Karel Komzák II (Anon.) (Stadtarchiv Baden Bei Wien)

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Christian Pollack The Austrian conductor Christian Pollack was born in Vienna and studied violin, viola, piano and composition at Karel the Conservatory and Musikhochschule in Vienna. He had his training as a conductor with Hans Swarowsky in Vienna and Sergiu Celibidache in Munich. His début was in 1971 at the theatre of Regensburg, followed by further appointments in Aachen, Klagenfurt, Vienna, Lucerne and the Bregenz Festival. He has appeared as a guest- KOMZÁK conductor with the Baden-Baden Radio Orchestra, and in the opera houses of Nuremberg, Essen and Vienna (Volksoper). Since 1995 he has been musical director of the opera class at the Vienna Conservatory and since (1850-1905) September 2002 also chief conductor of the Z˘ilina Chamber Orchestra in Slovakia. For the Naxos and Marco Polo labels he has made a number of recordings of classical Viennese music, notably the work of the Strauss family, Ziehrer, Suppé and Komzák with the orchestras of Ko‰ice, Bratislava and Z˘ ilina. Waltzes, Marches and Polkas Slovak Radio Symphony Orchestra Christian Pollack Portrait of Karel Komzák II (Anon.) (Stadtarchiv Baden bei Wien)

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Karel Komzák I (1823-1893) and Karel Komzák II (1850-1905): # Dein gedenk’ ich, Walzer (I think of you, waltz) (Komzák II) without opus number Waltzes, Marches and Polkas • 2 The final waltz in this collection perhaps demonstrates most of all the qualities which brought Komzák so much praise from discerning contemporary critics. A stream of deeply heartfelt melodies are graced by instrumental There were three composers named Komzák, father, son and grandson, each of whom shared the first name Karel colouring of the utmost imaginative resourcefulness. Such scores were regarded as modern at the time of their first or Karl, and who together made a significant contribution to the popular light music of Central Europe during the appearance and they remain equally so today, one hundred years later. No other dance-music composer of the nineteenth and early twentieth century. The central, and most successful, member of this dynasty was Karel (Karl) period took so much trouble to clothe his ideas in such entrancing garb as Komzák really delighted in so doing. The Komzák II, ten of whose compositions are recorded here. He was undoubtedly one of the most outstanding among waltz Dein gedenk’ ich received its first performance in Baden on 6th August 1901 and it remains as fresh and a host of highly-gifted composers whose dances and marches made Vienna the light music capital of Europe in the inspiring in the 21st century as it undoubtedly did on its first hearing. closing decades of the nineteenth century. His father, Karel Komzák I, an eminent orchestral conductor and military bandmaster, is represented here by three works. John Bladon The Komzák family came from southern Bohemia where, in 1823, Karel I was born in the village of Netûchovice near Týn nad Vltavou. He moved to Prague and founded his own orchestra which was so successful This recording has been produced with the aid of a financial contribution from members of the Kmoch that in 1862 it became the resident orchestra of the newly-founded Prague Provisional Theatre, forerunner of the European Bands Society. If you have enjoyed this music and are interested in learning more about the works renowned National Theatre. Antonín Dvoﬁák was a viola-player in this orchestra, which also included the of similar Central European composers for orchestra and wind band, please write for details of the Society to: conductor’s son, Karel II, on violin. Karel I left his orchestra in 1865 to take up the appointment of bandmaster to the Austro-Hungarian imperial army’s 11th Infantry Regiment. Over the next fifteen years he served with the The Honorary Secretary, regiment in a succession of locations from Trento, in the west, to Hradec Králové, in the east. Everywhere, both as The Kmoch European Bands Society, bandmaster and composer, he was extremely popular and the band became noted for the regular inclusion of Czech 1 Keelton