Founded 1974
Jakub Hrůša
Graham Melville-Mason
Antonín Dvořák III †
Radomil Eliška
Markéta Hallová
Miloš Jurkovič
Radoslav Kvapil
Alena Němcová
Sylvie Bodorovà

Journal “Czech Music” Volume 16 No. 1 (Abstract)

The Situation of Contemporary Music and My Own Approach Today
by Petr Eben
[Czech Music: Journal of the Dvořák Society, Vol. 16, No.1 (1990), pp. 7 – 9]

     Symptomatic of the crisis in contemporary music has been a multitude of diverging styles. The ‘de-railing’ of music from its social background has been evident in the loss of its liturgical, humanitarian, romanticist and nationalist functions, to be replaced by individualism, composers isolating themselves from tradition and their fellow human beings. Breaking out of this situation involves a return to the spiritual functions of music, and a recognition of art’s purpose in serving humanity. Only certain musicians of countries such as Czechoslovakia and England meet Eben’s criterion of being able to write attractive modern music for children.

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Contemporary Music in Brno
by Alena Němcová
[Czech Music: Journal of the Dvořák Society, Vol. 16, No.1 (1990), pp. 10 – 15]

Unlike Dvořák in Prague, Janáček did not initiate an indigenous ‘school’ of composition in Brno. Two of his pupils, however, Vilém Petrželka and Jaroslav Kvapil, became the first teachers of composition at Brno Academy after World War II. During the 1950s and 1960s a wide diversity of musical styles developed among a new generation of composers, finding inspiration in the music of Janáček and Bartók, and in other influences such as the neo-classicism of Martinů and Stravinsky, elements of jazz, and modern compositional techniques acquired, for example, from Darmstadt. The most important Moravian musical personality of his time was Miloslav Ištvan, particularly influenced by Janáček and Bartok and their creative approach to folklore.

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The Music and Musicians of Bohemia in Great Britain in the Second Half of the Eighteenth and the Early Nineteenth Centuries
by Graham Melville-Mason
[Czech Music: Journal of the Dvořák Society, Vol. 16, No.1 (1990), pp. 16 – 22]

Between 1740 – 1815 there was a sharp increase in musical traffic from Bohemia and Moravia to Great Britain. Among the performers welcomed were virtuoso horn players such as Stich, while from the 1780s works by Dussek, Jirovec, Koželuch, Mysliveček, Pichl, Richter, Rössler, Stamic, and Vaňhal appeared frequently in London concert programmes and elsewhere. The music of Johann and Karl Stamic and Vaňhal was heard in Edinburgh before that of Haydn. The Scottish publisher George Thompson enlisted Koželuch and Hummel to compose settings of Scottish folk songs. The popularity in Great Britain of music from the Czech lands in this period thus anticipated that of Dvořák and Janáček a century later.

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