czech music

3 | 2004 quarterly magazine

David Eben

Harry Halbreich

Dagmar Voňková INZERAT%URO!RTENPDF czech music 3 | 2004

editorial Contents 2004

Dear Readers, Page 2 David Eben’s Passionate Affair It is a great honour for me to be able to introduce myself to you as the new editor LENKA KRÁLOVÁ of the magazine Czech Music. I am looking forward to our regular quarterly meetings on its pages. 3 In this issue you will find an interview with David Eben, a great exponent of Gregorian chant not only as a performer Page 6 FOK Orchestra but as a scholar as well. I would also like JIŘÍ PILKA to draw your attention to the text from the famous musicologist Harry Halbreich, a profession of his love for Czech music. The erudite article not only provides interesting information for anyone who is Page 10 Czech Music : A Life-long Story just getting to know Czech music, but is HARRY HALBREICH also fascinating for those of us who “live” in Czech music. It is surprising and thought-provoking to see composers traditionally considered virtual opposites being talked about in the same sentence. Page 14 Ivo Kahánek: The Universal Type of Pianist Before the end of the year there will be JINDŘICH BAJGAR another issue as we catch up with ourselves - as you will have noticed, this issue is coming out rather late and I offer my apologies for the delay. Reading to look forward to in the next issue will Page 17 The Levers, Pistons and Wheels of my Blood include a triptych of articles on E. F. PETR FERENC Burian, a man of many talents and a controversial life, and a very interesting interview with an important Czech composer – Jan Klusák, who is usually so publicity shy that we are particularly proud to be carrying the piece. In 2005 the magazine will have a new graphic design and will be conceived in a slightly different way. We want to include more materials with the same thematic focus in each issue, and to show Czech music in the broader international context where – we adamantly believe – it belongs.

Happy Autumn Czech Music Czech Music is issued by the Czech Music Information Centre with the support Information Centre, of the ministry of Culture of the Czech Republic, Bohuslav Martinů Foundation, Leoš Janáček Besední 3, 118 00 Praha 1, Foundation and the Czech Music Fund Czech Republic, Editor: Petr Bakla, Translation: Anna Bryson fax: ++420 2 57317424 Graphic design: Ditta Jiřičková, Photos: Karel Šustr (cover, p. 2–5, 19–20), David Port (p. 11), phone: ++420 2 57312422 Zdeněk Chrapek (p. 15) and archives e-mail: [email protected] DTP: HD EDIT, Print: První dobrá s.r.o. http://www.musica.cz ISSN 1211-0264 The subscription fee is 25 for Europe, $ 30 for overseas countries, or respective equivalents. PETR BAKLA EDITOR david eben’s passionate

If today Gregorian Chant is no mere empty phrase for much of the Czech public, but means a kind of music they have actually heard, then most of the credit must go to David Eben. The Schola Gregoriana Pra- gensis ensemble, which he founded and now directs, has been giving concerts at home and abroad since 1989. The Schola was in fact founded two years earlier, but before the Revolution it could perform only during church services. David Eben (*1965), who originally studi- ed Clarinet at the Prague Conservatory, developed an interest in medi- eval music at the Philosophical Faculty of Charles Uniersity, where he studied music from 1986. He only studied the direction of Gregorian Chant once the Schola had been established, going to the Conserva- toire Nationale Supérieur de Musique de Paris, from which he gradua- ted in 1991. Eben’s theoretical, musicological work has been as essen- tial to the project as his practical skills. The repertoire presented by the ensemble requires an understanding of the original sources, not just a basic ability to “decipher” them, but also a wider knowledge of the way specific chants were actually sung, and the techniques (endless ques- tions) needed to produce the particular sound of the Schola. Eben has acquired this theoretical basis mainly on his visits and consultations at the Benedictine Monastery in Solesmes in France. The resulting com- LENKA KRÁLOVÁ bination of theory and practice is evident above all in the ensemble’s repertoire. Its extensive discography, comprising ten CDs released over ten years (1993-2002) is testi- mony to a very well thought out conception of thematically distinct wholes that draw on the original sour- ces. In addition to his teaching activities (currently he works at the Charles University Institute of Musical Studies), David Eben is the author of a number of programmes for the Czech Radio’s Vltava Station focu- sed on Medieval music – above all the ambitious cycle The Liturgical Year in Gregorian Chant. Quite apart from these medieval interests, Eben has been making a successful name for himself in popu- lar music as well. The Eben Brothers Ensemble, which is hard to classify and is somewhere on the bor- ders of rock, jazz and folk, has already released three CDs at quite lengthy time intervals, the last album Já na tom dělám [I’m Working on It] in 2000.

2 | interview | czech music 3 | 2004 affair

You started to get interested in before I had really worked out certain meth- hand in the air, which has its logic. medieval music and Gregorian chant ods of conducting. I found an alternative to this approach when when studying at the Philosophical fac- studying at the Paris Conservatory. Here you ulty, and you founded the Schola Gre- You then continued to devote yourself work with a more economical system of ges- goriana Pragensis in your second year. to conducting Gregorian chant, and tures, focused more on the overall guidance Tell us something about your first studied it at the conservatory in Paris. of the phrase. What is important is the idea experiences conducting Gregorian Could you tell us what exactly the stud- that there are certain “rhythmic pillars” in the chant? ies consisted in? When looking at your music, to which the flow of the music is I can remember the first performance of our gestures I can’t help thinking of the directed – often these are the accents of “embryonic” Schola cell at the Church of St. signs of neum notation, which original- words. And so the conductor should express Wenceslas in Smíchov. It was Ash Wednes- ly probably recorded the movement of this direction in his gestures and give the day in 1988. Two minutes before the mass the conductor’s hand. ensemble a corresponding impulse, but the started we flew out of the sacristy up to the Conducting Gregorian chant has certain signs of neum notation can still be a major choir and were trying to catch our breaths peculiarities. There isn’t any regular unit of inspiration for the gestures, since after all while we waited for the bell to ring as the rhythm in Gregorian chant, and so you can’t they are a brilliant way of embodying the signal for our entry. To be frank, at that rely on the classical conducting pattern of agogics of Gregorian melodies. moment I was gripped with horror at what I three or four-time. This means you need to was letting myself in for, when I didn’t yet find another element to allow communication What else did your stay in Paris give even have a proper knowledge of the whole between the conductor and the singers. I you, in terms of valuable experience? thing. But with the first notes it vanished, and encountered my first guide to conducting I spent almost three years there and it was was replaced by delight in the arching phras- chant on Professor Godehard Joppich’s an experience that I’m still drawing on today. es of the chant, and then it just got better course in Essen. According to this school the The most important element was probably and better. Naturally it took some time conductor must really paint neums with his my work with the French school Choeur gré-

czech music 3 | 2004 | interview | 3 gorien de Paris, which sings a choral mass true that discussion on the theme – even singers is necessary if the sound of the every Sunday in the Paris Church of Val-de- though academic in character – is often ensemble is to be homogenous. At the same GrČce. For one year I was responsible for quite emotional. This is probably because time you have to find a balance between these masses as conductor, and so I had Gregorian chant is often involved with the technique and expression. You mustn’t lose “hands on” experience of the relevant reper- spiritual life of the performers and so their the sense of the profundity of the word by toire. It’s experience that is hard to come by whole personal identity, which makes the concentrating too much on technique, but on unless you’re a Benedictine. interpretation of the chant a more than usu- the other hand the experience of the text I met with all kinds of other inspirations and ally “passionate affair”. mustn’t be at the expense of technical quali- interesting experiences as well, such as a Differences in performance also reflect dif- ty. The two factors need to be harmonised tour with the Choeur grégorien de Paris to ferences in the national character of the per- and each time you have to go after that har- South Korea and China, for example. China formers. The Germans are very thorough and mony again. was especially interesting. For instance we pay scrupulous attention to all the nuances performed not just in a church in Shanghai in the neuma, while the French don’t worry Currently you teach early music (the but in the hall of some kind of house of cul- about all that so much, but on the other hand history of Gregorian chant, the liturgi- ture, where the choral was accompanied by that gives them greater lightness of touch cal year) at the Institute of Musical the loud noise of three revolving air-condi- and so on… Studies at the Philosophical Faculty tioning fans on the ceiling. and at other institutions. How stimulat- The vocal technique of the singers is ing do you find your teaching? What is After your many years of experience, something frequently discussed. While the student attitude to this period? how do you react to Gregorian Chant the chant sounds absolutely simple, it Certainly practical experience must performed by other groups? Are there is the result of perfect vocal technique. play a certain role here… sharp differences of opinion on the Is the unified sound of the Schola the I think that for every teacher teaching is an concept of interpretation? result of long years of working togeth- antidote to atrophy. You have to keep bring- The current scene as far as performance of er? Do you concentrate on working ing your lectures up to date, and discussions Gregorian chant is concerned is very pluralist with the voice? with students often inspire you to new ways and it would be hard for anyone to claim that Certainly long-term experience of singing of presenting the material, to more effective his interpretation is absolutely correct. It’s together and work with a stable group of comparisons and analogies. It sounds like a

