Czech Music in Nebraska

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Ceska Hudba v Nebrasce

OUR COVER PICTURE

The Pavlik Band of Verdigre, Nebraska, was organized in 1878 by the five Pavlik brothers: Matej, John, Albert, Charles and Vaclav. Mr. Vaclav Tomek also played in the band. (Photo courtesy of Edward S. Pavlik, Verdigre, Ne Nebraskaraska ).

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Editor Vladimir Kucera

Co-editor DeLores Kucera

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Copyright 1980 by Vladimir Kucera

DeLores Kucera

Published 1980

Bohemians (Czechs) as a whole are extremely fond of dramatic performances. One of their sayings is “The sStage is the sSchool of lLife.”

A very large percentage are good musicians, so that wherever even a small group lives, they are sure to have a very good band.

Ruzena Rosicka

They love their native music, with its pronounced and unusual rhythm especially when played by their somewhat martial bands.

A Guide to the Cornhusker State

Czechs—A Nation of Musicians

An importantA typical aspect of Czechoslovakian folklore is music. Song and music at all times used to accompany man from the cradle to the grave and wereas a necessary accompaniment of all important family events. The most popular of the musical instruments were bagpipes, usually with violin, clarinet and cembalo accompaniment.

Typical for pastoral soloist music were different types of fifes and horns, the latter often monstrous contraptions, several feet long.

Traditional folk music has been at present superseded by modern forms, but old ruralold rural musical instruments and popular tunes have beenhave been revived in amateur groups of folklore music or during folklore festivals.

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ZLATE CESKE VZPOMINKY

GOLDEN CZECH MEMORIES

There is an old proverb which says that every Czech is born, not with a silver spoon in his mouth, but with a violin under his pillow. Such a saying is certainly testimony to the musical proclivities of this western outpost of the Slavic race.

Suffering forges the great links in the chain of musical expression. Perhaps this accounts for the emotional beauty of Czech music. For the Czechs have loved their country with a passion—and their land has been invaded, raped and divided innumerable times in the last thousand years.

All the pathos and pride of such a heritage have spawned a beautiful melancholy into the romance of Czech music. The triumphs and travails of these valiant people, who have resisted destruction with their love of the land, have developed led to folk melodies and dances that gave birth to the musical genius of such sons as Dvorak, Smetana and Janacek.

Czech dancing and singing are the products of hundreds of years of change wrought by the course of history. The culture, learned and folk, of the Germans, Hungarians and Austrians who dominated the country for centuries and, theand the Reformation under Jan Hus, which heralded the awakening of the nation, left their signature on Czech folk art.

The Hussite movement in Bohemia and Moravia, in the 15^th century brought about the cultivation of a new religious music. Like other nations embarking on a new historical period, tThey used secular melodies and set new words to them in keeping with the spirit of the new nationalism.

It is even said that the Czech Hussites routed the Imperial German Army with the singing of “Ktoz jsu Bozi bojovnici” (Ye, warriors of the Lord).

Underneath this layer of folk history lies an even older one that goes back to the time when these ancient Slavs worshipped pagan gods. The songs for the New Year, Easter and Christmas, in spite of their Christian disguise, reveal ancient rites and beliefs in the texts. , ancient rites and beliefs. Some of them are still sung today.

Shepherds songs, love songs, songs of nature and dance songs abound in Czech folk music. Many ancient ceremonies and tunes are connected with burying the stuffed effigies representing Death as a way of greeting the advent of Springspring. At harvest time a “wheat-bride” is chosen. On May Day eve (Walpurgis Night) fires are kindled to rid the locale of witches. Most of these customs have dwindled out. One of these old New Years’ Day songs (koledy) set down in 1426 by the priest Jan of Hoksov was still sung in the 19^th century—with some variation, of course. Melodic elements of this ancient model are also found in some wedding and harvest songs.

The Czech people are the most wWesternized of all the Slavic people. Even though they originally came from the East, their music in the last few centuries has shown its face to be more Western. The melodies are dominated by a harmonic feeling, rhythms are simple 2/4 ,or 3/4, or a combination of both for many dances. Even when a few declamatory, slow melodies are found they are made to conform to a metrical pattern.

The lyrics of these songs most often tell of the beauties of peace and love rather than the glories of war. From the beginning , the Bohemians and the Moravians, like their Slavic brothers, were herdsmen and farmers. Even their early mythology has no war-like gods, no symbols to glorify militarism. Slavic songs sing of nature and the tenderness of love. When they tell us history, it is to lament the loss of liberty, the death of a hero, or to tell us the splendor of a city conquered by the enemy.

Czech music is made in a single spirit, which gives men the culture of God and not an injected culture. That is why the Czech music, so long as it springs from this source, will join all countrymen in solidarity. Music binds all nations and all people with one spirit, one happiness, one paradise.

The enchanting Czech melodies that have inspired musicians—where do they come from? What gave them shape? Leaf through dusty tomes, peer through ancient Church archives, remember the tragedies, the heroism and the love to find the answer. Or, if you could see the Czechs in their handsome costumes dance the furiant, the polka, the kolecko, the rejdovak and the rejdovacka during the many holidays and feast days the story would come to life before your eyes—all the “zlate vzpominky”.

Mrs. DeLores Kucera

(Picture on Page 7) Mikulas Ales:

A young violinist

CZECHS: THE MOST MUSICAL PEOPLE OF ALL EUROPE

The Czech people have always been recognized as specially gifted musically ands tens of thousand folk songs bear witness. Music, often called the languagespeaking of the heart, occupies the foremost position in the cultural art field of the Czech people. The National Anthem, festival songs, love songs, religious hymns, patriotic and Sokol songs and the simple folk songs that speak of the things closest to the heart of every Czech:, love of homeland, church, family and friend., Theseall combine to form the richest segment of the Czech folk and artistic art.

Some of the songs are carefree and happy. Some are sad and melancholy, but they all bear the startling resemblance of reflectingreflect the everyday emotions of a nation of Czech people. MThe musical historian, Charles Burney, in 1773, called Czechs the most musical people of all Europe. (Note 1)

Music is an integrated part of every Czech’s way of life; at home, in church, at work and on festive occasions. The partisans created their stirring patriotic songs during every political, cultural and religious oppression.

On the contrary, the Slovak music shows the heavy influence of the Hungarian music (sometimes referred to as gypsy rhythm). This influence came about when theduring Slovak nation was ruled almost athe nearly thousand years and the Slovak nation suffered under the Hungarian rule over-lords. Perhaps a change never came afterward due to the fact that thebecause Slovaks never entered under the influence of Czech and Western music.

The Czech and Moravian songs are an entirely different sphere of melody. They typify the happy and gay spirit of a happy and gay people.

Czech national songs are centuriesy old, with their originoriginiatingoriginating as far back as in the period of the prehistorical age of our nation. EvenAlready during pagan times, our forefathers had love, and dance and even war songs., indeed the war songs too. They also had mourning songs to sing, which they were singing on the graves and special exorcist songs against diseases.

In the early time of Christianity, when all the culture was only a privilege of clergy, the secular folk songs were damned and therefore were not recorded. But just enough early Czech folk songs are documented in the country. FJust for example: one of the followers of the Chronicler Kosmas (See note 2), Canon Pragensis Vincentius, who lived in the 12^th century, describing the glorious Italian campaign of the Czech king Vladislav, did remarked that during the preparation for this campaign in 1158 , the war songs were resounded throughout the Czech lands.

Later, we have information about a song thatwhich accompanied the old pagan custom ofto carrying out the image of Morana, the goddess of winter and death, from the village. The songs did started with these words: Vele, vele, stoji dubec prostred dvora (See, see, the oak stays in the middle of the yard).

During the early time of Christianity, the educated priests composed only the religious hymns.

One of the oldest written documents is the hymn “Gospodi, pomiluj ny” (Lord, have mercy upon us). The earliest version of this hymn, from the 11^th or beginning of the 12^th century, is written in athe language resembling the Old Slavonic language, but with some Czech locutions. Some historians attributed this hymn to Svaty Vojtech (Saint Adalbert) 956-997, the first Czech bishop of Prague, Bohemia. Therefore, the title of this song was called “Saint Adalbert Hymn”.

This hymn is sung in modernized language in Czech churches in our time still:

Hospodine, pomiluj ny, pomiluj ny – smiluj se nadnami

Jezu Kriste, pomiluj ny.

Ty Spase vsehomira, Spase – Spasiteli ()Saviour)

Spasiz ny I uslysiz;

Hospodine, hlasy nas,

Dej nam vsem, Hospodine,

Zizn a mier v zemi! Sizn – uroda (crop)

Mier – mir (peace)

Krles, krles, krles!

The invocation Krles, an expression of the Old Slavonic language, is resemblingresembles the Latin invocation Kyrie eleison.

THE SAINT WENCESLAS HYMN

Another very ancient and historically important hymn is

(Music of Hospodine, pomiluj ny, Page 11.)

the “Saint Wenceslas Hymn” (Svaty Vaclave), invoking the Prince, Saint Wenceslas, Patron of the Czech country. The date of this hymn cannot be ascertained either, but there is evidence that the veneration of the murdered Prince Wenceslas was already underway in the 11^th century.

The composition of the hymn, which is rhymeless with , but had frequent assonance, also proves its antiquity.

Saint Wenceslas, Duke of the Czech lands. Svaty Vaclave, vevodo ceske

Our Prince, pray to God for us, zeme, knize nas, pros za nas

And the Holy Ghost! – Kyrie eleison! Boha, Svateho Ducha,

Kriste elejson!

