Scan 166
The New Grove Dictionary Of Music And Musicians 5 Ed. 2nd, 1904
54 lines. Read by computer on 18 September 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1success that the quartet achieved throughout Europe was mainly due to their remarkable unity, freshness of approach and expressive range. Their activity led to the formation in Prague of the Czech Society for Chamber Music and had a strong influence on the work of Czech composers, Reger dedicated to them his Quartet in F minor op.121 Their extensive repertory included all the standard literature, and modern works, particularly by Czech and Slovak composers They made a number of gramophone records
3BIBLIOGRAPHY
4ČSIS
5I Boleška Deset let Českého kvarteta [Ten years of the Czech Quartet] (Prague, 1907)
6J M Květ, ed 40 let Českého kvarteta (Prague, 1932)
7J M Květ Z pamětí Českého kvarteta [Memoirs of the Czech Quartet] (Prague, 1936)
8Památky Českého kvarteta [In memory of the Czech Quartet] (Prague, 1942) [with discography]
9– Ladislav Zelenka a České kvarteto (Prague, 1948)
10L Ginsburg České kvarteto Rusku' [The Czech Quartet in Russia] in České hudba světu svět české hudby, ed J Bajer (Prague 1974), 151
11J Mareš and F Illingova 'Josef Suk a České kvarteto III' xi (1974), 386
13ALINA NÍMCOVÁ one of two readings
14ALINA NIMCOVA one of two readings
16Czeczott [Czeczot, Danilewicz-Czeczot], Witold (b Boracin, nr. Nowogródek, 20 Dec 1846, d Pińsk, 24 Jan 1929) Polish composer and pianist He studied with Żeliński at the Institute of Music in Warsaw, and with Liszt in Weimar, concluding his studies at the Brussels Conservatory In 1869 he also completed a law course at St Petersburg University, and studied further in Heidelberg, there he gained his doctorate in 1871 In 1878 Czeczott entered a seminary in Warsaw, becoming a priest after three years In 1883 he was made professor at the theological seminary in St Petersburg From then he worked mainly as a priest, as well as publishing many articles and theological and literary works His activity as a musician was incidental, belonging to the early period of his life In his youth, Czeczott often gave concerts as a pianist, and also composed chamber works, piano music and songs, some of which are in print His compositions include a string quartet, variations, polonaises for piano, a Suite op 3 for piano and songs for voice and piano. one of two readings
17Czezott [Czezot, Danilewicz-Czezot], Witold (b Boracin, nr. Nowogródek, 20 Dec 1846, d Pińsk, 24 Jan 1929) Polish composer and pianist He studied with Żeliński at the Institute of Music in Warsaw, and with Liszt in Weimar, concluding his studies at the Brussels Conservatory In 1869 he also completed a law course at St Petersburg University, and studied further in Heidelberg, there he gained his doctorate in 1871 In 1878 Czezott entered a seminary in Warsaw, becoming a priest after three years In 1883 he was made professor at the theological seminary in St Petersburg From then he worked mainly as a priest, as well as publishing many articles and theological and literary works His activity as a musician was incidental, belonging to the early period of his life In his youth, Czezott often gave concerts as a pianist, and also composed chamber works, piano music and songs, some of which are in print His compositions include a string quartet, variations, polonaises for piano, a Suite op 3 for piano and songs for voice and piano. one of two readings
19BIBLIOGRAPHY
20Piński przegląd diecezjalny [Pińsk diocesan review], i (Pińsk, 1929)
21J Wasilewski 'Czeczott, Witold Iadeusz', PSB one of two readings
22J Wasilewski 'Czezott, Witold Iadeusz', PSB one of two readings
23ZOLIA CHCITIŃSKA
25Czegert, Josef. See SEGER, JOSEF
27Czekanowska [Kuklińska], Anna (b Lwów, 25 June 1929). Polish ethnomusicologist. She studied musicology with Chybinski and statistical methods with Jan Czekanowski at the University of Poznań (1947-52) She also studied theory of music and methodology under Chomiński at Warsaw University. In 1958 she took the doctorate at Warsaw University with a dissertation on the songs of the Błgoraj region, and in 1968 she completed her Habilitation at the same university with a dissertation on Slavonic folksong. Since 1969 she has been reader and head of the ethnomusicological department at Warsaw University, where she was appointed director of the Institute of Musicology in 1975 and professor in 1976, and since 1972 she has been head of the working group on the ethnogenesis of the Slavonic people at the Polish Academy of Sciences Her main research interests are Slavonic music, its origin and development, and the methodology of contemporary ethnomusicology