4 | interview | czech music 3 | 2004 banality to say that you learn most by teach- Prince Břetislav was threatening to cut the ration for composers in practically all stages ing, but it’s undoubtedly true. German emperor’s head off and put his face of musical history, and so it doesn’t strike me As far as the student reaction is concerned, on his bottom. as in any way inappropriate when composers they should probably speak for themselves make use of it today. But it all depends on rather than have me speak for them. I try to In your repertoire you have not just una the way it is treated, and whether the combi- ensure that the music I’m lecturing about voce chant but medieval polyphonic nation really produces some authentic new doesn’t come across as some archive exhibit, works, and currently you are giving value, or just parasites on the musical quali- but as something alive and dynamic, that has concerts with pieces by Petr Wilhelm ties of the chant and its spiritual dimension. its place in the world of today. This means de Grudencz or the four-part Messe de Only time can give a clear answer to ques- that in my lectures – apart from playing sam- Nostre Dame by Guillaume de tions like this. ples from CDs, I “bother” students by getting Machaut. When you are rehearsing us all to sing things from the repertoire. I such pieces, do you draw on the origi- The range of your activities is of course believe this kind of practical experience, with nal records in original notation? For much wider than Gregorian chant. At people having to try out performance of the example, Machaut’s mass is a perfectly the conservatory you studied clarinet music first hand, is very important in helping rhythmically elaborated piece that and your still play this instrument them to understand it, and most students – makes great demands on performers. together with the saxophone. Your thank God – react positively. For compositions like Machaut’s Messe de interest in jazz is well known. Do you Nostre Dame, there are excellent editions have some experience with actually Your ensemble’s repertoire is tightly that are entirely reliable, and you can say the playing jazz? linked to Bohemian traditions, and same about the editions of the music of I’ve been a great lover of jazz from my early these always form some kind of the- Petro Wilhelmi de Grudencz. In fact in his youth. My childhood dream was to become a matic whole in your programmes. For a case we even had what you might call an “in black saxophonist – although unfortunately long time now you have been con- house” editor, i.e. Doc. Jaromír Černý from I’ve never been quite able to fulfil it. But I cerned with chants of the “offices”, i.e. the Institute of Music Studies at the Charles always listen to this music with gusto, and as one of the principle rituals of the Chris- University Philosophical Faculty. We had no far as I can I try to play it as well, although so tian liturgy performed at certain times trouble consulting on questions about the far more or less in private. It’s always over the course of the day. Does this edition. When it comes to music from refreshing for me when after a tough day I repertoire have a rich tradition in our Bohemian medieval sources, however, the put on a CD and play one of his jazz studies country? How many records do we situation with editions is a great deal worse, with Bob Mintzer. actually have of this kind of chant and so with only a few exceptions I have to here? make a transcription from the sources You are active in the Eben Brothers We could spend a long time talking about myself. group, which makes albums with other this theme. In the early Middle Ages our musicians, such as the highly distinc- country took over the basic repertoire of In June last year Schola Gregoriana tive singer Iva Bittová, the double liturgical chant that was usual in Western Pragensis took part in performing two bassist Jaromír Honzák and others. Europe. But apart from the universally pieces by the young Czech composers What is your attitude to improvisation? accepted core, new layers of repertoire Miroslav Srnka and Michal Rataj. One Jazz improvisation is a great art that I would began to emerge that were typical of Central interesting aspect was the huge con- like to get close to. But the songs I play with Europe and sometimes just of Bohemia. For cert venue – the Vítkov Monument, a my brothers are more arranged. We each example these include chants for the festi- mausolem associated in the Czech think up our individual inputs or solos, and vals of the Bohemian saints, chants with public mind with the communist they then become a more or less stable part Marian themes and polyphonic Christmas regime. The distinctive features of the of the arrangements. Classic improvised readings. We were lucky that wars had rather space were exploited for the perfor- “choruses” wouldn’t really much fit there. less of a damaging effect on our traditions mance of the pieces, especially in than in Lorraine, for example, and so we Rataj’s Vítkov Oratorio, with the audi- What are your future musical plans? have enough manuscript sources in our ence sitting among the performers, the With the Schola I’ve recently started a cycle archival collections. Schola moving during the piece, and of eight concerts for the fifteenth anniver- In our ensemble we have often focused on a electronic treatment enhancing the sary of our concert life, and they will be run- repertoire typical for Bohemian conditions. spatial composition… ning up to Christmas. This cycle is a kind of Often this is very remarkable music that is I have to admit that the day of the concert symbolic culmination of the development of not very well known either here or abroad. It was the first time in my life I had ever the group until now and at the same time a is also one way of convincing people abroad entered the Vítkov Monument. My first chance to work with other performers. For that our streets aren’t full of bearded Eastern impression of the place was contradictory – example we are looking forward to the con- Orthodox priests, as most foreigners believe, a kind of mixture of obscure mysticism and cert programme Ach, homo fragilis [Oh, Frail but that our country is solidly anchored in the vacuous grandeur that sent shivers up my Man] in the Prague Church of St. Simon and Latin tradition of Western Europe. spine. But in the evening, when the space St. Jude, where the singing will be inter- was in darkness and you could only see the spersed with recitation of period texts by my A knowledge of Latin must certainly be evocative lighting of the podium, the environ- brother Marek. Then in November we are necessary for any understanding of ment acquired potency, and the Gregorian planning to record a new CD devoted to the Gregorian chant let alone any enlight- chant even managed to sound very authentic music of Petro Wilhelmi de Grudencz, whom ened interpretation. How have you there, Michal Rataj’s piece eventually worked you mentioned before. managed to cope with medieval Latin, very well with the spatial factor – including And to complete a threesome – but from a with all its oddities? the long resonance. Altogether it was quite a completely different direction – I would men- Today I actually find medieval Latin easier powerful experience. tion the DVD that I and my brothers shot in than classical Ciceronian Latin. For that I the Ledeburk Gardens in August. The audio have to thank Professor Zachová and her What is your attitude to the combina- and video tapes have already been edited, Medieval Latin seminar, which I attended tion of Gregorian chant with contempo- and so there shouldn’t be anything in the regularly when I was a student. There we rary music? The great wave of interest way of releasing it now. read almost all the Statures of the Chapter in this vocal tradition has led to its use of St. Vitus of Arnošt of Pardubice, and in various other genres. extracts from the Chronicle of Cosmas, when Gregorian chant has been a source of inspi-

czech music 3 | 2004 | interview | 5 FOK orchestra with Rudolf Pekárek (around 1940) fok orchestra

The Struggle for Existence make a living by intensive recording of music regularly played for the City Theatre in the for films. In 1935 this was 18 films, and by suburb of Královské Vinohrady. In 1938 the Founding a new orchestra in Prague in the 1943 when the Prague Film Orchestra was orchestra gave three concerts for the Work- middle of the economic crisis was a very founded, the FOK had recorded music for ers’ Academy and appeared at the 10th courageous act, and with it Rudolf Pekárek 234 films. Sokol National PE Association Meeting. The gave many unemployed musicians hope. On 19th of November 1939 saw the first of a the other hand, the life that awaited them The other opportunities were very various. cycle of Sunday matinee concerts in the was full of uncertainty. The abbreviation FOK On the 25th of March 1936 the orchestra Smetana Hall, with Otakar Jeremiáš con- had already appeared in 1934 at the found- gave its first public concert in the Mánes ducting Smetana’s Má vlast [My Country]. ing meeting in the Kmoch Restaurant in Hall, with Václav Smetáček conducting Václav Smetáček conducted the same piece Vinohrady. The letters denoted the expected pieces by Fr. Bartoš, P. Bořkovec, J. Ježek, on the 1st of January 1940 in Mělník at the area of activity: film – opera – concert. Twen- H. Krása, I. Krejčí and B. Martinů. On the first FOK concert outside Prague. A Folk ty-five musicians called themselves the FOK 30th of April 1937 the orchestra gave a Cycle of ten matinee concerts was also suc- Orchestra or the FOK Salon Orchestra or charity concert for the Opora domova [Home cessfully launched in this year. sometimes Pekárek’s Salon Orchestra. On Support] society. Another public concert on the 29th of December 1934 they played on the 6th of May 1937 was announced as the In 1942 the Gestapo arrested Pekárek (as a the radio for the first time. opening of a folk cycle, but no further instal- Jew) and on the 12th of May Dr. Václav At the beginning the ensemble did indeed ments took place. In these years the FOK Smetáček was elected as chief of the insti-

6 | history | czech music 3 | 2004 National Committee of the City of Prague a number of chamber ensembles and and expanded to 82 musicians. The 18- soloists were successively affiliated to the years of struggle to achieve material security orchestra. The Prague Symphonics became were over. an important and indeed a massive institu- tion, and the Concert Agency controlled The Prague Symphonics most of concert life in Prague.

