Electronic Library of Scientific Literature - © Academic Electronic Press
No. 1-2 / 2000
Ján Levoslav Bella (1843-1936) is entirely rightly regarded as the founding personality of modern Slovak music. Slovak historiography has concentrated its attention on Bella’s effort to create a national music, which appeared during the 1860s, and the fact of his return to his homeland in 1928. However, thanks to these priorities, the creative work of Bella during his stay in Sibiu (1881-1921) remains unknown, and there is still insufficient knowledge of Bella’s liturgical music – whether Latin Catholic (up to 1881) or German Protestant (after 1881). The key to reconstruction of Bella’s real profile as a composer may be provided by the critical publication of the complete works of J. L. Bella, started by the publisher of the National Music Centre in 1997. They have already published Skladby pre klavír [Compositions for Piano] (A : I, NHC Bratislava 1999; editors D. Varínska, V. Godár), Skladby pre husle, violončelo (fagot, harmónium) s klavírnym sprievodom [Compositions for Violin, Cello (Bassoon, Harmonium) with Piano Accompaniment] (A : III, NHC Bratislava 1998; editor V. Godár), Komorná tvorba pre sláčikové nástroje [Chamber Music for Strings] (A : VI, NHC Bratislava 1997, editors V. Godár, J. Lengová).
Compositions for Piano (A : I)
Bella’s piano composition has a progressive character. The line of development of Bella’s piano composition opens with smaller dance compositions, piano miniatures (Svätomartinská kadrila [St Martin’s Quadrille], 1861; Malé skladby [Little Pieces], before 1870) and two variation works (Variácie na slovenskú ľudovú pieseň ”Pri Prešporku na Dunaji” [Variations on the Slovak Folksong ”In Pressburg by the Danube”], 1866/1879 and (Variácie na slovenskú ľudovú pieseň ”Letí, letí roj” [Variations on the Slovak Folksong ”A swarm is flying”], 1872), in which he attempted a synthesis of romantic-brilliant piano playing with national themes. They were followed by the compositionally compact Sonatina in E minor (1873), which still originated in the domestic environment. The Sonáta b mol [Sonata in B Flat minor] (1st version 1885, 2nd version before 1890?) represents Bella’s masterpiece, in which he measures his strengths with the music of his time. Here, Bella monumentalizes the Classical-Romantic sonata style, in connection with the creative message of the greatest composers of the 19th century. The Sonáta b mol is not only the dominant work among his piano compositions, but also one of the masterpieces among all his works. The valuable correspondence between J. L. Bella and Richard Strauss (1888-1889) sheds light on the circumstances of its origin. Problems with performance of the Sonata b mol may have been the cause of Bella returning to piano composition only after 40 years, when he wrote the simple Bábikin sviatok, valčík pre štvorručný klavír [Doll’s Holiday, Waltz for Piano Duet] (1927) for his grand-daughter. This was his last piano work. The volume also includes the surviving fragment of the Symfónia c mol ”Nedokončená” - klavírny výťah [Symphony in C minor ”Unfinished” – Piano Score] from the Sibiu period, from which the piano reduction of the first two parts and the instrumentation of half of the first part are preserved.
Compositions for Violin, Cello (Bassoon, Harmonium) with Piano Accompaniment (A : III)
Ján Levoslav Bella devoted attention to the composition of chamber music mainly in the early period of his creative work, during his stay in Banská Bystrica (1865-1869), where he taught singing and musical disciplines in the seminary, and above all during his time at Kremnica (1869-1881), where he worked from 4th October 1869 as the town kapelmeister, teacher of singing and director of the choir. From 1871 he was also teacher of music and singing at the secondary school and a private teacher of singing, musical theory, piano and violin playing. In this period, Bella fully showed a desire to become a composer. This was stimulated especially by Bella’s meeting and joint music-making with the violin virtuoso Ede Reményi in the summer of 1869 at Banská Bystrica. The surviving compositions are intended for violin and piano, cello and piano or violin, bassoon (cello, harmonium) and piano. Dumky pre husle a klavír [Dumky for Violin and Piano] present a specific problem for the publisher, since two original manuscripts, a published version of the composition entitled Reveries pour violon et piano (2nd version) another reworked version of the composition – V cudzine, šesť charakteristických skladieb pre husle a klavír [In Foreign Parts, Six Characteristic Pieces for Violin and Piano] have survived. The publication presents the above mentioned three versions of the composition. The composer’s intention in the original six Dumky (mid 1860s) illustrates Mickiewicz’s motto (Dziady). The contemporary publication of Ręveries dates from 1875 and contains three originally compressed compositions. The cycle V cudzine from 1923 is a version of the original dumky, not only with a shift in the semantic intentions, but also with recomposed parts – the original and definitive versions are separated by 50-58 years. The Pieseň bez slov pre husle a klavír [Song without Words for Violin and Piano] undoubtedly originated in close proximity to Dumky (published 1874) to which it is related. The Serenáda pre violončelo a klavír [Serenade for Cello and Piano] (published 1874) is a brief pot-pourri, perhaps from the end of Bella’s activity at Kremnica. The Elégia pre husle, fagot (violončelo, harmonium) a klavír [Elegy for Violin, Bassoon (Cello, Harmonium) and Piano] (1870?) also dates from this period. The volume devoted to Bella’s chamber composition with piano concludes with Trio pre husle, violončelo a klavír (fragment) [Trio for Violin, Cello and Piano (fragment)]. The circumstances of the origin of this composition are not known.
