Bohemian Section at the Austrian Exhibition, Earl's Court London 1906/Bohemian Music
BOHEMIAN MUSIC.
While the Bohemians have always endeavoured to contribute their share to the advancement of art and science, it is in the department of music that they have won a most distinguished place in the front rank of civilized nations. In this art, Bohemian have been prominent from ancient times; not only as composers but as solo and orchestral performers on all kinds of musical instruments. As the space allowed for this topic is limited we must content ourselves with giving but a short sketch of musical history from the early part of the sixteenth century.
At this time we meet with the remarkably fine choral compositions of Jan Trojan Turnovský, whose works chiefly written for the service of the church, were mainly in the form of sacred songs and anthems written for male voices. Some years his junior, was Krištof Harant z Polžic whose works exhibit marks of the influence of Palestrina—particularly in his harmonies. Their contemporary was Jan Blahoslav (1524—1571) author of the first book on musical theory published in Bohemia. He was of the Bohemian Brethern under whose auspices much good work was accomplished. During this period the choral singing of the male voice choirs reached a high standard of excellence.
Religious societies called „Sbory literátské“ (Union of literates) that numbered amongst them the leading and wealthiest burghers of every town, were warm supporters of the art; spending large sums in providing hymn books, existing copies of these works now command a very high price.
In the seventeenth century the use of instrumental music in churches became more general and Bohemians were to be found in every country where good instrumentalists were in demand. One of the artists of this time who was famous as a violinist was Jan Stanitz (1717—61) founder of the classic form of symphony at Mannheim.
Many of our musicians who went to foreign countries were influenced by the prevailing style of composition in the land of their adoption. This is very evident in the works of Josef Mysliveček, they show the effect of his residence in Italy.
The style of Bohemian music in the eighteenth century has a strongly marked national character both in the melodies and their harmonic treatment as shown in the compositions of such masters of counterpoint as Bohuslav Černohorský, Jan Dismas Zelenka, Fr. Habermann (some of whose themes were adopted by Handel)), Jan Zach and Fr. Tůma.
To the end of the eighteenth century and the early part of the nineteenth, the leadership in all that pertained to the art, was acknowledged by the musical world to be in the masterly hands of Beethoven and Mozart. Numbered in the ranks of their enthusiastic followers in Bohemia were the leading national composers; such as the refined and poetic pianist Jan Lad. Dušek, and Mozart's great admirer Václav Jan Tomášek (1774—1850).
During the reign of the romantic school in Germany, the first original Bohemian opera was composed by that excellent musician, Frant. Škroup (1801—62).
The earnest study of the beauties of national songs was the source of inspiration which led Pavel Křížkovský (1820—85) to produce his characteristic works. This chorals are splendid examples of this particular form of composition. The works of Bedřich Smetana exhibit to a marked degree the special beauties of the genuine Bohemian style. Although to a certain extent influenced by Wagner, Smetana preferred the lyrical and simple melodious form as, being more in keeping with the slavonic spirit. He is the composer of eight operas „Braniboři v Čechách“ (The Prussians in Bohemia), „Dalibor“, „Libuše“, „Prodaná nevěsta“ (The Bartered Bride), „Dvě vdovy“ (Two widows), „Hubička“ (The kiss), „Tajemství“ (The secret), „Čertova stěna“ (The devil’s wall) of which the most popular are those illustrative of country life. His compositions have a wide range; as in addition to the operatic works referred to, he produced some of the most successful comic operas ever performed in Bohemia. The unquestioned merits of his many and varied works, warrant his recognition as the founder of the modern Bohemian school of composition.
Smetana’s heir as a worthy representative of the purely slavonic in musical composition, was Antonín Dvořák, whose name is well known in England where his fame is acknowledged by the frequent performance of many of his best works by the principal choral and orchestral societies. Dvořák’s start in life was very humble, he had more difficulties to overcome in the pursuit of education than the majority even of music’s least favoured sons. But he overcame all obstacles, although for long he had to work for a living amidst surroundings anything but agreable or encouraging, but at first gradually, then rapidly, he advanced to fame and the world’s verdict was, that a great master had arisen in Antonín Dvořák. Attention begat everincreasing interest, until the Austrian government conferred on him a Staats-stipendium or annual allowance from the treasury. Brahms introduced his compositions to the musical public in Vienna; but the work which won for him the ear of all Europe was his Stabat Mater, which speedily became a favourite, especially in England where it was first performed by the London musical society in 1883. This work rises above the strong influences of national feeling so generally found, as we hawe before remarked; in Dvořák’s writings, and reaches a more cosmopolitan atmosphere and challenges comparison with the most universally accepted settings of the Latin Hymn. Other compositions are songs etc., very spontaneous and delicate (seven gypsy songs op. 55) and pianoforte compositions (Dumka or elegy, Furiant or Bohemian Dances, Slav Dances), in all of which he has made very large use of national melodies and dance rhythms; also chamber music of great beauty (E flat Quartette op. 51.). His most ambition work is orchestral, (symphony in D op. 60.) and choral. Of the latter, the Spectre's Bride (Cantata written for the Birmingham Festival of 1885) is comparatively short, but full of that pulsing life which is characteristic of Dvořák’s best manner.
