A Croatian composer

Chapter 6: APPENDIX C.

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 C.

Croatian Names in the Pusterthal
and Neighbourhood

Germanised form:—		Croatian form:—
	Aegrathal.		Ograda.
	Arvig (?).		Oranik.
	Berlogaz.		Brlog.
	Bschwoitz.		Pušovec.
	Dolnitz.		Dolina.
	Frutscherthal.		Vručidol.
	Garnitza.		Krnica.
	Glanz.		Klanjec.
	Glinz (Linz).		Glinica.
	Gollisel.		Goloselo.
	Gruschgize.		Kruškica.
	Kollnig.		Kolnik.
	Kräll.		Kralj.
	Libisel.		Ljubisel.
	Lasser.		Lesar.
	Lessing.		Lešnik.
	Motschenboden.		Mocva.
	Pedoll.		Podolje.
	Petsch.		Peč (Pešti).
	Plötsch.		Ploca.
	Polliz.		Polica.
	Pusterthal.		Pustodol.
	Rudenek.		Rudnik.
	Stoanitzbrunn.		Studenac.
	Stollizen.		Stolica.
	Tragen.		Draga.
	Tristach.		Trstje.
	Villgraten.		Velegrad.
	Zabemig.		Zavrhnik.
	Zelzach.		Selca.
	Zuchepoll.		Suhopolje.

Note.—For similar examples in other parts of Austria, see Kämmel’s “Die Anfänge deutschen Lebens in Oesterreich.”