Česká filharmonie pod tlakem stalinské kulturní politiky v padesátých letech:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Czech |
| Veröffentlicht: |
Praha
Univ. Karlova, Nakl. Karolinum
2014
|
| Ausgabe: | Vyd. 1. |
| Schlagworte: | |
| Online-Zugang: | Rezension Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in engl. Sprache |
| Beschreibung: | 247 S. Ill. |
| ISBN: | 9788024623320 |
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| 245 | 1 | 0 | |a Česká filharmonie pod tlakem stalinské kulturní politiky v padesátých letech |c Michaela Iblová |
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Datensatz im Suchindex
| _version_ | 1808138666740023296 |
|---|---|
| adam_text |
OBSAH
7
Poděkování
9
Předmluva
11
Slovo úvodem
13 1.
Vážná hudba v komunistické kulturní politice
17
Svaz československých skladatelů
23
Vztah umění a ideologie
24
Umění lidu
24
Hudební a artistická ústředna
27
Hudební patronáty
28
„Lidovost" kultury
35
Kult hudebních klasiků
41
Socialistický realismus v hudbě
45
Tvorba „pokrokových" autorů
47
Prorežimní skladatelské osobnosti na počátku padesátých let
50
Vliv sovětské hudební kultury na vývoj v Československu
51
Osobnost Dmitrije Šostakoviče
54 2.
Česká filharmonie první poloviny dvacátého století
67 3.
Osobnost Karla Ančerla
67
Předválečná činnost a válečné osudy
73
Počátky působení v České filharmonii
81
Karel Ančerl a jeho obraz očima StB
92 4.
Dramaturgie a koncertní činnost České filharmonie
na konci čtyřicátých a v první polovině padesátých let
94
Abonentní koncerty
98
Koncerty pro pracující a umělecké brigády
104
Přehlídky nové tvorby a plenární zasedání Svazu československých
skladatelů
105
Koncerty
к
významným politickým datům
113
Koncerty pro děti a mládež
113
Příklad: sezóna
1952/53
118
Zahraniční zájezdy
121
Česká filharmonie a Pražské jaro
136 5.
Organizační struktura České filharmonie
136
Ředitel orchestru
139
Umělecká rada
141
Správní orgány
143
Komunikace se státní správou
146
Koncertní jednatelství
149 6.
Politická a státněbezpečnostní kontrola a řízení
149
Obraz ideologické práce v orchestru
151
Strana a straníci
-
život ve stínu budovatelských hesel
151
Ministerstvo školství a kultury
156
Závodní organizace KSC
170
Závodní rada ROH
175
Kádrová politika v CF
181
Česká filharmonie a Státní bezpečnost
206 7.
Exkurz: několik vzpomínek na Karla Ančerla a na léta padesátá
220
Závěrem
223
Bibliografická poznámka
229
Seznam zkratek
231
Prameny a literatura
231
Archivní prameny
231
Tištěné materiály
233
Fotografické materiály
238
Summary
241
Jmenný rejstřík
238
SUMMARY
Since the time of its foundation in the nineteenth century Czech Philharmonic
has been the top Czech orchestra presenting Czech music and the art of Czech
rendition to the public at home and abroad. On one side, Czech Philharmonic
is "exporting" works of Czech authors to the whole world, thus introducing
Czech classical and contemporary composers to foreign audience. On the
other side, it has always been considered "number one" symphony orchestra
in Czechoslovakia (and later Czech Republic) representing and maintaining
Czech musical tradition.
This publication attempts to describe life and work of Czech Philharmonic
after the communist
coup d'état
in February
1948.
New regime established new
cultural requirements: "socialist realism" became the essential criterion. Art
was aimed to be connected with ideology as much as possible. This connection,
however, influenced seriously not only composers' work but also the interpre¬
tation of classical pieces. Both contemporary and classical pieces must have
fulfilled socialist realistic demands: national and popular character, enthusi¬
astic and optimistic content, clear and uncomplicated melody, accessibility to
masses. Composers were pushed by regime to maintain and develop the local
music tradition created by Czech authors in the second half of the nineteenth
century. The pattern they were supposed to follow in particular were
Bedřich
Smetana's compositions. His symphony poem My country became the most
played musical piece in
1950s.