Dvořák is an prominent example of the eagerness with which a certain school turned to folk-song and national dance as a fountain of originality.
So long accustomed to Teutonic inspiration, musical Europe gladly heard the new rhythms and strange harmonic effects of the slav races. The characteristics of Dvořák’s Compositions are, first, the strong Czech element which pervades them, and displays itself in characteristic rhythmical effets and relations of tonalities, peculiar to western ears; Secondly, the economical and often extremely clever use of small thematic material.
The familiarity of the English musical public with Dvořák’s works, and their high appreciation of the merits of his compositions, tempts us to dwell longer on his achievements. But we must draw our notice of the master to a close and endeavour within the limits of this brief sketch to give a few more details of Bohemian musical history.
Worthy to be associated with the names of Smetana and Dvořák, is that of Zdeněk Fibich (1850—1900) who ranks high as a composer of symphonies, grand overtures and chamber music. His songs are also very popular. Fibich’s most important works are in the form of grand opera written after the style of Wagner.
The following are the titles of his best known compositions of this class „Bukovín“, „Bláník“, „Bouře“ (The storm), „Haidee“, „Šárka“, „Pád Arkuna“ (The fall of Arcona), and „Nevěsta Messinská“ (The bride of Messina).
Fibich shows marked individuality in this art, refined and serious in his work but not particularly expressive of Bohemian National feeling.
Other of Smetana’s Contemporaries Karel Bendl, Karel Šebor and Richard Rozkošný each of whom produced a variety of excellent compositions. Numbered amongst the followers of Smetana, are to be found Vilém Blodek (1834 1874)—composer of the opera „V studni“, Jan Malát and V. J. Novotný whose songs are much admired. Of the younger generation we have Dvořák’s and Fibich’s very promising pupils: Jos. B. Foerster (C. 1859), (with the works entitled „Jessica“, „Deborah“ and „Eva“). Karel Weiss (C. 1862), Karel Kovařovic (C. 1862) now director of the opera at the Bohemian National Theatre, Otakar Ostrčil (1879), and Karl Moor (1873). All of there named have produced works of excellent qualities. Amongst those who may be styled „seceders“ from the school favoured by their contemporaries and who go on independant lines; are, Lud. Lošťák (1862), Lad. Čelanský (1870), in Bohemia, while Leo Janáček represents secession in Moravia.
We have a splendid conductor in Oscar Nedbal, who has composed the music of a number of successful ballets and pantomimes. K. Kovařovic and Henry Kàan have also produced good work of this light kind of composition.
Orchestral music and works for the piano and stringed instruments, by Vítězslav Novák (1870) enjoy a well deserved reputation for melodiousness and good scoring. With him must be associated Josef Suk because the two afford an excellent example of contrast in style. The former is a strong upholder of national music of the Slovaks in Moravia and Northern Hungary, and an extreme modernist in his symphonic songs and poems. Josef Suk, on the contrary has a disposition for classic originals as in his symphony in E. Suk’s compositions are remarkable for their brilliant harmonie colouring as well as the flow of melody, reminding us strongly of the style of Dvořák.
Religious musical works are well represented by Dvořák (Requiem), F. Skuherský (1830—92), Andreas Horník (1864) and Fr. Picka (1873).
The theory and history of the art is a growing literature which has been contributed to by professor Otakar Hostinský (1847), Karel Stecker (1861), Eman. Chvála (1851) and Karel Knittl the present director of the Prague Conservatory of Music, the first academy of music established in Austria and which will soon complete its first century of beneficial work. Amongst composers and artists of Bohemian origin who are actively engaged in work abroad; are, Eduard Nápravník (C. 1839) in Russia, while Lad. Zavertal in England has made himself famous by the splendid work done by the Band of the Royal artillery out of which he created a full orchestral body of musicians equal to the performance of the highest class of work. Cav. L. Zavertal’s own compositions so frequently heard in London, are always received with much favour by the music-loving public. The following are the names of violin pupils of the Prague Conservatory who have won special distinction as artistes Fr. Ondříček, Fl. Zajíc, Karel Hoffmann (first violin in the famous Bohemian quartetto), V. Kopta (now in America), and the pupils of professor Otakar Ševčík (1852), Jaroslav Kocián and the world famed Jan Kubelík.
In addition to the National Opera Theatre in Prague producing works of the highest class there are good Opera-houses in Plzeň and Brno (Brünn, Moravia), and the „Česká Filharmonie“ is a union of very good artistes performing at home and abroad compositions of the very best kind.
The art has the support of several excellent musical periodicals, Journals and Gazettes, as representing this art journalism, we would mention „Smetana“ and „Dalibor“.
The leading Publishers of Music, are Fr. A. Urbánek, Mojmír Urbánek, J. Otto and V. Kotrba—all of Prague.