(b Weimar, Jan 23, 1762; d Weimar, June 26, 1827). German writer . A copyist’s son from a large family, he was mostly self-educated as a youth. Later he studied law at Jena and Erlangen, then supported himself and his siblings by his pen. Goethe, who lived with and subsequently married Vulpius’s sister Christiane, tried to help him secure various positions. Vulpius translated and adapted Italian and German opera texts for the Bellomo company at Weimar during the 1780s, and supplied over two dozen new versions of previously composed operas to the Weimar court theatre, under Goethe’s direction from 1791 to 1817. On obtaining a position in the Weimar library in 1797, Vulpius turned to cultural-historical studies. The University of Jena conferred the PhD on him in 1809, and in 1816 he was knighted by the Weimar court. Vulpius’s original librettos, like his popular novels, show a decided taste for the sentimental, picaresque and supernatural. During the 1790s his revisions of several of Schikaneder’s librettos – by no means improvements – sparked a war of words between the two....
(b Brno, 13 March 1966). Czech composer, pedagogue, and writer on music, son of zdeněk zouhar. He studied composition at the Janáček Academy of Music and Performing Arts (JAMU) in Brno (with Miloš Ištván and alois piňos) and musicology at the Masaryk University, followed by post-graduate studies at the Hochschule für Musik und darstellende Kunst Graz (with Herman Markus Preßl and younghi pagh-paan) and JAMU. He remains an external pedagogue at both these institutions, as well as being active as a researcher at the Palacký University Olomouc (vice-dean starting in 2010), Ostrava University, and Masaryk University.
His brand of postmodernism is surprisingly respectful, using disparate materials in a serious manner, and generally staying with a few pieces of material for the duration of a piece or movement. Often composed in an additive, evolutionary structure, his works are sonically reminiscent of New York post-minimalism, but are very European in their approach to expressivity and emotional intensity. This approach includes both the intense rhythms of ...