O, Thy, Inheritor of Czech lands, Ty jsi dedic ceske zeme,

Remember Thy race, Thy people, rozpomen se na sve pleme,

Suffering not us nor our children nedej zahynouti nam ni

To perish, Saint Wenceslas! Budoucim, Svaty Vaclave!

Kriste elejson

Many additional verses were added to this hymn when it became very popular. And this hymn was a part of the coronation of the Czech kings.

To this old religious hymn we may add two Easter church songs: “Jezu Kriste, scedry kneze” (Jesus Christ, Generous Prince), and “Boh vsemohuci” ()Almighty God), both from the 14^th century.

Jan Hus nationalized the Czech liturgy and prepared, for his faithful in the Bethlehem chapel, some religious hymns in Czech in the year 1410-1412.

The Hussites, his followers, strictly opposed ornate church liturgy, and also, unfortunately, the liturgical art music. This delayed the development of music in Czech lands for by at least two centuries. (See note 3)

The great strategist Jan Zizka, the military leader of the people’s army of Hussites in the victorious campaigns, was the author of the war-song or war hymn “Ktoz jsu Bozi bojovnici” (Ye, warriors of the Lord), which has often been called the Czech Marseillaise of the 15^th century:

You who are champions of God and of His law,

Pray Him to assist you and laud Him and His law,

So shall we conquer through God and be victorious\

Kdoz jste Bozi bojovnici a zakona Jeho,

Prostez od Boha pomoci a doufejtez v Neho,

Ze konecne s Nim vzdycky zvitezime!

Our Lord has told us not to fear those who can kill the body,

But keep Him near, and fight with will.

Fight valiantly them with no fear and make strong your hearts

Tent Pan veli se nebati zahubci telesnych,

Velit I zivot ztratiti pro lasku bliznich svych,

Proto posilnete zmuzile srdci svych

From the 15^th and 16^th centuries we have a few folk songs. FJust for example: the song “Zalo devce, zalo travu” (A girl reaping the grass) isand popular song in our time, but originally this old folk song did startstarted differently: “Pekna Kaca zala travu” (A nice Catherine was reaping the grass).

The most numerous of The largest number of folk songs are from the 18^th and 19^th centuries, from the period of the deepest national and political destruction, from the stormy period in whichwhen the Czech nation struggled for its cultural existence and for the independent national life

And it was the common and simple people in the small towns and people in villages who saved and preserved spirit and language mostly with folk songs. If we may cite just a few: For example, the popular song “Horo, horo, vysoka jsi” (O, mount, mount, how high you are) was composed in 1834 in the jail in Jicin, Bohemia, by a soldier expecting the death penalty for murdering his girlfriend.

Many of theose folk songs from these centuries have much lyrical and musical worthprize and have had a deep influence onfor the development of modern music (Dvorak, Smetana). Also influential are Vaclav Hanka’s (Note 3) song “Vystavim si skromnou chaloupku” (I will build a spare cottage), and the songs “Moravo, Moravo” (Moravia, Moravia), “Nad Berounkou pod Tetinem” (Up the river under Tetin), “U panskeho dvora” (At the Lord’s yard),
Byvali Cechove”, “Tazete se proc jsem Slovan” (You are asking me why I am a Slav), “Cervena, modra fiala” (The red and blue violet).

A very popular modern time folk song “Koline, Koline” (O, Kolin, Kolin) has its origin after the battle at Kolin, Bohemia, 1757.

THE SONG OF THE NATIONAL PRIDE – Choral naarodni hrdosti

The Czech National Anthem “Kde domov muj” (Where is m,y home) has its origin in the operatta “Fidlovacka aneb zadny hnev a rvacka” (The Fidlovacka or not any anger and fighting). The mMusic of this drama was composed by Frantisek Skroup and the lyrics by Josef Kajetan Tyl.

The operetta “Fidlovacka” was at first performed on December 21, 1834 in the Estate Theatre (Stavovske divadlo) in Prague, Bohemia. The main reason goal of this play was to strengthen the national feeling during thea period of very rigid cultural oppression. The song “Kde domov muj” was performed in the fourth act of that operetta.. In the scene, all was quiet when the actor Karel Mares, portraying a blind violinist, first started with his saying: “Mnoho neumim, co ale dam, jde ze srdce” (Much I don’t know, but what I am giving you, it is coming from my heart). Then, after a short prelude of violin and horns, the singer Karel Mareshe sang with deep affection is singing about the beauty of the Czech land and about its people:

Kde domov muj? Kde domov muj?

Voda huci po lucinach,

Bory sumi po skalinach,

V sade stkvi se jara kvet

Zemsky raj to na pohled.

A to je ta krasna zeme,

Zeme ceska, domov muj,

Zeme ceska, domov muj.

Where is my home? Where is my home?

Rivers roar through the meadows,

Pines rustle over the mountains,

The spring flowers brilliantly

Bloom in the orchards,

And at first sight behold

An earthly paradise!

And this beautiful land is Bohemia,

My country, my home, Bohemia,

My country, my home.

But, after the first performance, thethis operetta “Fidlovacka” was forbidden because the Austrian police in Prague were worried that thethis play-- especially the aria “”Kde domov muj”-- would excite incite the Czech people against the tyranny of the Austrian government.

(Music of “Kde domov muj?” on Page 16.

This song “Kde domov muj” is essentially characteristic of the Czech people. There are no battle cries or praise of king or kingdom, there is just the humble admiration of the people for the beauty of Czech rivers, woods, meadows, and majestic mountains. There is a reverence to their homeland as a paradise on earth. Historians of music have marveled at the simplicity of theis song, “Kde domov muj”, and soon the is aria was accepted by all the nation and consequently recognized as the official National Anthem in 1918 when an independent Czechoslovak Republic was born.

THE AUTHOR OF THE LYRICS OF ‘FIDLOVACKA’

Josef Kajetan Tyl (1808-1856), the author of the lyrics of this operetta, was born on February 4, 1808, in Kutna Hora, Bohemia, into the family of an army musician and later a tailor. During his high school days in Prague, J. K. Tyl was deeply influenced by some of the activities of the leaders of the National Revivaling, especially by linguist Josef Jungmann (1773-1847) and Tyl’s forerunner Vaclav Klicpera (1792-1859). Later J. K. Tyl started to study Philosophy, but his love for drama and dramatic activity was much stronger. Therefore, he left the Faculty and he dedicated his entire life as a writerto writing of more than one hundred dramas, mostly about Czech history, and as being a member of athe traveling dramatical company. But, his writing and acting life could not support him. He was persecuted by the police and close to death and without money when he died July 11, 1856, in Plzen (Pilsen), Bohemia.

Thousands and thousands of the Czech folk songs were composed during the 18^th and 19^th centuries. YThe young people, after working hard as slaves in the fields of the noblemen, were sittingwould sit at night in the village square and singing. Some gifted girl or boy wrote lyrics, others in the group composed the music, and from that a folk song was born.

How rich is thea treasure of our folk songs. The most precious aspects of Czech folklore were conceived by the Czech people themselves and furthered by the great musical artists too. This can be seen in thee compositions of Antonin Dvorak, his operas, symphonies, Biblical songs, the artistic work of Bedrich Smetana, his famous opera “Prodana Nevesta” (Bartered Bride), the work of Zdenek Fibich, Janacek’s musical compositions in the modern time and rich line of other modernists.

The most popular composer of modern folk songs was Karel Hasler, considered a patriotic martyr for the song he composed during the Nazi occupation of Czechoslovakia,

hHis political parody (skit) of the song “Pisnicka ceska” (Our Czech song). His parody:

To je ta pisnicka Ceska

Kterou si zpivame dneska.

Poslyste, lidicky, zahodte vidlicky,

Bez tak uz neni co zrat.

Vsecko nam sebrali,

Vsecko nam sezral,

Nechali jen ten protektorat. (See note 5)

To je ta pisnicka Ceska,

Kterou si zpivame dneska.

(See note 6)

Hosi od gestapa, vy tu pekne spite,

Vy se odtud domu nikdy nevratite.

Nevratite se vy nikdy domu zpatky,

Budou pro vas plakat otcove I matky,

Zustante tady jako bidne tretv.

Budu pro vas plakat otcove I matky.

It is that Czech song,

That we are singing today.

Listen, folks, throw away the forks,

Anyway there is nothing to eat now,

All they took from us.

All they devour from us.

And left the Protectorate to us.

It is that Czech song,

That we are singing today.

You bad men of the Gestapo,

You are nicely sleeping here,

But you will never return

You will never return

You will never return to your homeland.

Karel Hasler was arrested by the Gestapo on October 17, 1941, and sent to the concentration camp in Mauthausen, Germany. One early morning in the winter time, he was stripped nude, he was and tied with other prisoners under the icy shower and left there until his death on December 22, 1941.

Karel Hasler , popular composer of folk songs, gave to his beloved country and people many songs. His most popular songs are:

Kdyz se nad Prahou vecer sklani Na cisarske louce stoji rada topolu

Nad Prahou tancily hvezdicky Po starych zameckych schodech

Hosi od Zborova Vltavo, Vltavo, vodicko hluboka

Musiky, muziky and hundreds of others

Pisnicka Ceska

Our music and, our folk songs, are the sweetness of the Czech soul, so devoted to the homeland because it is thea beating of our hearts.

Ta nase pisnicka Ceska, Our Czech song is so sweet,

Ta je tak hezka, tak hezka, it is so sweetly alluring,

Tak jako na louce kyticka, just like flowers on the meadow,

Vyrostla ta nase pisnicka. That’s how our song has become.

