Josef Bohuslav Foerster - Revision history

Brett at 18:36, 13 August 2023

2023-08-13T18:36:30Z

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	* '''[[Letter 4900]]''' – 24 March/5 April 1893, from [[Klin]]		* '''[[Letter 4900]]''' – 24 March/5 April 1893, from [[Klin]]

	3 letters from Foerster to Tchaikovsky, dating from 1892 and 1893, are preserved in the {{RUS-KLč}} at [[Klin]].		3 letters from Foerster to Tchaikovsky, dating from 1892 and 1893, are preserved in the {{RUS-KLč}} at [[Klin]] (a{{sup\|4}}, Nos. 4525–4527).

	==Bibliography==		==Bibliography==

Brett at 19:31, 12 August 2023

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	{{picture\|file=Josef Bohuslav Foerster.jpg\|caption='''Josef Bohuslav Foerster''' (1859-1951)}}		{{picture\|file=Josef Bohuslav Foerster.jpg\|caption='''Josef Bohuslav Foerster''' (1859-1951)}}
	Czech composer (b. 18/30 December 1859 at Dětenice, near [[Prague]]; d. 29 May 1951 at Nový Vestec).		Czech composer (b. 18/30 December 1859 {{NS}} at Dětenice, near [[Prague]]; d. 29 May 1951 at Nový Vestec).

	==Biography==		==Biography==

Brett at 16:46, 12 August 2023

2023-08-12T16:46:27Z

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	{{picture\|file=Josef Bohuslav Foerster.jpg\|caption='''Josef Bohuslav Foerster''' (1859-1951)}}		{{picture\|file=Josef Bohuslav Foerster.jpg\|caption='''Josef Bohuslav Foerster''' (1859-1951)}}
	Czech composer (b. 30 December 1859 at Dětenice, near [[Prague]]; d. 29 May 1951 at Nový Vestec).		Czech composer (b. 18/30 December 1859 at Dětenice, near [[Prague]]; d. 29 May 1951 at Nový Vestec).

	==Biography==		==Biography==
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	* [[wikipedia:Josef_Bohuslav_Foerster\|Wikipedia]]		* [[wikipedia:Josef_Bohuslav_Foerster\|Wikipedia]]
	* {{IMSLP\|Foerster,_Josef_Bohuslav}}		* {{IMSLP\|Foerster,_Josef_Bohuslav}}
			* {{viaf\|32196390}}

	==Notes and References==		==Notes and References==
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	[[Category:Composers\|Foerster, Josef Bohuslav]]		[[Category:Composers\|Foerster, Josef Bohuslav]]
	[[Category:Correspondents\|Foerster, Josef Bohuslav]]		[[Category:Correspondents\|Foerster, Josef Bohuslav]]
			__NOTOC__

Brett: Text replacement - "Klin House-Museum Archive" to "{{RUS-KLč}} at Klin"

2023-08-08T07:54:03Z

Text replacement - "Klin House-Museum Archive" to "{{RUS-KLč}} at Klin"

← Older revision		Revision as of 09:54, 8 August 2023
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	* '''[[Letter 4900]]''' – 24 March/5 April 1893, from [[Klin]]		* '''[[Letter 4900]]''' – 24 March/5 April 1893, from [[Klin]]

	3 letters from Foerster to Tchaikovsky, dating from 1892 and 1893, are preserved in the [[Klin]] ~~House-Museum Archive~~.		3 letters from Foerster to Tchaikovsky, dating from 1892 and 1893, are preserved in the {{RUS-KLč}} at [[Klin]].

