• 3/2014: Slovak Music Yesterday and Today

    3/2014: Slovak Music Yesterday and Today


    ČIERNA, Alena: Preface
    In: Slovenská hudba, Vol. 40, 2014, No. 3, pp. 205 – 206


    LENGOVÁ, Jana: Gustáv Koričánsky and František Zagiba in Slovak Music History
    In: Slovenská hudba, Vol. 40, 2014, No. 3, pp. 207 – 219

    Music critic and pianist Gustáv Koričánsky (1886–1947) was born in Sibiu (Transylvania, today Romania) and in 1921 he moved to Bratislava, Slovakia. He was employed as a bank clerk. Music historian and Slavicist František Zagiba (1912–1977) came from Rožňava and after the WW2 he worked and lived in Vienna. Both Koričánsky’s music journalism and Zagiba’s music-historical studies contributed in a diverse way to the knowledge of the historical development of music culture in Slovakia. As a music critic, Gustáv Koričánsky advocated the international recognition of Slovak music; hence he devoted great attention to the reflection of music of Slovak composers and music life generally. His music interests could be classified as applied musicology and were closely joined with the music practice. His personal commitment, originality and erudition of his remarks have secured a place for him among the important Slovak music critics of the interwar period.
    As a music historian, František Zagiba was interested in the music of the past. He was among the pioneers creating an awareness of the historical character of the Slovak music on the background of ethnic and territorial relations. In the Slovak historiography he was the only one who specialized in the Slavonic music studies of both older and more recent period. Through his regionalistic studies regarding the 18th and 19th centuries, Zagiba enriched the Slovak music historiography by some precious stimuli.
    Revealing the individual life stories and diverse professional orientations of both Gustáv Koričánsky and František Zagiba, we can aptly demonstrate the differences of two music-developmental paradigms. Yet both, Koričánsky and Zagiba, contributed to the creation of music awareness and music tradition in Slovakia.

    ZAHRADNÍKOVÁ, Zuzana: Choral Inspirations in Organ Pieces of the Slovak 19th Century Composers
    In: Slovenská hudba, Vol. 40, 2014, No. 3, pp. 220 – 230

    Vocal music was a strong inspirational source for the origination of many purely instrumental works, sacred chants for service being no exception, e.g. Gregorian chant or Protestant chorale or sacred songs. Inspired by their artistic value and beauty many composers used them as a thematic material in their instrumental compositions. It is understandable that they were often employed in works for the musical instrument used at the service – organ. The artistic value of the tune and its connection with the biblical lyrics secured for Gregorian chant and Protestant chorale a permanent place in the history of church music. Sometimes for their archaic character, but mainly exactly for these reasons, the composers reached for them during the whole history and used them in their creation. We can name two composers as the principal representatives of organ music inspired by a chorale in the Slovak music of the 19th century: Ján Levoslav Bella and Viliam Figuš-Bystrý. Their organ music derived especially from their own experience of active organ-players.

    LECHMANOVÁ, Mariana: Jozef Grešák’s Opera With Rozarka
    In: Slovenská hudba, Vol. 40, 2014, No. 3, pp. 231 – 255

    Despite his persistent endeavour to acquire a sound compositional education, Jozef Grešák established himself in the Slovak music as an autodidact, or “free spirit” brought up on the folklore from Eastern Slovakia, which he perceived as an inexhaustible source of inspiration. While studying thoroughly the natural folkish expression he collided – similarly to other composers – with the issues regarding its exact rhythmic notation. He found the solution in the so-called “cell system” inspired by the composer’s own theory of movement in music. Apart from Eastern-Slovakian folklore and structural and expressive aspects joined with it, Grešák’s work was heavily influenced also by his strong social feeling for those in need. This resulted from the composer’s own hardship and declines, as well as from social obstacles he had had to deal with on his way to recognition since his childhood. His cell system and sincere humanistic character of his inspirations can be seen also in his fourth opera With Rozarka after the eponymous book of Vincent Šikula (1936–2001). The opera originated in Grešák’s prolific years of 1970–1973. In With Rozarka the composer followed the long tradition of a number opera, on the other hand he deliberately introduced some innovative devices inspired also by the contemporary film production into the work. Thus he created a half-length opera mosaic oscillating between the principles of romantic opera and experimental drama without the developing action. Jozef Grešák’s opera With Rozarka is shaped into an interesting form which contributes to the character of the Slovak opera of the second half of the 20th century.


    KRÁL, Vladimír: The Development of Notated Early Music Editions in Slovakia after 1945 and Current Perspectives
    In: Slovenská hudba, Vol. 40, 2014, No. 3, pp. 256 – 279

    In the submitted study we are dealing with the issue of the development of editiorial activity regarding early music in Slovakia. The study is divided into two main parts. In the first part the history of editorial work in Slovakia is scrutinized. Starting in the interwar period we follow the historical development up to the present time, and focus on consequential editions. The second part is an attempt at an analysis of historical development of the publishing of editions after 1945 in Slovakia. On the basis of the acquired information we point to some problems which should be in the centre of attention of music editors. One of the accentuated problems is the absence of an explicit repertory concept while preparing edition cycles. In the conclusion of the study we present our proposals for the solution of the present situation, e.g. publishing of digital editions. Attached to the study is a compiled list of existing published editions and other note materials in Slovakia.

    ŠTRBÁK PANDIOVÁ, Iveta: Gejza Dusík’s Operettas in Slovak Theatres
    In: Slovenská hudba, Vol. 40, 2014, No. 3, pp. 280 – 286

    It has been full 80 years since the production of the first operetta by Gejza Dusík. His operetta work clearly follows the arch of development of the genre in Slovakia to its climax, which has not been surpassed so far. In the realm of classical music we often mention Alexander Moyzes as the founder and creator of our symphonic music, and Suchoň and Cikker, whose opera works contributed to the crystallization of the Slovak national opera. In the realm of entertaining music and operetta this role was played by Gejza Dusík. The composer’s sense for the purity of the work of art lacking the stain of cosmopolitism and false sentiment, provided for the wide spreading of his work among the public, which preserves it to this day as a cultural heritage. The goal of the study it to point to the musical legacy of this significant composer and to present his operetta creation and its productions in Slovak theatres.


    SMOLÍK, Pavol: Slovak (Supra)National Opera: An Interview with the Composer Ľubica Čekovská
    In: Slovenská hudba, Vol. 40, 2014, No. 3, pp. 287 – 291


    ČIERNA, Alena, Jr.: New Slovak Music 2014: 27th Festival to The Centenary of Dezider Kardoš
    In: Slovenská hudba, Vol. 40, 2014, No. 3, pp. 292 – 302


    REISER, Michal: Július Fujak: Margonálie
    In: Slovenská hudba, Vol. 40, 2014, No. 3, pp. 303 – 304

    [The contribution is available only in Slovak language in the printed version of the revue.]