Chamber Music for Strings (A : VI)
Bella’s chamber compositions for non-standard stringed groups originate from the period of Bella’s stay in Sibiu (1881-1921), where he was active as organizer of the musical life of the town and teacher at the teachers’ training college and gymnasium as well as a composer, conductor and organist. The Sonáta č. 1 G dur pre troje husli v prvej polohe [Sonata No. 1 in G major for Three Violins in the first position] was first published in 1891, Sonáta č. 2 Es dur pre troje huslí v prvej polohe [Sonata No. 2 in E flat major for Three Violins in the First Position] was published in 1910. Both sonatas relate to the ideal of the homogeneous sound of three-voice soprano polyphony based on permutation of the concerto principle counter-point, which arose by transfer of originally vocal texture to instrumental music in the early Baroque period (G. Gabrieli, B. Marini, G. B. Fontana, G. B. Buonamente). Bella’s sonatas also use the classical form plan and developed romantic harmony (Sonata č. 2); this synthesis determines their generally exceptional character. The Rondo D dur pre sláčikový orchester [Rondo in D major for String Orchestra] was probably written by Bella for the school orchestra at Sibiu, where he taught from spring 1883. The composition uses four violins, viola, cello and contrabass. Use of instruments in the singular may indicate solo performance of individual voices.
The study approaches the musical creative work of Alexander Moyzes (1906-1984), one of the important representatives of the generation of Slovak musical Modernism. The author devotes attention to the characteristics of the compositions of this composer during several developmental phases from the mid fifties to the first half of the eighties. He gives attention to the relationship of Moyzes to Slovak folk music, the form solution of compositions and extra-musical (personal and social) impulses, which influenced the origin of works. He continues the monograph about this composer from 1956, devoted to the first two creative periods of Alexander Moyzes.
The third creative period, in which Moyzes applied the principles of the aesthetics of Socialist Realism, ended in 1956. The most important work of this period is the Seventh Symphony, op. 50 (1955). In this symphony, the first, second and fourth part can be regarded as required by the period of origin of the work (the themes are allusions to folklore, mostly of dance character, the first and second parts lack appropriate symphonic development). These parts stand in contrast to the third part, in which Moyzes presents himself as an individual creative personality with an original musical language.
In his fourth creative period (1956-1971), Moyzes overcame the creative crisis of the fifties. The composer abandoned quotations and direct allusions to folklore. He remained in contact with the Slovak soil by means of musical-stylistic elements, borrowed from folklore (use of intervals of augmented fourths, perfect fourths and augmented seconds). This approach to folklore, which was also characteristic of the second creative period of the composer (1934-1947) is already found in his Concerto for Violin and Orchestra, op. 53 from 1958.
In this period Moyzes attempted to modernize his musical language. This appears in simplified texture (V jeseni [In Autumn] op. 56, 1960) in enriched instrumentation stimulated by the music of Dmitrij Shostakovich (Concerto for Violin and Orchestra, op. 53, 1958). Later he directed his attention to the use of harsh harmonies. All these elements found application in the Concerto for Flute and Orchestra, op.61 (1967), the opera Udatný kráľ [The Valiant King] (1966) and the Ninth Symphony, op. 69 (1971).
The Eighth Symphony and Ninth Symphony hold a special place among Moyzes’ compositions. In these works the composer expressed his opposition to the occupation of Czechoslovakia by the armies of the Warsaw Pact. The Eighth Symphony, op. 64 (1969) could not be performed in this period because of its extra-musical content. The Ninth Symphony, op. 69 had its premiere in 1971. After 1971, Moyzes adapted to the social atmosphere of Normalization. He wrote compositions to order for the anniversaries preferred by the communist regime of the time (for example Vatry na horách [Beacons on the Mountains], op. 71).