The official title of the orchestra was com- The orchestra also gradually acquired an inter- pletely different: The Symphony Orchestra of national name, visiting dozens of European the City of Prague FOK. The title still applies and non-European countries to great acclaim. today, but for people abroad it is too compli- In 1967 it toured in the German Republic and cated and unmemorable a name, and even Great Britain for the first time, in 1969 it had here it became usual to call FOK the Prague its first tour of the USA, in 1972 it appeared Symphonics. For the sake of completeness I for the first time in the USSR, and in 1986 for shall offer readers a little more information. the first time in Japan. There is no point here in In 1957 the FOK went abroad for the first listing all its tours. There were a great many, time, to Poland, and in 1959 it took part in and all were well received by audiences. FOK the first concert in the Motorlet factory and did a huge amount of work to promote Czech for the first time travelled to the West – to music culture and also awareness of the exis- Austria. In 1952 a Concert Agency was tence of a Czechoslovakia, a small state in the established in association with the FOK and heart of Europe.

JIŘÍ PILKA

Václav Talich tution. In August the orchestra received an order to play as the operetta ensemble in the German Theatre in Prague, and in 1944 the members of the orchestra were sent to the Ostmark–Werke factory in Kbely as forced labour.

On the 19th of May 1945 the orchestra played for the first time in liberated Czecho- slovakia and announced a cycle of subscrip- tion concerts. Rudolf Pekárek returned from prison and became the leader of the Army Arts Ensemble and the second conductor of FOK. The leaders of the orchestra had fruit- less negotiations with the Prague City Hall in an attempt to secure better material condi- tions, and there was even talk of moving the FOK to Karlovy Vary. In 1947 the orchestra appeared for the first time at the Prague Spring, but after February 1948 Rudolf Pekárek left the CSR for Australia.

On the 1st of January 1952 the FOK Orchestra was placed under the Central Václav Smetáček and Sviatoslav Richter

czech music 3 | 2004 | history | 7 Strugala, Kurt Masur, Krzystof Penderecki, Seiji Ozawa, Charles Munch. Many of them appeared with the FOK at the Prague Spring Festival.

Music for Prague

The FOK Concert Agency was founded in 1962 as a practical agency for Prague. Milan Zdražil, head of the agency, became an important and indeed legendary figure. Together with his colleagues he thought up such celebrated cycles as World Piano Music, the Spring and Autumn Organ Cycle, Pictures and Music, the Major Chamber Cycle and afternoon concerts for school- children. Many of the cycles still exist today, and quite a number have been copied by other agencies.

Milan Zdražil filled the whole of Prague with music: the Basilica of St. George, galleries, the Bertramka Museum, the Cathedral of St. Vitus, the Basilica of St. James, the Church of St. Simon and St. Jude, the Riding School A whole series of directors contributed to under totalitarian regimes was unafraid to of the Prague Castle, the Mirror Hall at the the developing the profile of the orchestra. present major oratorio and cantata works. Clementinum, the Steps of the National The names are not so important in them- He was always welcomed abroad (more than Museum, the Garden in Maltese Square… selves, but I should like to recall at least a once as an opera conductor). He did a huge few. After the founder Rudolf Pekárek and amount for Czech music and especially for FOK and its agency have brought myriad Václav Smetáček (at the beginning both had our modern composers, whose work he pre- world virtuosos to Prague. I am thinking first to take care of both artistic and organisa- sented systematically at home and abroad. of all of the guest artists that are the pride tional aspects), there followed Karel Blahout, He left a permanent mark on Czech musical and joy of every programme. Only an out- Jan Hrdlička, Karel Vodrážka, and Jiří life, and headed the FOK for a full 36 years standing orchestra can invite outstanding Hlaváček. In 1968–1976 the Fok was led by (up to 1972). soloists. I shall recall a few names from the Ivan Řezáč, and after him Ladislav Šíp. As post-war period: Peter Schreier, Garrick excellent musicians both managed to gain A whole range of other Czech conductors Ohlsson, Henryk Szeryng, Anne–Sophie and maintain general respect for the orches- have worked with the FOK. Some had short Mutter, David Oistrakh, Sviatoslav Richter, tra and keep up the highest musical stan- terms contracts, others longer. Let us recall Isaac Stern, Arthur Rubinstein, Arturo dards. Several subsequent directors who did names like Štěpán Koníček, Jindřich Rohan, Benedetti–Michelangeli, Mischa Maisky. not bring any conspicuous change, but the Václav Neumann, Zdeněk Košler, Ladislav most recent stage, represented by members Slovák, Vladimír Válek, and Petr Altrichter, Among great Czech musicians that have of a younger generation, is worth special and in recent years Martin Turnovský. worked with it, the orchestra can boast mention. In 1992, after the departure of Jiří Rudolf Firkušný, Ivan Moravec, Zuzana Pilka, who held the post of director for only a The principal conductor Jiří Bělohlávek Růžičková, Jan Panenka, Josef Páleníček, short time, Roman Bělor took over the reins. achieved his greatest musical successes František Rauch, Boris Krajný, Josef Suk, In 2001 he left to become director of the with the orchestra, which he led from 1977 Václav Snítil, Saša Večtomov, Josef Chuchro, Prague Spring and was replaced at the head to 1989, i.e. a full 12 let. In this period there Jiří Bárta, Marta Krásová, Marie Tauberová, of the FOK by Mgr. Petr Polívka. Both were high-profile foreign tours, a whole Beno Blachut, Eduard Haken, Dagmar Peck- breathed a new dynamism into the work and series of gramophone recordings, and the ová, Ivan Kusnjer and many others. For a cer- expanded the domestic and international home concerts were at the highest possible tain period the orchestra has been a home activities of the orchestra, even in what were standard. Bělohlávek worked with intensity haven for various ensembles and soloists. often difficult economic circumstances. and systematically; he was demanding, and Those who have had FOK contracts include carefully selected soloists. His successes the violinists Václav Hudeček, Ivan Štraus Repertory directors have also had an influ- were conditioned by the fact that he was and Ivan Ženatý, the pianists Mirka Pokorná ence on the life of the orchestra. More than able to devote a great deal of time to it. and Emil Leichner, the cellist Stanislav once the music directors have themselves Apolín, and the violist Lubomír Malý. The fulfilled this function, but in some cases the In the Nineties, after the departure of Martin number of associated ensembles is highly situation has been different. Petar Zapletal Turnovský, Gaetano Delogu from Italy worked unusual: the City of Prague Quartet, the was an important and highly professional with the FOK as principal conductor for a Kocian Quartet, the Foerster Trio, Collegium instance, and in the nineties Bohuslav Vítek. while, while several interesting Czech guests musicum Pragense, the Prague Chamber Both made major contributions to the work alternated with him on the stand (Libor Pešek, Soloists, Corni di Praga, Musica da camera of the orchestra. Zdeněk Mácal). The current principle conduc- Praga, The Suk Chamber Orchestra, The tor is the French conductor Serge Baudo. It Prague Male Choir, Linha Singers, Bambini Major Figures would take a great deal of space to list all di Praga, The Kűhn Mixed Choir, Musica the visiting foreign conductors, but here I bohemica, the Prague branch of Music One absolutely key figure in the founding shall mention just enough to indicate the Youth. phase of the orchestra was Václav very high level on which the orchestra has Smetáček, already mentioned above. He been performing in the post-war years: Paul The list of names has changed, musicians managed to work fast, oriented programmes Hindemith, Dean Dixon, Zubin Mehta, Sir come and gone, but FOK has remained the to the basic symphonic repertoire, and even Charles Mackerras, Sir George Solti, Tadeusz biggest “home” music institution. A similar

