Page 126 - 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
P. 126
glasbena kritika – nekoč in danes | music criticism – yesterday and today
summer of 1910 he probably lived in Vienna. Journalism no longer formed
his main occupation; he devoted himself to composing and writing libret-
tos for operettas and operas. Around the age of 50, he finally began to make
a name for himself, both in Germany and in Vienna, but this positive trend
was ended by a prolonged heart condition, which was most certainly exac-
erbated by Lvovský’s industriousness. Obituaries rate him as a good Czech,
a talented musician and writer, and a nice but struggling artist. Any earlier
criticism was about the little originality of his compositions.
Lvovský as a composer and librettist
Lvovský as a composer and librettist – that would be a topic for a separate
paper. Therefore, in the context of general characteristics, only the most
important things can be said. Lvovský’s compositional legacy covers a wide
spectrum – from choirs, songs, chamber music, orchestral works to opera
and operetta. His double bass compositions must have been of a very high
standard in their day, because several of them were included in Simandl’s
Die hohe Schule des Contrabasspieles. In total, Lvovský composed approxi-
mately 100 works. He began composing in 1890, when he came to Vienna.
He published mainly in Leipzig (F. Schubert junior), Berlin (R. Thiel), Bre-
men (E. A. Fischer) and in Prague (F. A. Urbánek). He worked closely with
Bruno Wieland in Ravensburg.
Conclusion
Due to a lack of information, some stages of Lvovský’s life have not yet been
studied, but the foundation has been laid in this paper so future research
can continue with partial probes. These are mainly in the areas of com-
position, teaching and journalism. In the last area I have so far mapped
his activities connected with the periodicals Dalibor and ÖMTZ, so only
the Neue musikalische Presse, Deutsche Kunst- und Musik-Zeitung, Die Lyra
and Musikalisches Wochenblatt remain to be studied in detail. Then it will
be possible to proceed to a thorough analysis of what kind of music publi-
cist Lvovský actually was. From what we know from our research so far, he
deserves our attention.
126
summer of 1910 he probably lived in Vienna. Journalism no longer formed
his main occupation; he devoted himself to composing and writing libret-
tos for operettas and operas. Around the age of 50, he finally began to make
a name for himself, both in Germany and in Vienna, but this positive trend
was ended by a prolonged heart condition, which was most certainly exac-
erbated by Lvovský’s industriousness. Obituaries rate him as a good Czech,
a talented musician and writer, and a nice but struggling artist. Any earlier
criticism was about the little originality of his compositions.
Lvovský as a composer and librettist
Lvovský as a composer and librettist – that would be a topic for a separate
paper. Therefore, in the context of general characteristics, only the most
important things can be said. Lvovský’s compositional legacy covers a wide
spectrum – from choirs, songs, chamber music, orchestral works to opera
and operetta. His double bass compositions must have been of a very high
standard in their day, because several of them were included in Simandl’s
Die hohe Schule des Contrabasspieles. In total, Lvovský composed approxi-
mately 100 works. He began composing in 1890, when he came to Vienna.
He published mainly in Leipzig (F. Schubert junior), Berlin (R. Thiel), Bre-
men (E. A. Fischer) and in Prague (F. A. Urbánek). He worked closely with
Bruno Wieland in Ravensburg.
Conclusion
Due to a lack of information, some stages of Lvovský’s life have not yet been
studied, but the foundation has been laid in this paper so future research
can continue with partial probes. These are mainly in the areas of com-
position, teaching and journalism. In the last area I have so far mapped
his activities connected with the periodicals Dalibor and ÖMTZ, so only
the Neue musikalische Presse, Deutsche Kunst- und Musik-Zeitung, Die Lyra
and Musikalisches Wochenblatt remain to be studied in detail. Then it will
be possible to proceed to a thorough analysis of what kind of music publi-
cist Lvovský actually was. From what we know from our research so far, he
deserves our attention.
126
