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Civilist Tendencies in the Inter-War Czech Music: at the Beginning of a Research

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Civilist Tendencies in the Inter-War Czech Music: at the Beginning of a Research Musicologica Brunensia 54 / 2019 / 1 https://doi.org/10.5817/MB2019-1-15 Civilist Tendencies in the Inter-war Czech Music: at the Beginning of a Research Miloš Zapletal / [email protected] Faculty of Philosophy and Science, Silesian University in Opava, CZ Abstract The study deals with “civilist” [civilistní] tendencies in music and musical culture of the inter- war Czechoslovakia. The “civilism” [civilismus] in literature had its parallels in other areas of Czech artistic production too, especially in visual arts, and later – after the First World War – also in classical music. Since the culture of the First Czechoslovak Republic (1918–1938), being seen in its entirety, appears to be saturated with various reflections of modernity (either real modernity or imagined), the term “civilist” makes sense only when it refers to such works of art that unilaterally focus on representing the typical civilizational and civil moments and reali- ties of the 1920s and 30s: sports, physical education and other leisure activities, jazz, tango and popular musical culture in general, attributes of the metropolitan environment, technical devices, machinery, cars, motorcycles, klaxons, airplanes, film, cabaret, circus, bar and cock- tails, and various aspects of everyday urban life. Although the civilist tendencies represent a crucial and typical phenomenon of Czech music and musical culture of the inter-war period, musicology has reflected them only very little and has not approached them as a particular research problem so far. The present study proposes hypotheses and methodology for a fu- ture research on musical civilism, gives an overview of contemporary discourse about musical civilism, and presents the most important musical works and topics which the future research should focus on. Keywords civilism, civilist tendencies, avant-garde music, Czech avant-garde, Czech inter-war music, po- etism, E. F. Burian, Bohuslav Martinů, Zelinka 237 Miloš Zapletal Civilist Tendencies in the Inter-war Czech Music: at the Beginning of a Research In the context of cultural history of the Czech Lands, the term “civilism” (civilismus) or “civilist” (civilistní) is usually used to characterize a primarily literary movement, or rather a trend, originally called “civilizational” (civilizační) or “civil” (civilní) poetry, which crystallized after 1913, mainly as a reaction to poetry by Walt Whitman, Émile Ver- haeren, Guillaume Apollinaire and Jules Romains.1 The most important person of Czech civilism, both in terms of theory and practice, was a poet, critic and leading figure of the pre-war modernism Stanislav Kostka Neumann; when Karel Teige, the main theorist of the 1920s Czech avant-garde, radically defined his generation of writers and painters as opposed to the previous one, he used an overwhelming term “cubist-futurist civilism” to describe the artists of Neumann’s generation (Čapek brothers, Emil Filla, Václav Špála).2 The civilism in literature had its parallels in other areas of Czech artistic production too, especially in visual arts, and later – after the First World War – also in classical mu- sic. Since the culture of the First Czechoslovak Republic (1918–1938), being seen in its entirety, appears to be saturated with various reflections of modernity (either real mo- dernity or imagined), the term “civilist” makes sense only when it refers to such works of art that unilaterally focus on representing the typical civilizational and civil moments and realities of the 1920s and 30s: sports, physical education and other leisure activi- ties, jazz, tango and popular musical culture in general, attributes of the metropolitan environment, technical devices, machinery, cars, motorcycles, klaxons, airplanes, film, cabaret, circus, bar and cocktails, and various aspects of everyday urban life. According to Papoušek, civilism in the broader sense “does not represent any clear-cut direction, but a relatively broad discourse covering every pos- sible variety representing civilization: expanding, endangered, deviant, or broken into obscure products of its own past. However, civilism has become a vital source of topics for 20th century modernism. The civilist lexicon was a source of imagination for very heterogeneous artists […] 1 Neumann’s manifests and theoretical essays from 1913 were published in 1920 under the title: NEU- MANN, Stanislav Kostka. Ať žije život! Volné úvahy o novém umění. Praha: Fr. Borový, 1920. The most important practical output of these theoretical thoughts was his influential 1918 collection of poems New Chants (Nové zpěvy). In 1921, Neumann published another two manifests of civilism. In the first one, Art and Society (Umění a společnost), he calls for creation of a new cultural style which would represent the proletariat and its “great God: Work”. Not until the revolution sets proletariat free, not until the new, communist society comes into be- ing, “the temples of work will arise around the material core: the Engine”. NEUMANN, S[tanislav]. K[ostka]. Umění a společnost. Rudé právo, vol. II, no. 201, 28. 