Czech Philharmonic and other orchestras all
over the country played it on various occasions and in various places: in concert
halls, on open air stages, in factories for workers, at performances for children.
Communist cultural politics misused Smetana's work and the composer himself
was even called "the predecessor of socialist authors".
Smetana's cult became so strong and developed thanks to
Zdeněk Nejedlý,
a big Smetana's admirer.
Nejedlý
was a leading person on the ground of cultur¬
al politics in Czechoslovakia in late
1940s
and early
1950s.
He was a Minister of
education and one of the most prominent ideologists of the communist party.
He played a fundamental role in the enforcement and subsequent consolida¬
tion of Stalinist cultural politics in the country. He propagated Smetana's cult
among the masses all over Czechoslovakia and made this composer's pieces the
only source of the local tradition that contemporary authors were supposed to
obey.
Czech Philharmonic, of course, must have respected new cultural demands
mentioned above. Its dramaturgic plans had to be modified in accordance with
>
<
new cultural aims. In spite of a permanent political pressure, however, Czech
239
Philharmonic managed to maintain a high quality of its programmes. "Political¬
ly engaged" works were played on official state occasions or important political
anniversaries but they never became a significant part of the repertoire.
In order to get closer to working masses, Czech Philharmonic in
1950s
was
pushed to import classical music to factories where some of its concerts took
place. As this "new audience" didn't have previous experience with listening
to classical music, the orchestra played above all popular pieces by Czech and
Russian composers of the nineteenth century. Concerts for factory workers
remained relatively frequent until the second half of the fifties. Then the num¬
ber of these performances started to decrease and at the beginning of
1960s
this
type of concerts almost disappeared from the orchestra's dramaturgic plans.
This book not only wants it to describe cultural activities of Czech Philhar¬
monic in
1950s
but it also concentrates on everyday life of the orchestra in times
of cultural Stalinism. It attempts to offer a more comprehensive view of the
influence of the communist regime on the atmosphere in the orchestra, social
conditions and relations among musicians. It tells about a group of people who
formed Czech Philharmonic and who led it among the best world orchestras.
However, there is also the other side of everyday life of Czech Philharmonic:
political pressure and fear of being watched by State Security Service.
Several Czech Philharmonic members were secret collaborators of the State
Security. They served as a very important inner source of information about
everything what was going on in the orchestra. State Security used them to
watch those musicians who were considered to be potentially "dangerous" for
the regime. Among them, the conductor of Czech Philharmonic,
Karel Ančerl,
was watched the most and the longest.
Ančerl
was definitely one of the most
talented Czech conductors ever; his recordings with Czech Philharmonic
belong to the best ones until today. He, however, wasn't "politically loyal" and
wasn't afraid to express his opinion in public. Besides that, he was suspected
of planning emigration. State Security, therefore, in
1958
decided to watch him
permanently.
Ančerl
was never either arrested or punished. His importance for
the Czech culture and his high reputation in the West were so obvious that even
the communist regime realized he couldn't be eliminated.
Most of the musicians who watched
Ančerl
and other Czech Philharmonic
members didn't cooperate with the State Security voluntarily. It is necessary
to pass judgment on each one of them individually and carefully. In most of
the cases political conviction wasn't the motive for collaboration. These peo¬
ple were intimidated by the regime, they were afraid of losing their job and
threatening their families. None of them ever got paid for the collaboration. It
seems that most of them just didn't resist the political pressure and agreed to
collaborate. Manipulated by the State Security they accepted a role they would
perhaps never accept under other circumstances.
If we attempt to describe everyday life of Czech Philharmonic in the fifties,
we can't forget to study also the activities of Communist party organization
in the orchestra. This organization participated in the management of Czech
240
Philharmonic and took care of political issues concerning the musicians. The
organization itself, however, was very small; most of the orchestra members
never entered the communist party. In Czech Philharmonic, communist party
membership had no influence on musical career. Being a communist had, of
course, nothing to do with playing an instrument. The management of Czech
Philharmonic always evaluated musicians' qualities and abilities first; political
conviction never played a significant role. Such an advanced orchestra need¬
ed above all excellent musicians, not politicians. Without respecting this rule,
Czech Philharmonic could never maintain its position among the best world
orchestras.
