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

Kód výsledku v 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>

Výsledek na webu

<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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Jazyk výsledku

angličtina

Název v původním jazyce

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

Popis výsledku v původním jazyce

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.

Název v anglickém jazyce

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

Popis výsledku anglicky

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.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

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OECD FORD obor

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

Projekt

<a href="/cs/project/GA22-16531S" target="_blank" >GA22-16531S: Polosoukromé hudební praxe v Praze, Vídni a Berlíně (1815–1850): Hudební repertoár v dobovém sociokulturním kontextu</a><br>

Návaznosti

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

Rok uplatnění

2024

Kód důvěrnosti údajů

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

Název periodika

Clavibus unitis

ISSN

1803-7747

e-ISSN

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Svazek periodika

13

Číslo periodika v rámci svazku

3

Stát vydavatele periodika

CZ - Česká republika

Počet stran výsledku

10

Strana od-do

7-16

Kód UT WoS článku

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EID výsledku v databázi Scopus

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