29WRITINGS
30Piosenki białogórskie [Songs of the Białgoraj region] (diss, U of Warsaw, 1958, Wrocław, 1961)
31Ludowe melodie wąskiego zakresu w krajach słowiańskich [Folktunes of narrow range in Slavonic countries] (Habilitationsschrift, U of Warsaw, 1968, Kraków, 1972)
32'Zastosowanie polskich metod statystycznych do klasyfikacji melodii ludowych' [Application of Polish statistical methods to the classification of folk melodies], Muzyka, xiv/1 (1969), 3
33'Znaczenie metod statystycznych dla chronologizacji i lokalizacji muzyki ludowej' [The importance of statistical methods for placing and dating folk music], Muzyka, xv/3 (1970), 14
34'Ethnografia muzyczna metodologia i metodyka [Musical ethnography methodology and methods] (Warsaw, 1971)
35Podstawowe zagadnienia etnomuzykologii słowiańskiej' [Basic questions of Slavonic ethnomusicology], Muzyka, xvii/3 (1972), 3
36'The Principles of Construction of Ancient Slavic Songs', Narodno svakarstvo, xi (Belgrade, 1972), 96 one of two readings
37'The Principles of Construction of Ancient Slavic Songs', Narodno stvaraljstvo, xi (Belgrade, 1972), 96 one of two readings
38'Znaczenie badań muzykologicznych dla studiów nad etnogenezą słowian' [The importance of musical investigations in research on the ethnogenesis of the Slavonic people], Slavia antiqua, xx (1973) 29
39'Muzyka ludowa z perspektywy jej uwarunkowań i oddziaływania społecznych' [Folk music as an element of social structure] Muzyka, xx, 3 (1975), 38
40'The Importance of the Eastern Religious Calendars for the Rhythm of Annual Folk Songs in Slavic Countries', Baessler-Archiv, new ser. xxiii (1975), 239
41'On Theory and Definition of Melodic Type', YIFMC, vim (1976)
42'Znaczenie wybranych kierunków etnomuzykologii radzieckiej dla polskich badań nad muzyką ludową' [The importance of various trends in Soviet ethnomusicology for Polish research on folk music] Muzyka xxii 3 (1976) 3 one of two readings
43'Znaczenie wybranych kierunków etnomuzykologii radzieckiej dla polskich badań nad muzyką ludową' [The importance of various trends in Soviet ethnomusicology for Polish research on folk music] Muzyka xx1 3 (1976) 3 one of two readings
44Kultury muzyczne Azji [Asian musical cultures] (in preparation)
45ZYGMUNT M SZWIEKOWSKI
47Czernohorsky, Bohuslav Matej. See ČERNOHORSKY, BOHUSLAV MATEJ
49Czerny, Carl (b Vienna, 21 Feb 1791, d Vienna, 15 July 1857) Austrian piano teacher, composer, pianist and writer on music As the pupil of Beethoven and the teacher of Liszt he occupies a unique position among 19th-century pianists, not only as a transmitter of ideas from one great master to another but also by virtue of his extraordinary productivity during the decades that embraced the most dramatic changes in technique and literature for his instrument
51He came from a musical family, his paternal grandfather was a violinist and city official in Nimburg (Nymburk), near Prague, and his father, Wenzel, was an organist, oboist, singer, piano teacher and piano repairman. When he was six months old he was taken to a Polish estate where his father had assumed a position as piano teacher, the family remained there until 1795, returning to Vienna to avoid the political unrest in Poland. His early musical education, supervised by his father, consisted mainly in learning works by Bach, Mozart and Clementi He could play the piano at the age of three, began to notate his own musical ideas by seven and had developed a fine musical memory by ten. Further instruction, especially in literature and languages (Italian, French and German), were given by some of his father's needier pupils in exchange for music lessons
53With the assistance of his father's friend Wenzel Krumpholtz, the ten-year-old boy was taken for an interview with Beethoven. Krumpholtz, violinist in the Court Opera orchestra and for a long time an admirer of Beethoven's compositions, improvisations and manner of performing, had coached the young Czerny beforehand on many of Beethoven's own works and ideas
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