1

Pavel Haas: Music at the Piano

Jan Krejcar, Department of Performance, Schulich School of Music

McGill University, Montreal

April, 2012

A paper submitted to McGill University in partial fulfillment of the requirements of the degree

of D. Mus. Performance Studies

©Jan Krejcar, 2012 2

Table of Contents

English and French Abstracts ...... 3

Introduction ...... 4

Pavel Haas's life, studies, and career ...... 5

Pavel Haas - Suite for Piano, op. 13 ...... 6

Suite as Genre ...... 7

Motivic Work ...... 9

Polyrhythms ...... 13

Jazz Influences ...... 16

Tonality ...... 18

Pedal Points and Endings ...... 18

An Historical Connection ...... 20

Folk Music ...... 22

Janacek's Cycle- In the Mists ...... 24

Pavel Haas- Six Songs in Folk Tone, op. 1 ...... 24

Use of Folk Genres and Folk Instrument Stylization ...... 29

Performance Considerations ...... 35

Conclusion ...... 36

Works Cited ...... 37 3

Abstract

Pavel Haas, student of Leos Janacek and proponent of Czech Modernism, is known today primarily as one of the Terezin composers who perished during World War II. His compositions, underperformed in the past, are now attracting renewed interest. Haas's writing for piano, while not a huge body of work, is an example of the diversity of Czech works in the inter-war years. On one hand composers continued in their art-music tradition, on the other, they pursued modernist tendencies with the same intensity as other European composers. This paper examines Haas's contribution to the solo and chamber piano literature, it scrutinizes various techniques that he employed, both modernist and those harking back to the past, and it looks at Haas's inspiration from and methods of working with

Moravian folk music. In an effort to better understand Haas's use of folk music the author compares

Haas's methods with those of Leos Janacek in Janacek's cycle for solo piano, In the Mists.

Abstrait

Pavel Haas, eleve de Leos Janacek et promoteur du modernisme tcheque est connu aujourd'hui essentiellement comme un des compositeurs de Terezin qui ont peri pendant la Deuxieme Guerre mondiale. Son travail, oublie pendant des annees, attire maintenant interet renouvele. Son ecriture pour piano, tandis que pas un ceuvre enorme, donne un exemple de la diversite des ceuvres tcheques dans les annees entre les deux guerres. D'une part les compositeurs ont continue dans leur tradition de l'art musical, et d'autre part ils ont poursuivi les tendances modernistes avec la meme intensite que d'autres compositeurs europeens. Ce document examine la contribution Haas a la litterature pour piano solo et de chambre. Il examine diverses techniques employees par lui, a la fois moderniste et ceux renouant avec le passe, et il regarde a !'inspiration Haas dans la musique folklorique morave et les methodes de travail avec elle. Dans un effort pour mieux comprendre !'utilisation de Haas de la musique folk il la compare a un cycle pour piano solo par Leos Janacek, Dans les brumes. 4

Introduction

Robin Freeman, in his essay Excursus, an extensive appendix to his essay on the young

Moravian-Jewish prodigy Gideon Klein, writes about the terrors of persecution followed by the

"indifference of a Soviet client state built on the ruins of a Nazi protectorate" as the cause for much neglect of an entire generation of Czech composers and artists from between the two World Wars

(Freeman, Excursus 38). In the latter decades of the twentieth century some scholars commented on the marginalization of research of this era of European music history (Bohlman 21). Fortunately, Terezin composers' works have been resurrected for some time now.

This paper focuses on another Moravian, Pavel Haas (1899- 1944). More specifically, it examines his contribution to solo piano literature and chamber works that include piano, in an effort to better understand the influences and tendencies that are embodied in it. It shows how Haas's writing for piano is characterized by modem tendencies that can be found in the music of his contemporaries.

My examination begins with a brief consideration of the historical context of Haas's life, education, and compositional career before his internment in Terezin. This is followed by a closer examination of two of his works: first, the Piano Suite, op. 13, in which I outline his compositional methods and the various influences that can be heard in it. The second work examined is the Six Songs in Folk Tone, op. 1, for soprano with piano accompaniment. My focus in this cycle is on Haas's treatment of folk music. I view this as important, as folk music played a crucial role in the work of many Czech composers. Haas's use of it shows how he held the cultural heritage ofhis homeland dear.

I precede my observations on this cycle with an examination of the cycle In the Mists by Haas's teacher,

Leos Janacek. I then show how the two composers differed in their approach to folk music.

This paper also demonstrates how an understanding of Haas's piano works helps the performer prepare a thoughtful and informed interpretation. Although I do believe that a deeper understanding of a work is important for the performer, I do not want to draw away from the wider application of such 5 knowledge. A musical work is multi-layered and it is possible to experience it on multiple levels.

Performance is one of them, but the knowledge of the work's makeup and history deepens the experience of all who are engaged with it, whether it is the listener, performer, or analyst.

Understanding music has a value in itself, in addition to experiencing the music solely as a listener.

Pavel Haas's Life, Studies, and Career

Haas belongs to a group of composers known as the "Terezin" composers, all of whom were interned during the Second World War in Theresienstadt. This is a small town near Prague that had been converted in 1941 for the duration of the War into a ghetto and holding camp for Jews and other

'undesirables' before the transport of the inmates to concentration and extermination camps further away (Karas 9). Terezin composers continued and expanded the classic European tradition and were also part of the exciting modernist and avant-garde movements between the two World Wars. Living in a time of both musical and societal change and upheaval, they were poised to play major roles in the future of music in Central Europe (Ross 332). Unfortunately, almost all of them had their lives cut short by the tragic events of World War II. In Czechoslovakia and other countries that carne under the Soviet sphere of influence, their works were ignored in place of works by officially sanctioned composers such as Miroslav Barvik or V aclav Dobias writing in a Socialist Realist style (Svatos 15).