8 | history | czech music 3 | 2004 model was applied in the Czech Philharmon- certs of the Czech Radio Orchestra and the others have to be second or third. This is not ic, but on a smaller scale. Since 1990 this Prague Chamber Orchestra demonstrate the case abroad, or at least not as a perma- gigantic musical institution has been pro- that it is the quality of an ensemble and its nent feature for nearly a century. Who would gressively scaled down, and now only the programmes that is crucial. This means that stick his neck out to say which of London’s Concert Agency remains with the FOK. the key is finding a programme profile, and five large symphony orchestras is the num- Reduction has had many positive features: a of course budgeting in a way that keeps the ber one? Or whether the Birmingham was simplification of the agenda, and entirely price of tickets at an acceptable level. Unfor- better under Simon Rattle? Different orches- independent decision-making by each musi- tunately not all ensembles know how to do tras have their own history, rise, peak and cian and collective. On the other hand, many this, but the FOK is an excellent example in fall, and that is certainly true in the Czech of the groups involved have lost a certain this respect. The various bodies of the Republic as well, except that here the rank- minimal material security, each group has orchestra (the music board etc.) often forced ing tendency has settled in the minds of been burdened with administrative questions the musical direction to make the pro- administrators and so some bodies have bet- especially in relation to agency negotiation, grammes as attractive as possible, seen as a ter economic (mainly salary) conditions than promotion and budgeting. Only time will tell matter of including well-worn 19th-century others. This in many cases limits the quality of whether older model did not, in fact, have works and excluding more modern or con- the performers who can be engaged, invita- certain positive aspects to which it would be temporary compositions. The case of the tions to soloists etc. In FOK they are very con- beneficial to return. Prague Chamber Philharmonic shows that scious of the problem and it is a mistake to you can play contemporary music, engage keep on rating a body as the “Prague Number The Future young soloists and conductors, and not lose Two”, for example. I leave aside the long-term the public. The FOK is now in many respects underpayment of the players in all our orches- In the last decade, a number of people have doing the same thing. tras, since that is a different problem. here and there voiced the view that Prague has too many regularly publicly performing For years the Prague FOK Symphony The freedom we have today means that no large symphony orchestras: the Czech Phil- Orchestra was an orchestra that maintained one is restricted on ideological grounds and harmonic, the Prague Symphonics (FOK), a successful identity distinct from the pro- everyone is responsible for himself or her- and the Czech Radio Symphony Orchestra. grammes of the Czech Philharmonic. It had a self. It is not an easy situation, but it is an We have, however, watched with wonder as broadly accessible repertoire. Thanks to the opportunity for creative activity. And it is pos- new bodies, such as the Czech National FOK it was from time to time possible to sible to be creative in organisational and Symphony Orchestra, have come into being. hear all Beethoven’s symphonies, the main agency work as well, and in programming. Admittedly this is not a permanent group, works of Smetana, Dvořák, Tchaikovsky, The FOK has plenty of potential for a suc- and in practice consists of players from the Debussy and hundred of other pieces. The cessful future in its staff. Let us hope and three traditional orchestras, but it is interest- presentation of the great oratorios was also trust that the springs of their ingenuity will ing to see that it is finding a public, space for a worthy project. As students this meant we not run dry, that they will continue to have recordings and engagements abroad. We could get to know Händel’s Messiah, Bach’s unending ideas and inspiration, and that in should also count the Prague Chamber Phil- Mass in B Minor, Verdi’s Requiem, Dvořák’s the tough competition with the other Prague harmonic, which has joined the ranks of Requiem and Stabat mater, Orff’s Carmina ensembles the orchestra will maintain its existing chamber ensembles with great suc- Burana, but also the cantatas of Vycpálek, strong and still irreplaceable position. Look- cess and has its large and faithful public. Are Novák and so on. At the same time FOK ing back on what the FOK has done over there really too many orchestras? would regularly present contemporary Czech seventy years for Czech music, in Prague, in music, and composers like Luboš Fišer, Jan the Republic and abroad – often in very diffi- I am convinced that the present state is Klusák and dozens of others can thank the cult circumstances – we are full of admira- viable and acceptable. Certainly some orchestra for their arrival on the music scene. tion and gratitude. ensembles have problems attracting audi- One traditional bad habit in the Czech ences, but the reason is not an oversupply of Republic is the “grading” of orchestras, and With permission of magazine Harmonie concerts, but the quality of the programmes the way they are judged in terms of hierar- Photos: FOK archive and the price of tickets. The sold out con- chy. Only one can be first and best, and the

Jiří Bělohlávek with the Orchestra

czech music 3 | 2004 | history | 9 czech music: a life-long love story

HARRY HALBREICH

9th February born in Berlin. A Belgian My relationship with Czech Music is a life know Czech), except some very biased writ- musicologist, first a disciple of Arthur long love story. It goes back to my childhood, ing in German about the Manheim school, many years before I first visited the country whole Czech roots were totally underrated. In Honegger (1952–1953), then of and the people from which it was born. autumn of the same year, I finally laid the Olivier Messaien at the Paris Conser- The music had prepared me for that visit and first visit of my (at present) twenty-five visits vatory (1955-58). Also worked as pro- for an understanding of the Czech soul and to Prague. Since I could not afford the fessor of musical analysis at the Royal people, which in turn deepened my knowl- expenses of a tourist visit, and since political Conservatory of Mons in Belgium edge of the music. circumstances made travelling difficult, As a child, I had of course become acquaint- I sought and found employment with the between 1970–1976. Harry Halbreich ed with the popular masterpieces of French agents for Supraphon and thus was has always been very creative in the Smetana and Dvořák. Then came a big able to visit Prague twice a year as a guest field of radio broadcasting, recently shock. As a 17-year-old high school student, of Artia. Martinů, of course, was my primary working for Radio Suisse Romande. back in 1948, I attend a concert at the Brus- concern. I owned the first book by Miloš He is also Co-founder of and a main sels Palais des Beaux-Arts, conducted by Šafránek published in the late forties, so he the freshly exiled Rafael Kubelík, which was the first person I tried to meet. The ban contributor of Belgian music periodi- began with Bohuslav Martinůęs Double Con- on Martinů performances in his home coun- cal Crescendo. As an author of a large certo. That powerful masterpiece completely try had just been recently lifted, but the large variety of papers, Harry Halbreich reg- overwhelmed me. The concert, during which works were still little played, allegedly for ularly presents his findings at interna- Rudolf Firkušný played Brahms’s d-minor a lack of hard currency to pay for the rental tional musicological conferences. He Concerto, most likely ended with fees of works published abroad. But when Roussel’s Third Symphony, was another dis- I was officially introduced by Artia to Václav also teaches young composers. covery and another shock. I have retained Dobiáš, the “Czech Khrenikov” (although Among Harry Halbreich’s main inter- a deep affinity for the music of Roussel, much more talented than Khrenikov himself) ests belong Czech, English, Spanish, which is almost forgotten today in France I asked him why the greatest living Czech Finnish music and music of the 20th and Belgium, and is actually more frequently composer and the greatest world-wide living century. performed in Prague than in Paris… One symphonist was not performed in his own year later, Kubelík was back in Brussel, this country. Dobiáš lifted his finger (about “the time with Martinů’s Fourth Symphony, which greatest symphonist”) and exclaimed Publications to this day remains my favorite of the Six. In “Shostakovich”, upon which I replied “Mr. Bohuslav Martinů. Werkverzeichnis, fact, I proudly own the original manuscript of Dobiáš, are you Czech or Russian?” Then fol- Dokumentation un Biographie the fourth symphony, given to me as a pre- lowed a painful silence… But back to (Atlantis, Zürich 1968) sent from Charlotte Martinů to thank me for Šafránek. As soon as I mentioned my inten- my work on her husband – but more about tion to write a book on Martinů, his friendly Olivier Messaien (Fayard 1980, to be this later. At the time I was able to purchase face froze and I soon realized that he consid- re-released in 2005) the first 78 R. M. P. records (Ultraphon) ered Martinů as his private property. Martinů Arthur Honegger. Biographie, Werk- of the Symphony, performed by Czech Phil- was still alive at the time, in fact, his fatal ill- analysen, Systematisches Werkverze- harmonic under Kubelik (a wonderful perfor- ness begun during that period, but when ichnis (Fayard 1992, Champion- mance due for re-issue on CD in 2004), but I asked Šafránek about him, he strongly dis- my best friend, also a great admirer of Mart- suaded me from paying him a visit – depict- Slatkine 1994) inů, broke one of the brittle Shelloc disks ing him as a shy and unsocial person. When some works on Claude Debussy and accidentaly and I was unable to replace it. So I first met Charlotte after his death, she Edgar VarŹse the forth kept missing in my LP library until deeply regretted I hadn’t come to see him the wonderful performance under my friend then, and said he would have been so happy Harry Halbreich contributed musical Martin Turnovský came out in the mid-sixties. to meet me… I read about Martinů’s death in Except for a few standard pieces, Czech a newspaper, after just coming down from analysis to programme prospects of music was rarely played in France or in Bel- my yearly mountains climbing in Switzerland, Fayard publishers (from Claudio gium at the time, so I mainly relied upon and still under shock, sought up contact with Monteverdi to Iannis Xenakis). He Supraphon LPs to increase my knowledge, Charlotte. Our first meeting took place in also contributed opera analysis for which soon grew to include the old masters late–1959 in Basle, where I also met Paul L’Avant Scéne Opéra in Paris (beside and the few contemporary composers that Sacher for the first time. My project about Communist censorship allowed. In 1958 writing a book was met with Charlotte and others Bohuslav Martinů’s Juliette or I completed my studies at the Paris Conser- Sacher’s enthusiastic support and I also Janáček’s From the Dead House) vatoire with Olivier Messiaen as my most received the financial help I needed. I soon important teacher there. I chose pre-classical realised that my visits to Prague within my With permission of Bohuslav Martinů Czech-Symphonies as a graduation in music activities with Artia would not be sufficient, Foundation history, a difficult piece of work for lack of since I would need to stay also in Polička material (I didn’t, and to my shame I still don’t and Brno. I started my research work in the

