Women composers in new perspectives, 1800–1950. Genres, contexts and repertoire

0573270 - ÚDU 2024 RIV BE eng M - Část monografie knihy
Bunzel, Anja
Countess Elise von Schlik (Eliška Šliková). Salonnière, patroness, composer.
Women composers in new perspectives, 1800–1950. Genres, contexts and repertoire. Turnhout: Brepols, 2023 - (Storino, M.; Wollenberg, S.), s. 99-119. ISBN 978-2-503-60630-9
Grant ostatní: AV ČR(CZ) MSM300332101
Program: Program na podporu mezinárodní spolupráce začínajících výzkumných pracovníků
Institucionální podpora: RVO:68378033
Klíčová slova: Elise von Schlik * Prague * nineteenth-century salon * song * women composers
Obor OECD: Performing arts studies (Musicology, Theater science, Dramaturgy)

Countess Elise von Schlik spent her entire life in Prague, where she played an important role within the socio-cultural context of the city. She is known for her generous financial and social support of artists both resident in Prague and travelling to and through Prague. It is obvious that Schlik acted as both a host of social events and a mediator between artists and other important cultural protagonists. However, Schlik was also active within creative and interpretative realms. She was an excellent pianist and gave private concerts. Furthermore, she composed Lieder and short piano pieces, some of which were published. She also wrote poetry. Despite her strong impact on Prague’s cultural scene during the first half of the nineteenth century and her contemporary international reputation as a musical patroness, relatively little is known about her today. This article focuses on Schlik’s compositional activities, more particularly her Lieder. I first contextualise these songs within the context of Schlik’s social activities in Prague and abroad, followed by a close reading of selected Lieder. In doing so, I argue that Schlik herself and her songs can be considered key aspects in bringing together different cultures and communities in Central Europe during the first half of the nineteenth century. Her Lieder, as I will show, are representative of typical German nineteenth-century Romanticism, and thus deserve a place in today’s musicological and performative canons alongside the pieces of Schlik’s more well-known contemporaries.
Trvalý link: https://hdl.handle.net/11104/0343744