	==Bibliography==		==Bibliography==

Tony: /* Tchaikovsky and Foerster */

2022-11-13T09:00:10Z

Tchaikovsky and Foerster

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	[[Berta Foerstrová-Lautererová\|Berta]] passed on to her husband an invitation to visit Tchaikovsky the next morning at [[Bernhard Pollini]]'s town villa, where the composer was staying on that occasion. Foerster continues in his account:		[[Berta Foerstrová-Lautererová\|Berta]] passed on to her husband an invitation to visit Tchaikovsky the next morning at [[Bernhard Pollini]]'s town villa, where the composer was staying on that occasion. Foerster continues in his account:

	{{quote\|Already in the entrance-hall I was welcomed by the aroma of Russian cigarettes, and the next moment I found myself in Tchaikovsky's arms as he embraced me. One question followed the other, and many a recollection of dear far-away [[Prague]] floated up. We spoke about the previous evening's premiere. Tchaikovsky was delighted when I mentioned the extraordinary impression which the scene with the miracle doctor Ibn-Hakkia had made upon me. 'This is my favourite scene in ''[[Iolanta]]'' as well', he observed simply, and thereupon began praising repeatedly the excellent performer of that role [a certain Lißmann, who was also acclaimed by the critics], as if he alone had been responsible for the opera's success. [...] He talked about his plans for a trip to [[Paris]], where the Grand-Opéra was preparing ''[[Yevgeny Onegin]]'', he spoke about a new symphony [his [[Symphony No. 6\|No. 6]] and new creative projects; his manner was free, open, and friendly.}}		{{quote\|Already in the entrance-hall I was welcomed by the aroma of Russian cigarettes, and the next moment I found myself in Tchaikovsky's arms as he embraced me. One question followed the other, and many a recollection of dear far-away [[Prague]] floated up. We spoke about the previous evening's premiere. Tchaikovsky was delighted when I mentioned the extraordinary impression which the scene with the miracle doctor Ibn-Hakkia had made upon me. 'This is my favourite scene in ''[[Iolanta]]'' as well', he observed simply, and thereupon began praising repeatedly the excellent performer of that role [a certain Lißmann, who was also acclaimed by the critics], as if he alone had been responsible for the opera's success. [...] He talked about his plans for a trip to [[Paris]], where the Grand-Opéra was preparing ''[[Yevgeny Onegin]]'', he spoke about a new symphony [his [[Symphony No. 6\|No. 6]]] and new creative projects; his manner was free, open, and friendly.}}

	That evening, [[Pollini]] hosted a small soirée at his villa, at which the only guests were Tchaikovsky, [[Mahler]], Foerster and [[Berta Foerstrová-Lautererová\|Berta]]. Everyone was in high spirits, according to Foerster, and even [[Mahler]], who was a man of few words, amused the small party by telling them anecdotes about the production of [[Weber]]'s unfinished opera ''Die Drei Pintos ''in [[Leipzig]] in January 1888 which he had brought about. "Shortly afterwards we bade each other farewell", Foerster recalled. "Tchaikovsky said ''Na shledanou!'' (Czech: "See you again!") several times — he had remembered that phrase from the time of his visit to [[Prague]]" <ref name="note1"/>. In the course of the evening another matter which had been discussed was Foerster's opera ''Debora'', which had been premiered that year in [[Prague]]. Foerster was looking for a German publisher for this work, and Tchaikovsky offered to write a letter of recommendation ([[Letter 5021]]) to the publisher [[Hugo Bock]] in [[Berlin]], with whom he was on friendly terms. Tchaikovsky was glad to do his young Czech friend this favour because he genuinely believed in his talent: Foerster had sent him personally inscribed copies of many of his works <ref name="note2"/>.		That evening, [[Pollini]] hosted a small soirée at his villa, at which the only guests were Tchaikovsky, [[Mahler]], Foerster and [[Berta Foerstrová-Lautererová\|Berta]]. Everyone was in high spirits, according to Foerster, and even [[Mahler]], who was a man of few words, amused the small party by telling them anecdotes about the production of [[Weber]]'s unfinished opera ''Die Drei Pintos ''in [[Leipzig]] in January 1888 which he had brought about. "Shortly afterwards we bade each other farewell", Foerster recalled. "Tchaikovsky said ''Na shledanou!'' (Czech: "See you again!") several times — he had remembered that phrase from the time of his visit to [[Prague]]" <ref name="note1"/>. In the course of the evening another matter which had been discussed was Foerster's opera ''Debora'', which had been premiered that year in [[Prague]]. Foerster was looking for a German publisher for this work, and Tchaikovsky offered to write a letter of recommendation ([[Letter 5021]]) to the publisher [[Hugo Bock]] in [[Berlin]], with whom he was on friendly terms. Tchaikovsky was glad to do his young Czech friend this favour because he genuinely believed in his talent: Foerster had sent him personally inscribed copies of many of his works <ref name="note2"/>.

