Page 104 - Weiss, Jernej, ur./ed. 2024. Glasbena kritika – nekoč in danes ▪︎ Music Criticism – Yesterday and Today. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 7
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glasbena kritika – nekoč in danes | music criticism – yesterday and today
have drawn on Heyer’s detailed and in many respects unsurpassed profile.
Bohumír Štědroň (1905–1982) certainly did so some twenty years later in his
personal entry for the Czechoslovak Dictionary of Persons and Institutions
(1963) – let’s quote his biographical part (at the end of the entry there is a list
of several compositions, publishers and a selected bibliography):
A Czech composer and double bassist, born 10 September 1857, Prague,
died 12 July 1910, Vienna. His own name was Emil Pick. He studied the
double bass with František Simandl in Vienna. He taught the double
bass at a conservatory in Lviv (1884–1890), lived briefly in Berlin, and fi-
nally in Vienna (from 1890) until his death. He contributed to the mu-
sic periodical Dalibor with reports on concert life in Lviv (VII–1885 to
XII–1890) and in Vienna (XIII–1891 to XVII–1895). Editor of the period-
icals Oesterreichische Musik und Theaterzeitung and Neue musikalische
Presse (1895 to 1908), where he zealously promoted Czech music and or-
ganised the musical life of the Czech minority in Vienna.4
However, some passages of Štědroň’s entry are rather problematic or
need to be confirmed or corrected and made more precise. The following
are three of the most controversial or incorrect statements this study will
comment on:
– Lvovský was a double bass teacher at the Lviv Conservatory in
1884–1890.
– Lvovský sent “messages from Lviv” to the periodical Dalibor
(1885–1890).
– Lvovský stayed briefly in Berlin.
More detailed but sketchy information about him can be found in
memoir-type literature.5 In 2013, together with the musicologist Vlasta Reit-
tererová, I published a text in which Lvovský was dealt with as a music critic
in connection with the periodical Österreichische Musik- und Theaterzei-
tung.6 Interesting information about Lvovský as a critic is provided by the
4 Bohumír Štědroň, “Lvovský, Břetislav,” in Československý hudební slovník osob
a institucí. První díl, A–L, eds. Gracian Černušák, Bohumír Štědroň and Zdenko
Nováček (Praha: Státní hudební nakladatelství 1963), 851.
5 Leoš Karel Žižka, Mistři a mistříčkové (Praha: L. K. Žižka, 1947), 87.
6 Vlasta Reittererová and Viktor Velek, “Die Rezeption der tschechischen Musik auf
den Seiten der Periodika ‘Die Zeit’ und ‘Österreichische Musik– und Theaterzei-
tung’,” in Die Wiener Wochenzeitschrift Die Zeit (1894–1904) und die zentraleuropäi-
sche Moderne. Studien – Dokumente, eds. Lucie Merhautová and Kurt Ifkovits (Pra-
ha: Masarykův ústav a Archiv AV ČR, 2013), 152–80.
104
have drawn on Heyer’s detailed and in many respects unsurpassed profile.
Bohumír Štědroň (1905–1982) certainly did so some twenty years later in his
personal entry for the Czechoslovak Dictionary of Persons and Institutions
(1963) – let’s quote his biographical part (at the end of the entry there is a list
of several compositions, publishers and a selected bibliography):
A Czech composer and double bassist, born 10 September 1857, Prague,
died 12 July 1910, Vienna. His own name was Emil Pick. He studied the
double bass with František Simandl in Vienna. He taught the double
bass at a conservatory in Lviv (1884–1890), lived briefly in Berlin, and fi-
nally in Vienna (from 1890) until his death. He contributed to the mu-
sic periodical Dalibor with reports on concert life in Lviv (VII–1885 to
XII–1890) and in Vienna (XIII–1891 to XVII–1895). Editor of the period-
icals Oesterreichische Musik und Theaterzeitung and Neue musikalische
Presse (1895 to 1908), where he zealously promoted Czech music and or-
ganised the musical life of the Czech minority in Vienna.4
However, some passages of Štědroň’s entry are rather problematic or
need to be confirmed or corrected and made more precise. The following
are three of the most controversial or incorrect statements this study will
comment on:
– Lvovský was a double bass teacher at the Lviv Conservatory in
1884–1890.
– Lvovský sent “messages from Lviv” to the periodical Dalibor
(1885–1890).
– Lvovský stayed briefly in Berlin.
More detailed but sketchy information about him can be found in
memoir-type literature.5 In 2013, together with the musicologist Vlasta Reit-
tererová, I published a text in which Lvovský was dealt with as a music critic
in connection with the periodical Österreichische Musik- und Theaterzei-
tung.6 Interesting information about Lvovský as a critic is provided by the
4 Bohumír Štědroň, “Lvovský, Břetislav,” in Československý hudební slovník osob
a institucí. První díl, A–L, eds. Gracian Černušák, Bohumír Štědroň and Zdenko
Nováček (Praha: Státní hudební nakladatelství 1963), 851.
5 Leoš Karel Žižka, Mistři a mistříčkové (Praha: L. K. Žižka, 1947), 87.
6 Vlasta Reittererová and Viktor Velek, “Die Rezeption der tschechischen Musik auf
den Seiten der Periodika ‘Die Zeit’ und ‘Österreichische Musik– und Theaterzei-
tung’,” in Die Wiener Wochenzeitschrift Die Zeit (1894–1904) und die zentraleuropäi-
sche Moderne. Studien – Dokumente, eds. Lucie Merhautová and Kurt Ifkovits (Pra-
ha: Masarykův ústav a Archiv AV ČR, 2013), 152–80.
104