Pavel Haas's surviving output for piano consists of only one major work and a small number of minor works for solo piano, several works with chamber ensembles, and several song cycles for different voice types and piano. Some juvenilia have been preserved in the Museum of Moravian Music in Brno in the Czech Republic and are not readily available for examination. He was not among the most prolific of composers; he was extremely self-critical and gave opus numbers to only eighteen of the roughly fifty surviving works. During his time in Theresienstadt, Haas completed a number of works but only three from that period survive (Karas 69). 6

Haas was born into the family of a Jewish shoemaker and merchant in 1899 near Bmo in southern Moravia, a part of the modem-day Czech Republic. He showed musical talent early, and with the support of his parents studied piano and composition. He displayed conscientiousness in both practising the piano and composing. Haas dedicated a set number of hours to both every day, even during the years he was working to support himself in his father's business. He studied piano and composition with Jan Kunc and Vilem Petr:Zelka, first privately then at the Bmo Organ School.

Importantly, his studies there were finished under Leos Janacek with whom he studied for two years at the Bmo Organ School. Lubomir Peduzzi in his book Pavel Haas identifies Janacek as Haas's most important teacher, mentor and defining influence. He also considers Haas to have been Janacek's most successful student (Peduzzi 105).

After his graduation from the organ school, Pavel Haas slowly gained prominence on the musical scenes ofBmo, Prague, and Vienna during the 1920s and 30s, and went from being a promising student to an established composer. Haas's major works not including piano are the opera

Sarlatim, the Study for Strings (1943), the Wind Quintet, op. 10, and three string quartets.

Pavel Haas - Suite for Piano, op. 13

Haas wrote his major work for solo piano, the Suite, op. 13 in 1935. He had recently heard the accomplished virtuoso Bernard Kaff and wrote the Suite with him in mind. It was premiered at a musical evening ofthe Club ofMoravian composers on February lOth, 1936, in Vienna.

The Suite is made up of five parts: Preludium, Con malta espressione, Danza, Pastorale, and

Postludium. The movements are a showcase of a variety of virtuosic compositional techniques, many of which have parallels in works by other emerging composers in Central Europe and beyond. The compositional palette of the time period often had much in common, especially in writing for the piano

(Roberts 9). The techniques I speak about are: novel ways of working with motives, polyrhythms and 7 rhythmic abnormalities, influences of jazz, a free approach to tonality, some elements of extra-musical content, and finally, the use of folk music on his work.

Suite as Genre

The first aspect that I examine in the Suite for Piano has to do with its genre (which also furnishes us with the title). A suite by definition is a set of pieces that are meant to be played together.

The term defines a variety of groupings however, and the most well know examples are from the

Baroque period, such as the suites of J. S. Bach. Throughout subsequent centuries, the suite gradually changed. In the 19th and 20th centuries, in addition to being used as a simple 'container form' for various smaller works, it was used as a grouping of nationalistic pieces or, most often in orchestral literature, as a group of extracts from more extensive compositions such as operas or ballets that was meant to be played in a concert setting. Well known examples of the extract suite include the suite from the ballet, The Nutcracker, by Tchaikovsky, or the orchestral suites of Sergey Prokofiev (Suite from The

Love for Three Oranges, Op. 33bis, or the suites from Romeo and Juliet for example).

Fuller, in his article on the history of the suite, identified its three major uses at the beginning of the twentieth century: the extract suite already mentioned, the characteristic suite (an outgrowth of the geographical and national suites of the 19th century), and the suite antique, which adapted the suites of the seventeenth and eighteenth centuries as models. He wrote that the suite became a common form for composers of the 20th century and not necessarily in the forms I have just listed.

These three types were recognizable as suites and were often even entitled suites. As such they had associations

unattractive to a composer determined (as many in the 20th century have been) not to be derivative. It was the suite

idea, unrecognized (or differently named) and consequently free, that underlay the originality of, for example,

Lawes, Couperin and Schumann and that has served and continues to serve composers whose ideas result in sets of

pieces meant to be performed at a sitting ......

..... throughout the first 75 years of the 20th century the suite has served composers in many ways and for

many reasons: Schoenberg's Five Orchestral Pieces (1909) at one end of the period and David Felder's Three 8

Pieces for Orchestra (1995) at the other frame a multitude of works in which the relationship of the parts to the

whole is newly worked out in each (Fuller).

The suite is a classical (or neo-classical) form, and is strongly rooted in music from before the

Romantic period. Fine examples of suites from the early twentieth century that draw inspiration from pre-romantic models can be found in the works of Stravinsky (Pulcinella) and Prokofiev (Scythian

Suite).

Viktor Ullmann, another Terezin composer and Haas's contemporary, turned to a suite-like form in one of his early works, the Schoenberg Variations. Some of his variations are structured as Baroque forms (Gavotte, Passacaglia). Ullmann, however, employed the twelve-tone technique of his teacher,

Schoenberg (who himselfwrote a suite for piano) while Haas relied on other emerging compositional techniques. Despite these 'historicizing' examples, the suite is often used as a 'container' that serves to group any selected pieces together without a larger underlying structure, even though there are often basic rules that are respected such as the alternating of fast and slow movements.

Pavel Haas did indeed adhere to some of the classical principles of the suite but perhaps a better term than neo-classicism to describe Haas's use of the suite and its historical references is historical modernism as defined by Frisch (296). This refers to the application of techniques that can be identified as historical or classical used in a more contemporary tonal language. It seems he was drawn to the connection with the past the suite had to offer as well as to the possibilities and expanded freedom inherent in it.

