Marie Mösner, Marie Riegrová, and Josef Leopold Zvonař: Teaching, learning, networking

Result code in IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F68378033%3A_____%2F24%3A00618075" target="_blank" >RIV/68378033:_____/24:00618075 - isvavai.cz</a>

Result on the web

<a href="https://www.acecs.cz/media/cu_2024_13_03_bunzel.pdf" target="_blank" >https://www.acecs.cz/media/cu_2024_13_03_bunzel.pdf</a>

DOI - Digital Object Identifier

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Result language

angličtina

Original language name

Marie Mösner, Marie Riegrová, and Josef Leopold Zvonař: Teaching, learning, networking

Original language description

On 20 November 1860, the journal Dalibor announced a concert by the Austrian harp virtuoso and pedagogue Marie Mösner (1838–1884). Initiated by Josef Leopold Zvonař (1824–1865), the performance took place as part of a concert held by the Žofín Academy. Mösner had played in Prague already before, but this time she stayed a little longer so to take harmony lessons with Zvonař. Mösner’s desire to enhance her music-theoretical skills suggests that her career as a professional performer and harp teacher did not fully satisfy her. This impression is confirmed in her correspondence with Marie Riegrová (1833–1891) as well as by her concert repertoire. From 1857 onwards, she often chose an original work alongside virtuosic pieces by such contemporaries as Dieudonné-Félix Godefroid (1818–1897) or Elias Parish Alvars (1808–1849). Her Don Juan fantasy was received very positively by the Prague audience, and equally so her fantasy on Czech folk songs, which she wrote during her time with Zvonař. In this paper, I explore to what extent Mösner’s friendship with Riegrová and her acquaintanceship with Zvonař might have influenced both her professional choices and her Prague reputation as a musical newcomer, international star harpist, returning acquaintance, and an ambassador of Czech music and musical culture. I approach these different phases and facets of Mösner’s Prague connections by way of chronology. In so doing, I argue that both Mösner and Zvonař benefited from each other’s expertise and trans-regional cultural gravitas—professionally, socially, and intellectually, even though Mösner parted with Zvonař on bad terms, as is revealed in her correspondence with Riegrová. Mösner’s friendship with Riegrová outlasted her acquaintanceship with Zvonař both chronologically and personally.

Czech name

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Czech description

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Type

J_ost - Miscellaneous article in a specialist periodical

CEP classification

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OECD FORD branch

60403 - Performing arts studies (Musicology, Theater science, Dramaturgy)

Project

<a href="/en/project/GA22-16531S" target="_blank" >GA22-16531S: Semi-Private Musical Practices in Prague, Vienna and Berlin (1815–1850): Musical Repertoire within the Socio-Cultural Context of the Time</a><br>

Continuities

P - Projekt vyzkumu a vyvoje financovany z verejnych zdroju (s odkazem do CEP)

Publication year

2024

Confidentiality

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Name of the periodical

Clavibus unitis

ISSN

1803-7747

e-ISSN

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Volume of the periodical

13

Issue of the periodical within the volume

3

Country of publishing house

CZ - CZECH REPUBLIC

Number of pages

10

Pages from-to

7-16

UT code for WoS article

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EID of the result in the Scopus database

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