The composer’s final, fifth creative period (1971-1984) is characterized by suppression of dissonant musical language. Melodiousness of musical themes comes into the foreground. Revival of romantic features is found, not only in the first works of this period (Partita na poctu Majstra Pavla z Levoče [Suite in Honour of Master Paul of Levoča], op. 67 originated as early as 1970), but also in the last three symphonies.
In spite of the changes in the musical style of Alexander Moyzes in the individual creative periods, all his works show a characteristic persistence with the tradition of Romanticism with the evolutionary development of themes in the framework of crystallized form schemes. His symphonies can be considered problematic from the point of view of form. They suffer from excessive longwindedness, with overdoing of the musical process, especially in the final parts. This feature of Moyzes’ works is connected with his academic views on the final part as the most weighty part of a symphonic cycle. The last string quartets (Third String Quartet, op. 83, 1981, Fourth Stringed Quartet, op. 84, 1983) can be regarded as more effective works of this composer, in which Moyzes solves the extent of individual parts more adequately. As concentrated and emotionally effective compositions, the last two string quartets are among the most valuable works of this composer.
The development of Slovak music in the second half of the 20th century has a non-linear character, determined by the relationship of dynamizing and stabilizing factors, given by its specific profile as a national culture and its geographical position in an ideologically divided Europe. In the framework of overcoming historic limitations in this development, two genetic initiatives were applied – an effort towards self-identification and a process of acculturation, seeking impulses in the European music of the 20th century. The dynamizing tendencies appeared in the context of more extensive innovatory tendencies, connected with the activity of creative personalities and generations. The rise of the generation group of young composers, formed at the end of the fifties and during the sixties, can be regarded as one of the important developmental factors in the profilation of Slovak music. The source of this initiative came from an interest in overcoming the dogmatic period of the fifties in Slovak musical culture, which led to isolation and stylistic standardization, with the help of strengthened links to avoided, unused and proscribed impulses from European music of the first half of the 20th century (the Second Viennese School), and the resources of the so-called New Music of Darmstadt and Cologne (serial technique, aleatoric, electro-acoustic composition, happening) or the Polish School.
The rise of the Slovak musical Avant-garde of the sixties, represented by the young generation of composers, can be divided into four stages. A phase of muffled and latent activity gradually progressed to activation and establishment of a corresponding position in domestic artistic culture, culminating in the late sixties. In the first phase, Ilja Zeljenka presented himself, later he was joined by Peter Kolman, Miro Bázlik, Roman Berger, the self-taught Ladislav Kupkovič, Ivan Parík and Jozef Malovec. Later Ivan Hrušovský, Juraj Pospíšil and Pavol Šimai inclined towards the ideas of the Avant-garde. In the mid sixties, a younger group of artists – Juraj Hatrík, Jozef Sixta, Tadeáš Salva and Juraj Beneš – also joined in.
An important feature of the rise and profilation of the Avant-garde in Slovak music was that, in spite of some common motivations, interest orientations and creative aims, it was a matter of a differentiated, uneven in speed and individually articulated process of style formation by individual composers. Therefore, the study-experimental contact with new compositional materials and techniques (to which they had minimal access during education at the Academy of Performing Arts in Bratislava) occurred differently in the case of each member of this generation, as they overcame the technical phase of the creative process and sought their own stylistic positions. The Slovak musical Avant-garde produced an extensive range of transformations of the serial technique, aleatoric or sonic compositions and the first synthetic works. A natural feature of the Avant-garde orientation was violation or negation of the previous experience of Slovak music, leading to spreading of sound-colour dispositions, especially in the area of instrumental chamber composition, violation of traditional types of form organization, deviation from tonality, use of unconventional types of texture, shift of the sonic layer to a leading position in the compositional structure, a polemic with the domestic opera tradition, introduction of a new genre – electro-acoustic composition. In the stage of deviation from folklore traditions, the Slovak musical Avant-garde also used new subject areas (Oriental poetry, ancient literature, the fine arts) and significantly innovated the genre characteristics found until then in the history of Slovak music (vocal-instrumental composition with programme features).
Socio-political events at the end of the sixties and the beginning of so-called Normalization led to forcible intervention in the activities of the Avant-garde. However, they already could not cast doubt on the individual creative positions achieved, by means of which the individual composers contributed to the multi-style profilation of Slovak music. The historical importance of the young generation of composers of the sixties lies in the wide range of activation and dynamization of creative music and of Slovak musical life, and the equally valuable incorporation of Slovak music into the European context of the time.