Haas's Suite thus embodies some ofthe elements of the Baroque suite, namely the forms of the pieces offer some semblance to Baroque forms: the first movement, the Praeludium has a toccata-like character; there is a clearly defined vigorous dance movement, although it is a jazz dance in the place of the Baroque forms; there is some semblance between the last movement and the typical closing 9 movement of the Baroque suite, the gigue; the movements alternate between quick and energetic, and slow and lyrical; and the expanded cadential material of the last movement is reminiscent of Baroque, semi-improvisatory closing material. Also his episodic treatment of motives and themes is more closely related to the work of the Baroque masters rather than the late Romantic composers in that Haas makes individual motives the kernels of well-defined, small sections that come together to build entire movements. He pays attention to small-scale voice leading and phrasing rather than giving precedence to longer, overarching phrases in the style of the late-Romantic period.

However, Haas's take on the suite is distinctly contemporary, as it includes an exhibition of modernist piano techniques. It is not simply a way of grouping contrasting pieces under a convenient title, but rather a dialogue between the old form and new ways of thinking about writing for the piano.

This dialogue between old and new is not unique in the work of Pavel Haas. In his study of

Czech Modernism and the works ofViteslav Novak, Locke pointed out a similar dualism in the approach of Czech composers of the time (Locke 87). On the one hand they were keen to be a part of progressive and cosmopolitan trends but on the other they often had a foot in the past. However, this dualism may seem more prominent than it actually was as it was expressed more in critical reception rather than directly from composers' experiences (Taruskin, 33). Examples of how polarized audience reaction shaped the reception of new works can be seen in the 1926 performance of Wozzeck in Prague that stirred strong critical reactions, both positive and negative (Locke, Wozzeck, 65). The surviving criticism of Haas's second string quartet, a work that surprised listeners by including percussion instruments, is another example of audience reception of the period. The listeners did not appreciate the novel instrumentation but applauded the Czech themes Haas used (Peduzzi 54).

Motivic Work

Leos Janacek, Haas's teacher, let folk culture (songs and speech) become the basis for his motivic work on a strikingly minute level (Beckerman 49). Due to Janacek's thorough and direct 10 influence on Haas it is worthwhile to observe Haas's approach to motivic work, even though folk music does not figure in the Suites motives. The Suite's first movement is a fine example of Haas's method of using a single motive as the exclusive building-block of an entire movement. Naturally, this is not a technique invented by Haas. His use of it, however, is prominent. It is obvious to the casual listener due to the treatment of primary motives in predominantly one-measure cells with well-defined borders. The first movement, the Preludium, is built on a single descending motive that is actually two motives in one.

Suite, op. 13, m. 1

One form of the motive is as it appears here: a melismatic and energetic self-contained unit of twelve tones with a toccata-like character. Here it is re-written in order to make its melodic contour clearer:

Later in the movement, Haas indeed presents this form, in one hand.

The other form of the motive is found by taking the first note and then every other note. 11

Haas presents this second form early in the work and these two versions form the basis for the entire work. Haas is able to shift the listener's focus from one version of the motive to the other by adding octaves to one or both hands. m. 28

Haas further transforms this motive in various ways: by augmentation, and then subdivision of one hand into groups of four and the other in groups of three. This is the first example of the polyrhythms that appear often in the Suite. Here the performer is faced with a problem: the accents of the grouping of four fall naturally on the second note of the measure. In respecting these accents, the performer is in danger of obscuring the beginning of the measure and the first beat. m.24

fl ..

t) r r r r <\ ( n '7np t) r r r T r '!'!'- > > >

Finally, it is interesting to note that, although the movement is mono-motivic, Haas is able to create a three part ABA form out of the one motive. Haas uses the one-measure motive as the basis for a more lyrical three measure phrase that appears in the center of the movement. 12 mm. 28-30

II ~ .

Among his contemporaries Haas was not alone in his interest in the possibilities of different permutations of a limited amount of motivic material. Schoenberg and the members of the Second

Viennese School and their students continued in the classic tradition ofbasing their work on differing and often minute permutations of various facets of the same material as the main means of their work

(Bergman 105).

Understanding the methods which Haas uses to work with motives is crucial in performing this first movement. A decision about the character of the first motive (whether it is made of twelve or six notes) defines how the opening is played. That is, it dictates whether the right hand predominates or both hands play equally to create one line. Haas uses many dynamic and articulation markings to try to clarify the structuring of his motivic work and it is up to the performer to enable the audience in its perception.

In other movements there are strong motivic ties between individual sections. In the second movement the opening motive of four descending notes in the top line of the left hand becomes the basis for the more agitated sections to follow.

Suite, Con molto espressione, mm. 1-9

fl _-I I I I I 1-- I I I II I I I I I I I b.- . . . . !t.. I I I I I I 1 f1 - ...... t.. 1 Tl77• 1 ~ • flo·· #~f::=:r: ~~f: _ T_. 1 ·- f: T 1T • ~· # --r "f·------~. --~· 13

mm. 37-8 ' ~ ~ r- :.w #f•• :ftqr'il .. 11• • 1t'f"• Tl'1 I . ~ ~ ~ _.,., _.,. 'PI'' -,;- -,;-

For the performer it is helpful to see how Haas goes about developing this motive. By being

aware of this process, the performer can highlight these changes by playing the inner line more

prominently and provide the listener with insight on the development of the individual pieces.

As I have mentioned, sometimes Haas's techniques are problematic for the performer. It seems

that the sections that employ them, often combined with a polyrhythmic element, are less successful

pianistically.

Polyrhythms

A common element in Haas's compositions is his use of polyrhythms: the superposition of

different rhythms or metres. These are found not only in his piano music, but also figure prominently in

his other writing. Polyrhythms and a greater freedom and experimentation with rhythmic structures are

a common feature of the avant-garde in Czechoslovakia in the early twentieth century. Karas, in his

survey ofTerezin composers: Music in Theresienstadt, wrote about the complexity of rhythms as a

facet of their music along with an ambiguity in tonality, atonality and, to a lesser extent,

experimentation with micro-tonality (69). Michael Beckerman in his writing about Jamicek, Janacek

the Theorist stressed how concurrent rhythms were integral to an understanding of the role ofharmony

and how it is perceived (81 ).