10 | essay | czech music 3 | 2004 autumn of 1961 and I remember staying in sium in Prague in 1981, at which I made it phonic music in Central Europe, stimulated Polička most of January 1962, experiencing clear (to the audience’s applause) that my by the presence of Guillaume de Machaut in the coldest temperature I ever lived through, presence amongst true Martinů friends and Prague. I deeply admire the home country of -34 degrees. So I at once understood what lovers did not mean my approval of the politi- Jan Hus, of King Jiří z Poděbrad, who had the rough Vysočina ment! My major handicap cal circumstances. Then freedom arrived at a vision of what would one day become the was my lack of knowledge in Czech lan- last and I was present in the spring of 1990 United Nations, the whole purpose (also guage, but I got help and support from many during the first free elections, and since then failed) of which would have been to solve Martinů friends and above all from Zdenka I have been a regular visitor and eventually conflict through negotiation of that towering Podhajská, one of Charlotte’s close friends, starting work on a second, revised and visionary genius Comenius, condemned to who introduced me to many of manuscript enlarged edition of any my book, with the exile after the exemplary coexistence of reli- owners, including some of Martinů still sur- support and friendship of the Bohuslav Mart- gious beliefs, at the time unique in Europe, viving youthful loves. On the other, I had clear inů Foundation and Institute directed by my had been shattered, just as so many Czech advantages over Czech scholars by being dear friend Aleš Březina. I completed my had to go into exile after the advanced able to travel freely through all Western work one day before writing this article, and democracy of Masaryk’s First Republic had Countries. By 1965 my research work was the book should be out in a few month. been shattered, first by Hitler and then by provisionally completed and the actual writ- Three days ago, I went through a shattering Stalin. Thus some of the greatest creative ing of the book (in German, according to experience by seeing a reconstruction of geniuses of Czech music also had to search Paul Sacher’s commission and wish to hope Alfréd Radok’s admirable realisation of for living conditions outside their native land, it published by Atlantis in Zurich) was com- Otevírání studánek for Laterna Magika. even though the steady presence of modest pleted early in 1968. A few months later, Again, I was moved to tears, so I suppose Kantors maintained a high level of musical I had the privilege to stay in Prague through part of my heart must be Czech, although education in the smallest villages at a time the whole of Dubček’s short-lived “Prague I have no Czech blood (but I had a Czech when Prague was dominated by German or Spring”. The riot in Paris even preventing me aunt and cousin). Germanized (musically also Italianized) aris- from returning back there, and the tragic This long excursion into my Martinů endeav- tocracy. In the mid 1960’s, I had the shock of events of August 1968 again happened dur- ours has led my away (or has it really) from another major discovery, the music of Jan ing my yearly Alpine holidays, this time in my main subject, my relation to Czech music. Dismas Zelenka, which I at once singled out Dolomites. I shed bitter tears and only went And here I think a kind of chronological sur- from the host of “petit maitres.” I still rate him back to Prague in January 1969 (I remem- vey should be in order. as the greatest Czech-born musical genius ber the celebrated victory of the Czech ice- When I started to study Czech history, I was before the era of Smetana and Dvořák, and hockey team over the Soviet team). But dur- immediately fascinated by a nation which amongst the contemporaries of Johann ing the protracted sinister winter of “normali- boasted the first university (before Ger- Sebastian Bach, whose music sometimes sation”, the only way to visit Martinů Sympo- many!) and simultaneously the first poly- equals his own: I know only two – not Han-