Tony at 08:58, 13 November 2022

2022-11-13T08:58:29Z

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	==Tchaikovsky and Foerster==		==Tchaikovsky and Foerster==
	Foerster was first introduced to Tchaikovsky in [[Prague]] when his wife [[Berta Foerstrová-Lautererová\|Berta]] sang Tatyana in the first production of ''[[Yevgeny Onegin]]'' outside Russia, which opened at the National Theatre on 24 November/6 December 1888, with the composer himself conducting. He unexpectedly met Tchaikovsky five years later during the Russian composer's last brief stay in [[Hamburg]] (from 25 August/6 September to 29 August/10 September 1893). Tchaikovsky had arrived in the Hanseatic city to attend the revival of his opera ''[[Iolanta]]'' on 26 August/7 September 1893, in a production again conducted by [[Gustav Mahler]] and with Kathi Bettaque in the title-role. It so happened that in the second half of that evening's double bill Leoncavallo's ''Pagliacci'' was given its first performance in [[Hamburg]] (though it was not conducted by [[Mahler]]), and that Nedda was sung by [[Berta Foerstrová-Lautererová]]. As Foerster recalled in his memoirs:		Foerster was first introduced to Tchaikovsky in [[Prague]] when his wife [[Berta Foerstrová-Lautererová\|Berta]] sang Tatyana in the first production of ''[[Yevgeny Onegin]]'' outside Russia, which opened at the National Theatre on 24 November/6 December 1888, with the composer himself conducting. He unexpectedly met Tchaikovsky five years later during the Russian composer's last brief stay in [[Hamburg]] (from 25 August/6 September to 29 August/10 September 1893). Tchaikovsky had arrived in the Hanseatic city to attend the revival of his opera ''[[Iolanta]]'' on 26 August/7 September 1893, in a production again conducted by [[Gustav Mahler]] and with Kathi Bettaque in the title-role. It so happened that in the second half of that evening's double bill, Leoncavallo's ''Pagliacci'' was given its first performance in [[Hamburg]] (though it was not conducted by [[Mahler]]), and that Nedda was sung by [[Berta Foerstrová-Lautererová]]. As Foerster recalled in his memoirs:

	{{quote\|It was a joyful surprise when Tchaikovsky, at the end of the successful premiere [''sic. [[Iolanta]]'' had already been staged in [[Hamburg]]], was able to show himself onstage amidst the grateful singers. Called out repeatedly, which in [[Hamburg]] is not something that occurs every day, he took his bows earnestly in his black frock-coat, holding his pince-nez in his right hand. That evening I was full of impatience as I waited for my wife to come home from the theatre. She was in a state of joyful excitement when she arrived. She had met Tchaikovsky backstage, and both had been greatly surprised: Tchaikovsky had had no idea that his Czech ''Tatyana'' had landed up in the ensemble of the [[Hamburg]] ''Stadt-Theater'', and 'Tatyana' learnt of Tchaikovsky's presence in the theatre only when [[Pollini]] [the theatre's director] dragged him onstage.}}		{{quote\|It was a joyful surprise when Tchaikovsky, at the end of the successful premiere [''sic. [[Iolanta]]'' had already been staged in [[Hamburg]]], was able to show himself onstage amidst the grateful singers. Called out repeatedly, which in [[Hamburg]] is not something that occurs every day, he took his bows earnestly in his black frock-coat, holding his pince-nez in his right hand. That evening I was full of impatience as I waited for my wife to come home from the theatre. She was in a state of joyful excitement when she arrived. She had met Tchaikovsky backstage, and both had been greatly surprised: Tchaikovsky had had no idea that his Czech ''Tatyana'' had landed up in the ensemble of the [[Hamburg]] ''Stadt-Theater'', and 'Tatyana' learnt of Tchaikovsky's presence in the theatre only when [[Pollini]] [the theatre's director] dragged him onstage.}}

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Brett: /* Correspondence with Tchaikovsky */

2019-12-05T18:10:09Z

Correspondence with Tchaikovsky

New page

{{picture|file=Josef Bohuslav Foerster.jpg|caption='''Josef Bohuslav Foerster''' (1859-1951)}}
Czech composer (b. 30 December 1859 at Dětenice, near [[Prague]]; d. 29 May 1951 at Nový Vestec).