In the Piano Suite, we have already seen how polyrhythms have significance in the first 14 movement. The second movement, Con molto espressione is built on different rhythms occurring at the same time. In this movement it is striking that melodically, the motives are chromatic, melismatic, and not entirely distinct from each other. Rhythmically, however, they are clearly defined. Note how Haas rhythmically creates three layers: one in the accompanying chord that extends for two measures, one in the middle voice made up of four even notes (made possible by the dotted rhythm), and the top layer with six notes in two measures.

Suite, Con molto espressione, mm. 1-9

l I I I I 1---. I I I It I I I I I I I J.. .------I. . . ( tJ I I I I I I I / .r. ( ...... -. . . tJ l'n· -~ 'F "ft•" ,ifr·.. l_ I r: 1 1T • #ifr~===:r: I ~: # ·~r· -r·-?;;· ·~------

These layers individually are the basis for the entire second movement. In measure 25 Haas makes use ofpolyrhythms in another way when he divides the right hand in groups of three and left in four.

Suite, Con molto espressione, m. 25 15

The performer should be aware that it is the middle layer in the opening motive, the third voice from the top, which becomes the basis for other motives in the movement. He or she should pay particular attention to making this connection clear to the listener. This is possible by playing the voice strongly and with clear pedalling when it is unobstructed by the higher voices.

In the Danza (the third movement) Haas uses two main rhythm groups: even eighth notes and sixteenths, and a calypso-like rhythm. Here is an example of the calypso rhythm.

Suite, Danza, m. 73

These rhythms are variously presented in juxtaposition until finally the calypso rhythm prevails at the end.

The fourth movement, the Pastorale, is a series of variations on a slow and lyrical theme:

II

These variations alternate with a quick motive in which there is an evident polyrhythm that substantially differentiates it from the slow section.

Suite, Pastorale, mm. 16-17 16

Haas clearly juxtaposes different rhythms in each hand and creates a cross-rhythm, or shifting of beats in a metric pattern, between the two. The performer is faced with the choice of making the differing rhythms pronounced, or of possibly making the overall rhythmic and metric divisions unclear.

In Haas's other works, polyrhythms play an important role as well. Examples come from his string quartets, especially the second quartet where they are successfully employed to illustrate the images that inspire the movements (landscape, rickety wagon-ride). Here is an example of another four against three rhythm from Haas's song cycle Seven Songs, op. 18, from 1940

Seven Songs, op. 18, No.4, mm. 1-2

\ Soprano - 41) - ,.. - t) I Piano ~_..., ~ .,.,.,- ..______# ------Jazz Influences

The early 20th century was a time when European musicians were becoming increasingly aware of music from traditions outside their own. Composers such as Igor Stravinsky, the members of Les

Six, and Paul Hindemith appropriated jazz into their works. Bohuslav Martinu, another prominent

Czech composer of the time, imbued many ofhis piano compositions with sounds gleaned from jazz, as did Jaroslav Jezek, a composer well-known only in the Czech Republic. Locke stated that jazz enabled some classical composers to find individual voices ("The Periphery is Singing Hit Songs": The

Globalization ofAmerican Jazz and the Interwar Czech Avant-Garde, 25).

Asides from being a very strong trend in the popular music of the day, jazz had social and political connotations as well, especially in a time of heightened tension as was the period leading up to 17 the Second World War. Salamone wrote, "Despite the opinion of Adorno and of similarly inclined

European critics, the dominant trope for jazz was that of freedom. It was clearly expressed during

World War II as a patent means for opposing the Nazis (Salamone 736)."

Pavel Haas incorporated elements from this relatively new style in the third movement of his

Suite which is often identified as being influenced by jazz. Today we would see some specifically exotic rhythms such as a calypso rhythm in it as well as references to ragtime or stride piano as we can see in other compositions of the early 19th century. The elements used are based more on syncopations rather than on any harmonic language than would be associated today with the term jazz, but the term has broadened in its definition since then. This movement with its jazz elements brings Haas close in musical language to Erwin Schulhoff, in incorporating Jazz into his works (Gogischaschvili 15) (Ross

332).

One needs only to look at Debussy's Golliwog's Cakewalk in his cycle Children's Corner written in 1911 to see a similar setting with the right hand providing syncopations and the left with straight eighth notes. The left hand of the Haas Danza is also tied to the ragtime genre, the same that influenced the Debussy piece. Debussy's music, however, goes beyond a glossing of jazz elements as it juxtaposes the ragtime elements with Wagner quotations, an element some scholars see as the piece's raison d'etre (Martelly 8). Haas's piece is devoid of quotations or any commentary, but distances itself from older more standard forms by its use of non-European elements.

Debussy, Golliwog "s Cakewalk

tres net et tres sec

Golliwog's Cakewalk. Les editions outremontaises. 2006 18

Tonality

The tonality of the movements of Haas's Suite is often elusive. In late Romanticism tonality had become fragmentary with "moments of 'tonal orientation' becoming sparse" (Hyer). Haas continues in this direction, although without the systematic deconstruction of tonality of the Second Viennese

School. Janacek, Haas's contemporary as well as teacher, was not entirely grounded in tonality in some

ofhis solo works (Piano Sonata, On an Overgrown Path) and something of this can be seen in Haas's work as well. However, in Janacek's compositions, according to Beckerman, we may ascribe this to his unique view on harmonic language and rhythm, scasovani. This term refers to a somewhat poorly defined concept of different rhythmic and harmonic layers occurring at the same time that change the perceived harmonic progression according to the tempo at which the work is performed (Beckerman

83). Such considerations are absent in Haas's work.

The methods of destabilizing tonality in the Suite are a quick switching of tonality between individual motives, lack of firm cadences, and long dominant pedal-points at the end of individual pieces that ultimately remain unresolved. This may be connected with Haas's use of folk music and dominant type chords as it was in the works of Russian composers. Roberts points out, "Russian folk song[ ... ] plays an important role, not only had it influenced the Nationalist composers, but also continue to influence the Modernist composers, especially in their pitch schemes and scale patterns, and their use of dominant type chords in non-functional and even final positions (6)."