8. 1921, pp. 3–4. In the second 1921 manifesto, Civil Art (Občanské umění), Neumann distinguishes between “civil” (civilní) and “civilizational” (civilisační) art. “Civilizational art” is identical to the pre-war civilism, it is nothing more than a period of the “civil art”. At the core of “civiliza- tional art”, there was an “admiration” and a “joy of discovering a new terrain […], which had been forbidden to art until then”. The mission of the “civil”, new communist art is to re-evaluate “civilizational material” so that the result will be “commensurate with our [1920s communists’] emotionality and mentality”. According to Neumann, the new art must be civil not only in terms of its subject matter, but also in terms of its very character: art from citizens for citizens, “useful” art of “workers”; at the same time, it must be tendentious and engaged in terms of Marxist ideology: a truly socialist art. NEUMANN, [Stanislav Kostka]. Občanské umění. Rudé právo, vol. II, no. 240, 23. 10. 1921, p. 3. 2 TEIGE, Karel. Naše umělecké touhy. Rovnost, vol. XXXVII, no. 198, 19. 7. 1921, p. 5. 238 Miloš Zapletal Civilist Tendencies in the Inter-war Czech Music: at the Beginning of a Research and variants of modernism, but it has never presented what is usually being understood as an ‘-ism’ in Czech art or literature.”3 “Civilism” as a term has found its way to the surveys of Czech literature,4 but regarding the research of civilist tendencies (either so called, or not), remarkable results have been achieved particularly in the field of the history of Czech visual arts,5 and partly also in the history of Czech cinematography.6 As for civilism in Czech music, the only comprehensive description of the problem, which has been written so far, is the entry “civilismus” in The Dictionary of Czech Musical Culture.7 The entry defines the term as a “modern artistic tendency, which programmatically emphasizes civilizational topics and civilianization of artistic expression”. According to the entry, the civilist tendencies “bubbled out from the contemporary fascination with technics, with a lifestyle and a life-feel of modern civilization”, while in music, they meant primarily “new programmatic tendencies” and “a departure from Romantic literary topics”. The roots of musical civilism can be, supposedly, already found in the futurist manifestos by Mari- netti and Pratella, but also in the impulses of musical constructivism and period jazz, “which was perceived as an expression of the new tempo of life”. As such, civilism occurred mainly in works by Satie and Les Six, Stravinsky, Hindemith and Varèse. Chmelařová, the author of the entry, claims that musical civilism meant an overcoming of Romantic and post-Romantic subjectivist positions towards objectivism and anti-sentimentalism, both closely connected with the aesthetics of Neue Sachlichkeit. In Czech music, the civilizational themes appeared under the obvious influence of Parisian modernism and avant-garde, mainly in the works by Pavel Bořkovec, Emil Hlobil, Boleslav Vomáčka, Iša 3 PAPOUŠEK, Vladimír. Civilizační poezie. In Heslář české avantgardy: estetické koncepty a proměny uměleckých postupů v letech 1908–1958. Josef Vojvodík – Jan Wiendl (eds.). Praha: Univerzita Karlova v Praze, Filozofická fakulta – Togga, 2011, pp. 93–98. 4 See especially PETERKA, Josef. Civilismus. In Slovník literárních směrů a skupin. Štěpán Vlašín (ed.). Praha: Panorama, 1983, pp. 31–34; PETERKA, Josef. Civilizační poezie. In Slovník literární teorie. Štěpán Vlašín (ed.). Praha: Československý spisovatel, 1984, p. 56. Cf. MUKAŘOVSKÝ, Jan (ed.). Dějiny české literatury IV: Literatura od konce 19. století do roku 1945. Praha: Victoria Publishing, 1995; PAPOUŠEK, Vladimír (ed.). Dějiny nové moder- ny: česká literatura v letech 1905–1923. Praha: Academia, 2010; PAPOUŠEK, Vladimír (ed.). Dějiny nové moderny. 2, Lomy vertikál: česká literatura v letech 1924–1934. Praha: Academia, 2014. 5 ADLEROVÁ, Alena. České užité umění: 1918–1938. Praha: Odeon, 1983; LAHODA, Vojtěch. Devětsil a soci- ální civilismus v umění. Praha: Academia, 1987; LAHODA, Vojtěch. Civilismus, primitivismus a sociální tenden- ce v malířství 20. a 30. let. In Dějiny českého výtvarného umění IV, 1890/1938, 2. Alena Adlerová – Vojtěch Lahoda (eds.). Praha: Academia, 1998, pp. 61–99; ZIMMERMANN, Aleš. Sociální civilismus a poetismus – společenství cíle? MA dissertation at Masaryk University Brno, 2012; POMAJZLOVÁ, Alena (ed.) RYTMY + POHYB + SVĚTLO. Impulsy
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