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Antonin Matzner 4 Czech Opera Today Graham Melville-Mason 2006 Janáček’S Operas Free with the Next Issue czech music quarterly magazine Antonin Matzner 4 Czech Opera Today Graham Melville-Mason 2006 Janáček’s Operas Free with the next issue ºßØäÙÜé ÄìêàÚ ÂæÝéæy ÑÜäÜâ ÄÜÛÜâ KëæÚßã ÊäæãâØ ¾éØßØä czech music contents 4/2006 editorial Waiting for Stravinsky to go out to the Pharmacy Interview with Antonín Matzner DITA HRADECKÁ Page 2 Report on the Condition of Opera in the Czech Republic The theme of this issue is opera in the Czech Republic. An article by leading opera critic and HELENA HAVLIKOVÁ journalist Helena Havlíková provides a detailed Page 7 account of the Czech opera scene today and may perhaps inspire you to go to a performance when you visit the Czech Czech Music – a Lifetime’s Passion Republic. It is with this possibility in mind that Interview with Graham Melville-Mason we have added an overview of all our opera MARKÉTA VEJVODOVÁ companies including their current repertoire, Page 20 and we shall certainly be returning to opera in future issues of Czech Music. In this issue, don’t miss M. Štědroň’s article on Janáček’s Klangspuren 2006 operas! PETR BAKLA You will also find one more interview than is usual. Apart from the title interview with Page 23 Antonín Matzner and the regular interview in which we present the best musicians of the Young bassonist Václav Vonášek: coming generation (in this case the bassoonist Václav Vonášek), we have also included a Taking Things from Elsewhere conversation with Professor Graham Melville- IVA OPLIŠTILOVÁ Mason, president of Britainęs Dvořák Society Page 25 for Czech and Slovak Music on the occasion of his acceptance of a prize for lifelong promotion of Czech music. This is our way of offering Janáček – A Few Glosses on his Operas Professor Mason congratulations and MILOŠ ŠTĚDROŇ expressing our admiration and gratitude. Page 29 Next year Czech Music will be coming out in a new graphic design, but what is most important is that not just the “envelope” will be Reviews improved but the “contents” will be enriched. Page 40 Starting with the first issue of 2007 we shall be adding a free CD of music by contemporary Czech composers to the magazine, once or twice a year. Although this is a gift for our readers, the saying that “things that are free are not usually worth much” certainly doesn’t cover: La Clemenza di Tito in The Estates Theatre. Wolf Matthias Friedrich (Publio), apply here. What you will be getting is a full- value CD with the best in contemporary Czech Sarah Castle (Annio), Elzbieta Szmytka (Vitellia) Photo: Hana Smejkalová music, without any cuts and usually previously unreleased. You have something to look forward to, and it’s our pleasure, for not even the very best music magazine can be anything without the music itself. On behalf of Czech music I wish you a Merry Czech Music Czech Music is issued by the Czech Music Information Centre with the support Christmas and a Happy New Year 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, Translation: Anna Bryson, Graphic design: Ditta Jiřičková Czech Republic, Photos: Hana Smejkalová (cover, p. 9), Karel Šuster (pp. 2-5, 25-28), Ondřej Kocourek (p. 7, 10), fax: ++420 2 57317424 František Ortmann (p. 10), Ivan Šimáček (p. 16), Dalibor Andrýsek (p. 17), Josef Hradil (p. 17), phone: ++420 2 57312422 Jan Mikota (pp. 29-39) and archives e-mail: [email protected] http://www.czech-music.net DTP: HD EDIT, Print: Tiskárna Nové Město ISSN 1211-0264 MK ČR E 7099 PETR BAKLA Price and subscription (shipping included): Czech Republic : one issue Kč 60, subscription (4 issues) Kč 200 EDITOR Europe: one issue € 6.25, subscription (4 issues) € 25 Overseas countries: one issue $ 9, subscription (4 issues) $ 36 or respective equivalents. Antonín Matzner (born in 1944 in Plzeň) is the author of more than ten books on film, jazz, popular and classical music, he has been popularising jazz on the radio for many years, and for the last decade he has also been repertory director of the Prague Spring Festival. He has been involved in the production of more than 150 musical recordings. After 1989 he could have become a minister or diplomat, but he says he would not have enjoyed it. He experienced the vital musical developments of the 1960s, the grey of the seventies under what was known as “normalisation”, the events of the Velvet Revolution and the years after it – about all this he knows much more than many, but as yet he has no urge to write his memoirs… 2 | interview | czech music 4 | 2006 waiting for stravinsky to go out to the pharmacy My father had converted to the Church of the I already had quite a decent sound library on Czech Brethren and we were brought up in tape, for example including it. It was in the church choir that I started my Stockhausen’s Gesang der Jünglinge or own musical career. My pastor Jiří Pumr had Eimert’s electronic studies… an unbelievable collection of records, for Where did you get hold of these example the Brandenburg Concertos with recordings? In the Late Fifties and Ear- Sviatoslav Richter on the Melodiya Label or ly Sixties… the complete records of the St. Thomas It varied. Berlin wasn’t yet divided by the wall, Choir. Here and there I would make a little and so for instance the relatives of school- music too, since I played in the Sunday mates were working there and could get to school on the harmonium and organ. the western section. I remember someone My brother and I also had subscription bringing the Modern Jazz Quartet. We kept tickets at the theatre and we both had piano on playing it until the grooves were worn out, lessons. I won’t say anything about the learning the solos. Then all you could hear results… The basic problem was that I dis- was shrum, shrum… I found another source played a stronger character than my tea- in the Divadlo hudby (Theatre of Music). I’m chers and I never learned anything properly surprised that the director of Supraphon from them. Jaroslav Šeda was prepared to lend me But people say you are an excellent a complete set of recordings of pieces by pianist… Anton Webern when I was only sixteen years Me and the pianist and future conductor old. Me and my friends were always meeting Václav Zahradník were in our way like up, and listened to thousands of hours of Siamese twins, and we got up a sort of per- music. It was the time when Serge Baudo formance piece, a parody of the Interna- was starting to conduct Honegger in DITA HRADECKÁ tionale, and we called it the Hydrocentrale. It Prague… consisted of Vašek playing the melody and Miloslav Kabeláč, who gave you com- me sitting down with my back to the key- position lessons, must have been a big board. Maybe that’s how the reputation you influence on you… mention started – the piece was pretty pol- In fact I studied composition with František Your family was in stationery, so how ished. Kovaříček, and I only went to Kabeláč once did you come to music? Nonetheless, I also played the piano profes- in a while for one-off consultations. Kabeláč My father was trained as a retailer, but he sionally, in bars and with a pop group. was a real guru, with a fascinating resem- was also a fan of music, a self-made expert Does that mean that you were just as blance to Schoenberg – he was a really and a great Wagnerian. He often went to the interested in popular and jazz music as stern old man. When I was on my way to Dresden Opera with my mother, visited in classical music from the start? Or a session with him I was so scared that once Bayreuth and was always telling me about did you priorities change over time? for example, when I reached the corner of Wagner. You have to understand that during My generation played Ježek’s albums in our his building, I decided that it wasn’t worth my childhood Wagner wasn’t played at all in childhood; they were very popular. I tried to going there just to get scolded again. So this country – I first heard it performed in persuade my teacher to let me do Jaroslav I called from a telephone box to say I was in 1957 in Pilsen. It was Lohengrin, and the Ježek, but I didn’t succeed, because they bed with a fever, but as if just to spite me first ever Wagner performance after the war. didn’t want anything to do with it. Jazz there was a tram turning the corner… well, For me it was therefore “narrated music”, just attracted me for the same reasons as Kabeláč never referred to the episode. I nev- like Mahler; Karel Ančerl and Václav Neu- Schoenberg, for example: it was forbidden er saw him laugh, but we all had absolute mann did a great thing when they started to fruit. And music like that fascinated me. Even faith in him. His profound anti-communism present Mahler in Czechoslovakia in the before I went off to do my military service fascinated us. What’s more, he completely 1960s. friends used to come to my place to listen – accepted my jazz escapades, because he czech music 4 | 2006 | interview | 3 was interested in exotic musical cultures. a “ballet a la West Side Story”.
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