Miloslav Ištvan and the Innovations of the Brno School in the Czechoslovak Socialist Republic

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Miloslav Ištvan and the Innovations of the Brno School in the Czechoslovak Socialist Republic UNDER THE PARTY FAÇADE: MILOSLAV IŠTVAN AND THE INNOVATIONS OF THE BRNO SCHOOL IN THE CZECHOSLOVAK SOCIALIST REPUBLIC A Monograph Submitted to the Temple University Graduate Board In Partial Fulfillment of the Requirements for the Degree DOCTOR OF MUSICAL ARTS by Katelyn A. Bouska May 2016 Examining Committee Members: Dr. Charles Abramovic, Advisory Chair, Department of Keyboard Studies Dr. Joyce Lindorff, Department of Keyboard Studies Dr. Cynthia Folio, Department of Music Studies Dr. Steven Zohn, External Reader, Department of Music Studies © Copyright 2016 by Katelyn Bouska All Rights Reserved ii ABSTRACT The innovative compositions of Miloslav Ištvan (1928-1990) and his influential theoretical writings contributed to the creation of the modern composition school in Brno, capitol of Moravia in the present Czech Republic. Through the vehicle of his three piano sonatas (unpublished, but composed in 1954, 1959 and 1979), this monograph places Ištvan and his music against the political background of ideological repression in the Czechoslovak Socialist Republic. The unique blend of Moravian folk music and fierce pride in Czech culture are clearly evident throughout Ištvan’s compositional oeuvre and specifically in his piano music. In particular, his sheer creativity and courage to create his own voice under severe artistic deprivation combine to create a body of work that remains one of the most prominent influences in the present-day compositional scene in Brno. Each of the six chronological sections in this monograph employs a single year as a frame of reference. These years were selected both for their political significance and to represent an important event in Ištvan’s personal or musical life. In addition to the biographical details, political context and analysis of the piano sonatas, other significant compositions and contemporary writings are considered to trace the developmental thread of Moravian music. Ištvan’s search for artistic expression brings the lineage of his direct predecessor, Brno compositional giant Leoš Janáček, into the avant-garde New Music movement of the 1960s. Ištvan’s further work as a composition professor and writer of theoretical texts in the 1970s and 80s continues to influence the current generation of composers in the Czech Republic. This monograph calls attention to a composer and his iii rich body of work, created during politically turbulent times, that remains virtually unknown outside his country of origin. iv ACKNOWLEDGMENTS I would like to thank all the members of my committee, Drs. Charles Abramovic, Joyce Lindorff, Cynthia Folio and Steven Zohn. They have contributed their support, encouragement and advice to this project in many helpful ways. I would like to further acknowledge the appreciation I have for Dr. Abramovic for the tireless inspiration he has offered throughout the course of my studies. Since my time at Temple University, he has expanded and influenced the way I approach the piano in a profound way. Additionally, I am grateful to Dr. Lindorff for her warm support and encouragement to pursue my independent projects as well as the introduction into the rich world of historical keyboard instruments. I would like to thank Jerry Bouska for his unwavering support of my endeavors and Elaine Bouska for her invaluable editing and writing advice. Additional thanks to Štěpán Filípek for introducing me to the compositional world of Miloslav Ištvan and for providing me with copies of the manuscripts of Ištvan’s three piano sonatas. I would also like to express my thanks to Sr. Anita Smisek whose generous sharing of her contacts and information has paved the way for my research in many unexpected ways. Two pianists in particular have contributed to my understanding of playing Czech music. I wish to thank Radoslav Kvapil in Prague and Jan Jiraský in Brno for their incredible generosity in sharing their rich musical lineage. I also want to thank Jindřiška Bártová for sharing her personal experience with Miloslav Ištvan and to Peter Macek for generously providing me an English version of his important text. Thank you to Jindřich Bajgar and the rest of the staff at the Hudební v informační středisko who provided me access to many important scores. There are many others that liberally gave of their time to introduce me to the rich world of Czech music including Alice Fiedlerová, Jíndra Nečasová Nardelli, Martin Vojtíšek and Petra Koňárková. Finally, thank you to the Graduate School at Temple University that generously funded my nine-week research trip through a Summer Research Grant. vi TABLE OF CONTENTS Page ABSTRACT ....................................................................................................................... iii ACKNOWLEDGMENTS ...................................................................................................v LIST OF TABLES ............................................................................................................ xii LIST OF FIGURES ......................................................................................................... xiii PREFACE ..........................................................................................................................xv CHAPTER 1. 1948 – FIRST YEAR OF THE CZECHOSLOVAK REPUBLIC AND IŠTVAN’S EARLY STUDIES......................................................................................1 Early Repressions of the Communist Party .............................................................2 Nationalization of the Arts ...........................................................................4 Ištvan’s First Years as a Composition Student ........................................................7 Ištvan’s Relationship with His Primary Teacher, Kvapil ............................8 Ištvan’s Influences of Leoš Janáček .............................................................9 Elements of Moravian Folk Music .............................................................12 Student Works at JAMU ........................................................................................13 Required Amateur Ensemble ......................................................................14 Serious Compositions at JAMU .................................................................15 Conclusion .............................................................................................................18 2. 1953 – FIRST PIANO SONATA AND INSTABILITY IN THE COMMUNIST PARTY ...............................................................................................20 vii Changes in the Communist Party ...........................................................................21 Ištvan in the Early 1950s........................................................................................22 Teaching .....................................................................................................24 Compositions of the 1950s.....................................................................................26 Brno Radio Orchestra of Folk Instruments or BROLN .............................26 Ištvan and Folk Music ................................................................................27 Works for the Stage ....................................................................................28 Serious Compositions.................................................................................29 First Piano Sonata ..................................................................................................30 First Movement ..........................................................................................31 Second Movement ......................................................................................37 Third Movement .........................................................................................39 Further Compositions.............................................................................................42 Return to Sonata Form...............................................................................43 Large-scale Genres ....................................................................................45 Conclusion .............................................................................................................46 3. 1958 – SECOND PIANO SONATA AND UNDERGROUND ACTIVITIES...........48 Moderation in the Communist Party ......................................................................48 In the UCC .................................................................................................49 Musical Developments in Brno .............................................................................51 Tvůrčí Skupina A – Creative Group A .......................................................53 Environment and Influence of the Drama World .......................................55 Other Musical Influences ...........................................................................56 viii Second Piano Sonata ..............................................................................................57 First Movement ..........................................................................................57 Second Movement ......................................................................................64 Third Movement .........................................................................................67 Additional Compositions from the 1960s ..............................................................74
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