Az se ta pisnicka ztrati, Then, if we should lose our songs,

Pak uz nic nebudem mit, nothing in life will remain,

Jestli nam zahyne, if it should ever die,

Vsechno s ni pomine, each thing will pass away,

Potom uz nebudem zit. Nothing in life will remain.

Partly from an article “Music in Czechoslovakia”

By Vladimir Kucera in his book “Let us learn

Czech”.

Notes

1. “Every Czech a musician” was a famous slogan and the great English music historian, Dr. Charles Burney (1726-1814), who in 1771 traveled in Central Europe, wrote this in his travelog:--I had frequently been told that the Bohemians were the most musical people of all Europe. An eminent German composer, now in London, had declared to me, that if they enjoyed the same advantage as the Italians, they (Czechs) would excel them. I crossed the whole Kingdom of Bohemia from south to north, and being very assiduous in my enquiries, how the common people learned music. I found out at length that not only in every large town, but in all villages, where there is a reading and writing school, children of both sexes are taught music”

The Present State of Music in Germany, the Netherlands and United

Provinces,--(London 1775: newly edited by Percy A. Scholes as An 18^th

Century Musical Tour in Central Europe and Netherlands. London Oxford

University Press, 1959) Cf. Chapter X, p. 131,32

2. Kosmas, Canon Pragensis, the author of Latin :Chronica Bohemorum” (Kronika Ceska) and called “the father of Czech history.” His work consists of three books, but was only after Bozetecna’s (his wife) death in 1117, that Kosmas began his great historical work.

3. Vaclav Hanka (1791-1861), a poet and philologist. From his collection of folk songs entitled “Pisne” (Songs), still popular are: “Moravo, Moravo” and “Vystavim si skromnou chaloupku.” It was Hanka who supposedly found the famous ancient manuscripts: “Rukopis kralovedvorsky and Zelenohorsky” (Queen’s Court and Green Mountain Manuscripts). Some modern literary historians and especially prof. Tomas Masaryk declared those Hanka’s manuscripts as forgeries. But the importance of the manuscripts for Czech national ideology, poetry and art at that time cannot be overestimated.

4. Fidlovacka (the shoemakers festival) is an instrument used by shoemakers as a slicker of hide

5. Protektorat. March 15^th, l939, the second black day for our nation. A definite liquidation of Czechoslovakia. On short Hitler’s order the “Protektorate Bohmen and Mahren” was created. For next several years the brown tyranny suppressed all human rights in my country.

6. Gestapo. Geheime State Polizie (Secret state police), terror of those creatures “black dressed SS men” sent thousands of Czech men, women and children to the concentration camps and killed there 400,000 mostly educated Czechs.

MUSIC AND THE CZECHS IN AMERICA

By Dr. Josef Cada

At a time when the recreation of so many of us demands the services of others and when we choose to be onlookers rather than performers, the manner of passingsatisfying our leisure moments before the advent of the stereo or television seems like a page torn out of a book on the Baroque Era.

With each passing day we tend to function more and more as recipients rather than donors. Yet, not too long ago, there was a time time was when the more active members of every Czech family engaged in some recreational physical exercise or, when and if they were artistically inclined, they toyed as an amateur with some musical instrument.

Most all who lived in a Czech, or for that matter, in a central European neighborhood, will verify that most evenings and weekends the air of the community was filled with the sounds of music.

Singing in lay or church choral societies was quite popular. Many a church loft became not only a place to worship God through songs, but also to experience a sense of keen competition for solo parts.

Music Tto the people immigrated from Bohemia and Moravia, music became the preferred and effective way of communication with native Americans. It served as a means of their introduction to the American culture of their time far more tellingly than the spoken word.

DVORAK DIRECTED THE BOHEMIAN DAY

Czechs, even as late as the 1920’s, recalled with misty eyes the “Bohemian Day” of August 12, 1893. , aAt the World’s Columbian Exposition, when their already renowned countryman, Antonin Dvorak, directed a huge all Czech-American choir and orchestra in his works at the Festival Hall and assisted with similar success at the “Russian Day” of the World’s Fair.

Productions such as the one gracing the “Bohemian Day”, which according to some sources drew the second largest attendance of the Exposition, were not exceedingly difficult undertakings for the Czech communities. STheir singing societies were established in all larger Czech communities. Chicago, for example, founded its first noteworthy choir, the “Lumir” in 1862, and Detroit, Cleveland, New York, Milwaukee St. Louis and other Czech centers soon followed. These first societies were, for the most part, sponsored by a cultural organization known as the Slovanska Lipa which alsoin addition foundedstood at the cradle of Czech-American dramatic clubs and the gymnastic groups known as the Sokols.

IN 1900, FOURTEEN SINGING GROUPS IN CHICAGO

While the life of individual choirs can be traced through only such fragile and seldom preserved documentary sources as concert programs, it is still feasible to assume infer the nature of their development and function from such prototypes as the singing societies of Chicago. The dozens of choirs which grew up in America were usually adjuncts of fraternal, labor and social organizations.

In 1900 there were fourteen singing clubs in the Chicago area. They presented periodic concerts and musical plays. As joint organizations they performed at important events, such as the St. Louis Exposition of l904 and the Century of Progress Fair of 1933 and 1934. Of the many Chicago choirs, two in particular enjoyed a long and fruitful existences. One was the still functioning Lyra, (Lyre), the other the Cesko-Delnicky Pevecky Sbor (Bohemian Workman’s Singing Society), established in 1870 and 1890 respectively. In 1879, the Lyra added to its ranks a women’s auxiliary, known as the Lada (Harmony). On May l, 1887, together with other Czech choirs, it produced the monumental and then recently written “Stabat Mater”, for which Antonin Dvorak received an honorary doctor’s degree at Cambridge University.

In 1895 the Lyra marked its twenty-fifth anniversary by establishing a union of Chicago Czech choirs. This mademaking possible annual musical festivities in the manner of German-American singing societies. The union presented two such festivals in 1898 and 1900 at Chicago’s Sudebaker Theatre. The second had considerable value in the matter of relating the Czechs to the city’s cultural life. Its guests were distinguished musical and public figures.

BOHEMIAN WORKMEN’S SINGING SOCIETY

A meeting of labor organizations held in Chicago during October 1900 resolved upon to establishment of the Cesko-Delnicky Pevecky Sbor or the Bohemian Workmen’s Singing Society as it was publicly known.

In nature and range of activity the labor Society equaled the efforts of the Lyra. Beside the usual public performances expected of it, it also sponsored notable musical events. In June of 1903, for example, it presented and accompanied Ruzena Maturova, the principal soprano of Prague’s National Opera, the Narodni Divadlo. It participated in the choral festivities conducted at the St. Louis Exposition of 1904 and at the Bohemian Night of the University of Chicago in November 14, 1917, where as a token of Czech-American propaganda, it sang Dvorak’s stirring cantata “The American Flag”.

AFTER WORLD WAR ONE

After World War One, as a foretoken of the dusk which would soon was to gather over so many facets of ethnic-American life, the Workmen’s Singing Society joined ranks with the Lyra to form the Bohemian Workmen Singing Society Lyra. This new group also became a principal member of the Czechoslovak Choral Association, already formed during World War One, of several men’s male and women’s choirs in Chicago.

Like the dramatic societies of the same periodwhose contemporaries they were, the singing circles raised the cultural sights of the Czechs and created respect for their community in the eyes of the American people. e Even today [1980] the Bohemian Workmen Singing Society Lyra carries on. Its voices, however, are no longer those of enthused immigrants from one-time Bohemia and Moravia, but rather those of aging men whose ranks are occasionally rejuvenated by recent escape arrivals from Czechoslovakia.

Church choirs, though limitedrestricted in their public activity, haves also played a part in Czecho-American cultural life. As early as 1876 the periodical “Hlas” of St. Louis announced a sacred concert at St. Joseph’s Church in Carlton, Wisconsin. Later it carried an appreciative article regarding a vocal training school conducted by Fr. Vojtech Cipin for the improvement of the quality of church singers. The good Father maintained that when the Czechs learned to sing better they would will then also become better Christians.

Czech-American Catholic church history records a long list of clergy who insisted on excellence of performance in liturgical music. Some, like Fr. Bohumil Mateju of the Redemptorists in New York or Alois Mergl of Chicago, both trained singers, were also amateur composers and raised their choirs to high degrees of musical ability. The faithful themselves became sensitive to the quality and nature of singing during the services. At St. Stanislas Church in St. Paul the question of the choir’s overly operatic singing stirred a spirited parish argument. The issue required a settlement by Archbishop Ireland, who after hearing the choir, pronounced its performance acceptable..

CRETE ORCHESTRA IN NEBRASKA

In instrumental music Czech-Americans earned a nationwide reputation as instrumental music performers. Their bands were a matter of community pride. Every large settlement had one which excelled in its time. In Texas it was the Baca Band of Fayetteville and Pekar Band of Damon. The Czech Band of Milwaukee vied with the best of brass ensembles of that city in the 1860’s. In Cleveland many of the Czechs played in brass bands. The leading organizations were Jan Zamecnik’s Light Artillery Band and the Western Band led by Frank Hruby. In the pioneer days of Nebraska it was the popular Crete Orchestra which used “to drive to Lincoln back in Governor Butler’s day and play at the dances in the capital.”

