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ideológia

Hľadanie zmyslu opery: Osudy „nemŕtveho“ umeleckého druhu v Bratislave*

· · Hudobné divadlo, Musicologica 2/2015

Searching for Opera’sraisond’être: a Life Story of the “undead” Artistic Genre in Bratislava
The title of this essay is inspired by the publication Zápas o podobu a zmysel SND (Dokumenty SND, zv. 1) [The Fight for the raisond’être and Constitution of the Slovak National Theatre (Documents of the SNT, vol. 1)]. The “raisond’être of the SNT”, the existence of the SNT as a demonstration of a clearly delineated public interest, is a concept that has been gradually consolidating in the course of the theatre‘s history, the birth and first steps of which were more the manifestation of politics than the formulation of an authentic social “will to theatre” (Martin Bendik). The development of the SNT Opera and its audience was affected by two periods under totalitarian regimes: the years of the First Slovak State, and the period of the 1950s, although the influence of politics and ideology on opera mostly did not manifest itself in the form of censorship or bans. The repertoire as well as opera reception after 1948 reveal the residues of stereotypes of the bourgeois notion of opera, which implies an immensely apolitical character of this artistic genre. The sociological survey carried out in 1968–1969 under Michal Hruškovic was aimed at determining the causes of poor attendance of the Opera of the SNT; this survey remains the unique study of the social structure of the opera audience and the specific position of the opera in Bratislava, the city in which the social function of culture has been a typical “mixture” of stereotypes of inherited bourgeois culture (Bildung) and elements of younger ideologies, namely the nationalist ideology, in the course of the entire 20th century.

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Jazzové inšpirácie v slovenskej hudbe 20. storočia

· · Musicologica 1/2013, Rock pop jazz

The generation of Slovak composers known as Slovak Musical Modernism, who emerged in the late 1920s and during the 1930s, adopted a concept of creative synthesis of the national sources (especially inspirations from folk music) with the influences of Europea impressionist and expressionist music. One of the Slovak Musical Modernism composers was Alexander Moyzes (1906-1984). The jazz elements that appeared in his early compositions were an exceptional impulse and response to the avant-garde musical milieu of the 1920s’ Prague, where Moyzes studied. However, such compositions met with sharp objections from the music critics in Bratislava. This not only turned Moyzes away from using jazz elements for the rest of his compositional career, but was also followed by their long-term absence in Slovak music for stylistic and political reasons. Although a short revival occurred when some of Slovak Music’s avant-garde emerged in the 1960s (Jozef Malovec and Tadeáš Salva, for example), jazz did not become a legitimately accepted source of new creative projects until the next generation of postmodern composers in the last quarter of the 20th century. Its shaping personalities, such as Peter Martinček, Norbert Bodnár and Peter Breiner, erased the traditional and conventional boundaries between the musical genres in contemporary Slovak music.

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