Pedal Points and Endings

At the end of four of the Suites five movements, a pedal-point occurs, above which there is a series of chords or individual tones, forming a written-out ritenuto similar to some of the prolonged cadential material in improvisatory baroque forms. Here are the last few measures of the fourth and fifth movements respectively: 19

Postludium, V

-& ~ ~ !: ::n:: : .. #i ~~ I TT

I~ > > > f > > ff I > 1'-)! ~.. ----.:-l'lill ·--· -- ---·-·--·-···-·-· ·-·-·. ... ··-···. 01!. ~ l'> -ttllt!~ -~:,_~~r~ -·o- 11= \.:.,) > ------Transcribed from 'Suite. op. 13', Tempo Praha. 1993

Alois Haba, the Czech composer who was Haas's contemporary and is best known for his quarter-tone compositions, used similar techniques at the end of some of his piano pieces. Here is an example from his non-quarter-tone cycle Six Moods, op. 102, No. 5. It a widely spaced chordal texture spread out over two measures, which is similar to that used by Haas:

Alois Haba, Six Moods, op. 102, No. 5

l "4:

Here is another example of a similar termination and texture, from the 11 Preludes of the 1920s by Erwin Schulhoff 20

11 Preludes, No.9. Schott, Mainz, 1993

An Historical Connection

The next element appears in the fourth movement, the Pastorale. In order to examine it fully, I branch away to another ofHaas's compositions, the Suite for Oboe and Piano, op. 17. This was a work written in 1939 during the outbreak of World War II and the Nazi occupation of Czechoslovakia. A pair of recurring melodies in this work is two quotations from old Czech chorales. One is from the ancient

St. Wenceslas chorale Svary Vaclave which invokes St. Wenceslas to come to the aid of the Czech nation when it is in dire straits. Here is the motive's appearance in the oboe suite.

Suite for Oboe and Piano, op. 17, Movement III, mm. 1-6, Tempo Praha, 1993. ~~~P~~

~ c . kJ J J j\ >~J,~

The second melody is from a Hussite protestant chorale from the 15th century: Ktoi su Boif bojovnici, that is These Are God's Warriors. Both pieces of music served in the past as rallying cries during times ofheightened awareness of Czech nationalism, and both were dangerous to use in the time of the Bohemian protectorate, when such expressions were often severely punished.

It is the Wenceslas chorale that appears in the Suite for Piano. The two suites are not the only 21 works of Haas's that use the theme. It appears throughout Haas's compositional career, first only in fragmented form, then taking on greater importance and emphasis in his opera Sarlatlm.

Music scholars today often try to identify recurrent themes (or ur-themes) that run throughout composers' careers. Common examples are the 'Tristan' chord in Wagner or the Swan theme in the symphonic works of Jean Sibelius. The Wenceslas theme is another example. However, the theme, at least in its fragmented form, is melismatic and not strikingly recognizable. It is difficult to know if

Haas was aware of its source in the chorale early in his career. Peduzzi takes the stance that Haas was not aware of its connection until the later years ofhis career, at about the time the Suite for Oboe and

Piano was written.

For Haas, the Wenceslas motive has a Jewish connection. While some prisoners in Terezin, especially from the later years of the existence ofthe ghetto, were not Jewish, they were few (Brenner,

340). Freeman (Excursus 25) comments that the emphasis on Jewish heritage obscured from consideration other important factors. These include: political views, religious persuasions, social and family relations, adherence to certain musical traditions, views on their own nationality, and inter­ connectedness with musical society in Central Europe, not to mention factors having to do specifically with music. In other words, were it not for their persecution, these composers would have perhaps been grouped differently, as many who survived the war are today.

The Wenceslas theme can be understood with Haas's Jewish heritage in mind. Peduzzi pointed out its melismatic character and connection with liturgical singing in Hebrew with which Haas was familiar. Peduzzi contended that such a connection is not entirely far-fetched, as the Wenceslas chorale came out of Gregorian chorale that in tum was connected to Jewish liturgical singing.

Liturgical singing is not the only Jewish music that Haas could have come into contact with.

Important segments of Moravian folk music activity were Jewish family bands, present from at least the 18th century (Sehnal 292). Despite Haas's knowledge of Jewish music, it is difficult to find a 22 concrete example of a quotation or derived piece of music in his piano works of Jewish origin, as one can in the works of Ullmann (Bergman 115). Nor are there sources that show that Haas was particularly interested in Jewish music before his exile to Terezin.

In any case, a part of the St. Wenceslas theme appears in the fourth movement of the Suite, the

Pastorale:

Suite. Pastorale IV. Wenceslas theme Andante =;

Transcribed from 'Suite. op. 13' Tempo Praha. 1993

The choice of the Wenceslas theme points to Haas's identification with the cause of Czech freedom. In using the Wenceslas chorale, Haas was one of several composers who turned to it in times that were difficult for the Czech nation. Before him, Bedrich Smetana, Josef Suk, and Otakar Jeremias created works based on it. Of his contemporaries, Viktor Ullmann quoted both the Wenceslas theme and the Hussite chorale (alongside a Jewish folksong), documented examples of political protest against the occupying forces (Bergman 114).

While the use of the Wenceslas theme throughout Haas's career is interesting, it is not clear as to how knowledge of its use aids in the preparation of the Suite for performance. I believe that its use in the texture of the fourth movement speaks for itself and it is not necessary to bring it out any more than it is already audible as a part of the main melody.