CZECH MUSICIANS AND BANDMASTERS IN ARMED FORCES

A number of Czechs as bandmasters were held in high esteem as bandmasters in America’s armed forces. Some of the bestwell known were Joseph Buchar at West Point, Emmanuel Bolech in the Brooklyn Navy Yard, J. Jicha on the battleship South Carolina, F. Karasek of the Columbus, Ohio Arsenal and V.F. Safranek at Fort Snelling. In 1917 the Czech Band of Chicago offered its services to the American Army and was formed into he military band of the Thirty-eighth Infantry Regiment at Syracuse, New York. Of Czech bandmasters, finally, the one who finally reached nationwide fame was Bohumir Kryl. His reputation was based not only on his ensemble, but also on the fact that he was a cornet virtuoso and a soloist with the Sousa Band.

The opportunitiesy to earnof earning a living by playing were invariably good. Musicians were employed for every possible reason. Even amateurs could earn a dollar playing in funeral processions whenever the family of a bereaved one desired to stage an elaborate funeral and doubled or tripled the number of players. Lodges, parishes, clubs and associations of one sort or another had their annual dances and summer picnics by the hundreds each year and required the services of a band for the same. Entra’acte music was indispensable in the many amateur and professional plays presented annually from September to May.

While the services of the brass and woodwind players were usually restricted to the Czech community, musicians of string and keyboard instruments found employment in wider areas as members of ensembles or as soloists.

CZECHS IN THE SYMPHONY ORCHESTRAS

Czechs filled the chairs of every instrument section of the Chicago Symphony Orchestra from the day of its establishment in 1891. They were similarly well represented in the New York Philharmonic and Boston Symphony orchestras. Larger Czech- populated cities, with enough professional or semi-professional string musicians commanding stringed instruments, frequently supported chamber orchestras, quartets and trios. Chicagoans enjoyed the opportunity to attend orchestral concerts by Czech players as early as the 1880’s, and in 1910, the active Czech society for the advancement of chamber music existed in the city. Because of its strange cultural and artistic orientation, the East, most especially New York, engaged a large number of musicians of Bohemian extraction. Those in this category worthy of mention were such as Victor Kolar, the conductor of the Detroit Symphony, Rudolf Friml, famed for his musical comedies, Wenceslaus Raboch, whom critics declared had not many equals as an organist and Joseph Kovarik, a viola player with the New York Symphony and guide to Antonin Dvorak were notable in this category..

VISITING ARTISTS FROM CZECHOSLOVAKIA

Czech-Americans’ musical reputation was likewise enhanced by visiting artists from Bohemia. The arrival of each was an event to be remembered for a long time in the community. “It was no small matter to see the name of a famous countryman appear on a poster of advertisement,” said one commentator on Czech-American life. The event itself was a topic of discussion in the settlement and gave rise to banquets, public receptions and soirees honoring the artist. . The turn of the century provided several such opportunities. In 1895, the violinist , Frantisek Ondricek visited America , after a triumphant tour of Europe.e, visited America. In 1901 Jan Kubelik began initiated the first of his several tours and a year later Jaroslav Kocian, an equally great compatriot, followed him. From 1908 to 1916 Emma Destinova reigned as a prima donna at the Metropolitan and the same stage hosted the tenor of the Narodni and several European opera houses, Karel Burian.

Indirectly, the Czech community shared reflected glory in the performances of German artists born in Bohemia, like the renowned Madame Schumann-Heink, Leo Slezak of the Metropolitan or Gustav Mahler or G

ustav Mahler, the eminent composer and conductor responsible for introducing the “Bartered Bride” at the Metropolitan Opera on February 19, 1909.

In 1892, the Czechs of America struck an especially powerful chord in their cultural recognition through music. Antonin Dvorak, the composer, came to the States to assume the directorate of the New York Conservatory of Music. The choice in itself was a significant recognition of the part played by Bohemia played in the realm of Europe’s intellectual and artistic life, for Mrs. Thuber, the founder of the conservatory, was a woman of pronounced ambitions for her school. It was said that she always aimed at the “big game.” On her faculty were teachers of the caliber of Anton Seidle of the New York Philharmonic, Victor Herbert, W. Safonoff, the distinguished Russian conductor and James G. Huneker, one of America’s leading musicologists and critics.

DVORAK’S PRESENCE BECAME A STRONG INFLUENCE TO AMERICAN MUSIC

Dvorak’s presence became a strong influence in calling the attention of the American intellectual and musical world to the Czech people. Yet, he was a man of simple tastes and democratic bearing. His undisputed prominence as a composer was no barrier to conviviality or intimate relationships with his countrymen in the States. His vacation at Spillville, Iowa, and ole Bohemian village, became a legend cherished and often recounted by later generations. He was simple, pious and familiar with his acquaintances. Still, not unlike other geniuses, he had his moments of unpredictability and moodiness. These , traits earned him sobriquet of “Old Borax” among his students and musical associates.

Dvorak’s fame and activity naturally reflected on his countrymen living in America Here was a son of a nation of six million teaching a nation of 70,000,000 how to write music and composing for it the “New World Symphony”, the “American quartet”, the cantata “American Flag” and the “Humoresque”.

DVORAK CONCERNED WITH THE AMERICAN MUSIC

Dvorak was deeply concerned with American music and left a definite imprint on it. He took his task at the cConservatory to be not so much to interpret the great masters, as to give what encouragement he could to the young musicians of America. He endeavored to impress them with the idea that American music must find its source in Negro melodies, Indian chants and Creole songs, which he considered as unique in character as the melodies of his homeland. His fascination within plantation music led him to a concentrated attention on the Negroes in his classes. In January 1894 the Conservatory gave a program in which all but one performer were blacks Dvorak also wrote his immortal “Cello Concerto in B Minor” in New York. He was inspired to do so by the appearance of Victor Herbert’s son own concerto for the instrument, written at the time when the latterwhen Herbert was the first cellist of the New York Philharmonic.

Since the Czechs of America distinguished themselves in no field of artistic endeavor the Czechs of America had acquitted themselvesas much nearly as well as they had in music, they confirmed the old slogan of the home country that, “he who is a Czech is also a musician.”

The Bohemian and Moravian brought much musical wealth to the States. If today this contribution is almost exclusively realized on the concert podium or by an occasional production of the stage or concert versions of Smetana, Dvorak or Janacek’s works, it is largely because America’s taste in aesthetic matters has taken a path towards the elemental. In this form thatThat direction is encouraged by the radio, stereo and television. Unfortunately, these trends are encouraged by the comfort into which many an American has fallen, not knowing the techniques of personal musical performance in instrumental or vocal production and thereby lacking in judgment of what is beautifully enduring and inspiring.

This article by Dr. Josef Cada by the courtesy of the Czech weekly magazine HLAS NARODA, Chicago

The social feature is very important to people from a foreign country for they naturally have a sentiment for their native land and like to meet others of their kind. Their gymnastic (Sokol), dramatic and singing societies supply needs of a social character and no community of any size is without at least one.

THE GREAT CZECH MUSICIANS

( Picture of Antonin Dvorak p. 33)

(Picture p. 34)

His Eminence, Josef Cardinal Beran, with Josef Janecka, during the Cardinal’s visit to Chicago, April 23-

(Copy of Envelope)

This envelope was sent to me by Josef Janecka of Riverside, Ill., President of the “First Czechoslovak Philatelic Club of America,” elected in 1959 and still President in 1980. Also he is past President of “Society for Czechoslovak Philately.” Josef has issued only 250 copies privately to honor this great Czech composer.

ANTONIN DVORAK (1841-1904), THE Princewas the prince of Czech composers and his musical spontaneity and powerful, inventive talent made him a unique figure in the history of Czech as well asand American music.

At the age of sixteen he ventured under many hardships and poverty to Prague, enduring many hardships and poverty.Bohemia to study his “life-long love”—music. His earliest famous works were “The Slavonic Dances” (Slovanske tance) so well known for their combination of moods and temperament.

Dvorak is best known for his “New World Symphony” (Symfonie Noveho Sveta), a masterpiece that made critics call him the “fFather of American mMusic.”

Dvorak was visiting the United States as the guest director at the New York Conservatory of Music in 1893, when he visited the small Czech community of Spillville, Iowa., Wand while there, he was motivated by the beauty and tempo of the Indians performing their musical rituals. He considered these rituals, and the melancholy, gay and gracious melodies of the American Negro folk songs, as to be all that was needed to produce a masterpiece of American music which that would dispel the idea that America was not actually rich in folk music and original serious music. The critics acclaimed this symphony as one of the most important works in the history of American music. During the close of the symphony, the “sSecond mMovement”, of the symphony, which betrayed his feelings of homesickness for his beloved Bohemia, the audience sat with the tears rolling down their cheeks. Antonin Dvorak was praised for his wealth of tender, pathetic and fiery melody and; for his rich harmonic stress and delicate varying instrumentation. His music will always live as a reminder of the Czech’s’ artistic accomplishments.

X

Much misinformation has been spread abroad about the work that Dvorak did while he was in Spillville, Iowa in 1893. It was rumored tThat he did composed at least one widely-known quartette there, that he found inspiration for “Humoreska” (Humoresque), and that he madedid some final corrections on his famous “Symfonie Noveho Sveta” (The New World Symphony).

His “American Quartette” was, in fact, composed in Spillville, Iowa, and had its first rendition here by Dvorak and John J. Kovarik, Jr. They used the manuscript score. Dvorak also composed a quintette for strings there, but it was not widely received in spite of its unquestioned merits.

“Humoreska,” however, was written after Dvorak left Spillville, Iowa. “The New World Symphony” was already in part form when he came to Spillville. It was given its first hearing in New York City the following winter.