Close, Bicton Heath, folk-songs in concert programmmes. Then, after moving on to the 74th Infantry Regiment in 1880, Karel I found Shrewsbury, SY3 5PS, himself in less favourable circumstances where the performance of Czech national airs was forbidden. England Consequently after only a year in this new post he left military service. In December 1882, however, when the authorities were looking for an accomplished bandmaster to undertake the formation of a military band for the newly-established 88th Infantry Regiment in Prague, Karel I was persuaded to take up this important appointment. Five years later, with the band flourishing, he finally retired for good at the end of April 1888, spending the rest of Slovak Radio Symphony Orchestra his days at Netûchovice, where he died in 1893. Of his reputedly more than two hundred compositions, we now The Slovak Radio Symphony Orchestra was founded in 1929 as the first professional musical ensemble fulfilling know (thanks to the scholarly work of Max Schönherr) that a fair number have survived in various archives. At the needs of radio broadcasting in Slovakia. The first conductors already placed particular emphasis on least two waltzes, forty-odd polkas, around twenty polka mazurkas, a handful of galops and quadrilles, and about contemporary Slovak music in their programmes, resulting in a close connection with leading Slovak composers, fifteen marches still exist, either in printed or manuscript copies, mostly without opus numbers. including Alexander Moyzes, Eugen SuchoÀ, Ján Cikker and others. The original ensemble was gradually enlarged Karel Komzák II was born in Prague on 8th November 1850. His father supervised his early musical training, and from 1942, thanks to Alexander Moyzes, the then Director of Music in Slovak Radio, regular symphony and he studied violin, musical theory and conducting at the Prague Conservatory between 1861 and 1867. In concerts were given, broadcast live by Slovak Radio. From 1943 to 1946 the Yugoslavian Kre‰imír Baranoviã was March 1869 he joined his father’s 11th Regiment band at Linz, playing violin and baritone. He also gained useful the chief conductor of the orchestra, to which he made a vital contribution. His successors were Ludovít Rajter, experience conducting the Linz theatre orchestra during his two-and-a-half years with the regiment. When the Ladislav Slovák, Václav Jiráãek, Otakar Trhlík, Bystrík ReÏucha and Ondrej Lenárd, whose successful position of bandmaster to the 7th Infantry Regiment became vacant in 1871, Komzák applied and was successful, performances and recordings from 1977 to 1990 helped the orchestra to establish itself as an internationally known taking up his new post at Innsbruck at the age of 21. During this period the “Bohemian musician” came to know concert ensemble. His successor Róbert Stankovsky continued this work, until his unexpected death at the age of the folk-music of the Tyrol, and this showed its influence in the choruses he wrote for the Innsbruck Liedertafel 36. The orchestra has benefited from working with a number of distinguished conductors. With Charles Olivieri- Choir, of which he was also choirmaster. Munroe, who held the position of chief conductor from 2001-2003, and the current principal guest conductor Kirk A long-standing desire to come to Vienna was eventually fulfilled in 1882, when Komzák was called to the Trevor, regular concert performances at the Slovak Radio concert hall in Bratislava have continued. Through its capital to take over the duties of bandmaster to the 84th Infantry Regiment. It was while he was with this regiment broadcasts and many recordings the orchestra has also become a part of concert life abroad, with successful tours that his fame gradually spread throughout the Austrian Empire. His congenial appearance, friendly nature and to Austria, Italy, Germany, The Netherlands, France, Bulgaria, Spain, Japan, Great Britain and Malta. energetic conducting soon made him a firm favourite of the Viennese public, who regarded him as one of the leading military composers, together with Ziehrer, Fahrbach, Czibulka, Král and J.F.Wagner. 8.225327 2 7 8.225327 225327bk 19/9/05 9:29 pm Page 6