The study is directed towards the characteristics of the creative work of the composers who entered musical life in this period. The introduction outlines the situation in the area of cultural-political events and musical composition in the second half of the seventies, represented by the composers of so-called Slovak musical Modernism and composers oriented towards the European Avant-garde, partly domestic Modernism. Into this situation came the young composers Martin Burlas, Vladimír Godár and Peter Breiner whose compositions brought Post-Modernism to Slovakia. This gradually developed in the course of the eighties and nineties. However, their stylistic expression did not have the form of a group manifestation, but had a more complementary character, that is a search for personal compositional expression, which had no parallels in Slovakia. In this period alternative music (Martin Burlas) was also born. It is critically directed both against existing conventions in the area of serious music and against hackneyed approaches in popular and entertainment music. An appropriate platform was also formed for underground unofficial art, represented by experimental and unconventional music and multi-media artistic projects (Peter Machajdík).
In the second half of the eighties, Slovak music received a further influx of young composers, who already received different impulses in comparison with their older colleagues during their studies (the group of teachers at the Academy of Performing Arts in Bratislava changed, some studied in Brno and the majority of them completed composition courses and study visits abroad) - Peter Zagar, Peter Martinček, Alexander Mihalič, Robert Rudolf, Daniel Matej, Ivan Burlas, Pavol Malovec. They further deepened the stylistic differentiation in Slovak musical composition. Their interest turned to various forms of the Post-Modern orientation in music (minimal music, meditative music, new simplicity, new romanticism, emphasizing of tradition, reaching towards Gothic etc.), but also to newer experiments with the inter-penetration of various forms of art (multi-media conceptions, sound installations etc.). The area of Slovak electro-acoustic music also experienced revival and gained various important international prizes (Juraj Ďuriš, Martin Burlas, Robert Rudolf, Marek Piaček).
The 1989 Revolution opened further possibilities for gaining knowledge and exchanges in the areas of science and art. It also created space for the composition and performance of forms of music which could not be developed before because of the general socio-political situation. One of these areas was the production of experimental and unconventional music: the ensemble Transmusic comp. and its main members - Milan Adamčiak, Peter Machajdík and Michal Murin. It is also worth mentioning composers and artists, who did not pass through the official school education system (Igor Jančár, Peter Machajdík). Further creative work has come from young composers, who are beginning to place greater emphasis on tradition, mastery of the craft of composition as a pre- condition for an artistic statement, emphasis on spiritual values, which they were anxious to communicate (Egon Krák, Mirko Krajči, Miroslav Kroupa). Slovak musical composition has been further differentiated by immigration of composers from abroad (Jevgenij Iršai, Mojmír Hanák) and the appearance of the youngest generation of composers (Anton Steinecker, Ľubomír Burgr, Petra Bachratá, Tomáš Boroš, Juraj Vajo, Jana Kmiťová, Ľubica Čekovská, Rastislav Dubovský, Juraj Valčuha, Peter Guľas, Marián Milučký, Pavol Šuška, Rudolf Pepucha).
The study is a first attempt to approach the development of spiritual music in Slovakia from 1918 to the present. This period, rich in radical socio-political changes, did not always bring favourable conditions for the development of spiritual music. Against the background of socio-political changes, we devote attention to the basic development stages of this genre: 1. the period of professionalization of musical life (1918-1948); 2. the period of the totalitarian system (1948-1989); 3. the end of the 20th century (1989-2000). In the category of composition, we attempted to map especially the works of composers who devoted systematic attention to this area.
The period of professionalization of Slovak musical culture in the first half of the 20th century (1918-1948) brought changed conditions for spiritual music. For the first time works emphasized the artistic-aesthetic rather than the theological aspect, they became separated from the narrow liturgical framework and found application outside the traditional church environment (Alexander Albrecht, Štefan Németh-Šamorínsky). However, in this period spiritual music was gradually pushed to the margin of the interests of society in general. The professionally trained composers began to devote attention to more topical musical genres (chamber, symphonic, cantata, opera), which were regarded as the representative genres of Slovak national music, formed on professional foundations. Composers oriented themselves towards activities connected with the demands of the professionalization of musical life, but also began to distance themselves from the needs of the life of the churches. This was also reflected in limitation of liturgical composition. On the other hand, however, greater attention began to be devoted to the composition of spiritual music with a wider social reach. These tendencies appeared among the important representatives of the generation of Slovak musical Modernism (Eugen Suchoň, Alexander Moyzes, Ján Cikker), and were reflected especially among the composers of younger generations.
