"This volume focuses on the circumstances of women's music-making in the vibrant and diverse environment of the Czech lands during the nineteenth century. It sheds light on little-known women musicians, while also considering more well-known works and composers from new woman-centric perspectives. It shows how the unique environment of Habsburg Central Europe, especially Bohemia and Lower Austria, intersects with gender to reveal hitherto unexplored networks that challenge the methodological nationalism of music studies as well as the discipline's continued emphasis on singular canonical figures. The main areas of enquiry address aspects of performance and identity both within the Czech lands and abroad; women's impact on social life with a view to different private, semi-private, and public contexts and networks; and compositional aesthetics in musical works by and about women, analysed through the lens of piano works, song, choir music, and opera, always with the reception of these works in mind"--
This volume focuses on the circumstances of womens music-making in the diverse environment of Habsburg Central Europe, especially Bohemia and Lower Austria, during the 19th century. It sheds light on little-known women musicians, and reconsiders well-works and composers from woman-centric perspectives.
This volume focuses on the circumstances of womens music-making in the vibrant and diverse environment of the Czech lands during the nineteenth century. It sheds light on little-known women musicians, while also considering more well-known works and composers from new woman-centric perspectives. It shows how the unique environment of Habsburg Central Europe, especially Bohemia and Lower Austria, intersects with gender to reveal hitherto unexplored networks that challenge the methodological nationalism of music studies as well as the disciplines continued emphasis on singular canonical figures. The main areas of enquiry address aspects of performance and identity both within the Czech lands and abroad; womens impact on social life with a view to different private, semiprivate, and public contexts and networks; and compositional aesthetics in musical works by and about women, analysed through the lens of piano works, song, choir music, and opera, always with the reception of these works in mind.
Introduction
ANJA BUNZEL AND CHRISTOPHER CAMPO-BOWEN
PART 1
Performance and Identity
1 Bohemian Divas and the Rise of Czech National Consciousness
MARTIN NEDBAL, UNIVERSITY OF KANSAS, USA
2 Sweet Street Music for Petty Alms: The Barrel-Organ Career of Anna
Balcarovį in the Podbrady Region, 18891905
RISTO PEKKA PENNANEN, SIBELIUS ACADEMY, UNIVERSITY OF THE ARTS HELSINKI,
FINLAND
3 The Australian Career of Soprano Gabriella Roubalovį ("Madame Boema")
JANICE B. STOCKIGT, THE UNIVERSITY OF MELBOURNE, AUSTRALIA
4 Elika Krįsnohorskį and Czech Operatic Historiography: Reconciling the
Paradox of Womens Authorial Voices
BRIAN S. LOCKE, WESTERN LLLINOIS UNIVERSITY, USA
PART 2
Institutional Structures and Networks
5 Women in the Musical Culture of Viennese Czechs (Slavs) in the Nineteenth
Century: Towards a Social Typology
VIKTOR VELEK, FACULTY OF FINE ARTS AND MUSIC, UNIVERSITY OF OSTRAVA, CZECH
REPUBLIC
6 Josef Hellmesbergers Female Students from Moravia and Their Presence in
European Musical Life
ANNKATRIN BABBE, ALBAN BERG FOUNDATION, VIENNA, AUSTRIA
7 The "Disorder It Created": Womens Education at the Prague Conservatory in
the Nineteenth Century
FREIA HOFFMANN, SOPHIE DRINKER INSTITUTE, BREMEN / UNIVERSITY OF OLDENBERG,
GERMANY
8 The Three Ebert Sisters: Wilhelmine Tomaschek, Juliane Glaser, and
Elisabeth Hansgirg
MARKÉTA KABELKOVĮ, NATIONAL MUSEUM CZECH MUSEUM OF MUSIC, PRAGUE, CZECH
REPUBLIC
9 Reminiscences of Past Sounds: The Musical Autograph Album (18131852) of
Elise Gräfin von Schlik
HENRIKE ROST, UNIVERSITY OF MUSIC AND PERFORMING ARTS, VIENNA, AUSTRIA
PART 3
Reception and Analysis
10 Stephanie Wurmbrand-Stuppach and Her Piano Works
JANA LENGOVĮ, INSTITUTE OF MUSICOLOGY, SLOVAK ACADEMY OF SCIENCES,
BRATISLAVA, SLOVAK REPUBLIC
11 "My Soul Is Filled with Songs": Josefina Brdlķkovįas a Song ComposerANJA
BUNZEL, INSTITUTE OF ART HISTORY, CZECH ACADEMY OF SCIENCES, PRAGUE, CZECH
REPUBLIC
12 Singing Women and the "Woman Question" in the Czech Lands
KELLY ST. PIERRE, WICHITA STATE UNIVERSITY, USA / THE CENTER FOR THEORETICAL
STUDIES, PRAGUE, CZECH REPUBLIC
13 "Man-Hungry Amazon" or "Treacherous Trumpeter"? A Case Study of the
Sources for and Reception of Fibichand Schulzovįs įrka
EMMA PARKER, INDEPENDENT SCHOLAR, SANTA BARBARA, USA
14 Jeibabas Ambiguities: Binaries, Power, and Queer Alterity in Antonķn
Dvoįks Rusalka
CHRISTOPHER CAMPO-BOWEN, VIRGINIA TECH SCHOOL OF PERFORMING ARTS, USA
15 Afterword: Dvoįks Women
MICHAEL BECKERMAN, NEW YORK UNIVERSITY, USA
Anja Bunzel works at the Institute of Art History, Czech Academy of Sciences, where she researches (semi-)private musical culture in nineteenth-century Prague within a European context. She is co-editor of Musical Salon Culture in the Long Nineteenth Century (Boydell, 2019), and author of The Songs of Johanna Kinkel: Genesis, Reception, Context (Boydell, 2020).
Christopher Campo-Bowen is Assistant Professor of Musicology in the School of Performing Arts at Virginia Tech. He holds a PhD in musicology from UNC Chapel Hill. His research focuses on music in the Habsburg monarchy in the nineteenth and twentieth centuries, especially through topics like opera, ethnicity, gender, and empire.
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