This part was reprinted from a pamphlet: “Visit Spillville, home of

Antonin Dvorak and the Bily clocks”

ANTONIN DVORAK IN OMAHA – 1893

Theose historical days in of September 1893 were moments of happiness, admiration and pride when theour great composer, conductor and teacher Antonin Dvorak, k with his wife Anna, and in the company of a gifted violinist Josef Kovarik of Spillville, Iowa, visited the Czechs in Omaha.

The A welcome committee went was dispatched early Saturday, September 2^nd, to Council Bluffs, Iowa, to wait there for the Dvoraks’ arrival of the Dvorak’s coming by train from St. Paul, Missouri. In Omaha, Dvorak was the guest of Edward Rosewater with other members of the committee: Josef Rosicky, Tomas Capek, V. L. Vodicka, F. Kaspar, and S. B. Letovsky.

On At the depot in Omaha, the members of another committee headed by Reverend Jan Vranek, and F. Bandhauer, J.R. Jicinsky, J. Mik and Ed. Tischler, greeted the Czech musician in the name of the Czechs in Omaha.

Then Dvorak’s company was taken by Edward Rosewater to his residence at 1711 Douglas Street..

On Saturday evening, the Omaha Czech band standing stood outside the Rosewater home and surprised theour Maestro with a musical performance. Dvorak, standing on the balcony of the house, was very touched by this unexpected musical greeting, especially when the band played our national hymn “Kde domov muj” and the all Slav’s’ hyumn “Hej, Slovane”. He walked down from the balcony with warmly thankeds to the musicians for theiris welcome. Later, the guests watched the Omaha Bee paper presses roll, and visited the sSmelter r, where many Czech immigrants had found jobs.

Sunday, September 3^rd, the Dvorak’s attended Mass at the Saint Wenceslas Church, 1432 South 14^th Street, then dined with Father Jan Vranek. (He retrieved Dvorak’s cigar butt from the ashtray for a souvenir, but it was eventually destroyed by a new housekeeper).

On Sunday afternoon there was a grand reception in theat Havlicek Hall. At By 3:30, the hall was overcrowded. Many American musicians were present and some Germans too. Thanks to the hard work of the organizer, the decoration of the hall and the preparation of the program wereas very good.

Up toAbove the entrance to the hall was an the inscription: “Budiz vitan, Mistre!” (You are welcome, Maestro!) On the stage was another poster with the citation from the Jablonsky poem, “Dokud cesky zpev nezhyne, dotud bude zit Cech” (If the Czech song will not perish, the Czech will live). The hall was decorated with American and Czech banners, and the stage with beautiful flowers.

“It was a very touching moment” wrote the Czech newspaper Pokrok Zapadu (The Progress of the West) on September 6, 1893, “when Tomas Capek presented Antonin Dvorak with the words from the heart to the heart of all present in the hall.” After the Capek speech the gathering greeted our Maestro with ringing cheers.

The musical part of this afternoon program started with the Dvorak’s “Polonaise” playedperformed by professor Dworzak. Then the girl’s’ singing group of the Saint Wenceslas parish in Omaha were singingsang a few Czech songs., and from them,Their performance of the hymn, “Kde domov muj” was the best accepted of all. Then Reverend Jan Vranek recited a poem he composed just for the Maestro’s visit in to Omaha:

Nas Dvorak us nas, tvurce carnych tonu,

Je v nasem stredu mily, vzacny host,

Jenz veleben je hlasy milionu,

Na nejz je hrda nase narodnost.

On ceske jmeno hudbou proslavuje,

On ceskou pisni podmanuje svet,

On carozvuky z lyry vykouzluje,

A nikdo jak on, nedovede pet.

Je pravym Cechem celou dusi svoji,

Jet srdce jeho lyrou ze zlata,

A niz na sta zvuku lahodnych se roji,

Jez napevy tak je bohata.

O, my jej ctime, my jej ctime vrele,

Nas narod s chloubou k nemu pohlizi.

Zrit slavika v nem, zri v nem tesitele,

Ze Cechum zas se jaro priblizi.

Nas narod trpi – kdyby nemel pisni,

Snad davno by byl mrtev, pochovan,

Snad byl by zhynul, v utrapach a tisni,

Vsak pisnemi byl spasen, zachovan.

Ta pisen lidu vzkrisila jej z hrobu,

Jiz pasacek sin a vsi notoval,

Ta pisen lidu zazehnala mdlobu,

Tou pisni Cech si reky odchoval.

Kdyz vsude umlk cesky hovor mily,

Ve vesnicich si cesky zpival lid,

A pisni ty nam mnohe muze odkojili,

Jiz dovedli nas narod probudit.

Cech zpiva v stesti, v zarmutku, bolesti,

Cech zpiva v strastech, trudu, bolesti,

A byt I mel jen sladkou pisen svoji,

On snese muzne kazde nestesti..

A proto zdrav bud, drahy mistre hudby,

A Tvych pisni vane sladka nadeje,

Ze narod nas se docka lepsi sudby,

Ze pisen viteznou si zapeje.

Then Afterward, Dvorak asked Reverend Jan Vranek for his poem as a souvenir of his visit in Omaha. The piano solo by professor Dworzak followed the recitation, as well as the a flute solo by F. Svoboda accompanied by Miss Machova on the piano. And again Reverend Jan Vranek presented a recitation of a poem “Milota.” Josef Rosicky recited a poem “Tri doby zeme ceske” (Three historical ages of the Czech land).

During the program, Antonin Dvorak, very touched, expressed his delight about the very hearty welcome he had accepted received and his surprise at how many Czechs are were living in Omaha.

On tThe next part of the program was a piano solo by professor Dworzak who dedicated his own composition “A Reminiscence of Omaha” (Vzpominka z Omahy) to the Maestro. And again on the stage Reverend Jan Vranek recited two poems, and Jan Rosicky one poem “Vyslouzilec” followed by F. Svoboda with a flute solo. The entertainment assembly was now in a very warm mood.

The speech by Jan Rosicky was heard with solemn attention by the audience, especially when he said that the genius of one of the most talented sons of Cechie should have world recognition. England presented to Dvorak an with the honor of Doctor of Music, but America accepted him as her own son, recognizing his great musical talent and named him as Director of the New York Conservatory of Music.

The highlight of the program was a violin solo by the youthfulyoung artist Josef Kovarik. The thunderous of applause was almost impossible to stop, especially when Dvorak, the great Maestro of tunes, went to the piano and followed Kovarik’s violin solo on the piano.

It was almost 8 o’clock, when our the guests were ready to leave with Edward Rosewater. When As Dvorak leftwas leaving he promisedsaid,: “Maybe, we will see you again, if I will gowe return to the West. Thanks to you all, I was very happy here, same happiness aslike when at home.”

A copy of the Omaha Sun Newspaper with the story: Composer

Dvorak was here and some other information by Dr. Charles C.

Charvat of Omaha

The copy of the Czech newspaper Pokrok Zapadu with the story

About Antonin Dvorak in Omaha was sent by Josef Svoboda, UNL archivist

Edward Rosewater, a Jewish Czech immigrant, came to Omaha in 1863. In 1871, he established the Omaha Bee, and same year he founded the first Czech newspaper in Omaha, the Pokrok Zapadu (The Progress of the West)

Jan Rosicky came to this country in 1861 as a fifteen-year old boy. In 1877, Jan Rosickyhe bought Edward Rosewater’s Czech weekly paper, Pokrok Zapadu. A very profitable portion of Rosicky’s venture proved to be an agricultural magazine Hospodar (The Farmer). This Czech paper is still published in West, Texas.

Reverend Jan Vranek (later Msgr), wrote a large number of poems. A collection of these, under the title “On American Soil”, ,” was published by the Benedictine Press in Chicago in 1905. Their theme is love of his native country and of tthe Catholic faith.

A wooden Havlicek Hall was located on l3th and Williams Streets, which is now a parking lot for the Bohemian Café. Later, this the hall was burned down.

BEDRICH SMETANA (1824-1884)

Although Antonin Dvorak is the best -known of Czech classical composers, Bedrich Smetana was the first to write a Czech opera that won world- wide fame. Smetana composed eight thrilling operas, of which “Prodana nevesta” (Bartered Bride) is the most loved and popular. He also composed a the symphonic poem “Ma vlast” (My Country).

The opera “Hubicka(The Kiss) was a beloved opera written in the latter part of Smetana’s life,during his complete deafness. This opera, completed in July 1876, was the greatest of Smetana’s triumphs. In times of national tragedy, the opera “Libuse” has instialled his Smetana’s countrymen with Smetana’s his undying faith in his nation’s triumphant survival through wars and the country’s occupation by foreign enemies:

“Muj drahy, cesky narod neskona, on pekla hruzy slavne prekona!”

My beloved Czech nation shall not perish. It shall triumph over all

Infernal terrors!

A prophesy of the legendary Princess Libuse from the

Opera “Libuse”

ZDENEK FIBICH

The third personality of the great generation of the musical romanticistsms, Zdenek Fibich (1850-1900) was a quite cultivated person enriching who enriched Czech music, in ideas and in form, through his romantic melodramas and operas.

The cComposer Josef Suk (1874-1935), who married Antonin Dvorak’s daughter, was a direct musical follower of the Maestro Dvorak. He was an the author of a rich line of the beautiful musical compositions. In the year of 1919, Suk composed the dramatic march “V novy zivot” (Toward the New Life) for the VII All Sokol Festival 1920 in Prague, Czechoslovakia. In the free world, this march was performed June 6, 1962, in Vienna, Austria, for the celebration of the 100 yearcentennials jubilee of the founding of the Sokol organization (1862-1962). The last chairman of the Sokol organization in Czechoslovakia, Dr. Antonin Hrebik, was present there.

