LEOŠ JANÁČEK

Transcription

LEOŠ JANÁČEK

LEOŠ JANÁČEK
ICON OF THE BRNO PARNASSUS OF ARTISTS
History, Sights, Personalities, Music and Leoš Janáček (2012)
LEOŠ JANÁČEK
IKONA BRNĚNSKÉHO UMĚLECKÉHO PARNASU
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LEOŠ JANÁČEK
ICON OF THE BRNO PARNASSUS OF ARTISTS
History, Sights, Personalities, Music and Leoš Janáček
2012
LEOŠ JANÁČEK ICON OF THE BRNO PARNASSUS OF ARTISTS
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TABLE OF CONTENTS
Introduction .............................................................................................................................. 5
City of Brno and South Moravia .............................................................................................. 6
Brno – city with Multicultural History ................................................................................... 11
Brno – city of Prominent Personalities .................................................................................. 18
Architectonic Dominants of the city ....................................................................................... 22
Cultural Institutions in Brno 2012 ........................................................................................... 29
Moravia and Ethnography ....................................................................................................... 33
Famous Musicians Related to Brno ........................................................................................ 36
Leoš Janáček – Icon of the Brno Parnassus of Artists ............................................................ 38
Janáček’s Work ........................................................................................................................ 46
In the Composer’s Footsteps through Brno ............................................................................. 67
To Native Soil...........................................................................................................................74
Citing Janáček ......................................................................................................................... 76
What Has Been Written about Janáček ................................................................................... 77
Recommended Literature ........................................................................................................ 78
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Leoš Janáček in František Drtikol’s photograph. Photo – archive of the MZM Music Department
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INTRODUCTION
Leoš Janáček, a composer, an organizer of the music and cultural life in Brno, a prominent
music teacher and choirmaster, was no doubt one of the most distinguished, unconventional
and reputable personalities connected with South Moravia. Even though he was not born there,
and he did not even die there, his whole life was connected with the South Moravian Region,
namely with Brno. Janáček came to Brno as a student and found background to develop his
music geniality there. He met his life partner in Brno, his children were born there and he also
composed his brilliant pieces of music below Špilberk.
In South Moravia, he experienced artistic failures and successes, showed his organizational talent
and taught his music students. Janáček was marked, influenced, limited and inspired by Brno.
And the city already respected his personality during his life. When Janáček died, Brno started
commemorating moments and places connected with him. The interest in Master Janáček grew
stronger and stronger. It is not a coincidence that the volume of reminiscences related to Janáček
(names of institutions, exhibitions, interpretations of his works, publications) culminated long
after his death, in the second half of the 20th century. This strong and extraordinary interest will
surely continue to grow. Together with Gregor Mendel, Venus of Dolní Věstonice, LedniceValtice Cultural Landscape and the Villa Tugendhat, Leoš Janáček belongs to the greatest tourist
attractions in South Moravia. The following summarizes topics related to Janáček, particularly
in connection with the cultural life in Brno and Moravia.
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CITY OF BRNO AND SOUTH MORAVIA
The City of Brno is a Moravian metropolis with 380 thousand inhabitants that lies at the
confluence of the rivers of Svratka and Svitava, 120 km north of Vienna and 200 km east of
Prague. Brno is the second largest city in the Czech Republic, a centre of industry, exhibition,
education, scientific research and justice. It is located at the edge of a low land that changes
further south in the flat landscape of South Moravia; however, a large part of the urban
agglomeration is spread in a hilly and partially forested terrain that passes over to the
picturesque Moravian Karst in the north. As for ethnography, the region of the city includes
the traditions of Haná and Slovácko in the south and east and Horácko in the west. As for
languages, the city has been de facto monolingual since 1945. As for the territorial dialect, it
is a typical urban mix created by many effects – including traces of languages of the former
German and Jewish population.
Panorama of the City of Brno. Photo – MMB
Brno is the seat of the highest institutions of the Czech justice (Constitutional Court, Supreme
Court, Supreme Administration Court, Supreme Public Prosecutor) and other institutions of
national significance (Office for the Protection of Competition, Office of the Public Defender
of Rights), several public universities (Masaryk University, Brno University of Technology,
Mendel University in Brno, University of Veterinary and Pharmaceutical Sciences, University
of Defence, Janáček Academy of Music and Performing Arts), private universities as well
as cultural institutions. Tens of thousands of students and top scientific, cultural and artistic
workplaces have a significant effect on the atmosphere of Brno and its cultural character.
The city that usually does not offer pleasure, beauty and enchantment at first sight is always
developing and changing.
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Significant Milestones in Brno Chronology
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European early modern humans lived in the territory of Brno 30 to 70 thousand
years ago
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Slavs arrived in the territory of Brno in the 5th century
1021–1034
Brno Castle with St. Michael’s Church built in Petrov
1054
Brno as a seat of an appanage prince
1091
written records on the existence of Brno
1231–1237
incorporation of independent settlements into the town of Brno
1243
privilege of King Wenceslaus I of Bohemia that gave the town
many advantages
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•
1277
Špilberk Castle first mentioned in the records
1325
the city obtained the right to receive new free citizens
1348
Czech King and Holy Roman Emperor Charles IV ordained that
merchants from Austria, Hungary and Poland had to pass through Brno
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•
1349
Brno as a seat of Moravian margraves
1350
appellate court established in Brno for all South and Central Moravian
towns
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1376
Brno received mayor’s office and the right to elect the town magistrate
1428
Brno was not conquered by the Hussites (as well as in 1430)
1457
Brno received the right to mintage
1550
a post office was established in V Orlí Street
1641
Brno became the capital city of Moravia
1643 and 1645Brno was unsuccessfully besieged by the Swedes
1742
Brno was unsuccessfully besieged by the Prussians
1763
first Brno textile manufacture established
1814
first steam engine in Brno
1818
František Museum established (now Moravian Museum)
1839
first train arrived in Brno
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•
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1847
Brno gas factory was opened, gas lighting introduced and telegraphic
connection with Vienna established
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1850
great expansion of Brno – 32 suburb settlements annexed
1867
first Czech grammar school in Brno established
(today Grammar School in Kpt. Jaroše Street)
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1869
first public transport line – horse track
1881–1882
electric lighting of the Na hradbách Theatre (today Mahen Theatre)
1884
steam tramway (electrified in 1900)
1885
first Czech industrial school in Moravia established
1897
city power plant put to operation
1919
expansion of Brno by 26 municipalities establishment of the second
Czech university in Czechoslovakia (Masaryk University)
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exposition of modern culture in Czechoslovakia, foundation
1928
of the Fairground
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1929
construction of Villa Tugendhat started
1939
Wehrmacht occupied Brno
1945
liberation of the city
1959
tradition of the International Engineering Fair established
1965
Brno motorcycle GP becomes a part of the World Championship
Series construction of Janáček Theatre
(today a part of the Brno National Theatre)
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1987
new motor racing circuit opened, today known as the Masaryk Circuit
1992
negotiations between the representatives of the Czech and Slovak
government parties in Villa Tugendhat leading to the separation of Czechoslovakia; Czech Constitutional Court established
•
two significant institutions were transferred to Brno – Supreme Court
1993
of the Czech Republic and the Czech Supreme Public Prosecutor
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Villa Tugendhat registered in the UNESCO World Heritage List
2001
Brno with St. Peter and Paul’s Cathedral. Photo – Jan Chmelíček
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Brno might be the largest city in Moravia but the finishing touches to its character are put by
the South Moravian background. The former royal town of Znojmo, which is a significant
administrative dominant of the southwest part of the Region, also had an important influence
on the history of Brno. Znojmo lies on the left bank of the Dyje River, about 60 km away from
Brno and 80 km from Vienna. The border with Austria is only 8 km south of this town with
a population of 34 thousand. The territory of the modern urban agglomeration was already
inhabited in the prehistoric times. It is sure that there was a large Slavic settlement on the
promontory above the river in the 8th century. In the 11th century, Konrád I of Brno established
a castle on that promontory. A branch of the Přemyslids family then settled in Znojmo and
expanded it. In 1222-1226, Přemysl Otakar I promoted Znojmo to a royal town. The most
significant monuments of Znojmo are St. Katherine’s Rotunda with preserved mural paintings
dated 1134, depicting scenes from the life of the Přemyslids, the former Premonstratensian
Monastery in Louka and burgher houses in the city centre.
Mikulov is an important tourist destination. It is a town with a population of seven thousand
that lies south of Brno, at the border of South Moravia and Austria. The town was probably
established in the 12th century and it became a town formally in the 14th century. The dominant
of Mikulov is the chateau and tourists also find the Dietrichstein Tomb and the former Jewish
quarters attractive. The city of Břeclav, which lies on the border with Austria, is one of the
dynamic settlements of the Region. Břeclav was established along the Dyje River in the 11th
century as the outer bailey of the Přemysl castle. The turning point in the development of the
city was brought about by the establishment of the railway – the North Railway of Francis
II, Holy Roman Emperor (1839). Břeclav is one of the significant folklore centres of South
Moravia, just like Hodonín, which was probably founded in the 11th century on the Morava
River near the modern border with Slovakia. The Hodonín Region includes the municipality of
Mikulčice with two thousand inhabitants where archaeologists have discovered twelve Great
Moravian temples and a prince residence. Besides the Uherské Hradiště agglomeration, it is
one of the most significant Great Moravian historic sites. North of Brno, you will find Blansko,
an industrial town with 21 thousand inhabitants, which is also a symbolic gate to the Moravian
Karst – a unique forested area with hundreds of caves and the Macocha abyss. East of Brno,
there is Vyškov – a South Moravian gate to Haná. The town was first mentioned in the records
in 1141 and there is a historical town reserve. The town has almost 22 thousand inhabitants.
Znojmo. Photo – Jan Chmelíček
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BRNO – CITY WITH MULTICULTURAL HISTORY
The territory of modern Brno was inhabited before the Slavs arrived there. The Slavs verifiably
lived there in the 6th century, particularly at the time of Great Moravia. Archaeologists
discovered a Great Moravian Slavic settlement at the northeast edge of the city, in the district of
Líšeň. However, the settlement of Staré Zámky no doubt neighboured other Slavic settlements
and hamlets in the cadastre of modern Brno.
A castle was probably founded in the modern Petrov area at the time of Bretislaus I, Duke of
Bohemia (1120s). It was called Brnen and it was soon transformed into a seat of appanage
princes. This fortified object was first recorded in 1091. As the castle and its importance grew
bigger, the significance and extent of the outer bailey settlement called Brno became greater.
The number of other settlements in the vicinity of Brno also grew.
At the beginning of the 13th century, there were thirty settlements in the Brno basin. This
roughly corresponds with the number of the modern Brno city districts. In the 13th century, the
German element was also significantly manifested in the history of Brno. German immigrants
established a new settlement below Petrov and Špilberk – a hamlet, first mentioned in 1231.
This market hamlet later developed into medieval Brno that lied in the area of the historical
centre. Brno expanded quickly and fortification walls were built in 1230s with the consent of
Wenceslaus I. The King also issued a major and minor privilege for Brno in 1243 – letters that
codified the town privileges. Brno as a town was first recorded in 1238. The basic character
and appearance of the city was stabilized in the 13th century. The city then performed district
tribunals and district assemblies. A quarter for the Jews was also established by then.
The oldest known town seal comes from 1247. It depicts the city walls with towers on both
sides. There is a gate in the middle with a coat of arms with the Czech lion. Brno used the
coat of arms divided by four beams from 1320s until 1646 when Ferdinand III, Holy Roman
Emperor, issued a privilege regarding the coat of arms: it was filled with a two-headed eagle
bearing the original Brno coat of arms on its chest. Brno returned to the 1315 coat of arms in
1930s and still uses it.
The Špilberk Castle was founded in mid-13th century in an area of a former knight castle. In
1349, Brno became a permanent seat of Moravian margraves.
In the 15th century, the city fortification was significantly expanded: there were two castle
systems as well as incorporated towers. There were five city gates. The fortification objects
were also further improved in the 16th century, namely in relation to the threat of Turkish
intervention in Moravia.
There used to be a minting mill in Brno, in operation for six hundred years (with breaks). The
minting mill operated from mid-11th to mid-17th century and it minted coins of appanage
princes and margraves, deniers as well as rectangular coins and coins with the eagle. Moravian
officers also minted coins there (1619 – 1620) and imperial coins also came from Brno.
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The continual development of Brno was namely limited by military events but the city belonged
to those historical seats that were not significantly damaged either by the Turkish attacks or
the Czech-Hungarian wars, or even by the attacks of the Swedish armed forces operating in
Moravia during the Thirty Years’ War. The Swedes besieged Brno in 1643 and 1645 but never
conquered it.
The great reputation of the city that could not be defeated by military means strengthened in the
17th century when the importance of Brno was raised as a strategic military position. That both
increased the security and affected the development of Brno. The limitations given by the fact
that Brno became one of the massive Baroque Habsburg fortresses lasted for a long time.
Fortified buildings play an important role in the history of Brno. Thanks to the position at the
crossroads of important long-distance central
European routes, Brno played an important role
in majority strategic, offensive or defensive
considerations. The importance of the city was
the greatest during the times when Moravia
was included in the Habsburg estate. The
first walls were probably built after the town
privileges were provided, i.e. after 1243; there
are records of the walls and a moat from that
time. The walls ran through Šilingrovo Square
along Husova Street to Solniční Street and then
continued through Roosevelt Street, Sukova,
Novobranská and Josefská Street, Bašty and
Denisovy sady back to Šilingrovo Square. The
original walls have not been preserved but new
walls with more gates were built in their place.
The defensive system of the city continually
expanded until 1730s. The Špilberk Castle also
became an important Baroque military object.
The Brno defensive system was a unique unit
in the historical military situation, which is also
proved by the fact that in the 18th century Brno
resisted the military attacks of the Prussian
army and became the only seat in Moravia
that was not conquered (1742). The successful
defence strengthened the belief that the defence
system had to be further improved. Thus, the
development of the Brno fortification system
continued in mid-18th century, even though it
was no longer necessary.