Harry Halbreich

czech music 3 | 2004 | essay | 11 Jan Novák

Stage Design for Martinů’s Julietta by František Muzika (right) Bohuslav Martinů heart of Bohemia! As to Dvořák, he is rated as a pleasant, folk-like peripheral figure and experimental piano fugues and l’Art de (Randfigur). What about re-writing a history Varies, of course his many Wind Quintets, but of music, in which Dvořák would appear as also his outstanding piano trios and his great a central figure of international signifi- del, not Vivaldi, but Rameau… and Zelenka. choral works, including his powerful Te cance…and Brahms as an interesting local I have a project (for 2004 or more likely Deum. Conway to the “nation classics” I love composer from Northern Germany? And are 2005) to write a book on Zelenka, not an Smetana, of course, his unique blending of the Operas of Weber or Wagner not “folk- extended musicological study project, there Mozartean elegance, wit and concisism and loristic” German like Smetana’s Dvořák’s are are a number of such university – level stud- of Berliozian and Lisztian boldness. I think “folkloristic” Czech? In fact, both are univer- ies in Czech, German or English, but a practi- his late Polkas and Czech Dances are equal sal, and Germany is not the only center of cal book for the average music lover, which of Chopin’s Polonaises and Mazurkas. I love the world! I shall write in French, and which I hope shall all his operas, and in Libuše I appreciate Not to Dvořák, we have Fibich, for me also be translated in Czech, in which no such a broad-minded and peace-loving counter- a minor composer (although his Šárka is practical book exists to this day. Of course, part to Wagnerian “Helden” cult. Libuše a great work), and Foerster, whom I find I also know and love other great figures of doesn’t marry a pseudo-heroic warmonger, rather boring. Vítězslav Novák, some whose older Czech music, from Harant z Polžic and but a peaceful peasant, a solid husbandman pieces I quite like, such as the Balladic two Michna z Otradovic to Vejvanovský and Čer- whose purpose is not to submit the world to Pan, The Big Storm, Cantata. Josef Suk, a far nohorský. any “Gross Böhmen” imperialism. And greater composer as far as I am concerned. Pre-classicism and high-classicism have pro- Smetana’s ultimate Second quartet is a vision- Zrání is a towering masterpiece that should duced and impressive amount of great, ary work looking far into the next century, in be played in the whole world, the second sometimes really excellent Czech composers, my opinion the greatest Czech quartet with quartet a great but sadly underrated work. most of whom had to live abroad. The best Janáček’s Second and Martinů’s Fifth. I love the piano cycles, and there is the symphonies by Rösler-Rosetti, Vaňhal or Dvořák is another of my favorite composer unfortunately half forgotten Ostrčil, whose Leopold Koželuh are sometimes almost the anywhere. Among the symphonies I love, Suite in c-minor, a smaller counterpart of level of Haydn’s greatest, and I cannot be most belong the sixth and the eight. As Mahler’s Seventh Symphony and above all expected to cite all the other worthwhile a program adviser at the Brussels Philhar- the highly dramatic Křížová cesta belongs to names within this all-too-short survey. Nearer monic Society, I introduced a lot of Dvořák the treasures of Czech music. to us in time we have the really excellent hardly ever performed there, including This brings me to Janáček, whose music Kramář, not only his concerts or wind band Scherzo capriccio, Symphonic variations, the I love and admire as much as Martinů’s, but pieces, but some remarkable large sym- cycle of three Overtures, and the complete about whom I don’t feel the need to write phonies, sometimes close to the quality of cycle (in the same season) of the four won- a book, since it has been done many times in Beethoven’s first two. Then come three major derful late Erben tone poems, incidentally, many languages (though some years ago figures. Amongst my first discoveries back in I lost my pocket score of Holoubek in a tram, I did write an extended analysis of Z mrtvého the 1950’s, there were the late large scale and I am unable to find it in any music shop domu for the French series “L’avant Scène Sonatas by Jan Ladislav Dusík (especially – I would be so happy if some reader could Opéra”. In my opinion, Janáček is a more Les Adieux op. 44, Elegie harmonique op. 61, find me a copy, even a second hand). Almost modern and advanced composer than Le retour à Paris op. 64/70 and the ultimate the Dvořák’s works still unperformed in Bartók, who was a whole generation Invocation op. 77). The finest of their day just Brussels, I plan the early third symphony younger. Bartók’s reputation as an avant- after Beethoven, but looking forward even to (Eb), and the d-minor string quartet (op. 34), gardist stems from a time where the rate of Chopin. Then the wonderful (and alas only) but I love all of Dvořák’s immense produc- dissonance determined the degree of symphony by Voříšek, which I immediately tion. Amongst his operas – Rusalka of modernity. Since music has begun to include rated close to Schubert and which has course, but Čert a Káča and Jakobín are micro-intervals and since the minor second remained a favorite of mine to this day. I also seconds, and I rate the Requiem even higher is no more the smallest interval available, the love the great violin sonata, which makes me than Stabat Mater. The international rating of whole concept of dissonance has been think of Beethoven’s Kreutzer, especially its Dvořák brings me to a moot point: German or revised intervals from Bartók’s music. His recitative introduction and its fiery Finale, and German-oriented musicology is always forms and structures, his musical fabric, of course, the wonderful piano music, the imbrued with a truly imperialistic superiority appear far more traditional than Janáček, dramatic and concise Sonata and the complex. These Zelenka’s scores are being whose freedom in this aspect is amazing, as Impromptus, so close to Schubert. If Voříšek published in Germany in a series called amazing as Debussy’s. Moreover, Janáček had lived longer, he would have become one “Deutsche Musik aus dem Orten”, this being moves me far more than Bartók, whose of the nineteenth century’s giants. Third in applied to a pure Czech born in an old family music I always found angry, aggressive and my list is Antonín Rejcha, his amazingly bold of kantors from Lounice pod Blaníkem, in the bitter. Janáček’s operas are for me amongst

12 | essay | czech music 3 | 2004 the greater ever written, and I really cannot more except to say that he is one of the va for his Violin sonata, Klement Slavický for choose between Káťa Kabanová, The Cun- “giants” of Czech music and to the celebrat- his piano and chamber works. Also Otmar ning Little Vixen, and Z mrtvého domu, the ed Smetana, Dvořák and Janáček I would Mácha, whose Noc a naděje I consider boldest of all, with orchestral bits like the add Martinů without hesitation. Why is he so a masterpiece, Marek Kopelent, Ilja Hurnik end of Act I sounds like VarŹse. But the dear to me? Because while being Czech to (I am fond of many of his pieces, especially place that always moves me to tears is the the core, he also embodies the ideal synthet- of his Concerto for oboe, piano and strings), final scene of the Bystrouška. I rate his quar- ics of Czech and French culture, as exempli- Petr Eben for his organ music and his sacred tets (what a pitty he wrote only two) higher fied in Juliette, one of the very few operas compositions, Josef Berg for his strikingly than Bartók’s and, with the exception of I would take to my “desert island”. Because personal Nonet, and especially my dear late Martinů’s Fifth and Berg’s Lyrics Suit, higher he is always positive, never aggressive or friend Jan Novak, Martinů’s beloved disciple, than any written in the twentieth century. depressive, but full of joy and vitality. whose big Cantata Dido is a shattering and And of course I especially enthuse for the Because he treated music not as a frozen great work. Jan Novák with whom I used to Glagolic Mass, for the Diary of the one Who architecture, but as a tonal biology. My very speak Latin in his house outside Brno and Disappeared, for Taras Bulba, for the Sinfoni- highest choices, apart from Juliette, would whom I saw again in Riva del Garda, Italy, etta, for the three great Bezruč choruses. still be my first discoveries, the Double Con- after his emigration… I am sure I forgot to During my twenty-five years as a teacher of certo and the Fourth Symphony, to which mention other names. Whereas I really can- musical analysis at the Conservatory in Mons I would join the First and the Third, the not warm up to the current trends of mini- (Belgium), I was the only teacher in the Parables, Toccata e due canzoni, the Fifth malism or neo-tonality which has submerged country to analyze Janáček every year. But String Quartet, the Second Piano Quartet, this country like most others, my greatest of course, it is of paramount importance that the Third Violin Sonata and Gilgamesh. hope today lies with an outstanding new tal- this music should be performed as he wrote Since Martinů, Czech music has produced no ent who is just going to be thirty: Kryštof it, and the authentic critical edition, still in the composer of comparable greatness, Mařatka, who has followed Martinů’s foot- making, appears far too slowly, so I had to although during even the communist years steps by settling down in Paris and marrying analyze some places in the Mass and in there have been some excellent ones. a French girl. And now, what next…? From the House of the Dead by ear! I would cite Pavel Bořkovec, Jaroslav Řídky Martinů’s my life-long love, I shall add little for his Seventh Symphony, Jaroslav Doubra- Prague, December II., 2003 ivo kahánek:

JINDŘICH BAJGAR

This year saw the 56th year of the Prague are premiered in the second round, and so Spring International Music Competition. It is they are obligatory for semi-finalists. The an event that makes the Prague Spring Fes- notes were promptly printed by Editio tival not “just” a star-studded event, but also Bärenreiter Praha, and so candidates a welcome chance for young musicians at received them with their notifications of the start of their careers to display their tal- acceptance into the competition and had ents, and if they get to the final to play with two months to practice them. Naturally they a symphony orchestra. This year it was the were also supplied to the members of the turn of young trombonists and young international jury, which was this time made pianists. The contests in the different instru- up of the following: Ivan Klánský – Chair- ments do not take place at regular intervals man (Czech Republic), Marian Lapšanský and the piano competition was being held (Slovakia), Piotr Paleczny (Poland), Daniel for only the ninth time (the preceding years Pollack (USA), Peter Rösel (Germany), Peter were 1948, 51, 57, 63, 73, 88, 93, and 98). Toperczer (Czech Republic), Jan Wijn Among Czech competitors, in the past (Netherlands). Zdeněk Hnát (1957), and Martin Kasík The pianist Ivo Kahánek, born on the 23rd (1998) won first prize, and this year it was of May 1979 in Frýdek-Místek, had already another Czech, Ivo Kahánek, who – like his made a name for himself in a series of older colleague six years ago – carried off national and international competitions. He the laurels with ease despite the strong obtained the foundations of a musical edu- international competition (46 pianists from cation at the local music school (1983 – 13 states). The second prize went to the 1993; Květa Rázlová), but the decisive turn- Korean Dong Min Lim, and the third place ing-point came with his studies under Prof. was shared by the Japanese Takashi Marta Toaderová at the Janáček Conserva- Jamamoto and the Slovak Matej Arendárik. tory in Ostrava (1993 – 1999). Later he Let us hope that as in the past, so for this was admitted to the Prague Music Faculty years winners success in this prestigious of the Academy of Performing arts to the competition will be a springboard for a suc- class of Prof. Ivan Klánský (1999 – 2005). cessful international career. His first major success was the 2nd Prize in In the last decade one undoubted benefit of the 1994 Concertino Praga International the PS International Competition has been Competition for Young Musicians, which was its role in the systematic propagation of followed by 3rd Prize in the Piano Competi- Czech contemporary music. New pieces by tion of the Bohuslav Martinů Foundation in Czech composers have become a regular Prague (1996), victory in the 4th year of the part of the obligatory competition repertoire. Frederic Chopin International Piano Compe- This year the competition committee for tition in Mariánské Lázně (1997), a special piano turned to Petr Eben (just celebrating a prize at the 46th year of the Marie Canals jubilee 75 years), who composed a liturgical International Music Competition in piece for the piano “Universi”. New pieces Barcelona (2000), 1st Prize in the G. Mahler