Leos Janacek (1854-1928) had visions of making Brno, the capital city of Moravia, Czechoslovakia, the musical center of the country. He founded a sSociety for the promotion of church music in Moravia.

In 1899, Janacek published a the volume “Narodni pisne moravske” (The National Songs of Moravia). Very successful was hisHis opera “Liska Bystrouska” (The Cunning Little Vixen) was extremely successful. For his modern musical “Glagolska mse (The Gladolic Mass), Janacek used the Old Slavic liturgical texts as his reminiscences of the Great Moravian Empire (Rise Velkomoravska) with and the tradition of the sSaints Cyril and Methodius. (The wWorld famous Czech pianist, Rudolf Firkusny, was Janacek’s student at the Brno Conservatory)./

In 1928, Janacek passed away and his coffin was laid in state at the Old Brno monastery of the Saint Augustine church.

The first Prince of this big Slavic territory was Mojmir (probably 830-846). The Great Moravian Slavic territory was the first and also last attempt to organize a state of Slavic tribes as the a defense against political and military aggression from the West.

THE MAESTRO OF OPERETTAS

The Prague- born composer Rudolf Friml (1879-1972), was the last of the great operettists., the composer ofThe composer of “Rose Mary”, and “The Vagabond King”, died in Hollywood, California, on November 12, 1971, at the age of 92 years.. He was known as one of the last of the big operettists.

Rudolf Friml, a baker’s son, was baptized Rudolf Fryml, but he later he changed his last name to Friml, which he felt sounded more Czech.

He studied at the Prague conservatory and was a student of Antonin Dvorak at the Prague conservatory. However, Friml’s first steps in the world of music in Prague were closely related to the name of Karel Hasler, a very popular composer of Czech songs, who married Friml’s sister Zdenka.

Friml first came to the United States in 1901 on the a concert tour as a the piano accompanist for one of the greatest Czech violinists, Jan Kubelik. Later, hHe returned to this country in 1906. His American patroness, Mrs. Grace Cowles, aunt of President Roosevelt’s wife, sent Friml to Vienna, Austria, to study with Teodor Leszetycki, the famous Polish pianist and teacher.r, a Pole, Teodor Leszetycki.

Friml got his first break when the musical star Emma Trentini split up with Victor Herbert and commissioned Friml to write an operetta for her. It was “Firefly” (Svatojanska muska). He composed 33 operettas that made him a musical legend, and wrote such popular songs as “Indian Love Call” and “Donkey Serenade” which he later called an “abortion.”

Rudolf Frml lived until his death with his fourth wife, an attractive Chinese woman named Kay he met in Hong Kong and were married in 1952. Friml had three children.

P.S. A few years ago before Friml’s death, I recommended to that former state

Senator Joe Vosoba of Wilber, Saline County, to contact Rudolf Friml, to

aAsk him if he would be willing to be in Wilber during the Czech festival

aAnd accept The Czech King Charles Awaard. This award is presented

aAnnually to some a person of Czech descent who has earned national or

iInternational repute in their chosen field. When Vosoba finally contacted

Friml by telephone in Hollywood, California, Friml gladly accepted Vosoba’s

iInvitation and promised to visit the Czech festival in Wilber. .—But this

cConversation ended when Friml’s wife took the telephone and told Vosoba,:

“No, my husband is not well enough to be in Wilber.”\

(Picture and Music on p. 46)

Josef Janecka, president of the First Czechoslovak Philatelic Club in America, sent me this interesting music sheet to honor the 100^th anniversary of the birth of Rudolf Friml in, born 1879. During the summer, around 1910-1912, Friml stayed with some Czech people in Lyons, Ill., where he composed two songs: “Jindy a dnes” (Another Time and Today) and “Churavim” (I am Ailing). Only 600 copies were issued to honor our great composer.

(Music p. 47)

A CZECH MUSICIAN, COMPOSER, BANDMASTER

Frantisek Kmoch (1848-1912), was the composer of world-wide popular songssongs popular world-wide and, marches for brass band, and a great bandmaster. Not only inIn his homeland and but elsewhere, and especially here in Czech America, who fromall men and women with love for music, does not know and not singingand sing Kmoch’s songs: “Koline, Koline” (The City of Kolin), “Pode mlejnem, nade mlejnem, husy se pasou” (At the Mill), “Andulko Safarova” (The Manager’s Daughter, Annie), “Muziky, muziky” (Musicians, musicians)), “Vrany kone” (Black Horses) and many others.

Kmoch was born in a musical family where his mother was singingsang during her daily work and his father played clarinet in the local band. Our composer at firstHe started as a country school teacher,. bBut the family tradition and his ardent love for music wereas stronger. Kmoch left the school rooms and went to the city of Kolin in the northeast part of Bohemia, to starting his beloved musical activity.

There inIn Kolin, Kmoch first founded a smaller band (a trumpeter’s corps)trumpet corps, but soon his original band was rapidly growinggrew rapidly into a larger musical brass band. And it was in Kolin, where that our great musical organizer started to compose many pieces of waltzes, polkas, mazurkas and a variety of folk songs. The name and the popularity of his band, called by the Czech people “kutalka,” was heard and praised all over the “old country.>” He traveled with his “boys” not only” throughout his homeland but and he was invited to foreign lands too. He performed concerts in Austria, Poland, Hungaria, and Russia, and Kmoch and his musicians were also invited to play for our Czech people in America too.

Frantisek Kmoch died after a long illness on April 30, 1912, just a quarter of a year before the All Sokol Festival in Prague, for which he was preparing his great brass band so carefully. His patriotic long life’s work--, his music, the Czech music, and his songs-- didn’t die. It is still alive and will never perish. Today, and forever, his banner is and will be gloriously carried by “Kolinska Kmochova hudba” (The Kmoch’s Kolin Band).

(Music p. 49)

Frantisek Smetana, a prominent cellist, was born in Czechoslovakia. He gave his first recital on the cello at the age of 10, and at age 16, he made his debut with the Plzen (Pilsen in Bohemia) Symphony Orchestra in playing Haydn’s cello concerto. He studied with K. P. Sadlo at the State Conservatory of Music in Prague, Czechoslovakia, and with Pierre Fournier in Paris, France.

His brilliant career as a soloist was matched by his interest and success in chamber music. He was a member of the Smetana trio, Czech Nonet, Pesek Quartet and Prague trio. Professional appearances took him throughout Europe and to Canada, Iceland, China, Korea, Mongolia and Jamaica as well as many parts of the United States. He was a soloist with the Czech Philharmonic, Royal Philharmonic of London, Berlin Symphonic, Hilversum Radio Symphony, Rykjavik Radio Symphony and McGill Chamber Symphony.

Presently Smetana is a member of the Musical Faculty of Virginia Commonwealth University in Richmond, Va.

Critics have particularly extoiled the rare poetry and depth of feeling in his interpretive style which has been developed through long and close association with chamber music.

Dolly Smetana is was the permanent accompanist of her husband. She studied piano at the Academy of Music in Prague and with V. Kurz and Marguerite Long in Paris. She has performed with her husband in most of his solo appearances.

MUSIC AND MUSICIANS IN NEBRASKA

(Picture p. 5l)

Wilber Military Band 1909 – left to right: Ed. Huletz, Ed. Havlovic, William Chaloupka, Mike Chaloupka, (not identified), Josef Kudlacek, Dale Chaloupka, Tom Pasek Sr., Harry Watson, Frank McElroy, John Bouchal, Frank Anyz, Adolph Jindra, Bill Petit, Steve Shestak, Hugo Chaloupka and Jim Kudrna.

Picture was taken during the 1909 Carnival in Wilber, Nebraska

Picture courtesy of Mrs. Robert Shestak

SALINE COUNTY – MECCA OF MUSICIANS

Music played anwas important role forto the first Czechs of Nebraska and it still doesis. Possibly, Saline County, Nebraska, may leads all counties with the Czech settlements in musicians and bands.

The first outstanding early pioneer musician was Josef Francl, who settled in Saline County in 1867. The next most outstanding musician was Stepan Jelinek who came to Saline County with his parents at the age of six weeks. Stepan became nationally known, having played in the Chicago Symphony Orchestra and later, becoming the its conductor of the same.

Next was Frank Nedela Sr. who organized a band in Wilber. For over fifty years, Frank Nedela’s band played for every occasion requiring music; political rallies, funerals, church music, etc. Possibly one of his best engagements was the playing for the second inauguration of Governor D. Butler, Nebraska’s first governor.

Some other outstanding musicians of Saline County were Bartolomej Brt, who came to Crete, Saline County, in 1882, and who specialized in playing a Czech bagpipe (dudy) and also Vaclav Brt who played a Czech trumpet.

One of Wilber’s famous musicians and an actor, too, was Tomas Pasek, who led many brass bands. Also, mention must be given to Lumir Havlicek of Crete, Saline County, who was a long time instructor of music in Crete public schools and conducted many different bands

We may also mention the names of Frank Hladky, composer and violinist; Jerry Koci, bandmaster in Crete; Frantisek Alois Drdlla, composer and violinist; August Molzer, Josef Bouska and his musical family; Frank Kunc Jr. Wilber musician; Mary Elizabeth Aron Shebl; Frank Anyz, publisher, composer, teacher; Edward C. Brt, musician and historian; Klasek’s musical family; members of U-neta Orchestra of Dorchester; and many other devoted musicians.