The turning point came with Napoleon
Bonaparte, or rather with the conflict of the
French, Austrian and Russian armies in the
Battle of Slavkov (1805), a town only twenty
kilometres away from Brno.
Tower of the Old city Hall – drawing by Martin Reissner
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Napoleon gave the order to destroy the outer line of the walls and his army also blew up the
southeast bastion of Špilberk (it was built again at the beginning of the 21st century to serve as
a depositary of the Brno Museum collections).
Building of Brno Reduta – drawing by Martin Reissner
Napoleon’s intervention in the Brno defence system adumbrated its subsequent complete
abolishment. The form of military conflicts proved that strongly fortified objects were no longer
substantial strategic obstacles.
In 1852, Franz Joseph I decided to abolish the Brno fortress. The walls could be demolished in
1859. The walls were demolished in several stages. The area created in this way was transformed
into a huge construction site as well as public parks or a train station for the newly founded
railway (in 1839 when the first train arrived in Brno from Vienna).
Once the walls were destroyed, a very dynamic construction development of Brno started.
The natural separation of Brno and the surrounding hamlets was abolished and the individual
settlements gradually became city districts. The number of suburbs quickly grew and in mid19th century a uniform regulation plan was put in practice. On one side, the former independent
municipalities were annexed to the city and on the other hand, objects in the historical centre
of Brno were reconstructed. The massive construction activities in the second half of the 19th
century created the modern streets of the city centre. A representative crescent was built in the
place of the former fortification walls and buildings were built along it until the beginning of
1920s.
The population grew from the 18th century. The population growth was related to the growing
industry in Brno and to the need for workforce for manufactures (the first one opened in 1763)
and later factories (the first steam engine was installed in 1814).
In 1847, Brno already had its own gas works and public gas lighting and in 1869, public
transportation was launched in the city – a horse tramway. Tramways first ran in the city streets
in 1900, three years after the Brno city power plant opened.
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The ethnic composition of the population also underwent large changes. The historical core
remained German for a long time while most suburbs were Czech. As Brno expanded, the
share of Czech speaking inhabitants increased, the Slavic character of the city grew and the city
became a centre of textile, or wool industry and later mechanical engineering.
The wool industry that gave Brno a generally accepted nickname “Moravian Manchester”
reached its peak at the end of 1860s. The industry was mostly in the hands of German and Jewish
businessmen. The Jews who professed German language and cultural heritage represented an
integral part of the town society.
New city Hall – drawing by Martin Reissner
At the end of 1850s, Brno had a population of about sixty thousand, while at the end of 1860s
it was seventy-four thousand and in 1880 almost eighty-three thousand citizens were registered
in Brno. In 1900, the population was 109,000. Ten years later, it was almost 126,000 citizens.
Education also experienced a great expansion – the German polytechnic institute was founded
in 1873 and the Brno Technical University in 1899.
The defeat of the Habsburg monarchy and the establishment of succession states after WWI
brought along other significant changes. Since 1918, Brno had its first Czech mayor but the
German population was still great. Between the wars, the city dramatically grew and became
one of the centres of modern Czechoslovak architecture. In addition to the foundation and
construction of the Fairground in Pisárky, many other extraordinary buildings were erected,
whether they were family homes or public houses.
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The artistic and social life in Brno was unique in the Moravian conditions. In 1860, a philharmonic
society called Beseda brněnská was founded; a year later the Slavic readers’ society. At the end
of the 19th century, a branch of the Viennese Artists’ Society called the New Moravian Society
was founded. In 1909, the independent Society of German Artists in Moravia was founded.
Czech artists concentrated around the Club of Friends of Arts (est. 1900). In 1919, the more
progressive Club of Artists called Aleš was founded and in 1922 the Group of Artists in Brno.
Before WWII broke up, both of those organizations were joined in the Aleš Union of Moravian
and Silesian Artists, which became a part of the Block of Artists of the Moravian-Silesian Land
in 1945.
The start of WWII was the beginning of six years of oppression, persecutions and violence for
Brno and its inhabitants. The liberation in 1945 did not bring balance either; it was followed by
a violent expatriation of almost all German citizens of Brno. Brno entered the post-war period
substantially damaged as well as ethnically changed – the former multicultural city became
almost a homogenous town whose international significance was significantly curtailed.
The forty years of communist totalitarianism was a period when Brno partially succeeded in
following the moments of significant architectural transformations of 1920s and 1930s. The
functionalistic Fairground became a place where prominent fair events gradually developed,
also in the newly built pavilions. The city as well as many other similar settlements in the
former communist Czechoslovakia was circled by apartment complexes; however, Brno has
one distinction – an urban unique and architectonically desired urban complex of Lesná. The
buildings of the Janáček Theatre and the International and Continental hotels are also one of the
valuable architectonical realizations.
After November 1989, the former regional city struggled with problems related to the
termination, collapse and transformations of the traditional industrial fields that had been
represented in its territory. In spite of the difficulties that 1990s brought, Brno managed to
find and continually strengthen new areas of priorities. Brno became the most important
educational centre of the country.
Besides the traditional secondary schools and universities, there are also academic institutions
in Brno. Nowadays, there are almost one hundred thousand students there, prominent research
institutions work there and the application of the results of science and research is facilitated
by the systematically built infrastructure of science and technology parks and technological
incubators promoting the use of “high” technologies. Brno has also become the seat of the
highest authorities of justice as well as other significant institutions. Brno is the second largest
city in the Czech Republic.
As mentioned above, Brno has always had a character of a significant multinational centre.
Even though the structure of population changed significantly after WWII, the city still exploits
that fact. In addition to the Slavic Moravian citizens that have always been a part of the greater
Czech national ethnic group, Brno used to be the home of German inhabitants and there was
also a strong Jewish community there.
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The Germans living in Brno participated in the social, cultural and power events in the city
from the beginning of its existence. Their relationship to the Slavic population underwent
many transformations and it truthfully reflected the events and shifts so typical for Moravia
and the Czech Crown lands. The cultural competition became important at the time of the
Enlightenment.
Today, however, we perceive prominent Brno citizens from the past without any national
accents. Gregor Mendel, together with Leoš Janáček, the world most famous men related to
Brno, are thus naturally the most respected and reputable personalities of the city. In the
perceptive of the integration of the acts of both ethnic groups in the Middle Ages and early
Modern Times, it is not possible to individually point out older monuments according to
nationality; such approach cannot be used until the period of nationalization of both groups in
the 19th century.
Petrov – drawing by Martin Reissner
From the architectonical point of view, we can still trace streets that have a “German” character
and buildings that were to symbolize and promote the ideas of the Czech citizens. The buildings
erected from 1850s until the beginning of the 20th century that have a “German” character are,
for example, the homes at Jakubské Square No. 2 and 4 (Maxim Monter and Adolf Bacher), or
the German House by Hermann Ende and Wilhelm Boeckmann that used to stand in the place of
the today’s park at Moravské Square. That building also crowned the project of the monumental
crescent where buildings designed by F. Froehlich (city Court), L. Foerstr (German high school),
J. Arnold (Bishop Seminar, Kounic Palace), Eduard van der Nuello and August Siccardsburg
(German grammar school – now Music Faculty of JAMU), H. Ferstel (Bergler Palace – now
Museum, Evangelical Church – so-called Red Church), A. Hefft and R. Raschka (Regional
Palace), Theofil Hansen (St. Ann’s Hospital, Pražák’s Palace, House of Meetings), J. G. Schoen
(Museum of Applied Arts) and others. This historicist period was crowned at the turn of 1910s
and 1920s by two public constructions of the Regional Palace (F. Hrach) and the Justice Palace
(A. von Wielemanns). That was only two decades before another great architectonical phase of
Brno related to international style constructions started.
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The Jews lived in the territory of modern Brno prior to the establishment of the town. Their
cohabitation with other ethnic groups was not historically trouble free. The Jews were first
banished from the town as early as in 1454. In spite of that the community continued to grow
and Brno became a significant Judaist centre – there was even a Hebrew print shop in 1753.
The Jews in Brno integrated into the city life before ghettos were officially abolished: several
families received the right to settle down in the internal city at the end of the 18th century.
This process became dynamic in 1850s. In 1880, five and half thousand Jews lived in Brno;
this number exceeded ten thousand in 1930. Almost eight and half thousand Jews from Brno
died during the Holocaust. Prominent Jewish personalities included philosopher and linguist
Theodor Gomperz, writer and authors Philipp Langmann, Oskar Jellinek or Ernst Lothar.
Brothers Pavel and Hugo Haas, a composer and an actor, were also Jews de facto assimilated
in the Czech society. The context of cultural Brno was also expanded by artist Clara Epstein,
landscaper Ludvík Blum or Anna Ticho. Otto Ungar, the Terezín ghetto artist, was also born
in Brno. The architectonical legacy of Jewish creators is mainly connected with the activity of
Arnošt Wiesner who created many objects in 1920s and 1930s that still set the urban character
of the city.
Today, only the large Jewish cemetery has been preserved in Nezamyslova Street (established in
1852) and the functionalistic synagogue designed by Otto Eisler in Skořepka Street. The great
synagogue that used stand at the corner of Přízová and Spálená was destroyed by the Nazis. The
new synagogue built in 1910s at Ponávka was demolished twenty years ago.
Modern buildings were erected
in Brno from the beginning of
1920s. In 1919, Arnošt Wiesner
designed
Gullman
House,
three years later Karel Hugo
Kepka designed the premises
of Kounice College. Wiesner is
also the author of the former life
insurance company in Mozart
Street, the building of the former
Union bank (now Czech Radio),
Villa Tugendhat – drawing by Martin Reissner
Pisárky villas, city crematory or
the Morava Palace. Bohuslav
Fuchs designed Zeman café, Hotel Avion or the Brno Fair Pavilion. Actually, the entire premises
of the Fairground built in 1920s are a celebration of functionalism.
Villa Tugendhat has a completely unique position in the history of modern architecture in Brno.
It was the home of a prominent Jewish family from Brno, designed by Ludwig Mies van der
Rohe. However, we should also mention the works by Jaroslav Grunt, František Kalivoda, Emil
Králík, Jindřich Kumpošt, Josef Polášek, Bedřich Rozehnal, Jan Víšek and others. The Jewish
citizens disappeared from Brno during WWII, the Germans after the war. For more than half a
century, Brno is a city with a Czech speaking population. However, the Brno citizens now more
and more often go back to the enriching moments of multinational and cultural history.
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BRNO – CITY OF PROMINENT PERSONALITIES
Brno is a place about which many people say that it is not love at first sight, but at second sight.
This historical settlement has gone through some extraordinary transformations that illustrate
Central European history. It has never become a centre of power that would have international
influence, but it has always been a city that had a substantial effect on the history of Central
Europe. There have never been institutions with a European influence but many personalities
that have influenced the history of western civilization or Central Europe were born or lived
there. They were men of power, such as Jošt Lucemburský or Baron Trenck, philosophers and
scientists Johann Gregor Mendel, Ernst Mach and Kurt Gödel, as well as artists – musicians:
Erich Wolfgang Korngold, Leoš Janáček, Vítězslava Kaprálová or Magdalena Kožená. Famous
musician Rudolf Firkušný returned to Brno after his death.
Dancer and choreographer Ivo Váňa Psota spent a substantial part of his life in Brno. Josef
Dobrovský, the father of Slavic studies, historian, leader of the Czech revival movement and
Jesuit, died in Brno and is buried at the local Central Cemetery. The city has played an important
role in the lives or works of authors such as Jiří Mahen, Vítězslav Nezval, Bohumil Hrabal, Josef
Kainar, Jan Skácel, Oldřich Mikulášek and Milan Kundera. Architect Adolf Loos was born in
Brno, Mies van der Rohe designed his most famous villa for Brno. Architects Arnošt Wiesner,
Jiří Kroha, Dušan Samo Jurkovič, Vladimír Karfík and Bohuslav Fuchs worked there. Actor
Hugo Haas was born and buried in Brno; his brother Pavel Haas, a composer, was tortured
to death in Auschwitz. Many prominent personalities of the Czech theatre and art scene are
connected with Brno.
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Famous Architects and Builders Connected with Brno
Antonín Pilgram (1460–1515)
One of the most prominent Moravian architects, sculptors and builders of Late Gothic was
probably born in Brno. After studies and travels, he returned to Brno around 1495. He participated
in the construction of St. Jacob’s Church. In 1508, he completed the sculptural decorations of
the Jewish Gate. However, he gained a great respect by the portal at the Old city Hall.
Mořic Grimm (1669–1757)
A prominent mason master, builder and architect of the Baroque period. He was born in Bavaria
and died in Brno, where he lived from 1704. He bought a house and founded a building company
that did both small and monumental commissions. Most of his jobs were related to Brno. He built
a new convent and library for the Dominicans. He built Loreta, the holy staircase and vaulting
for St. John’s Church for the Minorities. He reconstructed the parish church of St. Lawrence in
Řečkovice for the Jesuits and the tower of the Jesuit Church in Brno. At the beginning of 1730s,
he won the greatest commission of his life – the construction of the Augustinian convent; he
later built the prelature, prefecture as well as the presbytery of the St. Thomas’s Church. For the
Cistercians, he built a provostry in the old town of Brno before 1737.
He modified two palaces in the Dominikánská and Starobrněnská Street for the city (now Dům
pánů z Kunštátu). He reconstructed and modified the complex of the Regional Palace, now the
New city Hall. He also modernized the facade of the Assembly Hall and the courtyard facade of
the Court Hall. Mořic Grimm is buried in the Franciscan tomb in Brno.