Folk music

An important element of Haas's compositional style is his use of folk music. Folk music 23 traditions within Europe played an important role in the nationalistic movements of the nineteenth century. These were movements that, in many cases, led to the independence of several nations in

Europe and beyond. In the twentieth century they continued to be important for a number of composers. Hone summarizes the perceived need to 'create' Czech cultural content as a means of solidifying the idea of the new independent Czechoslovakia (Hone 7). Noteworthy examples from the nineteenth and twentieth centuries are Smetana's symphonic poems, Ma Vlast, or Martiml's orchestral work, Ceska Rapsodie. While Ritter did not imply conscious creation with explicit political motives, he did indicate how strong was the need for a body of Czech art music (Ritter 261 ).

Some composers, such as Martinu and Janacek, tied much of their music to elements of the

Czech (and Moravian) language and folk music. The turning to national themes and materials was rapid as it was only several decades earlier that Czech or Slavic motives and themes were frowned upon by the ruling German-speaking establishment (Brodbeck 83).

Paul Wingfield, in his essay Leos Janacek, suggests that the opera Jenufa is the only one of

Janacek's works to have overtly folk sources. Milos Stedron also placed emphasis on Janacek's alignment with modernist tendencies, documented by his involvement with the Club of Moravian

Composers and other, similar organizations, rather than a 'homegrown' style developed in isolation

(Wingfield). However, other biographers of Janacek were quite clear about his indebtedness to

Moravian folk music (Beckerman 102). This contrasts with Haas, for whom folk music was only one of the sources of inspiration and became a part of his language in a different way. For Janacek folk music was an unmistakable part of his musical expression on a very basic level. Haas used it as inspiration and material to work with but did not base his musical language on folk music alone.

The two works that I examined in my exploration of Haas's treatment of folk music are the piano cycle In the Mists by Leos Janacek and the song cycle Six Songs in Folk Tone, op. 1 by Pavel

Haas. 24

Janacek's cycle In the Mists

In the Mists was written for the 'Club of the Friends of Art' in Bmo which published it in 1913.

As was the case with Haas, Janacek's output for piano was small. This cycle is one of only two major

works for piano with overt folk influences; the other being On an Overgrown Path.

The cycle exhibits several methods of working with folk music and inspiration. These are: a

stylization of folk instruments, a use of folk genres, and a characterization of folk music style (on a

smaller scale than the folk genre). Janacek also consciously allowed folk music and especially the

Moravian language to permeate his writing on a basic motivic level, creating speech-melodies,

something Haas did not do. The strongest example of speech motives in the cycle In the Mists can be

found in the opening of the fourth movement. Here the main motives take on a quasi-rhetorical

character, clearly derived from Janacek's speech-melody work (Steege 657). These rhetorical sections

alternate with instrumental or genre-stylized sections.

Leos Janacek, In the Mists, Movement IV. mm. 1-3

Presto J:: tso Meno mosso. ~ L t;.';;::::::. L- ---.... s I • > f r--- '-' ~ sost. accel. motto "II" b.. a tempo n...., F"- -.J J~~ ~J_ I . r ~ ;sa ~. 'fw.

Pavel Haas - Six Songs in Folk Tone, op. 1

Haas wrote the Six Songs, op. 1 in 1918 while he was studying with Vilem Petrzelka and orchestrated them a year later. This was before he studied with Janacek. Like the Janacek cycle, the Six

Songs draw their inspiration from the folk music of Moravia and nearby Slovakia. Haas re-orchestrated 25 them in 193 8 and they have remained popular in the Czech and Slovak repertoire.

The surviving documents from their teacher-student relationship in the form of exercises and reminiscences about Janacek from his former pupils speak about his teaching style, and what he required ofhis students. This was, in particular, sensitivity to the formal structures of folk texts and music, and attention to the texts themselves and their close interpretation in the music.

However, Haas wrote the Six Songs before he studied with Janacek. Here I compare Haas's use of folk material before coming under Janacek's direct influence. On the one hand some of Haas's techniques were quite traditional, coming out of the work of Dvorak and his followers. This included

Haas's solid grounding in tonality for the songs and respect for the strophic structure. There are, however, novel methods of approaching the folk material and there are some ways (in the clever adherence to the text) in which Haas adheres to principles with which he would later be very familiar in

Janacek's classes.

Haas approached folk songs differently than did Janacek. He took Moravian texts and changed them slightly to make them more 'Slovak'. He did this by changing the word endings to Slovak ones and substituting some Moravian words for Slovak ones. This may seem 'un-authentic' today but was quite common at the time, though not practised by Janacek.

Janacek put great emphasis on sensitivity to the words of songs. This also seems to have been one of Haas's strongest points, though he came to it on his own before his studies at the Brno Organ

School. The piano part faithfully follows each song's text, trying to express the mood of the lyrics by appropriate sound-painting, textural changes, and characterizations.

The first song is translated as Rain Is Falling. It used a two-line form common to folk songs, in which the first line is distantly and allegorically related to the second:

The rain is falling, the rain is falling, it is running off the rooftop,

How can I not love him when he smiles at me. 26

The rain is falling, the rain is falling, tomorrow will be slippery,

I have no cares, my loved one is near.

Haas characterizes the rain in the lyrics with delicate staccato figuration. For the performer this is an obvious invitation to reinforce the sound-painting Haas has provided with appropriate articulation and choice of dynamics.

The second song, Flying and Calling Was the Wild Goose, used an analogy of wild geese flying away to symbolize the sadness of a girl who has lost her freedom and innocence. In this song we can hear the movement of the wings, perhaps also the cry of the geese in swinging chordal motives in both hands.

Pavel Haas, Six Songs, Lietala gagala, mm. 1-4

Moderato

Piano

The wild goose is flying and calling, a young girl is mourning after her freedom.

She is mourning, mourning and crying out,

She is mourning for her years ofinnocence.

The third deals with the death of a loved one enlisted in the Nicholas Company, the name of a regiment and also the title of the song. Martial and recruiting elements are clearly heard and then they give way to a more intimate sound that supports the more intimate character of the third verse of the text. 27

In the Nicholas Company a young man is lying, struck down,

Lying, struck down and killed, covered by rosemary.

