander Zemlinsky 1870 1892 1895 1900 1906 1918 1949
Josef Suk / Jan Panenka 00:00 Allegro Appassionato 09:25 Andante Cantabile 17:53 Allegro Giusto Vítězslav Novák +••.••(...)) was a Czech Composer. He was baptized Viktor Novak. In his late teens, he moved to Prague to study at Prague Conservatory, changing his name to Vítězslav to identify more closely with his Czech identity, as many of those of his generation had already done. At the conservatory, he studied piano and attended Antonín Dvořák's masterclasses in composition where his fellow students included Josef Suk, Oskar Nedbal, and Rudolf Karel. When Dvořák departed for his three-year stay in America (1892–1895), Novák continued his studies with the ultra-conservative Karel Stecker. However, just before and after 1900, shortly after his graduation, Novák wrote a series of compositions that put distance between himself and the teachings of both Stecker and Dvořák, edging his style toward the fledgling modernist movement. Beginning in the late 1890s, Novák began to explore influences beyond the prevailing Wagner/Brahms aesthetic of his contemporaries in Prague. Among these were folk influences from Moravia and Slovakia, which at that time were considered culturally backward in the cosmopolitan Czech capital. He also developed an interest in what would come to be called musical Impressionism, although in later life he denied any exposure to the music of Debussy at this time, claiming instead to have arrived at similar techniques on his own. These included forays into bitonality and non-functional, parallel harmony. Finally, after the Prague premiere of Salome in 1906, Novák formed an attachment to the music of Richard Strauss that would remain for the rest of his career. Upon the independence of Czechoslovakia in 1918, Novák turned his focus toward the administration of culture in the new democratic regime. In this capacity, he led the push toward de-Germanification and nationalization of the Conservatory, during which process his German-Bohemian colleagues, including Alexander Zemlinsky and Paul Nettl, were forced out to form a segregated institution. Novák became the new administrative head of the Czech-only institution and held various titles, alternating with Suk and others, until his retirement. There is no copyright infringement intended. If you wish your recording to be removed, it can be done, please just leave me an email, which can be found at the channel's about section.
Vítězslav Novák Antonín Dvořák Josef Suk Oskar Nedbal Rudolf Karel Karel Stecker Wagner Brahms Debussy Richard Strauss Václav Talich Alexander Zemlinsky Otakar Ostrčil 1870 1892 1895 1900 1901 1906 1909 1917 1918 1920 1939 1949 1970
It is my express wish that any and all potential or actual remuneration that may be my due be instead directed to any and all holders of copyright. Vítězslav Novák +••.••(...)) Serenade for Small Orchestra No. 2 in D Major, Op. 36 Czech Radio Symphony Orchestra, Prague Stanislav Bogunia, conductor I. Præludium: Andante tranquillo 0:00 II. Serenata: Allegro giusto 5:24 III. Notturno: Lento amoroso 8:11 IV. Finale: Allegro capriccioso 14:20 Vítězslav Novák (1870 – 1949) was a Czech composer and pedagogue. Stylistically, he was part of the neoromantic tradition, and his music has been occasionally considered an early example of Czech modernism. Novák (baptized Viktor Novák) was born in Kamenice nad Lipou, a small town in Southern Bohemia. After the death of his father the family moved to Jindřichův Hradec, a larger town where an elementary school is now named after him. In his late teens he moved to Prague to study at Prague Conservatory, changing his name to Vítězslav to identify more closely with his Czech identity, as many of his generation had already done. At the conservatory he studied piano and attended Antonín Dvořák's masterclasses in composition where his fellow students included Josef Suk, Oskar Nedbal, and Rudolf Karel. When Dvořák departed for his three-year sojourn in America (1892–1895), Novák continued his studies with the ultra-conservative Karel Stecker. However, just before and after 1900, shortly after his graduation, Novák wrote a series of compositions that put distance between himself and the teachings of both Stecker and Dvořák, edging his style toward the fledgling modernist movement. Beginning in the late 1890s, Novák began to explore influences beyond the prevailing Wagner/Brahms aesthetic of his contemporaries in Prague. Among these were folk influences from Moravia and Slovakia, which at that time were considered culturally backward in the cosmopolitan Czech capital. He also developed an interest in what would come to be called musical Impressionism, although in later life he denied any exposure to the music of Debussy at this time, claiming instead to have arrived at similar techniques on his own. These included forays into bitonality and non-functional, parallel harmony. Finally, after the Prague premiere of Salome in 1906, Novák formed an attachment to the music of Richard Strauss that would remain for the rest of his career. Shortly after the turn of the century, Novák began teaching composition privately in Prague. From 1909 to 1920, he taught at the Prague Conservatory himself, and this occasionally occupied him to a greater degree than composing. During the same period, several events affected Novák's outlook on musical expression and artistic freedom. In the years 1901–1917, his apartment hosted a discussion group known as the Podskalská filharmonie. While most of its members were musicians, including Suk, Karel, and the conductor Václav Talich, performances were confined to readings of new modernist works from abroad and the group's goals were primarily intellectual; the Filharmonie served, however, as an important place for this group of Czech modernists to share their ideas. Upon the independence of Czechoslovakia in 1918, Novák turned his focus toward the administration of culture in the new democratic regime. In this capacity, he led the push toward de-Germanification and nationalization of the Conservatory, during which process his German-Bohemian colleagues, including Alexander Zemlinsky and Paul Nettl, were forced out to form their own segregated institution. Novák became the new administrative head of the Czech-only institution and held various titles, alternating with Suk and others, until his retirement. In the 1930s, Novák went through a period of artistic renewal with the premieres of some large-scale compositions. After the collapse of democracy and the subsequent Nazi protectorate in 1939, Novák, then retired, gained credibility among his younger Czech contemporaries through the performance of several patriotic and morale-boosting works, meant as a musical form of resistance. After the Second World War, he wrote a lengthy memoir, entitled O sobě a jiných (Of Myself and Others, publ. 1970), in which he aired many of his long-standing grudges, especially toward his main rival, Otakar Ostrčil, but also even his close friend Josef Suk. He died in Skuteč in Eastern Bohemia, where he had spent much of his last years.
oder
- Zeitleiste: Komponisten. Interpreten.
- Indizes (in alphabetischer Reihenfolge): S...