Ludwig Förster (1797–1863)
An architect and urban designed whose plans changed the centre of Brno into a modern European
town. He worked in Vienna and cooperated with the Blansko steelworks owned by the Salm
family. The modernization of the Reduta theatre in 1830s was his first Brno job. Together with
Theophil Hansen, he built the Klein Palace at the Freedom Square, which is a construction of
extraordinary conception and materials. He also designed the textile factory owned by brothers
Julius and Max Gomperz in Václavská Street, a casino in Lužánky and other buildings. In 1860,
he presented his regulation and expansion plan for Brno that gave the city its modern order and
proportions.
Theophil Hansen (1819–1891)
A prominent architect of the historicist phase. He was born in Copenhagen and died in Vienna.
He was one of the distinguished creators at the time of the construction boom after the city
walls were abolished. He arrived in Brno after working in Germany and Athens. In 1846, he
accepted an invitation of Viennese builder and architect Christian Ludwig Förster and together
they created many projects. The most significant realization is the Klein Palace at the Freedom
Square from 1847–48. He designed St. Ann’s Hospital built in 1865–68. In 1870–1873, the House
of Meetings was built based on his design and later the neighbouring residential palace of
Alois Pražák (1872–74).
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Dušan Jurkovič (1868–1947)
A prominent Slovak representative of Art Nouveau architecture inspired by folklore. He came
to Brno in 1899. He built his villa in Žabovřesky based on his own design (1907). He was also
involved in the modifications of the Vesna objects and he designed the interior of the exhibition
halls for the Club of Friends of Arts in Jaselská Street. He designed both apartment buildings and
family homes.
Adolf Loos (1870–1933)
A European architect and theoretician born in Brno. He promoted a purist-functionalistic concept
of architecture. In 1910, he was commissioned to build the Goldmann and Salatsch department
store at the Michael’s Square in Vienna, in the vicinity of Hofburg. In Brno and its surroundings,
Loos worked for sugar-mill owner Viktor Bauer (sugar mill and villa in Hrušovany or the interior
of the manor at the Brno Fairground); he designed the extension of the house in Sedlákova Street
and the Rabas tomb at the Central Cemetery.
Ludwig Mies van der Rohe (1888–1969)
A German-American architect, the creator of Villa Tugendhat in Černá Pole. The architect is
connected with Brno thanks to the famous house that he designed for the Tugendhat family in the
garden behind the house of Greta Tugendhat’s parents.
In 1929, he designed the German pavilion for the international exposition in Barcelona. At the
same time, he was also working on the project for Brno that genially fulfils Mies’s concept of
continuous, fluent or continual space as well as his endeavour to create a technologically original
solution. The resulting building is a harmonic culmination and a genial work of an international
style and it is one of the most significant architectonical realizations of the 20th century at all.
Mies also designed the furniture and interior for the house. In December 2001, Villa Tugendhat
was registered in the UNESCO World Heritage List.
Jiří Kroha (1893–1974)
An architect. In 1925, he was appointed the Professor of the Czech Technical University in Brno.
He moved to Brno in 1928. He participated in the construction of the Fairground as well as the
conception of the Exposition of Modern Culture in Czechoslovakia. He designed a house for the
colony of family homes Nový dům in Brno – Žabovřesky. He later designed his own house in
Sedlákova Street and a villa in Kaplanova Street. During the German occupation, he was arrested
by the Gestapo as one of the two hundred representatives of Czech culture and he was held in
concentration camps. He continued to design after the occupation, e.g. apartment buildings in
Brno – Královo Pole.
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Bohuslav Fuchs (1895–1972)
An architect and urban designer who had a significant effect on the skyline of Brno in the 20th
century. In 1923, he started working for the Brno Building Authority and soon after that he designed
residential houses in Husovice and Masaryk Quarter as well as the Meat Market. In Lipová Street,
he designed the Vesna school for women’s professions together with Josef Polášek. He also
designed the Zeman café, the city town in Zábrdovice, Masaryk’s student house in Cihlářská
Street, the Moravian bank at the Freedom Square or the Brno city Pavilion for the Exposition
of Modern Culture at the Brno Fairground. His Avion Hotel project in Česká Street is a work of
world significance.
Vladimír Karfík (1901–1996)
An architect and a prominent personality of Czech functionalism. After his architecture studies,
he worked in France and USA. He later worked in the Baťa construction and design office in Zlín.
During his work in Zlín, he designed the project of the 28-storey Baťa store in Brno in Kobližná
Street which, however, was only realized as a seven-storey building. In 1980s, he settled down in
Brno where he later died.
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ARCHITECTONIC DOMINANTS OF THE CITY
Historicism represents an important architectonical phase of the history of the City of
Brno. A large part of the public buildings in the city centre come from a decade that we
call historicism. Between 1850 and 1900, the inner city acquired the character it has kept
ever since. In addition to fragments of old Baroque or Renaissance buildings, historicist
buildings dominate the city. Their predominance was not even disturbed by the dramatic
urban attacks of the modern or functionalistic architecture.
House of Meetings
The current seat of the Brno Philharmonic Orchestra (Komenského náměstí 8) was built by
Czech patriots in 1870–1873. The House of Meetings became the centre of Czech life in the
city. It was designed by Theophil Hansen.
Evangelical Church
The citizens of Brno know this building that was designed and erected in 1862–1868 as the Red
Church (Komenského náměstí). The colossal neo-Gothic sanctuary was designed by Heinrich
von Ferstel as a temple for the growing community of Brno Protestants.
Grammar School
The building of the former Music Faculty of the Janáček Academy of Music and Performing
Arts at Komenského náměstí 6 was originally a German grammar school. It was built in 1860–
1862 according to a project by Eduard van der Nüll and August Sicard von Sicardsburg. These
two architects had a joint studio in Vienna and they also taught at the academy. In Vienna, they
also realized their most significant building – the Opera building.
Chleborád’s Villa
In 1891, a representative villa was built in the place where there used to an entrance to the
city cemetery until 1883 (today Smetanova ulice 14). The single-storey house with a distinct
loggia facing Kounicova Street is namely known in relation to the existence of an organ school,
directed by Leoš Janáček. The school existed until 1908.
Casino
The Lužánky Park was made publicly accessible by a decision by enlightened Joseph II,
Holy Roman Emperor. The so-called Casino was built at the centre of the Park in 1853–1855
according to Ludwig von Förster’s design. The object was used for social meetings and there
was a community, concert and dance hall there. A fountain designed by Franz Melnitzký was
built on the axis of the staircase leading to the park.
Klein’s Palace
In 1847-1848, Franz Klein, a manufacturer, had a palace built at the today’s Freedom Square,
No. 15. The palace has a cultivated architectonical expression as well as many interesting
technological solutions, such as ventilated underground stables, sewerage or central heating.
The palace was designed by Ludwig von Förster and Theophil Hansen.
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Kounic’s Palace
There is a large trapezoid building with an inner courtyard in the Moravské, or Žerotínovo Square,
in the vicinity of both Regional Palaces (the current seat of the Office of the South-Moravian
Region and the Constitutional Court) – it is the original palace of Albrecht von Kaunitz. Today,
the rector’s office of the Masaryk University uses the object. The palace was built according to the
design of Josef Arnold in 1871–1872.
Městský dvůr – Residential House
At the end of Husova Street near the Na Františkově Park, a residential house called Městský dvůr
was built according to the design of Franz Fröhlich in 1853–1855 (Šilingrovo náměstí 2). The
object offered apartments of various sizes; unlike the austere facade, the inner courtyard had a
romanticising touch thanks to the arcade system. The apartments in Městský dvůr were luxurious
and prestigious. Today, the building serves as a hotel.
Moravian Museum of Applied Arts
This beautiful museum building designed by Johann Georg von Schoen (Husova ulice 14) is still
used as the Museum of Applied Arts of the Moravian Gallery. The museum was built in 1880–
1883 and it is the most significant realization of the author, who was otherwise an architecture
theoretician and university lecturer (he was a rector of technology in Vienna and Brno).
Moritz Kellner von Brünnheim’s Apartment House
The current seat of the Supreme Administration Court (Moravské náměstí 6) was built in
1869–1871 as an apartment house of Moritz Kellner von Brünnheim, one of the authors of the
Brno regulation plan. While the exterior of the house is designed with generosity and serious
monumentality, the dispositions of apartments were very traditional.
Pražák’s Palace
The palace of Alois Pražák, a Czech patriot and a member of parliament, was built together with
the House of Meetings on an adjacent building lot (Husova ulice 18). Pražák was the chairman of
the Moravian National Party and he assigned the construction of the house with rental apartments
and his own apartment to Theophil Hansen. The house was built in 1872–1874. Hansen created a
harmonic complex with the House of Meetings and the Pražák’s palace.
Thonet’s Court
The commercial and apartment house of brothers Thonets (Běhounská ulice 9) was built in the
vicinity of St. Jacob’s Church in 1890–1891 according to a project by Ferdinand Fellner Jr. and
Hermann Helmer. There was a furniture shop on the ground floor, a café on the first floor and
then apartments. The house was reconstructed in 1928–1929 under the management of architect
Jindřich Kumpošt.
Regional St. Ann’s Hospital
In 1864-1868, a massive complex of hospital buildings was erected in the place of a former
cloister. The buildings are now a part of the St. Ann’s Hospital (Pekařská ulice 53). The stylish
complex that consists of wings with patient rooms, operating theatres, parks as well as a hospital
chapel was designed by Theophil von Hansen. The sculptures were made by the studio of Adolf
Loos senior.
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Regional Palace II
The second regional seat was built in Brno by the representative crescent in 1860s and 1870s. The
current seat of the Constitutional Court (Joštova ulice 8) was designed by Anton Hefft and Robert
Raschka in 1867–1878. It is the most monumental object along the crescent. The complex consists
of four wings embracing four courtyards and there is a two-storey assembly hall in the centre.
Regional Palace III
The regional palace built according to the design by Ferdinand Hrach (Žerotínovo náměstí 10)
was the third object of the regional assembly. The exterior facade of the object consists of two
horizontally divided parts: the bottom summarily divided half is followed by a more fragile and
playful assembly of three floors with towers in the corners and a massive cupola at the central axis
of the entrance.
Art Nouveau buildings were erected in Brno at the time of a great construction boom that
was caused by statutory tax reliefs. In 1896, the Emperor signed a law on whose basis all
the buildings in the centre of the city that would be built instead of the former inadequate
objects were exempt from the property tax for eighteen years. Naturally, that led to some
drastic measures from the modern point of conservation and many buildings that were
architectonically significant were destroyed. On the other hand, this was another strong
urban and construction impulse after the construction boom following the destruction of
the city walls that definitely changed the skyline of Brno.
Building of the Worker’s Accident Insurance Company for Moravia and Silesia
In 1912-1913, a massive representative building of the Worker’s Accident Insurance Company
was built at Karlovo koliště (now Koliště 43). The interiors and facade were designed by Bohumil
Čermák. There is a large figurative frieze depicting workers in the main axis of the building. It was
designed by Leopold Hohl and created by Alfred Dressler.
Church of the Most Sacred Heart of Our Lord
The dominant building of the Husovice district was built in 1906–1910 according to a project
by Karel Hugo Kepka. The exteriors of this pseudo-basilica refer to historicist legacy, while the
interior reminds us of Art Nouveau.
Church of Virgin Mary’s Immaculate Conception
In 1910-1913, the Church of Virgin Mary’s Immaculate Conception was built according to the
design of Franz Holik, a native of Vienna and Brno city architect, in Křenová Street. The exterior
of the building is designed in the neo-Baroque and neo-Empire style. The richly decorated interior
leans towards Art Nouveau trends.
Main Railway Station
The second reconstruction of the Brno Main Railway Station (opened in 1839, first modified in
1870) took place in 1902–1905 according to the design by Josef Nebehosteny who incorporated
many Art Nouveau elements into the neo-Baroque style.
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Hotel Grand – Annex
The authorship of the annex to the Hotel Grand at Benešova třída is one of the greatest mysteries
of Art Nouveau architecture in Brno. The interiors of the annex were reconstructed in the past and
their original form was not preserved but the facade has been preserved as a unique document
of the Art Nouveau works. It is not clear who designed it. There are speculations that it was an
architect from the Vienna Art Nouveau circle.
Franz Joseph I Anniversary House of Artists
The building at the Malinovského Square is used by the Brno House of Arts as an exhibition
space. The current look of the house is given by the reconstruction that took place after WWII.
The original design was one of the distinguished Art Nouveau structures. The house was built
in 1908-1911 according to the design by Heinrich Carl Ried. The facade was decorated with
sculptures by Carl Wollek.
Jurkovič’s Villa
The house of architect Dušan Jurkovič represents the folklore trends related to Art Nouveau
in Brno. It was built in 1905–1906 in Žabovřesky (Jana Nečase 2). The object represents an
application of folk architectonical elements into an object of modern housing. The house is now
owned by the Moravian Gallery that restored it and it is opened to the public.
Apartment Houses
The block of apartment houses in Česká and Solniční Street (including the object of the Slavia
Hotel) was designed by Antonín Blažek in 1903. The complex is distinguished by ornamental
elements and overall gracefulness and temperance.
Regional Sickness Fund
In 1903, the object of the Regional Sickness Fund was built according to the design by Hubert
Gessner (Milady Horákové 24/26). Like Leopold Bauer, Gessner was a student of Otto Wagner at
the Academy in Vienna. The facade of the house is distinguished by a sophisticated combination
rough masonry, glazed ceramics, glass and metal. The original colour harmony is partially veiled
by the wear of the house but details have been preserved.
Reissig’s Villa
Leopold Bauer, a prominent representative of the Vienna Art Nouveau and student of Otto Wagner
designed Reissig’s Villa (built in 1901–1902, Hlinky 148). The object was considered to be the
first modern house in the Austrian empire at that time. It was built by Karl Reissig, a member of
the city council and an attorney.
“Beehive”
The popular Brno building at the corner of Kobližná Street 23 and Malinovského Square 5 was
built in 1896 as an apartment building for the Pension Fund of the Industrial Clerk Association
according to Ludwig Baumann’s project. The building is designed in the Empire style with Art
Nouveau architectural details. The dominant on the corner axis is a stylish beehive with a bee –
thanks to which the house was nicknamed the “Beehive” soon after its completion.
