Otakar Hostinský

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Hostinský, Otakar


Born Jan. 2, 1847. in Martinoves; died Jan. 19, 1910, in Prague. Czech music historian, aes-thetician, music critic, and public figure.

Hostinsky studied law and philosophy at the University of Prague (1865–66) and aesthetics at the University of Munich (1867–68); he worked on composition and music theory independently and then took lessons from the composer B. Smetana. From 1869 to 1874 he was a music critic and editor on Czech and German music periodicals. He lived in Germany and Italy from 1873 to 1877. In 1877 he began teaching in Prague—aesthetics at the university (professor in 1892) and the history of music at the conservatory (1882–86). Hostinsky was the founder of Czech music history. In his studies on musical aesthetics and the history of Czech music he championed the democratic orientation and national originality of Czech musical culture. He wrote works on Smetana (vigorously popularizing his creations), A. Dvorak. Z. Fibich, V. Tomásek, Wagner, Gluck, and Berlioz; on Slavic folk songs and dances; and on the Czech secular folk songs of the 16th century. He composed piano pieces, songs, and études to the operas Elektra and Konrad Wallenrod.


Nejedlý, Z. Otakar Hostinský [2nd ed.]. Prague. 1955.
References in periodicals archive ?
He evaluates Blahoslav's entire hymnological and hymnograhic work, and, referring to the research carried out by the musicologist Otakar Hostinsky, highlights the fact that Blahoslav was "most likely the first in history to have used the notation to record the intonation, the pronunciation of human speech".
See also Otakar Hostinsky, 'Glosy ke sporu o rukopisy', in id.
A annotation for an 1879 letter Smetana wrote to the aesthetician Otakar Hostinsky, for example, explains, "[Smetana] is glad that the addressee liked [his opera] The Secret; about the compromises he has to make white composing an opera; about the composition of [the fifth and sixth movements of Ma vlast] Tabor and Blanik" (p.
The museum also holds various materials relating to Smetana's closest colleagues and friends, such as Otakar Hostinsky, Eliska Krasnohorska, Josef Proksch, Jaroslav Jiranek and others.
And although the list of literature includes some articles by the doyen of Czech musicology, Otakar Hostinsky, there is no mention of his book Smetanovy zpevohry.
The acclaimed aesthetic theorist Otakar Hostinsky adapted Schiller's play The Bride of Messina and during the process of composition worked closely with Fibich to ensure that the result would be a stylistically pure and exemplary musical tragedy which would respect the declamatory cadence of Czech - the kind of work that Czech opera repertoire lacked.
To a large extent, the arguments and opinions in the Dvorak debates were the same as those formulated in the Wagnerian camp by one of the founders of Czech musicology, Otakar Hostinsky (1847-1910).
The arguments advanced in favour of "scientific" arbitration of the alleged controversy over the future correct orientation of Czech national music and over the place and importance of Antonin Dvorak in its overall history were based on stereotypical judgements rooted in the critical reflections of the 1860s and '70s, particularly those of Otakar Hostinsky.
The working committee was headed by the art historian and aesthetician Otakar Hostinsky (1847-1910), while the Moravian-Silesian committee was directed by the composer Leos Janacek.
The idea of constant progress, expressing itself in the conquest of ever new areas of subject-matter and spirited innovation in technique, was also elevated to a principle by the aesthetician and musicologist Otakar Hostinsky (1894).
After the death of Otakar Hostinsky in 1910 Janacek was delegated on behalf of the Czech side onto the main committee of Folksong in Austria and at its meetings in Vienna he met and had discussions with colleagues from the other lands involved.