WeRead Powered by ReaderPub
A Croatian composer cover

A Croatian composer

Chapter 4: APPENDIX A.
Open in WeRead

Explore more books like this:

About This Book

The essay argues that Joseph Haydn drew substantial melodic and stylistic inspiration from South Slavonic folk music and assembles documentary and musical evidence to support this claim. Relying chiefly on Dr. Kuhač’s collections and translations, the author traces specific dance rhythms, modal turns, and accompanimental habits from rural tunes into the composer’s instrumental forms, offers analytical commentary and musical examples, and situates the discussion within a broader argument about national character in artistic creation, inviting reconsideration of how regional sources shaped compositional method and expressive detail.

APPENDIX A.

Croatian Musicians, 1835-1848.

(1) Composers:— Lisinski. Čačković.
Livadić. Štoos.
Wiesner. Mašek.
Rusan. Baron Prandau.
Pintavić. F. von Suppé.
Jaić.  
 
(2) Singers:— Countess Rubido. Stazić.
Štriga. Ledenig.
 
(3) Virtuosi, &c.:— Ivan Padovec. L. A. Zellner.

N.B.—The following rules of pronunciation should be observed.

r (as a semi-vowel) carries a very short vowel sound before the consonant. Brlog = Berlog made as near a monosyllable as possible.

c = tz. Zajc is pronounced Zaitz.

č = ch soft (like ch in Church).

ć = ty in which the y is a consonant (as it is for instance in the word “you”). The sound is half-way between the “te” in “righteous” and the “tch” in “wretched.”

š = sch or sh. Pušovec (see Appendix C) is pronounced Pushovetz.

ž = the French j, as in jour.

lj and nj are like the gli and gn in figlio, campagna.

The other letters are, roughly speaking, pronounced as in German, except z, which = s in sehr; and s, which = ss in Strasse.