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Vesna
The new object of the Vesna school was built in 1899 (Jaselská ulice 9) according to the project
by Antonín Pfeiffer. The overdesigned central sculptural decor creates an exalted effect but at that
time it represented the efforts for the Czech matter in the German-controlled city. The sculptures
were made by Josef V. Pekárek and Karel Novák.
Functionalist Brno – the somewhat misleading term conceals one of the most
interesting construction phases of the development of the city. Between WWI and
WWII, Brno was changed into one of the centres of Central European architectonical
scene.
Meat Market
The meat market was built in 1924 according to the project by Bohuslav Fuchs.
Zeman’s Café
In 1925, Zeman’s café was built according to the project by Bohuslav Fuchs in the park between
Rooseveltova Street and Koliště. The object was completely demolished in 1964 due to the
construction of the Janáček Theatre. In 1990s, a replica of the original café was erected near
Za divadlem Street.
Villa Stiassni
Arnošt Wiesner designed a family home in Hroznová Street in 1927. It was built by Alfred Stiassni.
The large multi-storey object in a reversed L-shape was used as a representative building after the
war and it was called the government villa. It is now used by the National Heritage Institute.
Vila Neumark
In 1928, Arnoš Wiesner designed a villa for builder Walter V. Neumark at Vinařská Street 38 in
Pisárky. This villa also has an L-shape. It is now divided into three separate apartments.
Waiting Hall
The only preserved functionalist object of the tramway waiting room built in 1926 is located in
Údolní Street by Obilní trh. The author of the stylistically pure building with public toilets in the
basement was Oskar Poříska.
Crematory
The new building of the crematory in Jihlavská Street was designed by Arnošt Wiesner in 1926–
1929.
Morava Palace
In 1926-1928, Morava Palace, a residential and commercial house, was built at the corner of
Divadelní Street and Benešova třída in 1926–1928. It was designed by Arnošt Wiesner who
uniquely solved the issue of a “deep building lot” and moved the commercial spaces in front of
one of the wings of the residential complex.
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Vila Tugendhat
Villa Tugendhat is the most significant functionalist building in Brno and one of the most
distinguished objects built in the international style. It is located in Černopolní Street, No. 45. The
house was built by Greta and Fritz Tugendhat on a property that used to form the upper part of
Greta’s parents’ garden (née Löw-Beer). The house was designed by Ludwig Mies van der Rohe,
who designed both the house and its interior furnishings. The villa was built in 1928–1930. The
three-storey building is located in a sloping ground.
The top floor is the entrance floor on the street side and the main living floor as well as the basement
with technical background is accessed by stairs. The main living space is a unique evidence of
Mies’s concept of “fluent space”: the main area is not divided into individual rooms but it is
sectionalized. The house is equipped with many technical devices that were almost visionary at
that time: air-conditioning or the moving glass wall that separates the living area from the garden.
The Tugendhat family lived in the house for about eight years; they emigrated before WWII broke
out.
Architect Ludwig Mies van der Rohe (1886–1969) was an autodidact who came from
construction environment. He also learned in his father’s stonemason’s workshop (like another
great architect – a native of Brno, Adolf Loos). At the beginning of the 20th century, he worked in
Berlin for designers Bruno Paul and Peter Behrens, who also taught Le Corbusier or Walter
Gropius. In addition to family homes and villas, Mies also designed a project for Stuttgart – the
Weissenhof housing development, where he used architectural means which he later chiselled in
Villa Tugendhat. With regard to the architectonical significance, the Villa was declared a national
cultural monument of the Czech Republic on 15 November 1995, which put it among two
hundred most valuable monuments of the country that are subject to a strict conservation regime.
Interior of Villa Tugendhat. Photo – MMB
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The City of Brno and the South Moravian Region are looking for ways to better represent
modern architecture in the form of a research and exhibition centre. Villa Tugendhat has been a
part of the cultural context of the City of Brno for almost a century. As it is a geographically the
most eastern realization by Ludwig Mies van der Rohe, it is also his most significant house that
he created prior to his departure for the United States. It is also one of the most important and
best realizations of world functionalist architecture. Villa Tugendhat, registered in the UNESCO
World Heritage List, is a significant evidence of the aesthetic and architectonic directions of the
modern architecture of the first half of the 20th century.
Avion Hotel
The Avion hotel and café were built on an extremely narrow and deep building lot in Česká
Street according to the design by architect Bohuslav Fuchs in 1927–1928. The object became a
place of meetings of the Brno cultural community and it also attracted architecture enthusiasts.
The architect managed to take advantage of the spatial restrictions of the lot. He applied a unique
solution to the space of the café and dislocation of the room tract. The hotel is now closed.
City Accommodation Office
The small building erected in 1927–1928 near the Main Railway Station at the entrance to
Masarykova Street was designed by Oskar Poříska. The airy building with a rounded shell and
large glass areas is a timeless modern object, organically incorporated in the historical city core.
It is now used by a travel agency.
Brno Fairground
The complex of the Brno Fairground was built in 1920s. Among others, there are distinguished
exhibition spaces designed by Josef Kalous and Jaroslav Valenta (Pavilion A) or the current
fairground post office (originally the exhibition hall of the City of Brno) built in 1927–1928
according to the design by Bohuslav Fuchs. The exhibition pavilion in Pisárky was built for the
Exposition of Modern Culture in 1928. The whole area was mainly formed by architect Emil
Králík. The basic spatial idea of the Fairground has remained unchanged – it consists of two
exhibition axes meeting at the central gate.
Jarušek’s House
The house of builder Karel Jarušek in Palackého třída according to the design by Josef Gočár
was built in 1909–1910. Jarušek wanted to have an apartment building for renting, but he also
lived there with his family. It is an early Gočár’s work.
Czech Union Bank
The current building of the Czech Radio in Beethovenova Street was built according to the
project by Arnošt Wiesner in 1925, just two years later than another Wiesner’s realization in the
vicinity – the Moravian Regional Insurance Company in Mozartova Street. The austere, nondecorative but plastically elaborated object has remained basically unchanged.
Moravian Bank
In 1930, the Moravian Bank was built according to a project by Bohuslav Fuchs and Arnošt
Wiesner at the Freedom Square. The modern design of the administrative building distinctly
completes the character of the central Brno square. In addition to the suspended facade, the
through commercial passage and the dispositional solution of the central hall are distinctive
elements of the structure.
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CULTURAL INSTITUTIONS IN BRNO IN 2012
Moravian Museum – the second oldest institution of its kind in the Czech Republic. Photo – Jan Chmelíček
Distinct encounter of cultures and cultural influences was typical of Brno as early as in the
Middle Ages. For the entire second millennium, members and upholders of Slavic, German and
Jewish cultural trends have met in the city. Today, the city goes back to the famous tradition
of an open multicultural centre in its everyday cultural practice. Artists from Slovakia, Austria
and Russia work in the Brno theatres and orchestras, members of ethnic monitories intensely
build the form of the formal and informal cultural events. The future efforts of Brno are directed
towards strengthening its role as a distinguished non-regional multicultural centre that will
offer conditions for the life and creation to artists of various ethnicities and nationalities. Three
types of subjects provide the cultural offer: state-owned, private and city-owned.
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State Cultural Institutions:
Moravian Museum, Moravian Gallery, Moravian Library,
Technical Museum in Brno, Museum of Romani Culture
Private Cultural Institutions:
There are many private cultural activities organized in Brno, in the field of arts
(galleries), theatre (theatre companies and theatres), music (choirs, bands, orchestras)
and dance (modern, classic and folklore). The activities in literature publishing are also
worth noticing (there are many agile publisher houses in Brno).
City Cultural Institutions:
National Theatre in Brno, Brno city Theatre, Centre of Experimental Theatre, Puppet
Theatre Radost, Brno Philharmonic Orchestra, The Brno House of Arts, Jiří Mahen Library,
Brno Observatory and Planetarium and the Tourist Information Centre. The city spends
about ten percent of its budget on promoting and operating its cultural institutions.
National Theatre in Brno
The theatre has three houses – Janáček Theatre, Mahen Theatre and Reduta – and three companies
– opera, ballet and play. It is a prestigious institution with the longest tradition and best reputation
among Brno theatre companies.
Brno city Theatre
So-called tabloid theatre company with play, music and musical production. It is based in the
complex in Lidická Street and has two scenes – play (old scene) and music (new scene). It has
three companies – play, operetta and musical.
Centre of Experimental Theatre
It has two buildings – Dům pánů z Fanalu, where Divadlo Husa na provázku and Divadlo U stolu
is based, and the Alfa passage (HaDivadlo), three companies and many other original activities
(Project CED, Theatre Studio Dům etc.).
Puppet Theatre Radost
A theatre for children, youth and sometimes adults. It is now located between Bratislavská Street
and Cejl. Two scenes – chamber and large.
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Dům pánů z Fanalu. Photo – Jan Chmelíček
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Brno Philharmonic Orchestra
A top central-European orchestra based in the House of Meetings, a part of its production also
takes place in the Janáček Theatre.
The Brno House of Arts
One of the two “kunsthall” in the Czech Republic. An elite central-European gallery focused on
contemporary and modern arts. It is based in the House of Arts at Malinovského Square and in
Dům pánů z Kunštátu in Dominikánská Street.
Brno city Museum
The city museum has recently celebrated one hundred years of existence. It was relocated to the
premises of Špilberk in 1960s. Its offices are also in Měnínská brána and the Museum manages
Villa Tugendhat – the only Brno object registered in the UNESCO World Heritage List. There
are many permanent expositions on the history of Brno as well as a representative art exposition
installed in the rooms of Špilberk, documenting the amplitude of local works of art or works of
artists connected with Brno.
Jiří Mahen Library
A city library with a central building in Kobližná Street and branches in city districts. The largest
city library of its kind. The library rents books, periodicals, music and other media; it has a
specialized music department and takes care of Mahen’s monument.
Brno Observatory and Planetarium
A city observatory with the most sophisticated equipment that also fulfils scientific tasks and
cooperates with the academic workplaces in Brno. In addition to research, it pays a lot of attention
to popularisation and educational programmes. It is located in Kraví Hora.
Tourist Information Centre
The centre is located in the Old city Hall but it also manages the objects of the Art club cinema
(Cihlářská Street) and the multipurpose Břetislav Bakala’s hall (Bílý dům). In addition, it organises
music, theatre and film festivals and other events at various places in Brno. It also operates the
gallery in Radnická Street and published the KAM v Brně magazine.
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MORAVIA AND ETHNOGRAPHY
Moravia is an unusually ethnographically rich region that has captivated many artists by the
diversity of dance and music folklore and the richness of its folk costumes. Leoš Janáček
is no doubt the most famous personality that drew from the riches of the Moravian folklore
for his entire life and collected authentic folk songs together with František Bartoš and other
colleagues. The folklore is still alive in many ethnographic areas of Moravia, namely thanks
to the observed customs during the year and also thanks to the numerous folklore festivals.
Moravia is divided into the following ethnographic regions: Haná, Slovácko, Hanácké Slovácko,
Horácko, Hostýnské Záhoří, Lašsko, Luhačovické Zálesí, Malá Haná and Valašsko.
Haná
It is an ethnographic area in Central Moravia, in the area of the Upper Moravian Valley basin
outlined with the towns of Vyškov, Holešov and Litovel. The social life in Haná concentrates
mainly in villages and towns along the Haná and Morava rivers. Haná includes the districts of
Olomouc, Prostějov, Přerov, Kroměříž and Vyškov: the Olomouc, South Moravian and Zlín
regions. Haná dialects are also called central Moravian.
Slovácko
Slovácko lies southeast of Brno and it is further divided into Dolňácko, Horňácko, Podluží
and Kopanice. Its borders are outlined by the Žďánický forest and Chřiby in the north and
northwest, Bílé Karpaty in the southeast and the Dyje River in the south. Slovácko encompasses
the districts of Uherské Hradiště and Hodonín and partially Zlín and Břeclav.
Hanácké Slovácko
It is a transitional area between Haná and Slovácko. It runs through the districts of
Břeclav, Hodonín and Brno – venkov. The name was created at the end of the 19th century.
Geographically, the area is outlined by the municipalities of Velké Němčice, Šakvice,
Starovičky and Podivín, Velké Bílovice, Nový Poddvorov, Čejkovice, Krumvíř and Klobouky.
Its borders are formed by Nenkovice, Strážovice, Věteřov, Lovčice, Ždánice, Žarošice,
Dambořice, Těšany and Křepice.
Horácko
It is an ethnographic area on the border of Bohemia and Moravia. The largest area of Horácko
is located in the Vysočina region. It is further divided into smaller units. Horácko consists of
Moravské Horácko, Jihlava Horácko and South Horácko. Its third part is Podhorácko which
forms its north and south part. Horácké Dolsko includes the area of Moravský Krumlov and
north Znojmo. Malá Haná is a transition area between Horácko and Haná. The last area is
Vysočina, also called České Horácko.
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Hostýnské Záhoří
It is an ethnographic area in the east of Moravia. It spreads as a transition area between Valašsko
and Haná, i.e. at the foot of Hostýnské vrchy. The municipality of Soběchleby is a traditional
centre of the region but the geographic centre lies in Kelčská pahorkatina.
Lašsko
Lašsko is a region in the northeast wedge of Moravia. It lies along the rivers of Odra, Lubina,
Ondřejnice, Jičínka, Sedlnice and Ostravice. The area lies between the cities of Ostrava, FrýdekMístek, Frýdlant nad Ostravicí, Frenštát pod Radhoštěm, Nový Jičín and Kopřivnice. The people
in the region speak the Lašsko dialect. At the very centre of this area, there is Hukvaldy, Janáček’s
birthplace. Frýdek-Místek is a social and political centre of Lašsko.
Luhačovické Zálesí
It is an ethnographic area that is also described as a part of Slovácko. However, it is quite an
autonomous region. The Luhačovice Spa is the administrative centre of this hilly region.