14 | interview | czech music 3 | 2004 “i tend to be the universal type of pianist”

International Piano Competition in Jihlava Cologne, Santander etc.) North Bohemian Teplice Orchestra, the (2001), and 1st Prize in the Venedome Victory in the PS Competion has brought Ivo Bohuslav Martinů Philharmonic in Zlín) Prize Middle Europe in Vienna (2003). He Kahánek the right to honorary appearances and also honorary appearance at the Inter- has already given concerts in many Euro- with Czech orchestras (The Karlovy Vary national Meeting of Young Musicians Tici- pean cultural centres and music festivals Symphony Orchestra, the West Bohemian no Musica (Switzerland). (Prague, Paris, Stockholm, Warsaw, Zurich, Mariánské Lázně Symphony Orchestra, the

czech music 3 | 2004 | interview | 15 Do you think that the fact that the chair- national category, such as the Prague Spring Terezín during the 2nd World War. What man of the jury was also your teacher Competition has been important for me I most appreciate with Prof. Klánský is his may have had some effect on your plac- because it opens doors onto the world, inter- sensitive approach, his ability subtly to ing? national agencies have started to be inter- stimulate students to search for their own It could have been a certain disadvantage ested in me, especially those that help the interpretation. You never hear him say any- that the winner of the last competition young most talented musicians to “take off” thing like “it’s just not done to play it like (1998), my colleague Martin Kasík, was in their careers. One of these is the “Young that!”, he tolerates an individual approach, also a pupil of Prof. Klánský. And so if Concert Artists Competition” agency, for so long as the pianist isn’t entirely “off-tar- I hadn’t been so far ahead of the others on example, which also organises the important get”, of course. points, the 1st Prize might not have been international competition every year. To be awarded at all. Of course I would be lying if a winner at this competition then opens the In play and appearance you resemble I said that it was more of a disadvantage way to leading American concert podiums. If the romantic piano virtuoso, and one than a plus to have my teacher on the jury. a pianist does well there, it is generally quite might say with only a small pinch of salt It must definitely be a good thing in the easy for him or her to move over to other that on the podium you seem like sense that the other jury members wouldn’t famous music agencies in the long term. a reincarnation of Ferencz Liszt himself. be tempted to try and give you artificially In the second round of this few points. Because that person is there, At the Music Faculty [HAMU] in Prague year’s Prague Spring Competition you you have a good chance of being judged as you have been studying with Prof. Ivan were particularly impressive in your you truly deserve. Klánský. What most motivates your stud- performance of works by R. Schumann ies with him? (Symphonic etudes, op. 13) and F. You are the second successive Czech While I was still studying at the Ostrava Con- Chopin (Ballade in G Minor, op. 23). But pianist to defeat strong international servatory I wanted to get into his class at the even your Prokofiev (Sonata no. 3 in competition so easily at the Prague Prague Academy. I got my wish after he A Minor op. 28) was unusually effective, Spring Competition. You will be follow- heard me play at the Chopin Piano Competi- even if tackled in a more emotional way ing in your predecessor’s footsteps and tion in Mariánské Lázně. Now I’m already in than is usual with this composer. Would trying your luck at one of the most pres- my sixth year of studies with him, since your agree that you feel most at home tigious competitions – the Young Con- I extended my regular five-year piano studies in the romantic piano repertoire? cert Artists Competition in New York. so that I would be able to finish them at the Romanticism appeals to me, but that does- What does taking part in competitions same time as I finished my doctoral thesis, n’t mean I wouldn’t enjoy playing good and winning them mean for you? which will be on the piano music of the music from other period. The situation is Winning a competition in the higher inter- Jewish composers who lost their lives in more that a pianist at my age, just building

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16 | interview | czech music 3 | 2004 a career, has to succeed in competitions, at my age I want to develop further and in a more systematic way. I shall be playing and what juries are looking for is above all different directions. So instead of Warsaw Janáček’s Sonata „1. X. 1905” at the begin- how well the pianist copes with the histori- I’m preparing for two other important compe- ning of October at the Beethovenfest Inter- cally tried and tested repertoire. It is in the titions – for example in Santander in Spain –, national Festival in Bonn, and the inner dra- great classical-romantic works that all which have a more diverse repertoire and in ma of his music very much appeals to me. a pianist’s good and weak features are which I can make a virtue of my versatility. In As far as more recent music is concerned most evident. I’m sure that once I have got the summer I quickly worked up the “Suite I’ve been successful in competitions with to grips with all the main pillars of the stan- Espagnole” by I. Albéniz for my performance Luboš Fišer’s Eighth Piano Sonata, which is dard piano repertoire, I shall have a chance in Santander, where I was also delighted to ravishing, dramatic music. Two years ago at to devote myself to contemporary music as play Vítězslav Novák’s Clarinet Quintet in the Young Podium Festival in Karlovy Vary well. I think I tend to be the universal type A Minor op. 12 with my foreign colleagues; there was a very good public response when of pianist, which is probably an advantage, it’s a piece that is almost never played here I played Jaroslav Ježek’s Piano Concerto, because it offers more areas in which to be and for the public and critics over there it which is only rarely played, even though it rated and in which to work. was a welcome diversification of repertoire. remains modern-sounding music. Here there were certain problems with the orchestra, Do you intend to take part in the What is your attitude to Czech music? In which was used to accompanying straight famous Chopin Piano Competition in the first round of the PS competition from the printed parts, but in this case the Warsaw next year? there were obligatory pieces by Smetana piece was far from a usual repertoire num- That’s a rather complicated question. On (a selection from Bohemian Dances) and ber and most of the players were seeing the the one hand I would like to take part in the Janáček (the cycles “Along an Overgrown parts for the first time. Among the Czech competition, if only for the sake of Chopin, Path” or “In the Mists”). You chose the Jewish composers, I have been particularly whom I love. On the other hand there are nostalgic and virtuoso Smetana Polka in impressed by Gideon Klein, whose Sonata a series of negative points. Various back- A Minor and the cycle “Along an Over- I would like to record on a CD together with stage interests play an important role, and grown Path”. Do you play any more mod- several other pieces by composers who per- there is a minimum entrance quota (just ern Czech music as well? ished during the Second World War in one pianist) that applies to the Czech In Czech music I particularly like playing Terezín. Republic. If I wanted to go in for a competi- Janáček; after all I come from Palkovice which tion like this, it would mean devoting almost is about 4 km as the crow flies from Hukvaldy, the entire year exclusively to Chopin. That which is the Leoš Janáček’s birthplace. But as seems too much of a sacrifice to me, since yet I haven’t had a chance to study his work in

