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206:. When Dvořák departed for his three-year stay in America (1892–1895), Novák continued his studies with the ultra-conservative Karel Stecker. However, just before and after 1900, shortly after his graduation, Novák wrote a series of compositions that put distance between himself and the teachings of both Stecker and Dvořák, edging his style toward the fledgling
481:, which he began to collect and study in the late 1890s. Within the decade he had assimilated the basic intervallic and rhythmic characteristics of these folksongs into a very personal compositional style. The first works to reveal this change are the Second String Quartet, op. 35 (1905), and the path-breaking solo piano work,
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and Paul Nettl, were forced out to form a segregated institution. Novák became the new administrative head of the Czech-only institution and held various titles, alternating with Suk and others, until his retirement. During this period he continued to teach composition in the form of masterclasses,
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served, however, as an important place for this group of Czech modernists to share their ideas. By regulation, its only female member was Marie Prášková, whom Novák married in 1912. That same year, Novák became embroiled in a series of culturo-political battles in Prague between his
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Upon the independence of
Czechoslovakia in 1918, Novák turned his focus toward the administration of culture in the new democratic regime. In this capacity, he led the push toward de-Germanification and nationalization of the Conservatory, during which process his
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Shortly after the turn of the century, Novák began teaching composition privately in Prague. From 1909 to 1920, he taught at the Prague
Conservatory himself, and this occasionally occupied him to a greater degree than composing. Among his students were
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His conflict with Nejedlý brought about a sharp change in Novák's attitude to composition, wherein fear of rejection became more important than artistic exploration. The negative response from the public to the orchestrated version of
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for soloists, chorus, and orchestra, running to just under an hour of unbroken music; its attention to musico-dramatic detail was evidence of Novák's increasing interest in opera, a style in which he had not written at that point.
574:) both met with mixed reviews, although the latter became a fixture in the repertoire of Czech opera houses through the mid-century. These works exemplified Novák's tendency toward bitonality, latent in the early folksong work.
386:. When Novák signed a protest against Nejedlý's anti-Dvořák propaganda, Nejedlý engaged in fierce criticism of Novák's music. The impact of this criticism on Novák was long-lasting and ushered in a crisis in his creative life.
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text as Dvořák's more famous work) caused severe self-doubt and depression. Novák attempted to turn the situation around with two operas about Czech historical subjects, a transparently nationalist move during wartime.
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in 1939, Novák, then retired, gained credibility among his younger Czech contemporaries through the performance of several patriotic and morale-boosting works, meant as a musical form of resistance. After the
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as liberator of the Czechs and premiered after the war in 1945) demonstrate these sentiments. In his remaining years he was primarily engaged with choral works based on South-Bohemian folksong.
190:, changing his name to Vítězslav to identify more closely with his Czech identity, as many of those of his generation had already done. At the conservatory, he studied piano and attended
361:. During the same period, several events affected Novák's outlook on musical expression and artistic freedom. From 1901 to 1917, his apartment hosted a discussion group known as the
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In the 1930s, Novák went through a period of artistic renewal with the premieres of some large-scale compositions. After the collapse of democracy and the subsequent
229:, which at that time were considered culturally backward in the cosmopolitan Czech capital. He also developed an interest in what would come to be called musical
585:. These democratic impulses led to a stylistic conservatism, such that the artistic experimentation of 1900–1916 all but disappeared. The two remaining operas,
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The height of his compositional career was considered, including in the criticism of the day, to consist of two principal achievements, both completed in 1910:
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149:. He worked towards a strong Czech identity in culture after the country became independent in 1918. His compositions include operas and orchestral works.
616:, Novák regained some of the respect he had lost among his colleagues; the layering of orchestral effects (including mixed meters and even references to
178:, where Novák first studied the violin with Antonín Šilhan and the piano with Marie Krejčová. After the death of his father in 1882, the family moved to
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During the Nazi occupation, Novák rose again in the estimation of his compatriots as a result of his patriotic works: the symphonic poems with organ,
601:) met with predominantly negative criticism, and Novák developed extreme bitterness toward the cultural forces that opposed him, leading him toward
503:(Of the Eternal Longing, op. 33, completed 1905). Meanwhile, the more monumental aspects of his style, evident in the Slovak-inspired tone poem
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Muzićki
Modernizam--nova Tumaćenja - Rethinking Musical Modernism | Vitezslav Novak - Boure Op. 42: A Central Work in Czech Modernism
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was a piano trio in G minor, but it was preceded, in order of composition, by several works including an unpublished serenade in
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515:(Valley of the New Kingdom, op. 31, 1903) combined with his discovery of the music of Strauss: the result was the tone poem,
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437:(Of Myself and Others, publ. 1970), in which he aired many of his long-standing grudges, especially toward his main rival,
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186:). An elementary school in the town is named after Novák today. In his late teens, he moved to Prague to study at the
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Czechoslovak independence in 1918 sparked several patriotic compositions, dedicated to the "President-Liberator"
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at this time, claiming instead to have arrived at similar techniques on his own. These included forays into
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Beginning in the late 1890s, Novák began to explore influences beyond the prevailing
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Vitezslav Novak String
Quartet No.1, Piano Trio No.1 & Piano Quartet-Sound-bites
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961:(2 legends on Moravian folk poetry), Op. 76, for mezzo-soprano and orchestra, 1944
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Schnierer, Miloš, and John
Tyrrell. 2001. "Novák, Vítězslav (Augustín Rudolf)".
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aesthetic of his contemporaries in Prague. Among these were folk influences from
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955:, Op. 65, 4 songs for mezzo-soprano, string orchestra, harp, and tamtam, 1936-37
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for piano dating from 1886 to 1887; all of these bear the influences of
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tradition, and his music is considered an important example of Czech
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in
Eastern Bohemia, where he had spent much of his last years.
989:. In Dejan Despic; Melita Milin; Dimitrije Stefanovic (eds.).
1082:"Vítězslav Novák | Romanticism, Symphonies, Orchestral Works"
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939:, Op. 53 (3 Czech songs), for male choir and orchestra, 1918
927:, Op. 42 (de storm), voor solisten, koor en orkest, 1908-10
620:) won him the approval of some younger composers, such as
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Novák's music retained at least some elements of the late-
496:, op. 25, composed in 1901, and is most apparent in the
883:, Op. 41, overture after the tragedy by Vrchlicky, 1907
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style until his death. His earliest work to receive an
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182:, where Novák continued his studies at grammar school (
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519:(Toman and the Wood Nymph, op. 40, completed 1907).
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in 1906, Novák formed an attachment to the music of
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794:. 9, for small orchestra, 1894-1895, revised 1949
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551:("The Wedding Shirt", 1913), based on the same
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693:(Grandfather's legacy), Op. 57, opera, 1922–25
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1054:David Mason Greene; Constance Green (1985).
997:- Department of Fine arts and music and the
1060:. Reproducing Piano Roll Fnd. p. 983.
867:Serenade, Op. 36, for small orchestra, 1905
632:(Autumn Symphony, op. 62, premiered 1934).
297:. Unsourced material may be challenged and
959:2 legendy na slova lidové‚ poesie moravské
902:De Profundis, Op. 67, symphonic poem‚ 1941
597:(The grandfather's legacy, 1926, based on
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1165:International Music Score Library Project
560:(The Zvíkov Imp, 1915, a comedy based on
317:Learn how and when to remove this message
534:). The latter was a grandiose symphonic
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245:. Finally, after the Prague premiere of
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488:The next influence was that of French
433:, he wrote a lengthy memoir, entitled
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995:Serbian Academy of Arts and Sciences
985:Jarmila Gabrielova (20 June 2008) .
687:, Op. 56, musical fairytale, 1919–22
654:(May Symphony, op. 73, dedicated to
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295:adding citations to reliable sources
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141:. Stylistically, he was part of the
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699:, Op. 68, ballet pantomime, 1926–28
530:(The Tempest, op. 42, to a text by
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1241:20th-century Czech male musicians
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820:, Op. 18, dramatic overture, 1898
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1231:20th-century classical composers
1226:19th-century classical composers
1110:. J. Flegler. 1989. p. 259.