It might be considered a miracle that Czech Philharmonic at the time of cul¬
tural and political Stalinism in
1950s
not only maintained but even enhanced
its reputation. It resisted the political pressure, it didn't let classical music tra¬
dition devalue and it never became a communist propaganda instrument.
This book is based on archive documents and materials deposited above all
in Czech Philharmonic Archive and in Czech Philharmonic Fond in National
Archive. It also works with personal files of secret collaborators deposited in
Security Services Archive. Some of the chapters describe the evidence of the
musicians who played in Czech Philharmonic in
1950s
and the evidence of
Karel
Ancerl himself which appears in a documentary film of
1967.
The author
also considered all the literature concerning Czech Philharmonic in the context
of cultural history of Czechoslovakia after
1948. |
| any_adam_object | 1 |
| author | Iblová, Michaela 20./21. Jh |
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| edition | Vyd. 1. |
| era | Geschichte 1948-1956 gnd |
| era_facet | Geschichte 1948-1956 |
| format | Book |
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| indexdate | 2024-08-23T01:10:06Z |
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| language | Czech |
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| spelling | Iblová, Michaela 20./21. Jh. Verfasser (DE-588)105219902X aut Česká filharmonie pod tlakem stalinské kulturní politiky v padesátých letech Michaela Iblová Vyd. 1. Praha Univ. Karlova, Nakl. Karolinum 2014 247 S. Ill. txt rdacontent n rdamedia nc rdacarrier Zsfassung in engl. Sprache Česká filharmonie (DE-588)1091635-0 gnd rswk-swf Geschichte 1948-1956 gnd rswk-swf Musikleben (DE-588)4075128-4 gnd rswk-swf Kulturpolitik (DE-588)4033581-1 gnd rswk-swf Tschechoslowakei (DE-588)4078435-6 gnd rswk-swf Česká filharmonie (DE-588)1091635-0 b Geschichte 1948-1956 z DE-604 Tschechoslowakei (DE-588)4078435-6 g Musikleben (DE-588)4075128-4 s Kulturpolitik (DE-588)4033581-1 s https://www.recensio.net/r/ed89b4bbb7914e649bc805715f5a281a rezensiert in: Soudobé dějiny, 2016, 1-2, S. 228-235 Rezension Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027346304&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027346304&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Iblová, Michaela 20./21. Jh Česká filharmonie pod tlakem stalinské kulturní politiky v padesátých letech Česká filharmonie (DE-588)1091635-0 gnd Musikleben (DE-588)4075128-4 gnd Kulturpolitik (DE-588)4033581-1 gnd |
| subject_GND | (DE-588)1091635-0 (DE-588)4075128-4 (DE-588)4033581-1 (DE-588)4078435-6 |
| title | Česká filharmonie pod tlakem stalinské kulturní politiky v padesátých letech |
| title_auth | Česká filharmonie pod tlakem stalinské kulturní politiky v padesátých letech |
| title_exact_search | Česká filharmonie pod tlakem stalinské kulturní politiky v padesátých letech |
| title_full | Česká filharmonie pod tlakem stalinské kulturní politiky v padesátých letech Michaela Iblová |
| title_fullStr | Česká filharmonie pod tlakem stalinské kulturní politiky v padesátých letech Michaela Iblová |
| title_full_unstemmed | Česká filharmonie pod tlakem stalinské kulturní politiky v padesátých letech Michaela Iblová |
| title_short | Česká filharmonie pod tlakem stalinské kulturní politiky v padesátých letech |
| title_sort | ceska filharmonie pod tlakem stalinske kulturni politiky v padesatych letech |
| topic | Česká filharmonie (DE-588)1091635-0 gnd Musikleben (DE-588)4075128-4 gnd Kulturpolitik (DE-588)4033581-1 gnd |
| topic_facet | Česká filharmonie Musikleben Kulturpolitik Tschechoslowakei |
| url | https://www.recensio.net/r/ed89b4bbb7914e649bc805715f5a281a http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027346304&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027346304&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| work_keys_str_mv | AT iblovamichaela ceskafilharmoniepodtlakemstalinskekulturnipolitikyvpadesatychletech |