Ring, bells, from all sides, my joy is dead,

The rose-flower has died, the whole world will cry.

As long as I live I will wear black,

A black shawl on my shoulder for that great love.

The fourth song is a complaint against an unfaithful girl. The music follows the teasing character of the text.

Oh, you false girl,false eyes you have,

Whoever you meet on the street you turn your head after.

Oh, you false girl, false eyes you have,

Yesterday you spoke with me and today you don't know me.

The fifth, Sun Setting, is a lyrical portrayal oflonging after a loved one. The center section of this song deals with stars in the night sky with appropriate quick sequences of bright, treble chords to symbolize them.

The sun is setting behind the far-off mountain,

And my heart is burning after my loved one.

The moon is coming out from behind the horizon,

My heart is sighing after my loved one. 28

The stars sparkle in the sky,

My heart sparkles in flame.

Oh, you stars, night sisters,

Young doves pour your light into my cottage.

Into your care and aid I give her,

Wish her 'good night' for me.

The last song, The Devil Take You, is another good-hearted complaint, this time against the young men of the village for not taking a girl to the dance. It implores them not to forget her the next time. The song is obviously built on dance rhythms and has a lively character.

The devil take you, young fellows.

To the dance you did not take me.

I would have danced and payed the cimbr:il for some music,

And kissed you all.

How my mother fretted all night,

To make you happy,

She baked three measures offlour into cakes for you,

Just so I would dance.

Now it is 'Amen' [that is, finished] my dear boys,

Now that the dance has ended.

When a new one erupts remember me, 29

Even if it is after midnight.

Of course, in a comparison with the Janacek piano cycle it is impossible to speak about the treatment of text except for a judgement of expressivity that would necessarily be subjective. There is, however, the question of how Haas utilizes other elements of folk music.

Use of folk genres and folk instrument stylization

The genre most prominent in the Six Songs is the recruiting dance, the cardaS. This genre is usually comprised of three parts: a slow, rhythmically free section; a heavily accented, dotted, but still slow march-like section named 'verbuiikos', and a quick section that is distantly related to the polka.

The cardas is performed in several countries and cultures, and has appeared in the music of many composers, the most well-known being the Hungarian- inspired pieces of Franz Liszt, especially the

Hungarian Rhapsodies (Leach 140).

One of the main differences between Liszt's use and that of Janacek and Haas is Liszt's tendency to view his stylization as a form of exoticism. This is manifested by his use in cardas inspired pieces of a 'Gypsy Scale' a scale with a raised fourth degree, a slightly modified, major-minor tonality rather that a true ethnic scale pattern (Scott 312).

The following example is a clear instance of instrument stylization in relation to the use of a folk genre. It is a quick form of the last and fastest part of the cardas genre, in which the double-bass plays a linear line with the second violins the offbeat. The bass could be characterized as a 'walking bass.' 30

Pavel Haas, Six Songs, No. 4, mm. 1-7

Vivo

s...... t ......

~0-lr --~- l ·h- -~l ·b--b .l • • .rr• • +t• \:7 mf sempre stacatlo Pno. ji ( ji ~ # • ~ • :;;;

S. ' It. r r r r Ty fa - Ies - mi fa - Ies - m - ca...

' ~ l l l L (lt. .. .. +t• .. Pno. simile f:. . fl. _,_ fl. f:. fl. _,_ • _,_ • (1-L-----" -·-- ·······------··~·-··.

Transcribed from "Six Songs in Folk Tone" Tempo Praha. 1994

There are two other Haas songs in this cycle that are based on folk genres. The third song, "V

Mikulasske Kompanii" is based in character on the middle section of the cardas genre, the verbuiikos with strong accents and dotted rhythms. These can be seen as martial and recruiting elements. These elements are transformed as the song to a more lyrical texture of steady lines of descending eighth notes. This mirrors the change in the focus of the text from a description of the regiment and fate of the loved one to the grief and intimate feelings of the singer. 31

Six Songs, No. 3, mm. 1-4

s.

Pno.

Transcribed from "Six Songs in Folk Tone. op. 1." Tempo Praha.

The music also features closely spaced chords in third relationships, reminiscent of string ensemble performance.

Six Songs, No.3, m. 13

~. s. -. 4 Roz-ma-r}'- nom - pri- kri-ty. f'l I l r"";.. ~ ..... tm--"-t-- .. ··~ ~· ( ~ :6 ... • -1$ .Jl9- Pno_ f . .J':'1; #~ r~E= ( . . .. 'jl ...... - - ~ :; .. ~~ ~~. ~. Transcrib

The last song of the cycle, "Bodaj by vas,vy mladenci ... " is based on a three-quarter time dance, thefuriant. It was a dance used by other Czech composers; Smetana and Dvorak are the most well- known_ It is characterized by an accent on the first and second beats and a vigorous dance rhythm. Haas intersperses this rhythm with polyrhythms, subdividing the measures into groups of two as in a hemiola 32

and changing the triplet character.

Six Songs. No.6 Risoluto f s. - lt. r r Bo-daj by vas vy mhi- den-ci ce - rti - vza-li. .. ~,.. f =t-~ e.~ "-f*- "-f*- • ~ 1------·· ··- r-~ ~lfi-· ---- ~ 1--J;;-:;;rt- - ( t. ~ ~ 1'-·- u.- ~ Pno. f ~ "ill ~· .. .. ;f•···tt· ~ ,_ ~ .. ,.,. ,.~ ., ., -~It 1\ b~ ~ -- #~ 1\,. .. ( . • +t• .,. ~ ~ .., #• .. . r- ~ #~ ., ~ Tmnscrihed from "Six Songs in Folk Tone, op. I" Tempo Pmha. 1994.

As the song continues, Haas varies the accompaniment, thickening the texture before returning to the original form, only this time he thickens the texture of the bass.

