APA 6th Edition Škunca, M. (2007). Životne staze Ćirila Metoda Hrazdire (1868.-1926.) izvan domovine (II. dio). Arti musices, 38 (1), 3-48. Retrieved from https://hrcak.srce.hr/17701
MLA 8th Edition Škunca, Mirjana. "Životne staze Ćirila Metoda Hrazdire (1868.-1926.) izvan domovine (II. dio)." Arti musices, vol. 38, no. 1, 2007, pp. 3-48. https://hrcak.srce.hr/17701. Accessed 27 Nov. 2021.
Chicago 17th Edition Škunca, Mirjana. "Životne staze Ćirila Metoda Hrazdire (1868.-1926.) izvan domovine (II. dio)." Arti musices 38, no. 1 (2007): 3-48. https://hrcak.srce.hr/17701
Harvard Škunca, M. (2007). 'Životne staze Ćirila Metoda Hrazdire (1868.-1926.) izvan domovine (II. dio)', Arti musices, 38(1), pp. 3-48. Available at: https://hrcak.srce.hr/17701 (Accessed 27 November 2021)
Vancouver Škunca M. Životne staze Ćirila Metoda Hrazdire (1868.-1926.) izvan domovine (II. dio). Arti musices [Internet]. 2007 [cited 2021 November 27];38(1):3-48. Available from: https://hrcak.srce.hr/17701
IEEE M. Škunca, "Životne staze Ćirila Metoda Hrazdire (1868.-1926.) izvan domovine (II. dio)", Arti musices, vol.38, no. 1, pp. 3-48, 2007. [Online]. Available: https://hrcak.srce.hr/17701. [Accessed: 27 November 2021]
Abstracts In the world of European music, Ćiril Metod Hrazdira is primarily known and recognized for his conducting of the successful first performance of Leoš Janáček's opera Jenufa in Brno in 1904. There is less awareness that he was a versatile and talented musician whose multiple music activities brought credit in varying degrees, but without exception, to all the environments in which he worked, firstly in his homeland and, later, outside of it. He had already started his music career and established a respected name for himself in his Czech homeland, in Moravia, and then, from 1909 almost till his death, he continued to work in other parts of the Austro-Hungarian Empire, in fact, mostly in Split. The exceptions were brief, largely one-season intervals, firstly a single sojourn in his homeland (1910-1911), then later in Ljubljana (1912-1913) and in Šibenik (1925).
Past comprehensions about Hrazdira are disproportionate to the volume and quality of his contribution to the music events of his time, particularly in Croatia and not exclusively in Split. Hrazdira's overall role and the significance of his work as performer, composer, organizer, animator and pedagogue, at first in his homeland and then outside its borders, could not be seen comprehensively and thus could not be evaluated in the right way, neither in the context of the music circumstances in the places in which he lived and worked, nor within the overall framework of the music culture of modern times. Hrazdira's life and work at home are known through S. Obenrauchová's research, but his biography concerning the period he spent outside of his homeland remained fragmentary and incomplete, while his composing work was known only fragmentarily and sporadically, so that that extensive work remained to be done. It is hoped that the research results given in this paper will make a contribution to making up for that shortfall.