JOSEF FRANCL: A PIONEER MUSICIAN

The first outstanding Czech in Saline County (Picture p. 53)

As far as we know, the first Czech to enter the Nebraska Territory, was Josef Francl, the Vanguard of the Czech pioneers. He traveled over land through Nebraska in 1854 on his way to the California gold fields. It is a very interesting coincidencet and really proof of the saying, that the Czech nation is a nation of musicians. And I may say he was the first outstanding Czech pioneer in Saline County. Our musician and goldminer was born in Bohemia 1824. He studied music at the Prague Conservatory, and later he directed an orchestra conducting which went on many concert tours through Bohemia, Austria and Germany.

On April18,1854 Josef Francl left Watertown and traveled in an oxen-drawn wagon with four companions, leaving his wife and a small son Fred, for he hopedhoping to find fortune in the gold fields of California. Luckily for us, Francl wrote a diary during his trip to the West.

When his group succeeded in crossing the Sierra Nevada Mountains, there his daily diary ends. From several letters, the last sent from California, we find that luck was against him and, he didn’t find gold. Therefore, Francl returned back to Watertown, where he taught piano and directed a singing society.

Years later,Francl returned to Nebraska in 1869 with his little family to homestead in Saline County one mile south of Crete, Saline County, Nebraska. Broken and bent with failure, he tried desperately to establish his roots here by building a trading –post of sorts for the other fellow emigrants on their own trip further west.

He bade his Nebraska home farewell in 1874 and started his second trip to the California gold fields, but this time his trip was tragic.

In the meantime his oldest son Fred had gone tomoved near Walla Walla, Oregon where he lived near Walla Walla with Theodore Daum, who occupied himself by making cord- wood.

In 1875 Francl set out afoot for Walla Walla and eventually arriveding in Portland, Oregon, a distance of 600 miles. He found Fred in the mountains, and in November of that year all three set out on horseback for California. A few days later, Fred turned back, intending to take a boat. On December 3, 1875 Francl and Daum camped near a large spring. Then, Daum walked out a short distance to look for the right direction and when he returned one hour later, Francl had vanished.

And the human drama of the adventure of Francl’s life finished in tragedy. For two days Daum conducted a fruitless search for Francl.

Finally he found his way to an Indian settlement where he was directed to the Klamath Indian Agency. There he met people who accompanied him back to aid him in looking his search. for Francl whom theyShortly after, Francl was discovered dead.

Francl’s journey through deep snow had finished resulted in the end of theis colorful and dramatic life of the first Czech musician in Nebraska.

In 1915 his sons, Ernest and Josef, searched for his grave in the Fort Klamath cemetery, where Francl was buried, but in vain.

There are some of Francl’s descendents in Saline County.; Tthe late Czech pioneer musician Edward C. Brt of Crete, Saline County Nebraska, who was acquainted with Francl’s widow, sons, and grandchildren, wrote in his memoirs:

A letter by Mrs. Helen G. Francl Crete, Nebraska, January 27, 1980

To Mr. Bernard Klasek of Wilber:

I received your letter asking for information about Joseph Francl the musician. My husband Joe used to tell about his grandfather that studied in Prague, Bohemia, Conservatory of Music and later played many concert tours in Vienna and other countries. He spoke many languages. He later moved to Watertown, Wisconsin, and later to Crete, Saline County. He died trying to reach the gold fields in California.

I have some Crete News clippings of his life that were published in 1965. I don’t have the book. I asked Jim Krebs about it and he said he has the book which you could borrow. He said he already gave Joe Vosoba most of the information he knows. Sorry, I can’t help you more.

Sincerely,

Helen G. Francl

TOMAS PASEK, PROMINENT PIONEER, MUSICIAN, ACTOR

Tomas Pasek was born in Prestice, District Pisek, Bohemia, on February 13, 1849. At the early age of 15 he started his wonderful and colorful career of musicmusical career and attained the age oflived to be 90 years, 7 months and 5 days old.

In the year 1866, a boy of 17, he emigrated by himself to the U.S. and first lived at Saint Paul, Missourio., where he was engagedplayed in with a German b Band for ten years. Here heHe married Katerina Sedlacek there in 1869.

In 1876, he and his family came to Nebraska and settled northwest of Wilber, Saline County. After 13 years, in 1889, he moved to Wilber, Neb

Nebraska, where he owned the Wilber Opera House for years. Mr. and Mrs. Pasek were blessed with eleven children, nineteen grandchildren and eighteen great grandchildren.

(Picture of Thomas Pashek p. 57)

Like many of the Czech pioneers, Tomas Pasek and his wife underwent the many hardships of the first settlers. During the a diphtheria epidemic, four of their children died in one week.

He was known to be the oldest bandmaster west of the Mississippi River. He was conductor of Pasek’s band, which for years traveled extensively to play for various occasions. He was also a cornetist of note, and excellent leader and teacher.

In 1896 he started the first “jJuvenile bBand” in Wilber, which was very popular at that time. As a good and ardent musician, he organized “The Jolly Jazzettes,””, the first girl’s’ orchestra, which performed many concerts. The ladies, under the direction ofor Prof. William Pasek, was makingmade an enviable reputation for themselves. One of the most popular pieces performeding by this orchestra was “Away Out West in Kansas,” dedicated to the mayor of Wilber.

Pasek was an organizer oforganized a military band too. He made quite a hit with all of those his musical groups.

This girl’sThe girls’ orchestra consisted of the following young ladies: Bertha Bednar, piano; Marie Diller and Alice Musil, saxophones; and Olga Novak, violin. The leader Pasek also played the violin.

Tomas Pasek, a hard working pioneer musician and band leader, died on September 18, 1939. His wife died several years ago. For the past two years beforFor the last two years before hise death, Pasek had been in frail health but was able to get around. He was survived by two sons, William and Edward, and three daughters: Mrs. Anna Chaloupka, Mrs. Katie Nedela and Mrs. Abbie Cerny, all of Wilber.

Tomas Pasek was a member of Z.C.B.J. and an honorary member of the Sokol in Wilber.

The fFuneral dirges were played by a large group of musicians, pupils and fellow bandmembersn. The song services were rendered by Mrs. Sylvia Slapnicka, grandchild of Pasek, sang accompanied by Mr.Mr. and Mrs. Bernard Klasek on the piano and violin..

Interment took place in the Bohemian cemetery of Wilber, Nebraska.

(Military Band picture p. 59)

Left to right: Tomas Pasek, Sr., Harry Magnuson, Otto Vosika, L. B. Hokuf,Joe Placek, Frank Charvat, Charles Bors, Josef Kudlacek, Sr., Otto Kubicek, Joe Pospisil, Robert Safarik, Frank Kudlacek, Frank Anyz, Ed. Houser, Joe Melcer, John Bouchal, Adolph Jindra, Dale Chaloupka, Fred Bors, Tom Pasek, Jr., Ed. Huletz

JOLLY JAZZETTES – 1925

(Picture p. 60

The leader of this group of young ladies was William Pasek. As When he was a youth, his father, Tom Pasek,Sr., sent William to Czechoslovakia to study violin under the noted violin teacher Sevcik. Upon his return to the United States, William presented hisperformed a coming home recital performed at the Wilber Opera House. He opened a studio and taught violin for many years. In addition to his studio work, he played for many activities in Wilber and the surrounding area. He was also a performing member of the Wilber Commercial Club Band and dance orchestras.

Picture courtesy of Mrs. Bertha Bednar Pospisil, Wilber, Nebraska

FRANK NEDELA SR.

A pioneer band director, instructor and composer of many old time selections including marches, polkas and quadrilles,Frank Nedela Sr. arrived in the United States from Czechoslovakia in the year 1867, first living in Chicago. In 1868 he headed west and located in Richardson County in the southeast corner of Nebraska, finally settling in Saline County in 1871.

(Picture p. 61)

Pictured above is the “Kid Band” of the middle 90’s developed by Frank Nedela Sr. A picture of the original Nedela Pioneer Bband has not been located. The boys pictured were all sons of pioneer families, and were trained by Mr. Nedela. Henry and Vance Jelinek of Wilber were both in the band but are not pictured.

Left to right in the bottom row are Edward Jelinek, Joe Nedela, Frank Nedela Jr., Frank Nedela Sr., Otton J. Kubicek and Charles Aron. Standing at the top from left to right are Fred Jelinek, Anton Belka, Edward J. Aron, Charley Jelinek and Anton Frolic.

Photo courtesy of Mrs. Evelyn Orth, Wilber, Nebraska

He organized what was called the Nedela Pioneer Band. Some of the original members were Frank Nedela Sr., John Nedela (his father), Thomas Aron, Joseph Chyba and John Svoboda. All of these men had played together in Chicago before moving west. Edward C. Brt related that this band was the first west of the Missouri River.

Nedela’s band was known through all Nebraska and as far as Chicago, and very active playing at weddings, dances, operas, political rallies and other occasions requiring music.

This band played for the last Inauguration of Governor David Butler of Nebraska.

Nedela, as a young man, served in a military band in the Austrian Army. (Czechoslovakia was at that time governed by the Austro-Hungarian Eempire). He served in the army during the Schleswig-Holstein war of 1864 and the Prussian-Aaustrian war of 1866.n-

Austrian war of 1866.\

It should be noted that for many of these engagements that the band played, the members had to walk or ride in a wagon until the railroad reached Crete and Wilber. A selected group from the band accompanied the choir in the Catholic churches during mass services. It was also customary in those days to have the band lead funeral processions, and Nedela played “Taps” at all funerals of G.A.R. veterans.

As years went by other Czech musicians came to settle in Saline County and joined the Nedela band. Among those were Frank Brt Sr., Frank Justa, Shebl, Gerner, Hercog, Bohac, Dedic, Baloun and Joseph Franta Sr.