797:Piano Concerto in E minor, 1895
705:, Op. 59, ballet pantomime, 1929
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1149:. London: Macmillan Publishers.
999:Institute of Musicology of SASA
711:, Op.78, incidental music, 1948
131:Vítězslav Augustín Rudolf Novák
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1216:Czech male classical composers
1211:People from Kamenice nad Lipou
1161:Free scores by Vítězslav Novák
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889:, Op. 43, symphonic poem, 1910
675:, Op. 49, comic opera, 1913–14
174:. In 1872 the family moved to
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1034:. Orpheus. 1980. p. 613.
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993:. Vol. 122. Belgrade:
919:Melancholické písně o lásce
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681:, Op. 50, opera, 1914–15
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650:, op. 70, 1942) and the
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906:Svatováclavský triptych
856:Hans Christian Andersen
641:Svatováclavský triptych
513:Údolí nového království
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1121:Vladimír Lébl (1968).
806:Andante con sentimento
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1001:. pp. 155–177.
897:South Bohemian Suite
830:mountains), Op. 26,
728:Allegro appassionato
449:Compositional career
347:Vítězslava Kaprálová
291:improve this section
1261:Composers for piano
913:Voice and orchestra
871:Toman a lesní panna
763:Alla marcia funebre
639:(op. 67, 1941) and
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143:neo-romantic
130:
129:
75:(1949-07-18)
73:18 July 1949
45:Viktor Novák
1206:1949 deaths
1201:1870 births
1014:27 February
953:In memoriam
881:Lady Godiva
781:The Corsair
691:Dedův odkaz
603:reactionism
595:Dědův odkaz
494:Melancholie
459:opus number
371:Filharmonie
158:Early years
102:Occupations
1195:Categories
1182:(in Czech)
1091:2024-02-20
1086:Britannica
972:References
947:Jan Neruda
943:2 romances
873:, Op. 40 (
850:, Op. 33 (
840:, Op. 32 (
790:Serenade,
733:Bacchanale
716:Symphonies
626:Alois Hába
622:Iša Krejčí
343:Iša Krejčí
339:Alois Hába
307:March 2015
239:bitonality
210:movement.
51:1870-12-05
1031:The Strad
858:, 1903-05
854:), after
824:V Tatrách
679:Karlštejn
572:Vrchlický
567:Karlštejn
505:V Tatrách
498:tone poem
278:does not
208:modernist
196:Josef Suk
153:Biography
147:modernism
92:Education
826:(In the
703:Nikotina
648:Triptych
614:Nikotina
581:and the
507:(In the
475:Moravian
467:Schumann
455:Romantic
406:interwar
227:Slovakia
135:composer
108:Composer
1173:at the
1167:(IMSLP)
1163:at the
1107:Fanfare
949:), 1934
758:Andante
737:'Adagio
685:Lucerna
593:), and
591:Jirásek
587:Lucerna
536:cantata
463:B minor
299:removed
284:sources
243:harmony
235:Debussy
223:Moravia
176:Počátky
172:Bohemia
63:Bohemia
1064:
1005:
965:Hvězdy
834:, 1902
818:Maryša
787:, 1892
777:Korzár
656:Stalin
599:Heyduk
564:) and
509:Tatras
443:Skuteč
248:Salome
219:Brahms
215:Wagner
202:, and
81:Skuteč
925:Bouře
828:Tatra
785:Byron
709:Žižka
662:Works
618:tango
553:Erben
528:Bouře
471:Grieg
1145:and
1062:ISBN
1016:2022
1003:ISBN
987:"11"
624:and
612:and
477:and
469:and
357:and
282:any
280:cite
225:and
70:Died
41:Born
887:Pan
545:Pan
524:Pan
382:at
293:by
1197::
1084:.
1040:^
792:Op
605:.
353:,
349:,
345:,
341:,
198:,
83:,
61:,
1094:.
1070:.
1018:.
895:(
779:(
643:(
320:)
314:(
309:)
305:(
301:.
287:.
217:/
53:)
49:(
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