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Czech title: L'Attraction et la necessite. Classical. Book, CD. With Publication language: French. 272 pages. Editio Baerenreiter Praha #H07942. Published by Editio Baerenreiter Praha (PA.H07942).
ISBN 9788086385273. 9.06 x 6.3 inches.
Between the 1890s and World War II the axis of Paris - Prague was found to be incredibly attractive. Its attraction lay in sharing mutual political and social values and led to the demand of certain cultural and artistic unity. The aim of this book is to raise questions regarding the musical works of this period, and discuss which musical works show this 'affinity in choice'. During the course of the 20th century 'cultural polarities' started blurring, and paradoxically enough it was not one of the Slav countries, but Paris where Czech composers reinvented, through the Neo-Classical style ( mainly Stravinski's) their 'Eastern pole': light and archaic themes, a specific register of folk and trivial music, and the preference for creative spontaneity in compositions. Which features in the direction taken by Bohuslav Martinu can be regarded as typical of this tendency? What were the positions of the other Czech composers such as Leos Janacek, Alois Haba, Karel Husa, Jaroslav Jezek and others, and artists working in the musical, artistic or literal fields, for instance Arne Hosek, Milada Souckova, Jiri Kolar, Milan Slavicky, Milan Kundera, within this context? The analysis of these questions regarding the whole of the 20th century is completed with several so far unpublished or unknown sources.
Czech title: L'Attraction et la necessite. Classical. Book, CD. With Publication language: French. 272 pages. Editio Baerenreiter Praha #H07942. Published by Editio Baerenreiter Praha (PA.H07942).
ISBN 9788086385273. 9.06 x 6.3 inches.
Between the 1890s and World War II the axis of Paris - Prague was found to be incredibly attractive. Its attraction lay in sharing mutual political and social values and led to the demand of certain cultural and artistic unity. The aim of this book is to raise questions regarding the musical works of this period, and discuss which musical works show this 'affinity in choice'. During the course of the 20th century 'cultural polarities' started blurring, and paradoxically enough it was not one of the Slav countries, but Paris where Czech composers reinvented, through the Neo-Classical style ( mainly Stravinski's) their 'Eastern pole': light and archaic themes, a specific register of folk and trivial music, and the preference for creative spontaneity in compositions. Which features in the direction taken by Bohuslav Martinu can be regarded as typical of this tendency? What were the positions of the other Czech composers such as Leos Janacek, Alois Haba, Karel Husa, Jaroslav Jezek and others, and artists working in the musical, artistic or literal fields, for instance Arne Hosek, Milada Souckova, Jiri Kolar, Milan Slavicky, Milan Kundera, within this context? The analysis of these questions regarding the whole of the 20th century is completed with several so far unpublished or unknown sources.
Preview: L'Attraction et la nécessité
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