Women in Nineteenth-Century Czech Musical Culture

ISBN-13: 9781032206592 / Twarda / 2024 / 264 str.

Opis

This volume focuses on the circumstances of women’s music-making in the diverse environment of Habsburg Central Europe, especially Bohemia and Lower Austria, during the 19th century. It sheds light on little-known women musicians, and reconsiders well-works and composers from woman-centric perspectives.

Spis treści

Contents

 

List of Illustrations

List of Music Examples

List of Tables

Library Sigla

Notes on Contributors

Acknowledgements

Introduction (Anja Bunzel and Christopher Campo-Bowen)

 

PERFORMANCE & IDENTITY

 

Chapter 1: Bohemian Divas and the Rise of Czech National Consciousness (Martin Nedbal, University of Kansas, USA)

 

Chapter 2: Sweet Street Music for Petty Alms: The Barrel-Organ Career of Anna Balcarová in the Poděbrady Region, 1889–1905 (Risto Pekka Pennanen, Sibelius Academy, University of the Arts Helsinki, Finland)

 

Chapter 3: The Australian Career of Soprano Gabriella Roubalová (“Madame Boema”) (Janice B. Stockigt, The University of Melbourne, Australia)

 

Chapter 4: Eliška Krásnohorská and Czech Operatic Historiography: Reconciling the Paradox of Women’s Authorial Voices (Brian S. Locke, Western lllinois University, USA)

 

INSTITUTIONAL STRUCTURES & NETWORKS

 

Chapter 5: Women in the Musical Culture of Viennese Czechs (Slavs) in the Nineteenth Century: Towards a Social Typology (Viktor Velek, Faculty of Fine Arts and Music, University of Ostrava, Czech Republic)

 

Chapter 6: Josef Hellmesberger’s Female Students from Moravia and Their Presence in European Musical Life (Annkatrin Babbe, Sophie Drinker Institute, Bremen / University of Oldenburg, Germany)

 

Chapter 7: The “Disorder It Created”: Women’s Education at the Prague Conservatory in the Nineteenth Century (Freia Hoffmann, Sophie Drinker Institute, Bremen / University of Oldenburg, Germany)

 

Chapter 8: The Three Ebert Sisters: Wilhelmine Tomaschek, Juliane Glaser, and Elisabeth Hansgirg (Markéta Kabelková, National Museum – Czech Museum of Music, Prague, Czech Republic)

 

Chapter 9 Reminiscences of Past Sounds: The Musical Autograph Album (1813–1852) of Elise Gräfin von Schlik (Henrike Rost, University of Music and Performing Arts, Vienna, Austria)

 

RECEPTION & ANALYSIS

 

Chapter 10: Stephanie Wurmbrand-Stuppach and Her Piano Works (Jana Lengová, Institute of Musicology, Slovak Academy of Sciences, Slovak Republic)

 

Chapter 11: “My Soul Is Filled with Songs”: Josefina Brdlíková as a Song Composer (Anja Bunzel, Institute of Art History, Czech Academy of Sciences, Czech Republic)

 

Chapter 12: Singing Women and the “Woman Question” in the Czech Lands (Kelly St Pierre, Wichita State University, USA / The Center for Theoretical Studies, Charles University Prague and Czech Academy of Sciences, Czech Republic)

 

Chapter 13: “Man-Hungry Amazon” or “Treacherous Trumpeter”? A Case Study of the Sources for and Reception of Fibich and Schulzová’s Šárka (Emma Parker, Independent Scholar, Santa Barbara, USA)

 

Chapter 14: Ježibaba’s Ambiguities: Binaries, Power, and Queer Alterity in Antonín Dvořák’s Rusalka (Christopher Campo-Bowen, Virginia Tech School of Performing Arts, USA)

 

AFTERWORD

Dvořák’s Women (Michael Beckerman, New York University, USA)

 

INDEX

O autorze

 

Anja Bunzel works at the Institute of Art History, Czech Academy of Sciences, where she researches (semi-)private musical culture in nineteenth-century Prague within a European context. She is co-editor of Musical Salon Culture in the Long Nineteenth Century (Boydell, 2019), and author of The Songs of Johanna Kinkel: Genesis, Reception, Context (Boydell, 2020).

 

Christopher Campo-Bowen is Assistant Professor of Musicology in the School of Performing Arts at Virginia Tech. He holds a PhD in musicology from UNC Chapel Hill. His research focuses on music in the Habsburg monarchy in the nineteenth and twentieth centuries, especially through topics like opera, ethnicity, gender, and empire.