Dear readers, we apologize for mistakes that were in last issue of Czech Music. The author of article Rafael Kubelík – Homeland and World Art is Jindřich Bálek. There were also missing text for photographs: p. 7 above – Kubelík with his first wife, Ludmila Bertlová; p. 7 middle – Rafael Kubelík with his father Jan Kubelík; p. 8 Kubelík at Prague Spring festival; p. 9 – Kubelík with Caludio Arrau; p. 11 – Kubelík and Pierre Fournier. Matěj Kratochvíl

czech music 3 | 2004 | interview | 17 the levers, pistons and wheels of my blood

PETR FERENC

“Dáša Andrtová is the only PAGAN FESTIVAL musician who has man- Up to the mid-Eighties Dagmar Andr- tová-Voňková was more or less known aged to lift herself out of only to folk initiates. This was partly What then makes Voňková so extraor- the ignominious category because of the state of culture under dinary? At first sight it is her virtuoso of Czech Folk music and the hardline “normalising” regime, and and in Bohemia entirely unique style the problematic status of the singer of guitar play (a certain likeness to the into the music of the association Šafrán (Saffron), which style of Stanley Jordan was something world”. was neither banned nor permitted. she heard about only retrospectively). This comment by Oldřich Although Voňková’s work did not If we try to describe it in terms of its external features, we might for exam- Janota is the shortest of involve the critical social comment characteristic of some of her col- ple mention the way she plays two the many expressions of leagues (most notably Jaroslav Hutka chords “against each other” on the fin- praise printed in the book- and Vladimír Merta), from the point of gerboard by employing the technique let accompanying Andr- the authorities she still moved in bad known as hammering, and her use of one or more bows (involving “body tová’s retrospective dou- company. After her debut single Holoubek / Chlapci na tom horním play” in which the bow is hung on the ble-album, but at the same konci [Dove / Lads on that Upper End] E string and the sound produced by time the most telling. (1976) her recording career was for a rhythmic swinging of the hips) or the long time at a standstill – with the emi- use of the distinctive colour of the gration of the three Charter 77 signa- electronic hall effect, dramatic tories (J. Hutka, Vlastimil Třešňák, Jiří changes of tempo and dynamics, the While the common denominator of Pallas), the association disintegrated evocation of the heavy sound of bells most Czech folk singers is an and the planned compilation album or the scatter? of tiny percussions. emphasis on the text and the con- was scrapped. This virtuosity cannot, however, be signment of the musical side to the considered apart from the other ele- role of accompaniment of a simple On the other hand, the second reason ments of the songs – the voice and vocal line, Dagmar Andrtová- for Voňková’s low profile is to be texts. Voňková more than restores the bal- found in her character. She often On Voňková’s voice and vocal tech- ance with her compositional idiom escaped from Prague to the country- nique, we need only perhaps say that it and original guitar technique. This side (Krkonoše mountains, now she abounds in the same sureness, means that her songs can be lives in Pyšely) and often nothing was expressiveness and spectrum of enjoyed without a knowledge of heard of her for long periods. To this moods as her guitar play – from bell- Czech, like the music of African peo- day she only has four LP albums to her like fragile lines to dramatic whispers ples, for example. I don’t know name, the most recent seven years old. to deep anthemic full-throatedness. whether Oldřich Janota deliberately Like an inconspicuous fixed star, she avoided the English expression comes out only now and again, and The texts are inspired by folk culture, “world music”, but I don’t think he then vanishes again into her mysteri- whether the archetypal potency of had any real reason to do so. ously ordinary corner of the universe. pagan rituals, the epic tragedy of bal-

18 | portrait | czech music 3 | 2004 lads or visions of a nature without people – the world of animals and the eternal cycles of fertile forces. Although she has a complete master of the folk-text style and has made it her own, we could never accuse her of pla- giarism, since her literary idiom is as distinct and recognisable as her play.

I shall try to sum up. In the songs of Dagmar Andrtová-Voňková we feel the chilling contrast between the great universal themes (betrayal, death) and downbeat “Slavonic” pithiness, the playfulness of folk rhyming and the “smell of clay, decaying leaves and blood” that was a distinctive element for part of the Czech alternative scene and finds a counterpart at a similar level of intensity in the crowning album of the underground DG 307 Dar stínum [Gift to the Shadows] (1979 – first published as an LP by the exiled Šafrán in Sweden).

At the end of this section I should add that Dagmar Andrtová-Voňková has also written (especially in earlier years) a series of songs on topical themes (a memory of Šafrán Desatero noh [A Decalogue of Legs] and humorous songs (Kudlanka [Mantis]), but they do not exhibit her distinctive strengths

czech music 3 | 2004 | portrait | 19 the levers, pistons and wheels of my blood

peak in guitar technique and the ratio of folk inspiration and original sound, with the latter prevailing. We are immediately amazed by the very first, title track, in which Voňková has taken an eight-verse text about a river of blood from paraffin and added a monotonously picked accompaniment that changes into a violently cut off crescendo of noise, an interlude that almost tangibly evokes a thick, hot and organic ele- ment. The next track Břicho [Belly] is musically more conventional: the guitar has a more or less accompa- nying role and leaves the listener to concentrate on the long text, which is unparalleled elsewhere in her work. Here she contrasts the experi- ence of giving birth, so unambigu- ous and inevitable, with the almost horrifyingly absurd and complicated as author and performer. Nor shall If we compare these two first albums, work of civilisation and its bizarrely we find many of them on the present the debut emerges as more traditional purchased requisites. It ends with Double CD Milí moji [My Loves] in character. In the texts and melodies the unforgettable line, “Life flowed (Indies records), compiled by we find more folk motifs, the guitar is out to me between my legs / For the Voňková and Jaroslav Riedel. MILÍ not yet worked up with effects and res- first time, not between my hands”. MOJI [MY LOVES] onated with a bow, and despite occa- The second part of the album con- sionally melancholy words the melody tains two long songs with short, The aim of the double album Milí of the songs tends to the joyful and folk-influenced texts and plenty of moji is to put the singer’s first two cheering, and the overall impression is space for instrumental charms, as albums (Dagmar Andrtová-Voňková more spirited. One particularly note- well as the “counterpart to Skála” – – 1986 and Živá voda [Living Water] worthy track is Pohanský svátek the lively Zpěv [Chant] – a reminder – 1988, both from Panton) on CD for [Pagan Festival], interlaced with stir- of the singer’s idiom from the pre- the first time. With both collections ring passages, about the ritual driving ceding album. listeners will also discover a varie- out of death in the Spring. Best of all gated choice of bonuses in the form is the monumental Chlapci na tom Today, when more and more second- of singles and previously unreleased horním konci [Lads on that Upper End] rate collections are being published tracks. It is a worthy project, espe- – a passionate monologue of self- in the Czech Republic archival edi- cially when we consider that these defence by the widow who betrayed tions just because their authors older albums show Voňková in her the Slovak bandit Juraj Jánošík by were once on “the black list”, Indies purest form. By contrast the CD Dag- scattering peas under his feat. The records should be congratulated for mar Andrtová (1996 Bonton) is made austere timeless song Skála [Rock] paying a debt that genuinely needed up largely of concert recordings presages the next collection in its use to be paid and filling a gap that was while her most recent CD Voliéra of bow and in its text. [Aviary] (1997, Indies records), made truly painful. with Radim Hladík sometimes suf- With the album Živá voda [Living fers from the cliches of an old jazz- Water] Voňková reached her creative rocker’s entrenched style.

20 | portrait | czech music 3 | 2004 The Czech Music Fund Music Materials Hire Library

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Contact address: Tel.: +420-251 556 642 or 251 550 609 Radlická 99 Fax: +420-251 553 982 150 00 Prague 5 e-mail: [email protected] Czech Republic internet: www.musicbase.cz Antonín Dvořák Bedřich Smetana Josef suk Leoš Janáček Jiří Šlitr Bohuslav Martinů czech music | 2004 Eva Olmerová An integral part of European culture Karel Kryl

A Czech Ministry of Culture project that aims to support important music In 2004, the Czech Republic celebrates more anniversaries in 2004, with a special focus on presentation of the Czech Republic than sixty anniversaries of outstanding Czech during the year of its accession to the European Union composers, some renowned performers as well as several music organisations. Traditionally, the musical public immediately recognize that Under the auspice of president of the Czech Republic, Mr. Václav Klaus, years ending in the numeral four are conside- and Mrs. Viviane Reding, an European Commission member responsible for red to be a “years of Czech music”. education and culture

SELECTIVE VIEW OF ANNIVERSARIES Patrons: Gabriela Beňačková – soprano František Václav MÍČA (1694 - 1744) Petr Eben – composer Bedřich SMETANA (1824 – 1884) Sir Charles Mackerras – conductor, GB Leoš JANÁČEK (1854 – 1928) Jiří Stivín – flautist Josef Suk – violinist Antonín DVOŘÁK (1841-1904) Miloš Štědroň – composer, musicologist Bohuslav MARTINŮ (1890 - 1959) Rafael KUBELÍK (1914 - 1996) Milada ŠUBRTOVÁ (1924) INFORMATION CENTRE Theatre Institute, Celetná 17, 110 00 Prague 1 Eva OLMEROVÁ (1934 - 1993) Phone: + 420 224 809 195, Fax: + 420 224 811 452 Prague Symphonic Orchestra FOK (1934) Internet: http://www.czechmusic.org Janáček Philharmonic Orchestra (1954)

Main partner: Medial partners: Partners: