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David Radok Instrument Makers 2006 Sources of Dvořák’S Music …Want to Learn More About Czech Music? czech music quarterly magazine 1 David Radok Instrument Makers 2006 Sources of Dvořák’s Music …want to learn more about Czech music? …search for information about Czech musical life? www.musica.cz czech music contents 1/2006 In Opera Direction a Generalizing Approach Means the Absolute End. Interview with David Radok editorial RADMILA HRDINOVÁ Page 2 Václav František Červený - Master of his Craft GABRIELA NĚMCOVÁ A major theme in this issue of Czech Music Page 8 is the manufacture of musical instruments in the Czech Republic. When we look back on the history of instrument-making here, it Organ Building in the Czech Lands is hard not to feel a certain nostalgia and a PETR KOUKAL certain bitterness. In the Austro-Hungarian period and in the inter-war period under the Page 13 First Czechoslovak Republic this was a country with literally hundreds of instrument makers of all kinds, from the Manufacture of pianos in the Czech Republic: smallest to world famous firms. The Yesterday and Today communist nationalisation programme after 1948 and replacement of private enterprise TEREZA KRAMPLOVÁ by central planning had devastating Page 18 consequences for the music instrument industry, just as it had for the rest of the economy. There were, it is true, a few Four generations of Špidlens - The Legendary Violin Makers exceptions that remained capable of competing on world markets in terms of LIBUŠE HUBIČKOVÁ quality, but these were truly exceptions and Page 23 – above all – they cannot be used as arguments for the theory that is still heard too often, that “actually nothing so very The Composer Rudolf Komorous terrible happened”. Since the revolution of 1989 things have changed and there are RENÁTA SPISAROVÁ reasons for optimism, but the threat posed Page 28 by cheap Asian manufactures is becoming ever more real. The interview with the opera and theatre The Musica Nova Competition director David Radok gives me great pleasure. Not just because this remarkable LENKA DOHNALOVÁ and versatile artist tends to avoid publicity Page 31 and only rarely agrees to interviews, but because of the nice interview itself. Starting with this issue you will no longer The Paganini of the Bass Clarinet Is Dead... find the Profiles supplement, but we shall MILOŠ ŠTĚDROŇ be continuing to publish material of the kind that has appeared in the supplement Page 33 over the last years, and simply putting it in the magazine, which will therefore be somewhat thicker. Finally I would like to The Sources of Antonín Dvořák’s Music draw your attention to the fact that you can JAROSLAV SMOLKA order older numbers of Czech Music – if they are still available, we shall be happy to Page 34 send them to you. You will find a list of contents of the magazine in past years at our new web pages www.czech-music.net. Reviews Our new e-mail is [email protected]. Page 41 See you again in May 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 and the Czech Music Fund Besední 3, 118 00 Praha 1, Editor: Petr Bakla, Producer: Pavel Trojan Czech Republic, Translation: Anna Bryson, Graphic design: Ditta Jiřičková fax: ++420 2 57317424 Photos: Karel Šuster (cover, p. 2-7), Antonín Krejčí (p. 8, 11), Gabriela Němcová (p. 9), phone: ++420 2 57312422 Petr Koukal (p. 13-17), Petr Bakla (p. 22) and archives e-mail: [email protected] PETR BAKLA http://www.czech-music.net DTP: HD EDIT, Print: Tiskárna Nové Město ISSN 1211-0264 EDITOR Price and subscription (shipping included): Czech Republic : one issue Kč 60, subscription (4 issues) Kč 200 Europe: one issue £ 6.25, subscription (4 issues) £ 25 Overseas countries: one issue$ 9, subscription (4 issues) $ 36 or respective equivalents. RADMILA HRDINOVA david radok 2 | interview | czech music 1 | 2006 Is the electric guitar a memento of your trombone applications to the conservatory. minating point of the sixties, a period rocker beginnings? Three got in and the fourth was me. that is today almost glorified for its I bought it from a guitarist in New York. So your dad’s dream of a safe liveli- culture and theatrical life. Did all that Do you play it when you want to relax hood for his son as trombonist evapo- leave any trace in you at that age? from opera? rated. Didn’t your father try and get you Unfortunately not. I was a child and interest- Something like that. Only in this quiet a job in theatre on the side? You were ed in things completely different from culture Vinohrady house I can’t really go at it at full an extra in his production of Trovatore. or political events. blast or the neighbours would complain. In Back then it was just a chance for me and When did the theatre start to attract Koloděje it’s not a problem. my friends for school to make a little easy you? What do you play? extra money, but as far as opening up I couldn’t avoid the theatrical environment, Just for myself, I’m not very good at it. When a direct path to opera was concerned, no, it since my father was involved in it, and I liked I was a small boy I learned to play the guitar, was nothing like that. it, because it was full of strange, eccentric but I didn’t stick at it long. Later, when I was Later I discovered from Dad’s letters to Cze- people. But I came to be a director by a cir- already in Sweden, I played the trombone for choslovaka that he had wondered if I had cuitous route, a set of coincidences, and it three years. I even did the entrance exams a talent for theatre, but at the time I hadn’t absolutely wasn’t a goal I consciously set for the conservatory, but they didn’t take me. shown much sign of it – I tended just to get myself. I was an extra in the theatre, and Luckily. bad marks at school. Dad knew he was ill, I worked as a stage hand and assistant for You mean luckily because you would and he had a painful sense of the problems the orchestra. I enjoyed carrying the piano in, have missed a career as an opera of an exile’s life, and on top of that he was building benches, straightening the music director? worried what would become of me. parts – it was a life free of any responsibility No, I mean it was lucky for the orchestra When you and your parents and sister left or worries about the future and it suited me I would have had to play in. Czechoslovakia, you were fourteen. It’s pretty well. One day I was asked to become Why did you learn the trombone, a sensitive age, but at the same time an age assistant director and I thought, why not? specifically? when kids easily adapt to a new environ- But in fact I had no idea what it involved. My dad was very worried about my future. ment… I was supposed to assist Elijah Moshinsky Unlike my sisters I didn’t do well at school Emigration is a complicated thing, but I didn’t and he was a very thorough kind of director, and nothing much interested me, and so dad have any trauma or complex about it either and so to my surprise I soon discovered that was naturally worried about how I was going at the time or later. Still, entering a world the job of assistant meant a lot more than to make a living so as not to end up sweep- where you don’t have the language and you just making coffee. I was a completely unreli- ing the streets. Music was the only thing that don’t know anyone is difficult in any circum- able director’s assistant. When he asked I enjoyed. So the conductor Martin Turnovský stances. When you are fourteen you cope what we had done at the last rehearsal, advised dad to have me learn trombone. with it better than the adults. I managed to I would just answer that I didn’t know. It was Okay, but why trombone? master Swedish and English relatively quick- a tough but good school. Because traditionally the least number of ly and so I found friends and today I’m actu- When you had got the hang of things applicants to the conservatory were in trom- ally grateful to fate for the experience, which as an assistant, did you never think you bone or harp. I ruled out harp straight away, but forced me to become independent and find would like to try directing for yourself? I had always liked trombone from Dixieland. my bearings in the world faster. I was assistant to many directors, some of And as it turned out there really were only four You left Czechoslovakia just at the cul- them good but more of them worse, so of in opera direction a generalising approach means the absolute end If David Radok happens not to be directing in Sweden, Denmark, France or some- where else, or not to be staying in his father Alfréd Radok’s house in Koloděje in South Bohemia, you will find him in his pleasant attic flat in an old house in the Vinohrady district of Prague. The room, full of old furniture, is personalised by the objects David Radok likes to make out of driftwood, smoothed stones and other materials bearing the traces of time.
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