Michael Beckerman - Böcker

A collection of essays and documents illuminating the work of Bohuslav Martinů, published in collaboration with the Bard Music Festival.Bohuslav Martinů was one of the most extraordinary and prolific composers of the twentieth century. Martinů and His World offers a portrait of the composer in all his complexity. Born in the present-day Czech Republic, Martinů was rendered stateless as a result of events around World War II and the Communist takeover of Czechoslovakia. He lived for more than a decade in the United States, where he had great success, and died in Switzerland.Martinů composed more than four hundred works in all genres of instrumental and vocal music, and infused each with a special combination of the lyrical and the dramatic. Alongside an unerring sense of form, his works draw on a kaleidoscope of elements from such sources as Dvořák, American jazz of the 1920s, English Renaissance madrigals, the late Baroque concerto grosso, French Impressionism, Czech and Moravian folk songs, and the contemporary music of his day.This volume pays special attention to Martinů’s little-known operatic works and presents for the first time both a recently discovered personal diary and a series of interviews with important figures who were part of his American years.Martinů and His World reveals the composer as an essential voice of his time, an original thinker about music past and present, who lived through the political complexities of the twentieth century and stood up to them both as a human being and as an artist.

A collection of essays and documents illuminating the work of Bohuslav Martinů, published in collaboration with the Bard Music Festival.Bohuslav Martinů was one of the most extraordinary and prolific composers of the twentieth century. Martinů and His World offers a portrait of the composer in all his complexity. Born in the present-day Czech Republic, Martinů was rendered stateless as a result of events around World War II and the Communist takeover of Czechoslovakia. He lived for more than a decade in the United States, where he had great success, and died in Switzerland.Martinů composed more than four hundred works in all genres of instrumental and vocal music, and infused each with a special combination of the lyrical and the dramatic. Alongside an unerring sense of form, his works draw on a kaleidoscope of elements from such sources as Dvořák, American jazz of the 1920s, English Renaissance madrigals, the late Baroque concerto grosso, French Impressionism, Czech and Moravian folk songs, and the contemporary music of his day.This volume pays special attention to Martinů’s little-known operatic works and presents for the first time both a recently discovered personal diary and a series of interviews with important figures who were part of his American years.Martinů and His World reveals the composer as an essential voice of his time, an original thinker about music past and present, who lived through the political complexities of the twentieth century and stood up to them both as a human being and as an artist.

Antonin Dvorak made his famous trip to the United States one hundred years ago, but despite an enormous amount of attention from scholars and critics since that time, he remains an elusive figure. Comprising both interpretive essays and a selection of fascinating documents that bear on Dvorak's career and music, this volume addresses fundamental questions about the composer while presenting an argument for a radical reappraisal. The essays, which make up the first part of the book, begin with Leon Botstein's inquiry into the reception of Dvorak's work in German-speaking Europe, in England, and in America. Commenting on the relationship between Dvorak and Brahms, David Beveridge offers the first detailed portrait of perhaps the most interesting artistic friendship of the era. Joseph Horowitz explores the context in which the "New World" Symphony was premiered a century ago, offering an absorbing account of New York musical life at that time. In discussing Dvorak as a composer of operas, Jan Smaczny provides an unexpected slant on the widely held view of him as a "nationalist" composer.Michael Beckerman further investigates this view of Dvorak by raising the question of the role nationalism played in music of the nineteenth century. The second part of this volume presents Dvorak's correspondence and reminiscences as well as unpublished reviews and criticism from the Czech press. It includes a series of documents from the composer's American years, a translation of the review of Rusalka's premiere with the photographs that accompanied the article, and Janacek's analyses of the symphonic poems. Many of these documents are published in English for the first time.

Once thought to be a provincial composer of only passing interest to eccentrics, Leos Janacek (1854-1928) is now widely acknowledged as one of the most powerful and original creative figures of his time. Banned for all purposes from the Prague stage until the age of 62, and unable to make it even out of the provincial capital of Brno, his operas are now performed in dynamic productions throughout the globe. This volume brings together some of the world's foremost Janacek scholars to look closely at a broad range of issues surrounding his life and work. Representing the latest in Janacek scholarship, the essays are accompanied by newly translated writings by the composer himself. The collection opens with an essay by Leon Botstein who clarifies and amplifies how Max Brod contributed to Janacek 's international success by serving as "point man" between Czechs and Germans, Jews and non-Jews. John Tyrrell, the dean of Janacek scholars, distills more than thirty years of research in "How Janacek Composed Operas," while Diane Paige considers Janacek's liason with a married woman and the question of the artist's muse.Geoffrey Chew places the idea of the adulterous muse in the larger context of Czech fin de siecle decadence in his thoroughgoing consideration of Janacek's problematic opera Osud. Derek Katz examines the problems encountered by Janacek's satirically patriotic "Excursions of Mr. Broucek" in the post-World War I era of Czechoslovak nationalism, while Paul Wingfield mounts a defense of Janacek against allegations of cruelty in his wife's memoirs. In the final essay, Michael Beckerman asks how much true history can be culled from one of Janacek's business cards. The book then turns to writings by Janacek previously unpublished in English. These not only include fascinating essays on Naturalism, opera direction, and Tristan and Isolde, but four impressionistic chronicles of the "speech melodies" of daily life. They provide insight into Janacek's revolutionary method of composition, and give us the closest thing we will ever have to the "heard" record of a Czech pre-war past-or any past, for that matter.