The period of communist dictatorship (1948-1989) had a negative influence on the further development. This genre did not suit the ideology of the time, based on consistent atheism. Composition in the area of the genre of spiritual music was often associated with a threat to the career of the composer. The majority of composers did not show an interest in this area of creative work. Thanks to several individuals (Tadeáš Salva, Miro Bázlik, Juraj Hatrík, Jozef Gahér) the continuity of this genre was maintained even in the unfavourable conditions. These works could not be officially performed at home. One the one hand, composers were forced to make external adaptations of their works, and on the other, they sought appropriate opportunities for concert performances abroad. In confrontation with the developed compositions of other cultures, these works of our composers received a positive response abroad. The relaxation of the socio-political atmosphere in the sixties and in the second half of the eighties prepared appropriate conditions for compositions with a deep spiritual and humanist message. In this way, composers expressed their position towards reality and forced listeners to think about the existing state of society. They emphasized the need for spiritual values in the modern world (Tadeáš Salva, Peter Kolman, Ilja Zeljenka, Ivan Hrušovský, Juraj Hatrík, Miro Bázlik, Roman Berger and others).
The period after 1989, with its change of political system, also brought new conditions for spiritual music. Its composition and performance revived, accompanied by increased social interest. Universally oriented compositions, works with a liturgical function and popular compositions appeared in this genre. During the nineties, we trace the creation of spiritual compositions with a primarily liturgical and concert function. If understanding of this type of composition in certain phases of spiritual music requires it, we also mention secular compositions, which show links with the spiritual sphere by means of emphasis on spiritual elements (Eugen Suchoň, Juraj Beneš, Ján Cikker and others). We devote special attention to the characteristics of the spiritual music of composers, who devoted themselves to this genre systematically and for a long time (Tadeáš Salva, Jozef Gahér, Ivan Hrušovský, Peter Martinček, Mirko Krajči). These composers seek inspiration in liturgical and extra-liturgical texts, they show interest in both confessional and supra-confessional composition.
In future it will be necessary to devote greater attention to individual forms and types of spiritual music (Mass, Requiem, spiritual cantata, spiritual song). In this way it will be possible to contribute to a more differentiated picture of the developmental changes, stylistic tendencies and functions of this musical genre in the context of domestic and European musical composition.
František Dostalík – composer, critic, teacher and collector of folk songs – participated in the development of Slovak musical culture in the inter-war period. As a many-sided musician with wide interests, he was active in various areas of musical life. He was an interesting and original personality, but his life and composition are still awaiting more comprehensive evaluation and incorporation into the context of Slovak music of this period. On the basis of study of the source material, we approach the life of František Dostalík, his publicist and composition activity, and we partially also deal with his educational work.
Dostalík gained his basic musical education in his family. After unsuccessful attempts to obtain a satisfactory professional musical education (Brno, Budapest), he remained self-taught. He applied his many-sided musical interests and broad outlook in music as a music publicist. He worked as an organist and teacher at Spišská Kapitula (1922-1927) and Bratislava (1927-1944). His pupils included the composer Jozef Grešák and the singer Štefan Hoza.
František Dostalík began to publish in the mid twenties. In the period 1922-1941 he published about 200 articles and reviews in the Slovak daily press and in cultural monthlies. He probably also contributed to German and Hungarian periodicals. His publicist activity show that he was an educated musician with defined taste, an artistic orientation and openness towards new currents in music. In 1920s Slovakia he was one of the first to support the works of Shostakovich, Stravinsky and Prokofiev. His publicist activity is an important source for the savour of musical life in Bratislava in the inter-war period. He became one of the first propagators of the compositions of Leoš Janáček, Béla Bartók and Alois Hába in Slovakia.
It is practically impossible to give an overall evaluation of the composition activity of František Dostalík today, because a large part of it has been lost. The surviving compositions and fragments of works, which we have available today, are characterized by various progressive compositional approaches and solutions. They show that the composer had the courage to follow new routes. Deeper analysis of his compositions will show whether Dostalík as a composer was a sort of counter-pole to the Slovak pupils of Vítězslav Novák. Around 1936, Dostalík, together with Alexander Puškáš, prepared a quarter tone piano and probably became the first experimenter in the area of quarter tone music in Slovakia. He was one of our first composers to be substantially influenced by Janáček and Bartók. The question of František Dostalík’s interest in Slovak folk song and his collection activity remains open. His notes and his extensive cycle of adaptations of folk songs have not survived.
A list of articles and reviews by František Dostalík and a list of his compositions, created on the basis of the sources available at present, is added to the study.
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