Czech music is extraordinarily rich and varied, many would agree. But who actually gets to be called Czech? Professor Michael Beckerman hosts a panel discussion about how to conceive of questions of Czech nationality/ethnicity in music from the early Renaissance to the 20th century. Invited panelists include scholars and musicians Erika Honisch, David Hoose, and Carl C. Bettendorf.

Up for consideration are topics such as how to think about the term "Czech" before the advent of the Czech National Awakening, but also for "minority" composers (Jews, Germans, etc.) after that point. What is the cost/benefit of considering composers like Biber, Zelenka, and Gluck, who were born in the Czech Lands, as well as the 19th century's most influential critic, Eduard Hanslick, as part of the Czech tradition? And then moving later to figures like Gustav Mahler, Erwin Schulhoff, Pavel Haas, and Viktor Ullmann, variously described as "Austro-Czech," "Jewish," "Czech Jewish," etc. 

In other words, is what we call "Czech music" a set with fuzzy edges, or actually, no real set at all?  

Be prepared for a fresh walk through “Czech“ musical history, supported and amplified by selected musical illustrations. For more information, visit www.dvoraknyc.org.

Free and open to the public. Suggested donation $10. Seats are limited, on first-come first-served basis. RSVP through Eventbrite is required.

This event is organized by the Dvořák American Heritage Association (DAHA) with support of BBLA