Malá Haná
A transition area between Horácko and Haná. It lies in the region of Moravská Třebová and
Boskovice. The geographic centre lies between Boskovice and Letovice, Jevíčko and Městečko
Trnávka.
Valašsko
It is a highland area in the most eastern part of Moravia. This region neighbours Slovakia in the
east, Slovácko in the south and Haná in the west. Valašsko stretches over the area of the Vsetín
region and the Zlín region. The region is called after its inhabitants – Valaši – who came there
between the 14th and 17th century from Romania and colonised this area.
South Moravia is one of the most original ethnographic areas of the Czech Republic. The
Authenticity of the preserved folklore traditions and their reliving and application in everyday
civil life is extraordinary, in a central European context. The South-Moravian territory consists of
several distinguished ethnographic areas that differ from one another in dialects as well as material
culture or costume specifics. Symbolically, all that ethnographic influence comes together in the
South Moravian centre – Brno.
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1 Haná
2 Slovácko
3 Hanácké Slovácko
4 Horácko
a Slovácko – Podluží
b Slovácko – Kyjovsko
c Slovácko – Dolňácko
d Luhačovické Zálesí
e Slovácko – Kopanice
f Slovácko – Horňácko
6 Lašsko
8 Valašsko
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FAMOUS MUSICIANS RELATED TO BRNO
Among others, Brno is also the home of many prominent music institutions and it keep its
tradition of distinguished music events and professes to many musicians who have had a
significant influence on the music life of Moravia, central Europe as well as the world. The
unique position of contemporary musical Brno is based on the past which can still be seen
in the streets of the Moravian metropolis. The foundations were laid by personalities such
as Pavel Křížkovský, František Sušil, František Bartoš and other Janáček’s contemporaries
or students – Osvald Chlubna, Josef Blatný, Jan Kunc, Ludvík Kundera, František Jílek,
Václav Kaprál, František Neumann, Ferdinand Vach and others. Young authors and
interpreters who are now studying at the local music educational institutes such as Brno
Academy of Music, Janáček Academy of Music and Performing Arts or the departments
of education and arts at the Masaryk University, represent the hope for the future. We
would like to mention at least few of the famous musicians who came from Brno.
Erich Wolfgang Korngold (1897–1957)
A music composer born in Brno. He was born to a family of an attorney from Brno but his
family moved to Vienna in 1901. He was considered to be a child prodigy; the Opera in
Vienna already performed his work The Snowman in 1910. He studied at the academy of
music and composed. His works include operas The Dead city, Heliana’s Miracle and
Catherine. He also composed instrumental pieces and cycles of songs. In the season of
1929–31, he was a permanent guest conductor in the Brno theatre. He adjusted Offenbach’s
The Beautiful Helena and Strauss’s The Bat for film director Max Reinhardt. Later on, he
composed music to his film Midsummer’s Night Dream. In 1938, he moved to the US where
he became famous as a film music composer. He won the Oscar award two times (Anthony
Adverse and The Adventures of Robin Hood). He composed his most famous instrumental
work, the Violin Concerto, after the war.
Pavel Haas (1899–1944)
A music composer, brother of actor Hugo Haas. He studied at the Brno Academy of Music and
at the Prague Academy of Music with Leoš Janáček. He was influenced by Janáček as well as
contemporary music avant-garde. His opera The Charlatan is the best of his pieces. It premiered
in Brno in 1938. He wrote music for theatre and film. After the German occupation, he tried to
emigrate but he was arrested in 1941. He composed until his deportation to Terezín, where he
also worked and played music with other musicians. He was deported to Auschwitz in 1944,
where he also died.
Rudolf Firkušný (1912–1994)
A world-famous piano virtuoso. He came to Brno with his mother when he was a child. In 1917,
he met Leoš Janáček who asked music teacher Ludmila Tučková to take care of him. After WWI,
he enrolled in the academy of music and the first class of school. He first publicly performed in
1920. In January 1923, he first performed as a solo pianist of the Czech Philharmonic Orchestra.
He took his first trip abroad in 1926. He also gave concerts for President Masaryk. In 1931, he
graduated from the master school at the Prague Academy of Music. He had given concerts in
all European countries and in the US before 1939. He lived in emigration during the German
occupation.
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His return to Czechoslovakia was monumental. His performance at 1946 Prague Spring was
unforgettable. However, he decided to emigrate again after the communist coup d’état in
February 1948. He was a world-accomplished musician. He returned to the free homeland
again after more than forty years – in 1990, he performed at Prague Spring together with Rafael
Kubelík and the Czech Philharmonic Orchestra. He and his wife are buried at the honorary
cemetery at the Central Cemetery in Brno.
Gustav Brom (1921–1995)
A jazz musician and conductor who worked and lived in Brno for many years. He moved there
with his family in 1933 and went to school there. During the German occupation, he was arrested
and imprisoned. After he was released, he started a student band. He changed his name from
Gustav Frkal to Gustav Brom. Brom’s band played in the Regional Palace after the liberation. The
band gradually became a respected orchestra in Czechoslovakia. It developed into a European
respected interpretation orchestra with many excellent personalities among musicians. Brom
managed the orchestra for more than half a century. His discography comes to more than half a
thousand titles.
Magdalena Kožená (*1973)
A world-famous vocalist born in Brno. She used to sing in the children’s choir Kantiléna in Brno
and then wanted to study piano at the Academy of Music. However, she broke both her arms before
the exams and so she took the exam for the vocal department. After graduation, she continued
studying at the University of Music Arts in Bratislava. She celebrated her first international
success at the 6th International W. A. Mozart’s competition in Salzburg in 1995. She has been a
guest of many European opera houses since then. In 1999, she concluded an exclusive contract
with Deutsche Grammophon and she was the first Czech to be registered in the world catalogue of
records under the label Archiv Production. She received the honour of Chevalier of the Ordre des
Arts et des Lettres of France for promoting music culture in France and in the world.
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LEOŠ JANÁČEK
ICON OF THE BRNO PARNASSUS OF ARTISTS 1854–1928
A composer, choirmaster, teacher, music critic and publicist, organizer of Czech cultural life in
Brno whose fame crossed the borders of the Czech Republic. He was a contemporary of world
music personalities such as Rimskij-Korsakov (1844–1908), Giacomo Puccini (1858–1924),
Claude Debussy (1862–1918), Béla Bartók (1881–1945), Pietro Mascani (1863–1945), Richard
Strauss (1864–1949) or Arnold Schönberg (1874–1951).
He learned about the basics of music from his father Jiří who was a teacher and musician in
Hukvaldy. His mother Amálie was also fond of music; she played the guitar and she took over
the organ service in the church after her husband died in 1866 to feed the children. Leoš – the
ninth child out of fourteen – had to leave his family at the age of eleven. It was the only way
to education and to get the son from Hukvaldy to the world. His father used to teach music to
young Karel Křížkovský who later became a member of the Augustinians in old town Brno and
became famous as a choir composer and choirmaster. He asked him to take care of his son Leoš
Eugen who was accepted to the monastery foundation in Brno as a choir singer in exchange for
accommodation and food. He was taken care of, received thorough music education but he was
emotionally deprived in the strange environment for many years. He had not seen his mother
again until he was fifteen years old...
His musical talent developed under the supervision of Pavel Křížkovský (there is a monument
commemorating him on the Špilberk hill by František Fabiánek). In his personality, Janáček
found a theoretician and practitioner, composer, conductor and instrumentalist who later taught
him to critically evaluate every artistic performance of a piece. Křížkovský was an important
role model for Janáček. However, Janáček was also influenced by the overall environment of
the Augustinian monastery, presided by Prelate Cyril Napp. After Napp died, he was replaced
by naturalist Gregor Mendel; several other personalities with an independent view of the world
used to live among the monastery walls at that time – among others also František Matouš
Klácel, an enthusiastic supporter of utopian socialism. Janáček’s opinions, particularly his
social and strong national sentiment, were also formed by the intensively developing city –
“Moravian Manchester” where the growing Czech element was coming into play for cultural
and economic emancipation.
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Pavel Křížkovský’s monument. Photo – Jan Chmelíček
39
Janáček completed his general education immediately upon being accepted to the monastery
foundation at a primary school in Bělidla, later at a German secondary school in old Brno, then
at the teachers’ institute and through his stays in academies of music in Leipzig nad Vienna and
finally at the Prague organ school. He gradually passed all the exams necessary for teaching and
thus fulfilled the wishes of his parents – Janáček became a teacher. When he finished his studies at
the teachers’ institute, he managed to receive a permit from the regional board of education in Brno
to teach in old Brno as a supply teacher, without a pay for the time being. Later on, he completed
a full teaching qualification and in 1880 he was appointed a full music teacher which helped him
earn a living. He kept this job for a large part of his life – until his retirement in 1904.
When Křížkovský died, Janáček took over the position of the director of the choir. After he
returned from the Prague organ school, he managed the choir of Beseda brněnská, initiated the
foundation of a Brno organ school and became its principal. In 1887, he finished the sketch of his
first opera, Šárka. However, his first opera premiere in Brno was not performed until 1894 – The
Beginning of a Romance. In 1904, his opera Her Stepdaughter (also Jenůfa) premiered in Brno.
Other works followed: Káťa Kabanová (1921), The Cunning Little Vixen (1924), The Makropulos
Affair (1926), From the House of the Dead (1930), Glagolitic Mass (1927). The well-known and
popular Sinfonietta of 1926 is a tribute to Brno.
Janáček was an extraordinarily agile and universal artistic and organizing personality for Brno.
Critics always spoke highly of his choirmaster and conductor skills. Janáček was a music teacher,
organ player, choirmaster, conductor, pianist, original writer and columnist, author of many
theoretical essays about composition and interpretation, song collector and an active organizer
of the music life in Brno. Readers enjoyed his witty columns in Lidové noviny, with which he
cooperated from the first issue in December 1893. He started contributed as a music reviewer to
Moravské listy that later incorporated with Pozor from Olomouc and became a new newspaper
called Lidové noviny. However, he was later writing more columns than critiques. He wrote
almost seventy of them, many of which were signed by a triangle. The columns most often
concerned Janáček’s ideas about music; he wrote about his travel experiences, about his passion
for collecting melodies of folk languages, about his impressions from Lašsko, Brno etc. He closely
cooperated with chief editor Arnošt Heinrich, Rudolf Těsnohlídek, Karel Čapek, K. Z. Klíma and
other editors. Scores became an essential part of his original columns.
As the principal of the organ school whose status and curriculum Janáček prepared and for which
he tirelessly raised funds, he took care of the permanent increase in the number of students. During
his management from 1881 to 1919, more than 1,300 students passed through the school, and
Janáček, who was in charge of the administrative, artistic as well as educational management,
personally taught the theory of harmony and other subjects. Under his management, the school
brought up many excellent musical personalities. In addition to his creative talent, Janáček also
showed extraordinary work energy from his early youth. For illustration only: When he was 30
years old, he was an editor of Hudební listy, taught music at the teachers’ institute, vocal studies at
a grammar school, collected and published folk songs, taught as the principal of a music school,
was a choirmaster of Beseda brněnská, choirmaster in the monastery in old Brno and in addition
to that, he also composed his pieces at night...
In Brno, he also met his love – sixteen-year-old student Zdeňka Schulzová, a daughter of the
principal of the teachers’ institute. They got married on 13 July 1881. They used to live in Křížová
Street in old Brno until their daughter Olga was born (15 August 1882). Then they moved to
Mendelovo Square (the house no longer exists).
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Old Brno monastery. Photo – Jan Chmelíček
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There, Janáček also wrote his operas Šárka and The Beginning of a Romance. His son Vladimír
was born and died there (1888–1890). In 1910, the Janáčeks moved to a house built in the garden
of the organ school in Kounicova Street where they lived until August 1928 when Janáček left his
wife Zdena to spend a few days with the family of his “correspondence muse” Kamila Stösslová
to his native Hukvaldy and never came back. He died in a hospital in Ostrava from pneumonia.
Janáček’s house. He lived there from 1910 to 1928. Photo – Jan Chmelíček
As for Janáček’s personal life, much has been written about his love affairs and about his unsuccessful relationship with his wife Zdeňka as well as the role of the Muse in his work. There are
hundreds of letters that the composer “sent” to his women – his wife Zdeňka, Kamila Urválková,
the only “proven” lover Gabriela Horváthová and particularly Kamila Stösslová, a simple wife of
a merchant from Písek, with whom he fell head over heels with platonic love. He was in contact
with Stösslová until the day he died. The happy marriage of Leoš and Zdeňka Janáček only lasted
when they had daughter Olga and son Vladimír. The death of the two-year-old boy in November
1890 affected them deeply. Janáček looked for comfort through intense work; Zdeňka focused all
her love on Olga. However, in 1903 Janáček recorded the melody of the last words of his daughter
Olga – she died at the age of 21 of typhoid fever, which she got infected with in Petersburg, where
Janáček sent her to his brother’s in order to break off her relationship with an unpleasant boyfriend. “Who wanted her to go to Petersburg? The wind suddenly caught a direction and found where to go. All inside me transformed into violent hatred towards Leoš. He was sitting by the bed, not
moving, his head on his chest. I jumped at him, started to shake him and shouted as crazy: Give
me my child back, give me Olga back, look what you did! This is your work! Your fault!” That is
how Zdeňka Janáčková remembered the fatal moments.
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Chleborád’s villa – the former seat of Janáček’s organ school. Photo – Jan Chmelíček
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The husband and wife started to drift apart.
In the same year (1903), Janáček fell in love
with Kamila Urválková, a wife of a forester
from Luhačovice who firmly stopped their
correspondence. After a short love affair with
opera singer Gabriela Horváthová, who played
Kostelnička in the Prague performance of Her
Stepdaughter (1916), Janáček met twenty-fiveyear-old Kamila Stösslová in Luhačovice in
1917. The marital crisis culminated in July 1916.
The artist, in love with Horváthová, felt that the
marriage was preventing him from living freely.
He reproached his wife and she tried to commit
a suicide “to make Leoš free”. They arranged
a private divorce with the help of Janáček’s
attorney – a special agreement that ensured
Zdeňka would be provided for the rest of her
life while respecting her husband’s freedom.
Janáček, who admitted his responsibility for
the breakdown of the marriage, was ensured
a peaceful home background. The artist died
twelve years later, shortly after he got a cold
during his stay with Kamila Stösslová and her son
in Hukvaldy, which developed into pneumonia.
Brno learned about his death at the time of the
monumental Exposition of Modern Culture.
On 12 August 1928, a black flag fluttered above
the Fairground. The representatives of the city Olga Janáčková. Photo –MZM archive
and cultural life knew that an important phase in the music history of Brno, Czechoslovakia
and Europe, that the city Janáček loved so dearly and spent most of his life in, had lost a great
personality.
In 1958, Brno organized Janáček’s festival to celebrate the genial composer in spite of the
difficult cultural and political situation. All his great pieces were performed and there was also an
accompanying professional conference. Janáček Brno Festival now follows this tradition.
Janáček was fascinated by Moravian folk songs that he originally transformed in his works. He
was a world-renowned musician and one of the most distinctive composers of the 20th century.
The way he used inspirations from folklore was unique. His most famous pieces are operas Her
Stepdaughter, Káťa Kabanová and The Cunning Little Vixen as well as Glagolitic Mass and
Sinfonieta and some other orchestral pieces. His string quarters are also highly valued.
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Zdeňka Janáčková. Photo –MZM archive
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JANÁČEK’S WORK
The character of Janáček’s work corresponds with the character of music in the 20th century.
It seems that Janáček passed over a whole generation of composers by his work. His music
compositions are typical of a dramatic character, lyricism, psychological depth as well as
social aspect at the thematic level. Also, Janáček’s work is typical of unrepeatable melody
patterns and recurring motif variations as well as special modality (oscillation between the
major and minor key). Janáček was one of the few who drew from folk langauge and musicality.
Janáček’s playfulness and originality were also demonstrated in phenomenal instrumentation
– particularly in the use of unusual combinations of instruments. He often tried to capture the
typical melody patters of folk languages which he called melodies of language. Musicologists
also praise Janáček’s technique of “cut” when he would connect two contrasting themes without
any transitions. This procedure has an extraordinarily strong psychological effect on listeners.
He often used a sequence of fast, pronounced and recurring tones as connections between
individual themes.
Janáček’s work is usually classified into four periods:
1. Preparatory (1873–1888): Suite for the strings
2. Maturing (1888–1904): Lachian Dances, Her Stepdaughter
3. Maturity (1904–1918): piano, choir compositions, The Excursions of Mr. Brouček
4. Highest synthesis (1918–1928): operas, symphonic and chamber pieces
Thematically, Janáček persistently, systematically and successfully turned to the issue of Slavic
solidarity, which we can find in Taras Bulba, Glagolitic Mass, Káťa Kabanová and From the
House of the Dead. Also, he often returned to the ballads of Petr Bezruč – compositions Maryčka
Magdónová, Teacher Halfar or Seventy Thousand. Janáček’s work represents an incredible
volume of short compositions as well as orchestral, choir, liturgical or dramatic works. He also
participated in modifications and transcriptions, in editing of folk music etc. Let’s have a look
at the most significant opuses and operas.
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Statue of Leoš Janáček in front of Janáček Theatre – by Stanislav Hanzl. Photo – Jan Chmelíček
47
Vocal Pieces
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The Diary of One Who Disappeared – song cycle
Cantatas
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•
•
•
Na Soláni Čarták
Glagolitic Mass
Amarus
The Eternal Gospel
Choral
Men’s Choir:
•
•
•
•
•
•
•
•
•
•
•
Teacher Halfar
Seventy Thousand
Maryčka Magdónová
The Wandering Madman (philosophic text by Rabindranath Tagore)
Czech Legions
The Dove
Jealous Man
Klekánice
Dež víš
Farewell
Mosquitoes
Women’s Choir:
•
•
•
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Songs of Hradčany
Wolf Tracks
Kašpar Rucký
Piano
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•
•
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Piano Cycles:
On the Overgrown Path
In the Mist
Piano Concerts:
Concertino for Piano and Chamber Ensemble
Capriccio for Left Hand and Wind Ensemble
Piano Sonata:
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1 October 1905
Chamber Music
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•
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String Quartet No. 1 (Lev Nikolayevich Tolstoy – Kreutzer Sonata)
String Quartet No. 2 – Intimate Letters
Sonata for Violin and Piano
Symphonies
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•
•
•
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The Fiddler’s Child
The Ballad of Blaník
Danube
Taras Bulba
Sinfonieta
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Statue of the Cunning Little Vixen at Janáčkovo Square in Brno – by Jiří Marek. Photo – Jan Chmelíček
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Operas
Janáček particularly showed his music geniality in his operas. All of his operas were created and
also often premiered in Brno. Leoš Janáček was ignored and rejected as an opera author, namely
in Prague. After his success with Her Stepdaughter, theatres always awaited his following works
with great expectance and his operas became great European cultural events.
The Beginning of a Romance
The Beginning of a Romance was the first opera by Janáček that premiered in Brno. It is a one-act
opera that tells the story of a romance when young Baron Adolf flirts with Poluška, a pretty and
poor village girl, who is engaged to Tonek. However, the gamekeeper catches Adolf and Poluška
courting and tells her parents to go and ask the old Baron to let them get married. The meeting
with the Baron does not go well and the father returns to his poor house. Meanwhile, Baron Adolf
focuses on another pretty object of his interest and Poluška returns chastened to the faithful Tonek.
The opera premiered in 1894. It was not very successful: even Preissová, the author of the short
story on which the opera was based, dissuaded Janáček from setting the story to music and later
proposed modifications of the story that lacked “dramatic actions”. Janáček, later in his life, said
that it was an “empty comedy”.
The Beginning of a Romance – a one-act opera. Composed in 1891. Libretto
by Jaroslav Tichý based on a short story by Gabriela Preissová. Premiere:
10 February 1894 at the Czech Provisional National Theatre in Brno.
Šárka
Šárka was also written before the end of the 19th century, even earlier than the Beginning
of a Romance, but it was not released until an opera with the same title by Zdeněk Fibich
successfully premiered. Janáček’s Šárka was rejected by the Prague National Theatre many
times. It is basically Janáček’s first opera. The composer liked the libretto by Julius Zeyer
based on a well-known story of mythical warrior Šárka who lures her beloved enemy Ctirad
into a deadly trap. Zeyer originally wrote the story for Antonín Dvořák who was not very keen
on composing an opera. On the other hand, Janáček found it interesting and composed the
opera without the consent, or rather against the consent of Zeyer rejected by Dvořák. Janáček
focused on the love story of Šárka and Ctirad, the fatal tragic eroticism, the unexpected turning
point in Šárka’s soul from passionate hatred to devoted love. Šárka was performed in the Brno
National Theatre at the occasion of Janáček’s seventieth birthday on 11 November 1925. It was
conducted by František Neumann and directed by Ota Zítek. The opera has never become a
recurrent part of repertoires. It is performed sporadically but sometimes in very representative
productions – such as at Edinburgh Festival in 1993.
Šárka – a three-act opera. Composed in 1887, 1888, 1918 and 1924.
Libretto: Julius Zeyer.
Premiere: 11 November 1925 in the Brno National Theatre.
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Her Stepdaughter (Jenůfa)
For his third opera, Janáček chose the drama by Gabriela Preissová from a village mill where
Kostelnička (widow of the churchwarden) lives with her young foster daughter Jenůfa. Jenůfa
becomes pregnant with her fiancé Števa. However, Števa does not want to marry her, while his
brother Laca loves her and wants to take her for his wife. Kostelnička is hiding pregnant Jenůfa to
prevent a scandal in the village and to protect the honour of the single foster daughter. She drowns
the newborn baby and tells Jenůfa and Laca that the baby died. The drama culminates in Act 3
when it is Laca and Jenůfa’s wedding day. People discover the body of the baby in the ice and
Kostelnička admits to the terrible crime. Kostelnička is arrested but Jenůfa forgives her and leaves
with her new partner into the uncertain future.
Janáček used his new creative procedures to set the free speech of a drama play in the Moravian
dialect to music and he used speech melody patters to get through to the psychological and social
traits of the characters. The opera was to premiere in Prague but the National Theatre rejected it!
Janáček thus asked his student Cyril Metod Hrazdil to produce the opera in Brno. There were fifty
orchestral rehearsals before the premiere. The small theatre company of the Czech Provisional
Theatre accompanied by other needed actors and hardworking vocalists – all of them together
with the director and conductor created a distinctive and quality work.
The premiere of Her Stepdaughter was a great success for Janáček. His student Jan Kunc recalled
that there was a great applause after Act 1 and Janáček, who was behind the curtain during the
performance, had to come out and thank. “The deeply felt music of Act 2 with its moody lyricisms
also had a great impression on the audience. …The dramatic crisis in Act 3, the wedding day
and the discovery of the murdered baby and the typical Slavic confession of Kostelnička as well
as the end where Laca admits his love to Jenůfa, crowned the success. The applause was neverending and Janáček had to thank again and again as well as the author of the libretto, Preissová.
The students rejoiced and accompanied Janáček to the House of Meetings where they spent the
evening together,” wrote Kunc.
The opera was later also performed in Prague, Vienna, New York, Berlin, Zagreb, Ljubljana,
Beograd, Poznan, Basel, Antwerp and the last performance during Janáček’s life took place in
Helsinki in 1928. A premiere in Paris was on the way prior to the disintegration of Czechoslovakia:
originally planned for 28 October 1938, postponed to March 1939. However, it never took place.
It is interesting that in 1988 the costumes for the French production were found and later displayed
at an exhibition. The opera was often played in Nazi Germany during the war: the name of the
translator was not published – it was Max Brod, a Jewish writer and friend of Franz Kafka, an
attentive colleague of Janáček, translator as well as critic who played an important role in the
productions of Janáček’s operas in German environment. However, during the Hitler’s reign, his
name was not published – it was the name of Felix Greissle. The opera was also performed in
Sweden, Venice and Riga during the war when theatres in Czechoslovakia were closed.
After WWII, the opera was successfully performed in Chicago. A memorable production of the
opera was the one by Rafael Kubelík in London in 1956. However, the opera has been performed
all over the world: in Amsterdam, Buenos Aires, Novosibirsk and Moscow in 1950s; in Lisbon,
Strasburg, Ankara, Aarhus, Pecs and Oslo in 1960s; in Sydney, Tokyo, Sofia, Pretoria and Berlin
in 1970s or in Toronto in 1982, Tel Aviv and other. The opera has often been staged as “folklore”
using the authentic Moravian dialect and costumes. It is mostly performed under the title of
Jenůfa.
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Růžena Kašparová as Jenůfa in the Brno production in 1904. Photo – MZM archive
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Towards the end of the 20th century, Jenůfa was usually staged in a civil version, without
the regional and folklore atmosphere but with focus on the drama of the four people: in Paris
(1980), Cologne (1981), Hagen (1983), Leipzig (1986) or Glasgow (1986). This also applies to
today’s productions when Jenůfa is a part of the repertoire of many leading theatre companies
in the world.
Her Stepdaughter – a three-act opera. Composed in 1894–1903, modified in
1906 and 1911. Libretto modified by Leoš Janáček, based on a drama by
Gabriela Preissová.
Premiere: 21 January 1904, Brno National Theatre.
Destiny
The fourth Janáček’s opera was considered to be very difficult to perform due to the libretto. The
critics found it hard to believe that Janáček composed such a confusing love story after the success
of Her Stepdaughter. Max Brod later wrote to Janáček that “a miracle would have to happen, a
genial inspiration would have to come to give sense to this impossible plot.” And what is it about?
Janáček was inspired by the story of Kamila Urválková, twenty-one years his junior, whom he met
in Luhačovice and who told him how her former lover – composer Vítězslav Čelanský – disgraced
her by an autobiographic one-act play in the National Theatre when he staged the delicate story
of his love affair with Kamila, as seen through his own eyes. Janáček’s Destiny was a kind of a
response – a true and dignified image of admired Kamila, who is called Míla in the opera. Janáček
asked Fedora Bartošová, a friend of his deceased daughter, to write the libretto. However, the
libretto was mainly his work, or rather a slip of the emotionally involved composers... The opera
was first staged in Brno on 25 October 1958. Only a day later, it was performed in Stuttgart. In
1984, the opera was produced in London and in 1991 in Dresden. The producers tried to eliminate
the deficiencies of the libretto with original directing work and unusual scenic methods.
Destiny – a three-act opera. Composed in 1903–1906. Libretto by Fedora
Bartošová, based on a story of Leoš Janáček. Premiere: 30 September 1954,
Stadion Brno (concert version); 25 October 1958, Brno State Theatre.
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Patricia Weathers as Jenůfa in the San Francisco production of Her Stepdaughter.
Photo – MZM archive
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The Excursions of Mr. Brouček
The fifth opera piece by Janáček is the only opera that premiered in Prague, on 23 April 1920. It
was staged by Otakar Ostrčil. The opera is based on two satirical short stories by Svatopluk Čech
– well-known comic stories of a Prague citizen Brouček who experiences a series of fantastic
events as he is swept away (due in large part to excessive drinking) first to the moon and then to
15th-century Prague.
The opera was quite successful in Prague; there were nine repeat performances after the premiere.
However, the official circles rejected it and the Prague artistic world as well as critics did not
want to recognize Janáček. Opportunist Brouček deeply offended Prague citizens who found
themselves or their own neighbours in his character.