==Biography==
The son of the composer Josef Foerster (1833–1907), who was a professor at the [[Prague]] Conservatory, Josef studied at the [[Prague]] Organ School (1879–1882), before succeeding [[Dvořák]] as organist of Saint Vojtěch (1882–1888). He also taught singing in [[Prague]] secondary schools, and at the age of 25 he began a long career as a music and theatrical critic, writing for the newspaper ''Národní listy''.

After marrying the Czech soprano [[Berta Lautererová]] in 1888, the couple settled in [[Hamburg]] five years later, where Josef began to write for the ''Neue Hamburger Zeitung'', the ''Hamburger Freie Presse'', and the ''Hamburger Nachrichten''. His appointment as teacher of piano at the [[Hamburg]] Conservatory proved to be short-lived (1901–1903), when Josef and [[Berta Foerstrová-Lautererová|Berta]] removed to [[Vienna]], but he became professor of composition at the New Conservatory in the Austrian capital, and from 1910 was music critic for the daily newspaper ''Die Zeit''.

On the formation of the newly-independent state of Czechoslovakia, he returned to [[Prague]] as professor of composition at the conservatory (1919–1922), later teaching music at the University (1920–1936). From 1931 until 1939 he was president of the Czech Academy of Sciences and Art.

==Tchaikovsky and Foerster==
Foerster was first introduced to Tchaikovsky in [[Prague]] when his wife [[Berta Foerstrová-Lautererová|Berta]] sang Tatyana in the first production of ''[[Yevgeny Onegin]]'' outside Russia, which opened at the National Theatre on 24 November/6 December 1888, with the composer himself conducting. He unexpectedly met Tchaikovsky five years later during the Russian composer's last brief stay in [[Hamburg]] (from 25 August/6 September to 29 August/10 September 1893). Tchaikovsky had arrived in the Hanseatic city to attend the revival of his opera ''[[Iolanta]]'' on 26 August/7 September 1893, in a production again conducted by [[Gustav Mahler]] and with Kathi Bettaque in the title-role. It so happened that in the second half of that evening's double bill Leoncavallo's ''Pagliacci'' was given its first performance in [[Hamburg]] (though it was not conducted by [[Mahler]]), and that Nedda was sung by [[Berta Foerstrová-Lautererová]]. As Foerster recalled in his memoirs:

{{quote|It was a joyful surprise when Tchaikovsky, at the end of the successful premiere [''sic. [[Iolanta]]'' had already been staged in [[Hamburg]]], was able to show himself onstage amidst the grateful singers. Called out repeatedly, which in [[Hamburg]] is not something that occurs every day, he took his bows earnestly in his black frock-coat, holding his pince-nez in his right hand. That evening I was full of impatience as I waited for my wife to come home from the theatre. She was in a state of joyful excitement when she arrived. She had met Tchaikovsky backstage, and both had been greatly surprised: Tchaikovsky had had no idea that his Czech ''Tatyana'' had landed up in the ensemble of the [[Hamburg]] ''Stadt-Theater'', and 'Tatyana' learnt of Tchaikovsky's presence in the theatre only when [[Pollini]] [the theatre's director] dragged him onstage.}}

[[Berta Foerstrová-Lautererová|Berta]] passed on to her husband an invitation to visit Tchaikovsky the next morning at [[Bernhard Pollini]]'s town villa, where the composer was staying on that occasion. Foerster continues in his account:

