Women in Nineteenth-Century Czech Musical Culture: Apostles of a Brighter Future

Contents

• Contents
• List of Illustrations
• List of Music Examples
• List of Tables
• Library Sigla
• Notes on Contributors
• Acknowledgements
• Introduction (Anja Bunzel and Christopher Campo-Bowen)
• PERFORMANCE & IDENTITY
• Chapter 1: Bohemian Divas and the Rise of Czech National Consciousness (Martin Nedbal, University of Kansas, USA)
• Chapter 2: Sweet Street Music for Petty Alms: The Barrel-Organ Career of Anna Balcarová in the Poděbrady Region, 1889–1905 (Risto Pekka Pennanen, Sibelius Academy, University of the Arts Helsinki, Finland)
• Chapter 3: The Australian Career of Soprano Gabriella Roubalová (“Madame Boema”) (Janice B. Stockigt, The University of Melbourne, Australia)
• Chapter 4: Eliška Krásnohorská and Czech Operatic Historiography: Reconciling the Paradox of Women’s Authorial Voices (Brian S. Locke, Western lllinois University, USA)
• INSTITUTIONAL STRUCTURES & NETWORKS
• Chapter 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)
• Chapter 6: Josef Hellmesberger’s Female Students from Moravia and Their Presence in European Musical Life (Annkatrin Babbe, Sophie Drinker Institute, Bremen / University of Oldenburg, Germany)
• Chapter 7: The “Disorder It Created”: Women’s Education at the Prague Conservatory in the Nineteenth Century (Freia Hoffmann, Sophie Drinker Institute, Bremen / University of Oldenburg, Germany)
• Chapter 8: The Three Ebert Sisters: Wilhelmine Tomaschek, Juliane Glaser, and Elisabeth Hansgirg (Markéta Kabelková, National Museum – Czech Museum of Music, Prague, Czech Republic)
• Chapter 9 Reminiscences of Past Sounds: The Musical Autograph Album (1813–1852) of Elise Gräfin von Schlik (Henrike Rost, University of Music and Performing Arts, Vienna, Austria)
• RECEPTION & ANALYSIS
• Chapter 10: Stephanie Wurmbrand-Stuppach and Her Piano Works (Jana Lengová, Institute of Musicology, Slovak Academy of Sciences, Slovak Republic)
• Chapter 11: “My Soul Is Filled with Songs”: Josefina Brdlíková as a Song Composer (Anja Bunzel, Institute of Art History, Czech Academy of Sciences, Czech Republic)
• Chapter 12: Singing Women and the “Woman Question” in the Czech Lands (Kelly St Pierre, Wichita State University, USA / The Center for Theoretical Studies, Charles University Prague and Czech Academy of Sciences, Czech Republic)
• Chapter 13: “Man-Hungry Amazon” or “Treacherous Trumpeter”? A Case Study of the Sources for and Reception of Fibich and Schulzová’s Šárka (Emma Parker, Independent Scholar, Santa Barbara, USA)
• Chapter 14: Ježibaba’s Ambiguities: Binaries, Power, and Queer Alterity in Antonín Dvořák’s Rusalka (Christopher Campo-Bowen, Virginia Tech School of Performing Arts, USA)
• AFTERWORD
• Dvořák’s Women (Michael Beckerman, New York University, USA)
• INDEX