Janáček wrote the following in one of his letters to Kamila Stösslová: “I was in Prague for two
weeks and believe me, it was like being in a strange town: no-one noticed me. In darned Vienna,
there wrote about me, there were so many articles a month before the production of Her
Stepdaughter! And here? Not even a word in the magazines! They did not bother to mention
what was going to be performed in the theatre! They stubbornly kept silent. And believe me,
even I cooled off to Prague”. The Excursions of Mr. Brouček to the Moon was performed in
Brno in 1926 and it was a memorable production, particularly visually. Director Oto Zítek let the
characters “float” through the stage. The vocalists moved around on springs that evoked the lower
gravitation of the Moon. The second part in which Mr. Brouček travels to the 15th century was
first staged in Brno in 1937. The opera was later performed in Prague (1948), Ostrava and Munich
(1959), Adelaide in Australia (1974), London (1978 and 1992) and Munich (1995).
The Excursions of Mr. Brouček – Composed in 1908–1917.
The Excursions of Mr. Brouček to the Moon (2 acts). Libretto by Viktor Dyk,
based on a story by Svatopluk Čech.
The Excursion of Mr. Brouček to the 15th century (2 acts). Libretto by František
Serafínský Procházka, based on a story by Svatopluk Čech.
Premiere: 23 April 1920, Prague National Theatre.
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Costume design for the Brno production of The Excursions of Mr. Brouček in 1926. Author: Josef Čapek.
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Káťa Kabanová
This famous Janáček’s opera was first performed in Brno on 21 November 1921 and then three
years later. It was produced by conductor František Neumann and director Oto Zítek. Janáček was
inspired by Ostrovsky’s drama The Storm. He was inspired by both Russian life and civilization
and the strong female story. In this sense, Káťa Kabanová is somewhat related to Her Stepdaughter. Janáček, who was strongly involved in a platonic relationship to Kamila Stösslová, was
absorbed by a drama in which the main character is “a woman, a gentle character who disappears
with a mere thought. A breeze could take her away – and what about the storm that is roaring
above her...”
Max Brod best characterized the story of the opera in his review in Prager Abendblatt, in which he
emphasised the similarities and differences between the story of Káťa and Flaubert’s story of Madamme Bovary – they both had to stand against the pressure of a narrow-minded and unpleasant
environment. They both had to fight with the thickness of their surroundings, with the provincial
backwater and its small souls. Moreover, Káťa was truly enslaved by Kabanicha, the mother of
her weak husband, whose unlimited family absolutism is a true depiction of the Tsar power enslaving Russia. Káťa solves the unbearable life situation by publicly admitting to infidelity and
throwing herself into the waves of the Volga River. Similarly to Her Stepdaughter, the strongest
part of the opera is the great scene of the public confession. While Kostelnička in Her Stepdaughter admits to have killed Jenůfa’s son and bears the consequences, here the hands of Kabanicha
stay clean. Káťa’s confession to infidelity and her desperate act symbolize the relentless course of
time and order in Russia.
The opera was staged with a great success in Cologne (1922) and Berlin (1926). Káťa Kabanová
was performed in Czechoslovakia again in 1938, at the time when the Czechoslovak borders were
taken over by the Nazis and before the occupation started. It was again staged by Václav Talich
in April 1947. The opera successfully entered the world in the following places: England (1951),
Wuppertal (1961), Leipzig (1963), Basel (1966 and 1991), Buenos Aires (1968), Berlin (1972),
Düsseldorf (1973 and 1996), Vienna and Frankfurt am Mohan (1974), Lübeck (1979), Brussels
(1983), Paris (1988) and Zurich (1994). At present, the opera is performed at leading theatres in
Europe and the United States.
Káťa Kabanová – a three-act opera. Composed in 1920–1921.
Libretto by Leoš Janáček, based on a drama by Alexander Nikolayevich
Ostrovsky (translated by Vincenc Červinka).
Premiere: 23 November 1921, Brno National Theatre.
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Poster premiere of the opera Káťa Kabanová in 1921. Photo – Brno National Theatre archive
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The Cunning Little Vixen
For his seventh opera – The Cunning Little Vixen – Janáček was inspired by a series of fifty-one
stories from the forest created by Rudolf Těsnohlídek on the motif of forest animal pictures by
Prague artists Stanislav Lolek in 1920. The series was published in Lidové noviny and it was very
successful. Janáček wrote the libretto in 1921 – he first abridged the stories into 23 chapters and
then into three acts. The story of the Cunning Little Vixen, her husband Zlatohříbek, their fury
children and other animals – including people at the gamekeeper’s lodge and a village pub – is still
successfully performed on the stage.
Janáček’s opera The Cunning Little Vixen was first staged in Brno on 6 November 1924, by
František Neumann and Ota Zítek. The scene was designed by Eduard Milén, a famous painter,
graphic designer and teacher. It premiered in Prague the following year; the Prague scene was
designed by Josef Čapek. Later on, it was produced by Václav Talich (1937). The Cunning Little
Vixen was also staged in Ostrava in 1941 and in Olomouc (1943).
The fate of this piece abroad was significantly influenced by the translation by Max Brod who
adapted the libretto. However, producers rejected the piece. The opera was first performed outside
Czechoslovakia in 1927 in Mainz, followed by Zagreb (1939), Leipzig (1951) and Berlin (1956).
A total of 217 reruns were performed in the following eight seasons, which makes production
the most successful one. The Cunning Little Vixen was also staged in London (1961), in Kassel
(1979), New York (1981), Brussels (1986), Bayreuth (1990), Maastricht (1995), Salzburg and
Spolet (1998).
The Cunning Little Vixen – a three-act opera. Composed in 1921–1923.
Libretto by Leoš Janáček, based on a story by Rudolf Těsnohlídek.
Premiere: 6 November 1924, Prague National Theatre
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Costume design for The Cunning Little Vixen by Eduard Milén, Brno 1924. Photo – MZM archive
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The Makropulos Affair
The Makropulos Affair was the eighth Janáček’s opera and it was firmed staged in Brno by
František Neumann and Oto Zítek on 18 December 1916. Janáček based the libretto on Karel
Čapek’s story of “eternal youth”, which Emperor Rudolf II desired so much, that he wrote at the
age of 32. When Rudolf’s alchemist, Hieronymus Makropulos, prepares the potion, the Emperor
is afraid to use it and asks the alchemist to give it to the alchemist’s sixteen-year-old daughter
Elina, who later finds out that the potion really stops the process of ageing. She needs another dose
300 years later. But people do not live that long. And thus Elina sometimes has to disappear only
to come out again with a new name. Her last one is Emilia Marty who has maintained her physical
youth and beauty but who has changed into an icy cold being without any relationships, despising
people and their short lives. However, when Emilia Marty searches for the secret potion formula
that she has to use again, she finally finds out that she does not desire eternal life.
The opera was first performed in Prague in 1928, followed by Frankfurt am Mohan (1929 and
1982), Düsseldorf (1957), London (1964), New York (1970), Reggio Emilia (1982), Florence
(1983), Chicago (1995), Sydney and Vancouver (1996).
The Makropulos Affair – a three-act opera. Composed in 1923–1925. Libretto by
Leoš Janáček, based on a play by Karel Čapek.
Premiere: 18 December 1926, Brno National Theatre.
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The title page of The Makropulos Affair written by Leoš Janáček. Janáček, who received an honorary doctorate from
the Masaryk University, used the new title with pride. Photo – MZM archive
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From the House of the Dead
The last opera by Leoš Janáček premiered after his death. The composer found his inspiration
in a novel by Dostoyevsky who wrote The House of the Dead as memoirs of fictitious Russian
aristocrat Goryanchikov of the dark years he spent in prison. The grim memoirs have many
autobiographic elements – Dostoyevsky spent four years in a Siberian prison camp following
his conviction for involvement in the Petrashevsky Circle. Janáček composed the opera without
libretto, only based on the novel. However, he did not finish all the corrections because he died in
August 1928 and the score was completed by his students – Osvald Chlubna and Břetislav Bakala.
The opera also premiered in Brno – in 1930 (later also in 1958). It was later produced by theatres
in Mannheim (1930), Prague (1931, 1958, 1964), Berlin (1931), Düsseldorf (1931, 1968), Ostrava
(1932), Munich (1961), Nice (1996), Strasburg (1996) and London (1997).
From the House of the Dead – a three-act opera. Composed in 1927–1928.
Libretto by Leoš Janáček, based on a novel by Fyodor Michailovich Dostoyevsky.
Premiere: 12 April 1930, Brno National Theatre
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Leoš Janáček and his students Mirko Hanák, František Ryba and Břetislav Bakala. The photo is from 1925.
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A Story of a Talented Man,
Standing between His Passion for Music and for the Beauties of Life
The life of Leoš Janáček could be described from many angles. From factual constructions
to invented interpretations, there are no doubt such interpretations that can describe the
life of the musical genius more truly and quite precisely. Janáček experienced several
milestones in his life that accelerated his position of a musician. His life would have been a
different story without those milestones. However, it is true that the musical genius of this
man would also have come to the surface under different circumstances.
Leoš Janáček spent his childhood years in a relative family harmony in the picturesque
North-Moravian village of Hukvaldy. His strong bond to the birthplace lasted all his life.
Janáček often returned to Hukvaldy. His departure to distant Brno was a dramatic turning
point in his development. The fact that he was accepted to the Augustinian monastery
school was largely binding and it is true that Janáček kept an open relation to the religious
environment through his whole life. Janáček once said that he “was not convinced about
God”.
The school that was famous for strict teaching gave him first basics of a deeper and quality
music education. He also studied at a grammar school in Brno and when he finished the
school, he went to Prague to study at the organ school. He also broadened his musical
horizons in Germany (Leipzig) and in Vienna. His personal contacts with Bedřich Smetana
and Antonín Dvořák were no doubt a strong impulse for Janáček. After his studies, he
returned to Brno and he founded an organ school there at the beginning of 1880s that he
systematically built as a university where organ, piano, violin and other instrument lessons
were accompanied by general theoretic music education. In addition, he was a conductor
and a composer.
Leoš Janáček soon married his sixteen-year-old student Zdeňka Schulzová. A year later,
their daughter Olga was born and then son Vladimír. However, they both died: his son at
the age of 2 years and his daughter when she was 21 years old. Janáček died unexpectedly
in a hospital in Ostrava on 12 August 1928 of pneumonia that resulted from a cold he got
during his stay in Hukvaldy.
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IN THE COMPOSER’S FOOTSTEPS THROUGH BRNO
Building of Janáček’s Academy of Music at Komenského Square. The school was founded in 1949.
Photo – Jan Chmelíček
Statue of Leoš Janáček in front of the Janáček Theatre / Bust of Leoš Janáček in the
building of the Janáček Theatre / Portrait relief of Leoš Janáček in the foyer of the House
of Meetings in Brno / Bust in the building of the Music Faculty at the Janáček Academy of
Music and Performing Arts at Komenského Square.
The native of Hukvaldy in North Moravia linked his life with Brno. You can find statues of
Leoš Janáček or his name on almost every step. His name is carried by a music festival,
foundation, music competition, the current world-famous string quartet, the Brno opera scene
as well as Star No. 2073. There is a statue of Janáček by Stanislav Hanzl in front of the Janáček
Theatre. The Academy of Music founded in Brno shortly after WWII bears his name. The
object of the today’s Music Faculty of the Janáček Academy of Music and Performing Arts is a
former German school. The house itself is not related to Janáček but the name of the school is.
There is a bust of Janáček inside the school.
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Augustinian monastery in old Brno, commemorative plaque in the courtyard / Statue of
Pavel Křížkovský on the Špilberk hill / Choir of the old Brno basilica.
Augustinian monastery in old Brno. Photo – Jan Chmelíček
Janáček was a very talented singer as a child and so his parents wanted him to leave in order to
study. They chose Brno because Janáček’s father knew the former manager of a choir in old Brno
– Pavel Křížkovský. The Augustinian foundation of the old Brno monastery provided full material
provision to young Janáček in exchange for his performance in the monastery choir, where he also
received quality music education.
Janáček spent four years there and later he returned there as a choirmaster when he took over the
choir after Křížkovský. The monastery is now open to the public during church holidays; visits
are also possible by appointment with the company of the employees of the Mendel Museum
(with a seat in the monastery) who show visitors accessible areas of the monastery seclusion and
basilica.
Building of the former teachers’ institute in Poříčí, commemorative plaque on its facade /
Křížová Street / Mendelovo Square, a place where House No. 2 in which Janáček lived used to
stand.
At the Slavic teachers’ institute (now Department of Architecture of the Brno Technical University),
Janáček studied the organ, piano and vocal and he also worked there as an unpaid music teacher. In
this building, where he passed the exam qualifying him to teach in 1874, he also met the daughter
of the principal, Zdeňka Schulzová, who lived there and whom he later married. After he left the
monastery, he lived in adjacent Křížová Street and Klášterní Square. First he lived in Křížová
Street No. 49 as a tenant, later in No. 46 with his wife and then in No. 2 at Klášterní Square where
he lived until 1909. Today, there is a tramway loop where the house used to stand. He wrote many
of his pieces there; his son and daughter died there and he looked for comfort in his work there.
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Building of Bílý dům at the corner of Veveří and Žerotínovo Square / Commemorative plaque
of the first Czech opera theatre (in front of Bílý dům from the Veveří Street) / The House of
Meetings – exterior, concert hall, courtyard, offices / Divadlo na hradbách (Mahen Theatre) /
Divadlo Reduta at Zelný trh / Building of Janáček Theatre between Koliště and Rooseveltova
Street.
The House of Meetings. Photo – Jan Chmelíček
Two of Janáček’s operas had a premiere in the Czech Provisional Theatre that used to stand in
here until 1970s. In 1894, it was The Beginning of a Romance and in 1904 Her Stepdaughter. The
first Czech scene in Brno was founded in the building of a former dance hall – in response to the
construction of the German city theatre. Today, the building is occupied by a medical facility and
the multipurpose Břetislav Bakala’s hall. Only few people are aware of the fact that the melodies
of two Janáček’s operas used to be played here.