7 Obstructionspolka (Obstruction Polka) (Komzák II) without opus number An important contribution of Komzák to the development of Austrian military music was his use of stringed The ‘obstruction’ in the title of this polka française refers to the systematic opposition or filibustering indulged in instruments on whose contribution to the music he laid great emphasis. His band contained no less than fourteen during 1892 by reactionary members of the Austrian parliament who were opposed to a measure which was first violins and could therefore be compared favourably with the usual concert orchestra of the period. The intended to make linguistic concessions to the provinces of Bohemia and Moravia. Here Komzák was indulging in frequent and widespread tours undertaken by Komzák with his regimental orchestra were everywhere received with a little mild political fun in support of his fellow countrymen. popular acclaim. In 1892 Komzák was given leave of absence from his regiment on health grounds and the family moved to the 8 Moldauwellen, Walzer (Vltavan, waltz) (Waves of the Vltava, waltz) (Komzák I) without opus number spa town of Baden, some fourteen miles southwest of Vienna, where the following year he took over direction of Although unpublished, the Moldauwellen Walzer appears to have been the most popular of the few waltzes known the Spa Orchestra. In the meantime, on 20th September 1892, he gave a farewell concert in Vienna with the band to have been written by Komzák I. It was entirely appropriate for the composer to choose a title commemorating which was being moved to the regiment’s new garrison at Mostar, Herzegovina. Komzák retained the position of the river which serves as the main waterway through his native district of south Bohemia. As is the case with other bandmaster until his eventual retirement in 1896, spending the winter months with the regiment in Mostar and compositions by the first Komzák, it is believed that his son made some minor alterations to the original score returning to Baden in the spring to direct the season’s spa concerts. Probably the climax of his career was the series when preparing his performing material for the spa concerts at Baden. of concerts he gave with the Wiener Farben Orchestra at the World Exhibition in St Louis in America, which was held between August and October 1904. Only six months later he met his tragic death, on Easter Sunday, 23rd April 9 “Sub rosa”, Polka Mazurka (In Secret, polka mazurka) (Komzák II) Op. 172 1905. In attempting to jump onto a departing train at Baden station he slipped and fell under the wheels. He was First performed at a Ball given by the Vienna Authors’ and Journalists’ Asociation ‘Concordia’ on 10th February buried at Baden but in the following November his remains were exhumed and transferred to the Central Cemetery 1890, the “Sub rosa” polka mazurka dates from the period when Komzák was stationed with the 84th Infantry of Vienna, where the beloved artist was given an honourable grave by the city authorities. A monument, showing Regiment in the imperial capital. The title derives from the Latin phrase meaning literally ‘under the rose’, and the composer with baton in hand, was erected on his grave in 1907. refers to something done secretly or confidentially. The stately three-quarter rhythm of the polka mazurka was a The compositions of Karel Komzák II reached the opus number 306, but how many he actually wrote it is form in which Komzák left a number of notable examples and, characteristically, in this composition, his impossible to say. (Around two hundred scores have been traced according to Schönherr’s list.) Titles were imaginative scoring enhances the delectable melodies with that extra touch of magic. sometimes changed, some works cannot be ascribed with certainty to a particular member of the family, and there are many pieces for which an opus number does not exist. Nevertheless, his œuvre contains examples in a variety 0 Maiblümchen, Polka française (Mayflower, polka francaise) (Komzák II) without opus number of forms written for a wide range of performers including concert orchestra, military band, string quartet, violin and Surprisingly, the Maiblümchen polka, another of Komzák’s later works which were not allocated opus numbers, piano, solo voice, chorus and piano. His operetta Edelweiss was first performed in 1892 at Salzburg and was later remained unpublished, despite its clearly high level of inspiration. This is a composition for the concert hall more given at Munich and Vienna. Although Edelweiss was greatly acclaimed by the public, Komzák was too sagacious than the dance floor, in which the composer’s dynamic markings and performing hints given in the score amply a musician not to realise that dramatic music, even in its lighter forms, was not really his métier and so it remained repay careful study by the performers. his only work in this field. Although he is generally known today by a mere handful of works, these are of a very high quality and there are ! Feldzugmeister „Von Kuhn“, Marsch (Warfare Master “Von Kuhn”) (Komzák I) without opus number many others equally memorable which remain in relative oblivion. Bad’ner Mad’ln is of course reasonably well After his part in the Battle of Custozza of 1866, in which the imperial Austrian forces defeated the Italians, Franz known and is certainly in the front rank of Viennese waltzes. This work with its surprising contrasts of brilliant Freiherr von Kuhn (1817-1896), was appointed Professor for War History in the School of Warfare in Vienna. His martial music and languorous melodies for the strings is typical of Komzák’s best waltzes. Other notable examples distinguished military career later included a term as Imperial War Minister. are An der schönen, grünen Naranta, Op. 227, Phantome, Op. 160, and his last work Maienzauber, Op. 306. Of Komzák’s many vigorous galops his Sturmgalopp, Op. 156, is still heard today and the polka mazurka @ Rabin Libûjicer, Polka (The Rabbi from Libûjice, polka) (Komzák I) Op. 8 Feinsliebchen, Op. 123, is representative of his contributions to this form. The marches, still very popular with The third (and final) example of Karel Komzák I’s work in this collection, the Rabin Libûjicer Polka, provides a central European military bands, vary in type from the typical parade-ground specimen such as the 84th Regiment link with the composer’s father Jan Komzák (1801-1888), a blacksmith by trade who was renowned throughout the March, Op. 125, to the sparkling Echtes Wienerblut, Op. 189, of his maturity, and the triumphal Kaiser-Marsch, south Bohemian area as an expert on horses. The small village of Libûjice, near Tábor, was a centre of the horse Op. 260, with which he won a competition held in connection with Emperor Franz Joseph’s jubilee in 1898. trade and within easy reach of the Komzák home at Netûchovice. The merits of this polka were recognised by the In his own lifetime Komzák was particularly noted for his potpourris, which were usually based on popular folk famous London publishers Boosey & Co., who included it in their Military Journal of 1859. It was also quoted in melodies or the best-known works of other composers such as the Strauss family, Ziehrer, J.F. Wagner and others. two different Potpourris by the composer’s son, Karel Komzák II. The two waltzes Fideles Wien I, Op. 109, and Fideles Wien II, Op. 271, are, in fact, potpourris of popular Viennese songs. His Wien bei Nacht potpourri, Op. 297, is subtitled “nach Motiven beliebter Wiener Operetten, Tänze und