The use of folk genres was not as prominent in Janacek's cycle as in Haas's. While Janacek alternates between fast and slow sections of his pieces, it is difficult to trace a movement to either an instrumental or vocal genre of folk music in its entirety. The third movement of In the Mists has the atmosphere of a simple folk tune while the second movement offers the closest resemblance to the cardas genre. It resembles the cardas in its alternating between slow, rubato and fast, strict portions, and by the violin-like texture of the fast sections. This is one instance where a stylization of a genre is common to both cycles.

Folk instrument stylization played a greater role in Janacek's cycle. The main instruments that

Janacek was accustomed to hearing in folk ensembles were the same as can be found in ensembles today: the violins and double bass, the cimbalom (a hammered dulcimer) and the clarinet (Johnston

105). While the clarinet often doubles violin parts, the string instruments and especially the cimbalom 33 have their own, characteristic style of playing and all perform their own independent musical lines.

Janacek considered the cimbalom a key instrument in the Moravian folk tradition. During his ethnographic trips into the Moravian countryside he took copious notes about the tuning and construction of these instruments (Johnston 106). Up to the twentieth century there were several types of cimbalom ranging from a small portable instrument to a concert size instrument, the cimbal, which originated in Hungary and spread throughout eastern Europe (109).

In Janacek's day it was the concert size cimbalom that had become predominant, and it is the only widely used version at present. Though the cimbalom has been and still is used in 'art' music, it always retains an association with folk music. Janacek was certainly not the only composer to have an interest in the cimbalom. Among others Stravinsky wrote for the instrument, bought one himself, and played it for twenty years. According to Leach, Les Noces is one of several works influenced by his experience (140).

Cimbalom playing is improvisatory in nature and characterized by rapidly performed arpeggios and repeated notes. The instrument is usually constructed with a pedal that operates a single mute for all the strings. If there is no pedal on the cimbalom the strings are muted by the hands and arms of the player. The cimbalom can also be used to play the base line, melody, and any other voices and takes part in quick and slow genres of folk music. Here are some examples from the cycle In the Mists that can be traced to a cimbalom style. In this first one, the fleeting notes under a single pedal are similar in texture to a cimbalom's playing in a lyrical piece. 34

Janacek, In the Mists, No. 1, mm. 52-53

LJJ

Below, we again hear ornamental motives that could be heard as characteristic of cirnbalorn playing.

Janacek, In the Mists, No.2, mm. 47-48

Presto.

ppp 2

una corda ------u~ Violin playing in folk ensembles carries the melody and provides counter-voices to it. It is characterized by ornamentation that embellishes the melody. This type of ornamentation can be found in different cultures and sterns from heterophonic traditions of playing.

Here we have an example of quick ornamental play that is similar to folk violin playing in quick passages.

Janacek, In the Mists, No. 2, mm. 32-34 35

Performance considerations

These issues of genre (meaning sub-genres of folk music) and folk instrument stylization are important for the performer studying the works of Haas and Janacek. An example in the Haas cycle is that of the dotted rhythms in the 'verbuiikos' style pieces. In the folk tradition, these dotted rhythms are not measured but are very short and aggressive. One must consider whether the dotted rhythm should be played as is written or whether the undotted short note should be abbreviated according to the traditions of folk music. This occurs in the second song, "Lietala, gagala divoka hus nad vodou." Here the tempo of the song makes the difference between a literal portrayal of the dotted rhythm and a stylized version striking.

I have mentioned the fourth song as the last, quick section of a csardas. A knowledge of its pedigree does not necessarily change the way one would play it, (it is marked with a fast tempo), but it does confirm the character of the dance. The last song benefits from a study of the folk influences behind it in several ways: the accentuation of the opening rhythm is made clear, there should be accents equally on the first and second beats, and on the fourth and fifth respectively.

Another factor that should be taken into consideration is the freedom with which folk interpreters treat lyrical, slow melodies. This can be interpreted as license to treat similar sections with more rhythmic freedom in their art-music reincarnation.

In the Janacek cycle folk aspects have direct implications in the preparation of a performance as well. If one might interpret the running motives of the first movement as stylized cimbalom playing, and assuming that the cimbalom to be imitated is equipped with a pedal as most were, it is not necessary to avoid overlap in the pedalling as it is possible to change the pedal on the cimbalom but still allow notes to sound together in harmonic wholes. A rendition too sparse in pedal does not match the sound produced by the cimbalom.

An awareness of the violin and string section stylizations in the second movement give 36 guidance to the performer both in the pedalling of the slow phrases that are repeated throughout the movement, and in the character of the violin ornamentation. The rhythm of the fleeting motives that resemble cimbalom playing in the connecting episodes are made more clear when the performer imagines them as accentuated ornaments which guide us harmonically, rather than strictly measured melodic components.

A comparison of Haas and Janacek shows how we can identify folk elements in other compositions of Janacek and Haas, as well as their assimilation of new techniques. These insights are invaluable to performers, as they illuminate the process of how these works were composed and what we can bring out and emphasize for our audiences.

Conclusion

In conclusion we can see that exploring Haas's writing for piano in these cycles gives some idea of the techniques he used and a comparison with the Janacek cycle gives some context for Haas's treatment of folk music. Pavel Haas was firmly rooted in the work of his predecessors while remaining progressive and in tune with tendencies of the day. He did not attempt to incorporate more radical techniques; particularly of the Second Viennese School as did most of the Terezin composers. Perhaps an argument could be made for defining several streams in the music of Czech Modernism: that of the disciples of Schoenberg and his circle, those in close connection with Alois Haba, traditionalists, and those connected in some way to Janacek. However, Haas does not fit neatly into any of these categories but incorporated elements from all of them. He is one of the most recognized Terezin composers and his work is part of an important chapter of Czech and Central European music history. His piano music embodied the tendencies and inspirations that had their influence on a number of composers, and the issues he dealt with were not unique to him either. Hopefully, his work will continue to stake its claim in the repertoire of Czech music. 37

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