{{quote|Already in the entrance-hall I was welcomed by the aroma of Russian cigarettes, and the next moment I found myself in Tchaikovsky's arms as he embraced me. One question followed the other, and many a recollection of dear far-away [[Prague]] floated up. We spoke about the previous evening's premiere. Tchaikovsky was delighted when I mentioned the extraordinary impression which the scene with the miracle doctor Ibn-Hakkia had made upon me. 'This is my favourite scene in ''[[Iolanta]]'' as well', he observed simply, and thereupon began praising repeatedly the excellent performer of that role [a certain Lißmann, who was also acclaimed by the critics], as if he alone had been responsible for the opera's success. [...] He talked about his plans for a trip to [[Paris]], where the Grand-Opéra was preparing ''[[Yevgeny Onegin]]'', he spoke about a new symphony [his [[Symphony No. 6|No. 6]] and new creative projects; his manner was free, open, and friendly.}}

That evening, [[Pollini]] hosted a small soirée at his villa, at which the only guests were Tchaikovsky, [[Mahler]], Foerster and [[Berta Foerstrová-Lautererová|Berta]]. Everyone was in high spirits, according to Foerster, and even [[Mahler]], who was a man of few words, amused the small party by telling them anecdotes about the production of [[Weber]]'s unfinished opera ''Die Drei Pintos ''in [[Leipzig]] in January 1888 which he had brought about. "Shortly afterwards we bade each other farewell", Foerster recalled. "Tchaikovsky said ''Na shledanou!'' (Czech: "See you again!") several times — he had remembered that phrase from the time of his visit to [[Prague]]" <ref name="note1"/>. In the course of the evening another matter which had been discussed was Foerster's opera ''Debora'', which had been premiered that year in [[Prague]]. Foerster was looking for a German publisher for this work, and Tchaikovsky offered to write a letter of recommendation ([[Letter 5021]]) to the publisher [[Hugo Bock]] in [[Berlin]], with whom he was on friendly terms. Tchaikovsky was glad to do his young Czech friend this favour because he genuinely believed in his talent: Foerster had sent him personally inscribed copies of many of his works <ref name="note2"/>.

==Correspondence with Tchaikovsky==
3 letters from Tchaikovsky to Josef Bohuslav Foerster have survived, dating from 1892 and 1893, all of which have been translated into English on this website:
* '''[[Letter 4790]]''' – 23 October/4 November 1892, from [[Klin]]
* '''[[Letter 4862]]''' – 8/20 February 1893, from [[Klin]]
* '''[[Letter 4900]]''' – 24 March/5 April 1893, from [[Klin]]

3 letters from Foerster to Tchaikovsky, dating from 1892 and 1893, are preserved in the [[Klin]] House-Museum Archive.

==Bibliography==
* {{bib|1930/13}} (1930)
* {{bib|1949/47}} (1949)
* {{bib|1950/3}} (1950)
* {{bib|1951/6}} (1951)
* {{bib|1952/2}} (1952)
* {{bib|1979/35}} (1979)
* {{bib|1980/46}} (1980)
* {{bib|1985/27}} (1985)

==External Links==
* [[wikipedia:Josef_Bohuslav_Foerster|Wikipedia]]
* {{IMSLP|Foerster,_Josef_Bohuslav}}

==Notes and References==
<references>
<ref name="note1">Foerster's memoirs were published in Czech as three separate books in 1931–32, 1938, and 1947, and an abridged German translation later appeared as {{und|Der Pilger. Erinnerungen eines Musikers}}, translated by Pavel Eisner (Prague: Artia, 1955). It is from the latter edition that the above excerpts are quoted in {{bib|2006/6|Tschaikowsky in Hamburg: Eine Dokumentation}} (2006), p. 144, 147–148.</ref>
<ref name="note2">See the notes accompanying {{bib|1979/35|Воспоминания о Чайковском}} (1979), p. 482–483.</ref>
</references>
[[Category:People|Foerster, Josef Bohuslav]]
[[Category:Composers|Foerster, Josef Bohuslav]]
[[Category:Correspondents|Foerster, Josef Bohuslav]]