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Lieder”. Probably the most unusual Komzák potpourri is the ABC Potpourri, Op. 245. This work quotes themes by 1 Den blonden Mädchen, Walzer (The Blonde Girls, waltz) (Komzák II) without opus number 26 composers (one for each letter of the alphabet) arranged alphabetically, starting with Adolphe Adam (Giralda The masterly construction of Den blonden Mädchen, together with its characteristic noble melodies and innovative Overture) and finishing with Ziehrer’s Gruss an meinen Freund Komzák Galopp. For the letter K the march Gruss harmonies, marks it out as one of the finest examples of Komzák’s symphonic waltzes. The magical introduction an die Heimath by Komzák senior is quoted. subtly hints at two of the main themes later used to glorious effect in the main body of the waltz. It was first Of the compositions for small combinations of instruments, the delicate Volksliedchen und Märchen, Op. 135, performed at a benefit concert by the Baden Spa Orchestra on 29th August 1903. retains it place in the repertoire. Originally written for string quartet and harp, it is now more often heard in the exquisite arrangement for string orchestra. From Edelweiss (which Komzák himself called a “Volksoper”), the 2 Caraffa-Marsch (Komzák II) Op. 243 overture, the waltz, and a number of shorter pieces based on themes from the operetta, bear witness to the The Caraffa-Marsch was written in 1896 as the regimental march for the Austrian Dragoon Regiment No. 2 and abundance of melodious music his only work for the stage must have contained. dedicated to the regiment’s commanding officer, Count Paar. It was first performed by the band of the 93rd Komzák’s best works contain examples of harmonic originality quite unusual in the light music of his time. Infantry Regiment in 1896 and the orchestral version given by the Baden Spa Orchestra in the Baden Kurpark on The melodies are distinctive and the structure, especially in the waltzes, frequently reveals an exceptional level of 22nd May 1897. The catchy original themes of this lively 6/8 march are supplemented by three brief quotations: creative imagination at work. Perhaps if he had lived longer his total output might have eventually matched that of the introduction quotes the Caraffa Fanfare of 1690 in commemoration of the dragoon regiment’s founder Count the Strausses or Ziehrer. Nevertheless in quality terms, many of his compositions are able to stand comparison with Caraffa, the introduction to the trio features the regimental signal, and Haydn’s Imperial Hymn makes a brief the best examples of his contemporaries in this genre. The dissemination of this recording, following the appearance right at the end. favourable reception given to the earlier Marco Polo volume (8.225175) released in 2000, now enables these admirable qualities to be appreciated by the wider public. 3 Warschauer Mäd’ln, Walzer (The Girls of Warsaw, waltz) (Komzák II) without opus number The last of the Komzák family of bandmaster-composers, Karl Komzák III, was born in Innsbruck on 20th As the title implies, the Warschauer Mädl’n waltz was written specially for the last of his four highly-successful May 1878. When he was only four years old the family moved to Vienna and some ten years later to Baden, where visits to conduct the Warsaw Philharmonic in 1903. Max Schönherr stated that in his opinion Komzák here even his father directed the spa orchestra. Rather surprisingly, Karl’s father did his best to discourage his son from surpassed his widely-acknowledged masterpiece Bad’ner Mäd’ln. Furthermore the work was enthusiastically taking up music as a career, although his own father had in fact encouraged him to become a musician from a very received when the composer introduced it under the title St Louis Girls at the 1904 World Exhibition in St Louis. early age. Karl III was, therefore, obliged to enter the legal profession and his father, a strict disciplinarian, made It is therefore puzzling to understand why it has remained virtually unperformed for over a hundred years. sure that he did not neglect his legal studies. Not unnaturally, however, the young Karl did show a capable musical talent, but it was only after his father’s untimely death that he was able to make real progress in the musical world. 4 Kaiser-Marsch (The Emperor, march) (Komzák II) Op. 260 He formed his own orchestra and travelled throughout Austria and Germany. Although Vienna was his real home With the Kaiser-Marsch Komzák won a competition for a military march to commemorate the 50th jubilee of he lived in Hamburg and Munich among other places and he also visited England twice during his career. Always Emperor Franz Joseph I in 1898. First performed at St Pölten, Lower Austria, on 2nd December of that year, this of rather delicate health, Komzák III was discharged from the Austrian army during the First World War on health vigorous 6/8 march must have made a strong impression on the jury. grounds. His short career as a composer-conductor came to an abrupt end when, at the age of 46, he died of a sudden heart attack while walking in a Vienna street on 5th September 1924. 5 Die Mühle am Bach, Polka française (The Mill by the Stream, polka If one can believe the opus numbers of his works that were published, Karl Komzák III must have been a very française) (Komzák II) without opus number prolific composer – about 360 works in twenty-odd years is a considerable output. Only a few tens of these, Subtitled Am Krupkabache (By the Krupka Stream), in honour of the highly-respected Baden city gardener Josef however, are known to exist at the present time and it could be that only one sequence of opus numbers was used Krupka, the exquisite polka Die Mühle am Bach, finds Komzák depicting an idyllic scene with the gentle murming for the total output of all three Komzáks, with the majority of pieces being composed by Karel II. Nearly half of of the brook set against the rhythmic clicking of the mill-wheel. Komzák grandson’s known compositions were waltzes, but even the most popular of these, the ebullient Münchner Kindl, Op. 284, is often mistakenly credited to his father. He also composed an operetta, but this never 6 Petite valse (Little Waltz) (Komzák II) Op. 173 achieved performance. According to the title page of the published piano edition, the Petite Valse (or Kleine Walzer) was first performed on 15th February 1890. However, a performance given on 12th October of the same year by Komzák’s 84th Infantry Regiment Band in Vienna’s Volksgarten was also announced in the programme as the first performance. The explanation for this apparent discrepancy may be that the piano version was first heard before the composer had completed the full orchestral score. Dedicated to the piano-playing wife of the French ambassador in Vienna, Madame Decrais, the piece, although shorter in duration than the typical mature Komzák waltz, is no less endowed with alluring melodies and enchanting harmonies. 8.225327 4 5 8.225327 225327bk 19/9/05 9:29 pm Page 4