The House of Meetings, built in 1870s as an important cultural and social institution of the revived
Czech society in Brno, played an important role in Janáček’s life: he worked there as a choirmaster
of Beseda brněnská and there was a Russian club that Janáček co-founded. František Pavlík,
a young worker, died on the steps of the house during the street fights for a Czech university.
Janáček, who witnessed those events, later reflected on them in his “Sonata 1 October 1905”.
The House of Meetings is opened to the public during concerts or by appointment with the Brno
Philharmonic Orchestra that resides there.
The Czech Opera Company moved to the building of Divadlo na Hradbách after WWI where it
took turns with the German company. From 1919 onwards, all Janáček’s works premiered there:
Káťa Kabanová, The Cunning Little Vixen, Šárka, The Excursions of Mr. Brouček to the Moon
or The Makropulos Affair as well as The House of the Dead, which premiered after Janáček died.
Janáček’s funeral procession started in the theatre building. The theatre building is open to the
public during its regular theatre operating hours.
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The Reduta Theatre produced many of the works by Leoš Janáček and the National Theatre
performed a play called Leoš in the 2011/2012 season. The Janáček Theatre together with
Janáček’s statue and a bust in its interior is one of the most modern theatre buildings in Central
Europe. Brno paid homage to the great composer by having it built in 1960s. The building opened
in 1965 by staging Janáček’s Cunning Little Vixen. The building was designed and decorated by
contemporary Czech artists – in addition to the team of architects led by Jan Víšek. The building is
decorated with a sculpture by brothers Mrštík made according to a model by Vincenc Makovský,
a bronze statue of Leoš Janáček by Stanislav Hanzl, window sills from hammered copper by Eva
Zoubková-Kmentová and Olbram Zoubek who also made the stone sculpture of the Moravian
eagle by the staircase. The coloured window glass was designed by Stanislav Libenský and
Jaroslava Brychtová and ceramic relief of the face of the theatre club by Ida and Vladislav Vaculka.
Janáček’s bust in the foyer is a work of Miloš Axman. The building is accessible during regular
theatre operating hours.
Former Divadlo na Hradbách, now Mahen Theatre. Photo – Jan Chmelíček
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Janáček Theatre. Photo – Jan Chmelíček
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Corner of Kounicova and Smetanova Street – Chleborád’s villa that used to be the seat of
the organ school and later of the Brno Academy of Music / Janáček Museum – collections,
expositions / Building of the house in the garden where Janáček lived from 1910 until his death
/ Statue of the Cunning Little Vixen at the adjacent Janáčkovo Square / Building of the Brno
State Academy of Music at Kapitána Jaroše, Lužánky Park.
Leoš Janáček’s study in the Janáček Memorial. Photo – MZM archive
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In 1881, Janáček proposed a plan for an organ school that would educate young Moravian
musicians. The school was founded in 1882 but it was not until 1908 when Janáček finally
managed to get a representative building for the school – Chleborád’s villa at Kounicova Street.
The school brought up many excellent musicians, such as Kvapil, Petrželka, Kunc, Blatný, Bakala
and Chlubna. Many of them then continued in the Brno musical tradition at the later founded state
academy of music.
The small Art Nouveau house in the garden of the Chleborád’s villa was build in 1910 at Janáček’s
request with the approval of the Union for Development of Church Music in Moravia. In 1909,
Janáček’s health condition suddenly worsened (heart attack). Doctors ordered him to spend time
in fresh air but without much walking. His home was far from the school and to get there he had
to climb a hill. He did not ride by tram because it was owned by the Germans. He moved to the
house with his wife Zdeňka and lived there until he died, and also composed – Glagolitic Mass,
the piano cycle In the Mist, the symphonic rhapsody Taras Bulba or Sinfonieta.
Today, there is an elementary music school focusing on church music as well as offices of the
music department of the Moravian Museum there. It is possible to visit the rooms of the music
department of the Museum and there is also a study for those who want to see the authentic scores
written by Leoš Janáček. Janáček’s house in the garden of the former organ school is open to the
public and it has been preserved in the form it had when Janáček and his wife lived there. There
are many photographs, documents and also the piano Janáček used to play in the house. Lately,
some original pieces of furniture have been added to the collection. There are guided tours of
the house and also many educational programmes, small music performances, music films, art
exhibitions and concerts are performed there.
There is a statue of the Cunning Little Vixen by Jiří Marek at Janáčkovo Square which is nearby.
The State Academy of Music, which is a successor of Janáček’s organ school, found a building
after WWII at the corner of Lužánecká Street and Kpt. Jaroše – in the vicinity of the Lužánky Park
where Janáček gave his first piano performance as a young boy and where he listened to nature
and drew inspiration on his frequent walks as an adult man.
Janáček Academy of Music / Janáček’s grave at the honorary cemetery of the Central
Cemetery.
Janáček Academy of Music also bears the composer’s name. The foundation of a modern
university of arts in Brno in September 1947 was a fulfilment of the programme that Janáček tried
to enforce for so many years. Today, this university with a faculty of music and performing arts is
a top art school with international prestige. The building itself is not related to Janáček’s activity
and his stay in Brno but it used to be a seat of the German grammar school where T. G. Masaryk
studied.
The last address where the steps of Janáček’s fans from all over the world lead to is his grave
at the honorary cemetery of the Brno Central Cemetery. It is where the famous Brno composer
dreams his great dream next to playwright Jiří Mahen, archaeologist Karel Absolon, poets Oldřich
Mikulášek and Jan Skácel, architect Bohuslav Fuchs and many other prominent personalities of
Moravia. His children Vladimír and Olga are also buried there.
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TO NATIVE SOIL
Leoš Janáček virtually linked all his creative life to Brno. However, it would be a mistake not
to mention his native soil and the place from where he came to Brno as a young boy and where
he lived through the last days of his life. Hukvaldy – many times mentioned place at the border
of Lašsko and Valašsko that was a great inspiration to Janáček and where he drew his creative
energy again and again.
Janáček’s birth house no longer exists. The old school building was replaced with a new multistorey school building in 1877 where a bronze bust by Augustin Handzel reminds us of the
composer’s birth.
Janáček returned to Hukvaldy in 1888 for the first time and then went there for regular visits. In
1921, he bought a house there from his sister-in-law where he spent many days every year. In his
will, he bequeathed the house with the forest, field and garden to the municipality of Hukvaldy
and added an amount of CZK 20,000 for maintenance. His wife Zdeňka had a life right to
use the property. Today, the house has been completely renovated (in 1999–2000, financed by
Leoš Janáček Fund and the public) and it now serves as Janáček’s memorial. Inside the house,
there is an exposition acting as a reminder of Janáček’s relation to Hukvaldy. There is also a
preserved interior of the rooms where the composer used to live with his relatives and friends.
Also, there is a commemorative plaque by Augustin Handzel installed on the house, No. 79, in
a quarter called Podoboří.
The memorial is open to the public daily from April to October daily and by appointment from
November to March at 558 699 252 (mobile: 723 806 274),
or e-mail [email protected].
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Leoš Janáček’s Memorial in Hukvaldy. Photo – David Jurečka
Leoš Janáček’s Memorial in Hukvaldy. Photo – David Jurečka
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CITING JANÁČEK
Melodies in the speech are an expression of the overall condition of the organism and all phases
of the mental activity from which they arise. They show us a man stupid and clever, sleepy and
drowsy, tired and active. They show us a child and an old man; the morning and evening, the
light and the darkness; the heat and the frost; solitude and company. The art in a dramatic
composition is to compose a melody that will magically reveal a human being in a particular
stage of life.
(Loni a letos, Hlídka, 1905)
I carefully examine one day in the life of the man. It is often a meandering gamut of life moods.
The melody of the speech that shows those moods eternally raves! The spoken word shows the
best what character those life moods have. It shows us the name of the mood, its changes and
impulses for such changes. A loud word shows its power, its life energy. The word is a veil through which our soul is looking out and somebody else’s is looking in. The word catches the image
of the external and internal world. When I remain silent, I interrupt this contact in the softest
sphere. The word in its melody is a relief of life that protrudes to both sides.
(Rozhraní mluvy a zpěvu, Hlídka, 1906)
I follow the tracks of tones in the life as they appear: on the street, in a salon. I listen to a mosquito flying around at night and to a bee looking for water in the summer heat. I hear the sounds
of the bells and the whisper of a telegraphic cable. But I most hungrily listen to the expressions
of human soul in the speech – once in a discreet whisper, another time dispirited and fearful,
sharp in passion – with all the harmonies of tones of its surroundings, from the roar of a summer storm to the miniature ringing in your own ear when you are all alone. ...The originals of
the motifs are embedded deeply in my soul, but I do not use them in my compositions. ... Such a
music matter, inherited at some level and completed, is the seed of our own motifs: it binds our
spirit in composing.
(Váha reálných motivů, Dalibor, 1910)
We need to request true language on the stage; we need truth even in the sung words of Czech
operas. There must a difference in the character of melodies between Hančí (Kozina’s wife in
Psohlavci opera, author’s comment) and Kateřina (Lomikar’s wife). Kozina cannot sing in the
melancholic melodies of modern love songs. That is only by the way. The true folk language on
the stage is the only bridge that arches over to the general public. People need to see a lesson
of a true life, their own life in the theatre! The theatre must not be a comedy to the people. It is
not only about beauty on the stage, but also about the truth in everything we see and hear from
the stage. Here, the gallery still laughs when it is supposed to cry!
(Janáček’s comment to a survey about theatre in Moravská revue, 1899, p. 174)
There are as many Broučeks in our nation as there are Oblomovs in the Russian nation. I want
us to be disgusted with such people, to stamp on them and strangle them when we meet them –
but first of all in ourselves; so that we can revive ourselves in the heavenly purity of the mind of
our national martyrs. So that we do not have to suffer for the Brouček character like they suffer
for Oblomov. Such thoughts led my hand when composing The Excursions of Mr. Brouček.
(L.N. No. 351, 23/12/1917)
I come with a young spirit of our homeland, young music; I am not a man who looks back but
a man who likes to look forward. I know that we have to grow and I do not see the growth in
pain, in memories of hardship and oppression. Let’s leave that behind! Let’s imagine that we
have to look forward. We are a nation that shall mean something in the world! We are the heart
of Europe! And Europe must feel that heart...
(From his speech at a festival in London in 1926. V: Listy Hudební Matice, Praha 1926, p. 257 ad.)
76
WHAT HAS BEEN WRITTEN ABOUT JANÁČEK
I lived next to Janáček for years when only his students knew him and respected him. Even our
professors did not understand who he was. This was strikingly demonstrated in Olomouc in
1911 when a concert of Janáček works was being prepared. We were walking towards the concert hall with Janáček and suddenly someone said: They are playing some Janáček tonight, do
you know him? No, it is just some squeaking here and there. So why don’t they play something
proper? – Janáček was not agitated by the dialogue, he just intuitively said: Don’t worry about
that young man; they will understand me in fifty years...
Rudolf Kvasnica, conductor (cited by Miroslav Tmé in Brněnský večerník 05/06/1980)
Janáček taught in the morning and in the afternoon until 4 p.m. at the teachers’ institute and
then in the afternoon until evening at the organ school and composed at night. I remember very
clearly some of the vocal lessons with Janáček at the teachers’ institute: He came, almost did
not notice us and immediately started writing down something that crossed his mind on the way
there. Or sometimes he let us sit by the tables and just walked back and forth with a faraway
look, singing something and sometimes sitting down to the piano to accompany his song. And
then he wrote it down. We knew that he was composing something; we all knew he was a composer. And thus, in such moments, we patiently waited and tried not to disturb him.
(Jan Kunc, Divadelní list 1933/34, Vol. IX., p. 74)
It was not until later when I understood what an extraordinary creative power our teacher had,
he who had to struggle hours and hours every day with students and candidates who had no ear
for music and talent and yet he won as an artist!
(Miloslav Hýsek, Memorial of the Czech public grammar school in Brno, Na poříčí, Brno 1929,
p. 48/49)
77
RECOMMENDED LITERATURE
•
•
•
•
•
•
78
Přibáňová Svatava, Zahrádka Jiří: Leoš Janáček ve Photografiích. Moravské zemské muzeum
2008. Czech and English text, hundreds of photos.
Procházková Jarmila, Volný Bohumír: Leoš Janáček – Narozen na Hukvaldech.
Moravské zemské muzeum 1994. Publication dedicated to Janáček’s birthplace, his childhood,
youth and later visits to his native region.
Procházková Jarmila (editor): Leoš Janáček – Památník pro Kamilu Stösslovou. Moravské
zemské muzeum 1994. Document mapping significant events of the last year of Janáček’s life
– notes from his meetings with the woman he loved very much.
Procházková Jarmila (editor): Leoš Janáček “V mlhách”. IV. Věta. Moravské zemské muzeum
1998. Catalogue with reprints of scores of this work. Completed with an initiation text of the
editor.
Zahrádka Jiří: Divadlo nesmí býti lidu komedií. Leoš Janáček a Národní divadlo v Brně.
Moravské zemské muzeum 2012. Book mapping the relationship of the composer to the first
Moravian scene. Many documents and photographs.
Kolektiv: Svět Janáčkových oper. Katalog ke stejnojmenné výstavě Moravského zemského
muzea. Moravské zemské muzeum, Nadace Leoše Janáčka, Statutární město Brno 1998.
Catalogue mapping Janáček’s operas from the aspect of theatre and costume designing.
The publication also includes knowledgeable texts about the individual operas and their staging
in theatres all over the world.
St. Peter and Paul’s Cathedral. Photo – Jan Chmelíček
79
LEOŠ JANÁČEK – Icon of the Brno Parnassus of Artists.
Educational material for the participants of the project To Know and to Share,
co-financed from the resources of the Education for Competitiveness Operational Programme.
Prepared by Martin Reissner.
Project Methodologist and Text Editor: Jan Chmelíček.
Project Manager: Zuzana Vojtová. (2012)
80

LEOŠ JANÁČEK

Transcription

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