Reclaiming a Golden Past: Musical Institutions and Czech Identity in Nineteenth-Century Prague By © 2019 Amelia Davidson PhD, Musicology, 2019 M.M., Missouri State University, 2008 B.M.E., Missouri State University, 2006 Submitted to the graduate degree program in Musicology and the Graduate Faculty of the University of Kansas in partial fulfillment of the requirements for the degree of Doctor of Philosophy. Chair: Ketty Wong Roberta Freund Schwartz Paul Laird Alan Street Svetlana Vassileva-Karagyozova Date Defended: April 8, 2019 ii The dissertation committee for Amelia Davidson certifies that this is the approved version of the following dissertation: Reclaiming a Golden Past: Musical Institutions and Czech Identity in Nineteenth-Century Prague Chair: Ketty Wong Date Approved: iii Abstract This dissertation explores the relationship between nineteenth-century musical activity in the Czech lands and Czech identity. The objectives of this study are to examine the history of significant musical institutions and organizations established during the nineteenth century, to analyze performance repertories for these entities, and to explore how the activities of these institutions are related to other components of Czech identity. I begin by investigating significant Czech identity markers that existed prior to the nineteenth century. These include a sense of cosmopolitanism established during the reigns of the Holy Roman Emperors Charles I and Rudolf II, a priority on religious reform and tolerance linked to the Hussite period, and a sense of cultural deprivation stemming from the conclusion of the Thirty Years’ War and the Counter- Reformation period. These foundational elements of Czech cultural identity provided the framework for the national revival of the late eighteenth and early nineteenth century, which was based in Enlightenment ideals, and for the nationalist movement of the mid-nineteenth century. Using three categories of artistic institutions as case studies—opera venues, including the Estates Theater, the Provisional Theater, and the National Theater; the Prague Conservatory and related music schools; and the amateur arts organizations Umělecká beseda and Hlahol—I examine the motivations for establishing these organizations and analyze their performance repertories to better understand how the contemporaneous idea of “Czechness” influenced and was influenced by these musical activities. The history of these entities and their performance repertories demonstrates that musicality was a meaningful aspect of Czech identity long before nationalist composers brought international attention to the Czech lands, and that in the communities involved with Czech musical life a stronger emphasis has frequently been placed on artistic identity than ethnic or nationalist identity. iv Acknowledgements Several people were invaluable in this dissertation process and deserve my thanks and recognition. Firstly, I would like to thank my entire graduate committee for their continued support during my dissertation process and for their generosity of knowledge during my time at the University of Kansas. Drs. Schwartz and Laird were particularly helpful through their seminar instruction, which allowed me to add depth to the context of my research; Dr. Street offered a critical perspective that influenced many of the questions that I made integral to my research process; Dr.Vassileva-Karagyozova helped me to build a strong foundation in Czech history and culture, which informed my understanding of the institutions and people I investigated in this work. I would especially like to recognize Dr. Wong’s wonderful flexibility in stepping in as my dissertation advisor and to express my gratitude for her diligent questioning of the work. Her insightful perspective prompted me to reexamine many aspects of this study and to find new angles from which to view my research and my writing. Her willingness to take on this advising project when it was already underway was very kind, and I have been very fortunate to work under her guidance. I would also like to thank Dr. Alicia Levin, who began this project with me and helped me to solidify the vision and path for my research. Her counsel and mentorship were essential to my experience at the University of Kansas and to the development of this project. I am deeply grateful that I had the chance to receive her instruction and to work with her on this project in its infancy. I am also indebted to a number of institutions in the Czech Republic, all of which were generous with their materials and helpful with my enquiries: the National Theater Archive, the v Prague Conservatory, the National Archive, the Prague City Archive, the State Archive in Nepomuk, the Literary Archive, the National Museum, the Museum of Music, and the National Library. Without the assistance of the archivists, curators, and librarians at each of these institutions my research could not have progressed successfully. Lastly, I’d like to acknowledge the patience and support offered by my family, particularly my husband Jim, my parents Ron and Laura, and my children Elinor and Felix, who joined my cheering section while I was in the midst of this journey. Whatever challenges occurred, my family’s encouragement always motivated me to press forward. Without them this truly would not have been possible. vi Table of Contents List of Figures .............................................................................................................................. viii Introduction ..................................................................................................................................... 1 Chapter 1: Philosophical Underpinnings of Prague’s Musical Life ............................................. 24 Medieval Cosmopolitanism ...................................................................................................... 27 The Hussite Era ......................................................................................................................... 32 A Golden Age ........................................................................................................................... 35 The Counter-Reformation ......................................................................................................... 38 The Philosophies of the National Revival ................................................................................ 41 Nationalism after 1848 .............................................................................................................. 49 Chapter 2: Opera Venues in Prague .............................................................................................. 56 1724–1862................................................................................................................................. 56 The Estates Theater ............................................................................................................... 59 1862–1900................................................................................................................................. 71 The Provisional Theater ........................................................................................................ 72 The National Theater ............................................................................................................ 80 Chapter 3: The Prague Conservatory ............................................................................................ 94 Founding of the Conservatory .................................................................................................. 94 International Reputation............................................................................................................ 98 Opera at the Conservatory .................................................................................................. 101 Conservatory Personnel ...................................................................................................... 105 Curriculum .............................................................................................................................. 108 vii Private Music Schools............................................................................................................. 110 Chapter 4: Amateur Artistic Organizations ................................................................................ 116 Umělecká beseda .................................................................................................................... 118 Hlahol ...................................................................................................................................... 126 Chapter 5: Conclusion................................................................................................................. 142 Bibliography ............................................................................................................................... 151 Archival collections ................................................................................................................ 151 Primary sources ....................................................................................................................... 151 Books and articles ................................................................................................................... 152 Websites .................................................................................................................................