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There were three composers named Komzák, father, son and grandson, each of whom shared the first name Karel or Karl, and who together made a significant contribution to the popular light music of Central Europe during the nineteenth and early twentieth century. The central, and most successful, member of this dynasty was Karel (Karl) Komzák II, ten of whose compositions are recorded here. He 8.225327 was undoubtedly one of the most outstanding among a host of highly-gifted composers whose dances and 8.225327 marches made Vienna the light music capital of Europe in the closing decades of the nineteenth century. His father, Karel Komzák I, an eminent orchestral conductor and military bandmaster, is represented DDD

here by three works. Volume 1 of music by Karel Komzák II is available on Marco Polo 8.225175. : Waltzes, Marches & Polkas • 2 KOMZÁK Karel Karel Playing Time 73:14

KOMZÁK I KOMZÁK II 6 (1823-1893) (1850-1905) 36943 Waltzes, Marches and Polkas • 2

1 Den blonden Mädchen, Walzer (Komzák II), oOp. 11:18 53272 2 Caraffa-Marsch (Komzák II), Op. 243 2:31 3 Warschauer Mäd’ln, Walzer (Komzák II), oOp. 9:55 4 Kaiser-Marsch (Komzák II), Op. 260 3:26 5 Die Mühle am Bach, Polka française (Komzák II), oOp. 3:42 0 6 Petite valse (Komzák II), Op. 173 5:32 ww.naxos.com Made in Canada Booklet notes in English 7 Obstructionspolka (Komzák II), oOp. 3:25 & 8 Moldauwellen, Walzer (Komzák I), oOp. 8:02 9 “Sub rosa”, Polka Mazurka (Komzák II), Op. 172 4:00 2005 Naxos Rights International Ltd. 0 Maiblümchen, Polka française (Komzák II), oOp. 4:04 ! Feldzugmeister „Von Kuhn“, Marsch (Komzák I), oOp. 3:25 @ Rabin Libûjicer, Polka (Komzák I), Op. 8 3:22 # Dein gedenk’ ich, Walzer (Komzák II), oOp. 10:31

KOMZÁK & Polkas • 2 Marches Waltzes, : Slovak Radio Symphony Orchestra • Christian Pollack

Editions: The Christian Pollack Archive

Recorded at the Concert Hall of Slovak Radio, from 6th to 9th June, 2005 8.225327 Producer: Emil NiÏňanský • Engineer: Hubert Geschwandtner Cover Painting: Prague, Czechoslovakia, by William Wyld (1806-89) (Victoria & Albert Museum, London, UK / Bridgeman Art Library) This recording was made possible with generous support from the Kmoch European Bands Society