Nearly all of these men received military musical training in the Austrian army where they had also learned trades and thus were instrumental in the building of towns and farms in Saline County.

The story below is an excerpt taken from the No. 15 Centennial Series, “The Czechs,” as featured in the April 12, 1980 issue of the Lincoln Star and written by Dorothy Weyer Creigh:

Gregarious and fun-loving, Czechs seized every opportunity for merrymaking, celebrating Old World customs, absorbing new country ones and inventing reasons for partying when there were no others. They love music, particularly bands: Frank Nedela’s band in Crete is the first-known one in the state and it played at the inauguration of the first governor, David Butler in 1867. Beer gardens sprang up in many Czech villages in Nebraska, and descendants of the first oompahpah band players are still pounding out the beat or playing the accordion when there is no other instrumentation available. Rose Rosicky, Czechh historian, estimated in 1929 that two out of every five Nebraska Czechs played a musical instrument. They shivareed newlyweds, celebrated saints’ days and gorged on ducklings, dumplings, sauerkraut and kolaches.

Although by now the Czechs have become part of the Nebraska culture generally they are still keenly aware of their own particular heritage.

Relatives of this great musician live in Crete at the present time (1980) including grandchildren Karl Nedela and Marie Nedela, great-grandchildren Mary Ann Nedela Kohl (Mrs. Leonard A.) and Kay Nedela Pomajzl (Mrs. Harold) and several great-great grandchildren.

More information by Mrs. Al Cochnar, Dorchester, Nebraska:

Frank Nedela Sr. was born April 30, 1842 and was only 25 years old when his band entertained at the Governor’s Inauguraton. Going to Lincoln on foot from Crete, Nebraska was almost an everyday occasion as many walked along the railroad tracks to get supplies several times a month. Mention was not made of how the band traveled.

He Nedela died January 4, 1924 at the age of 82 and is interred in the Crete Riverside Cemetery.

The Nedela Band was a brass band and had from 10 to 12 in membershipmembers. The instrumentation consisted of several cornets, alto horns, baritone, bass horn and one clarinet. Drums are not mentioned. Early records of personnell are not available, but a membership roll from the early 1890’s is as follows: Frank Nedela Sr. (director), his son Nedela Jr., Edward Jelinek, Joseph Nedela, Otto Kubicek, Charles Aron, Fred Jelinek, Anton Belka, Edward J. Aron, Charles Jelinek and Anton Frolik. The Saline County area, mainly Crete and Wilber, seemed to be a “mecca” for talented Czech musicians. Six members of the list were either blood-relatives or related by marriage

CZECH MUSICIANS IN SALINE COUNTY

By Frank Nedela Sr.

(picture p. 6 4)

Frank Nedela Sr. – Well known Czech musician,

Saline Co.

In 1869 my father came to Nebraska with my brother-in-law, Thomas Aron, and settled in Saline County on claims.

They wrote us telling us to come too. I married Miss Marie Papik and the day after the wedding, April 1, 1869, we started for Nebraska. Any one can image our wedding trip when one considered what Nebraska was like in those days. We had to go by wagon from Nebraska City and those who had no conveyance had to go on foot. Before my father came to Nebraska he sent me to this state to locate on a claim, and I did take one up in Johnson County and then returned to Chicago. When I arrived in Nebraska the second time I inquired if I could take up a claim again, having done so once before, and was told to go ahead, that no one would know. I did so, but was sorry for it. I prepared a dugout where we spent our honeymoon. I plowed some and prepared for the next year, but before the year was up, it became known that I was not entitled to a homestead and I was afraid I would lose it.

I went to Lincoln, where my sister worked for the family of Governor Butler, and asked his advice. He sent me to an attorney, Mr. Robinson, then considered the best in Lincoln, and in accordance with his advice I gave up the homestead and got a preemption and agreed to pay $200 within a year. It was sad to have no money and agree to pay $200 within a year and not know where to get it. I thought it over and decided to do the work I fairly hated—shoemaking—but there was no other way. I worked one winter in Lincoln and earned a nice sum. There was no railroad then so I used to walk.

Music is my passion. I had served in a military band in the old country during the war between Prussia and Austria so pretty soon I gathered a few of fellow musicians into a band. There were five of us:, my father Jan Nedela, my brother-in-law Thomas Aron, Josef Chyba, Jan Svoboda and I. We used to play in the cCapital city and our music was well liked. We got very good pay, $8.00 per man, and the one who owned the horse team (that we used for traveling) got $8.00 for his playing and $8.00 for transporting. Our band was the first that played in Lincoln for there was no other in this part of the country.

In the fall of 1870 Crete was established and I plied my trade there. In the spring of 1871 the railroad was built and I made good money with my cobbling. I had two workmen and we had all we could do. In those days we made boots and shoes to order. A pair of boots cost from $11.00 to $17.00 and there was good profit in it. Thus I worked for two-and-a-half years while my wife worked on the farm.

I went home Saturday evening and stayed over Sunday. I lived on the farm two years and then opened a saloon in Crete. In the spring of 1875 I rented a place and a year-and-a-half later built my own building. In 1880 I sold it and built a larger one where I kept a saloon for fifteen years. Then I started something about which I had no knowledge whatever, a drug store, and to this day I wonder how it happened that I made a success of it, for I had to hire help to run the place. Later, my son studied to be a druggist and then he took care of the store.

I own three farms, a store in town and nice home, and I am well situated in every way, and my family life has been a happy one, also.

STEPAN JELINEK: – A Great Czech Musician

Stepan Jelinek, a cornetist of ability, was born in Manitowoc County, Wisconsin, August 10, 1865, and came to Saline County, Nebraska, with his parents Frank and Marie Jelinek in 1869, settling on a homestead near Crete, Nebraska.

(Picture p. 67)

He grew to manhood in Saline County. After raising enough money to cover expenses, he entered the Northwestern University School of Music. This led to his winning first chair in the cornet section of the Chicago Symphony Orchestra.

After the Spanish-American War began, Jelinek was appointed bandmaster of the Eleventh Infantry Band and played for troops in Puerto Rico beginning his duties November 1, 1894.

In 1896 his band returned to Washington, D. C., where they played at the New Year’s reception of President McKinley at the White House. His band remained in Washington until the close of April, when they sailed for the Philippine Islands, arriving at Samar Inland on June 1, 1897. There he spent three years.

In September 1897 Stepan obtained leave, promising to return, but his parents did not wish him to do so.

After leaving service, Jelinek worked a homestead in South Dakota before moving to Lincoln, Nebraska in 1906.

Stepan married Miss Frances Dvoracek of Wilber, Nebraska, and they lived in Lincoln at 1215 So. 17^th Street. For several years he was a teacher of brass instruments at the University of Nebraska Conservatory of Music and playeding in or directeding orchestras until his death in 1954. Interment took placeHe is buried in the Crete, Nebraska cemetery.

(Picture p. 68)

Stepan Jelinek, his wife and daughter

(Picture p. 69)

Stepan Jelinek Military Band – 1896

His old Crete Military Band which serenaded dances, weddings and

pParades before the turn of the century was considered one of the best

iIn Nebraska. It won several prizes at state fairs.

Miss Viola Jelinek, the daughter of Stepan Jelinek, in memory of her father and her Czech heritage left funds of $383,000.00 to perform a series of memorial musical programs on the University of Nebraska in Lincoln.

Two Czech Fest performances were held in Kimball Recital Hall on the NU Campus in 1977. Those performances featured some of the world’s and Czechoslovakia’s finest musicians as follows: Prague Chamber Orchestra February 19, and Czech Philharmonic Orchestra March 14, both in 1977.

Prague Chamber Orchestra February 19, and Czech Philharmonic Orchestra March 14, both in 1977.

EDWARD C. BRT - Czech Musician and Historian

(Picture p. 70)

Edward C. Brt, a pupil of Frank Nedela Sr.’s “Kid’s Band” in Crete, Nebraska, and greatly inspired by Stepan Jelinek whom he admired during his musical career. This picure was taken about 1915 when Brt played in the Crete Musical Band

Edward C. Brt of Crete, a member of the Nedela’s “Kid Band” in the middle 1880’s, joined this band in 1896 and was the only one who may preserve for us almost completely the history of Czech musicians and bands in Saline County. My good friend, Edward C. Brt, was born on March 13, 1882. He married Martha Henke at Western on April 26, 1917.

During his business career he was a cashier of at the Abie State Bank, and secretary-treasurer of the Bruno Cooperative Credit Association. When he moved from Butler County to Crete, Saline County, in 1944, he worked for a short time for The Crete Mills., Llater he was associated with the City National Bank of Crete and also the Saline Bank in Western.

But Brt was deep in his heart an ardent musician. In every town where he lived, Edward C. Brt played cornet for local bands, in both Butler and Saline counties

A man of splendid memory, he was especially interested in the history of the Czech musicians and bands and made many contributions of Czech artifacts to the Nebraska State Historical Society Museum in Lincoln, Nebraska. It was he, who donated a rare exhibit, the bagpipe, played by his grandfather Bartolomej Brt, to the Society Museum.

During the time when I was workingI worked with the Nebraska Historical Society Museum in Lincoln, Mr. Brt often visited me there and he told me many interesting stories about Czech musicians and bands in Saline County.

Mr. Edward C. Brt, nearly 96, Crete’s oldest resident at nearly 96 years old, and a former resident of Abie and Bruno communities, died on February 26, 1978 in the Crete Hospital.

He was survived by a son Blaine of Crete, a daughter, Mrs. James Denney of Omaha, and two brothers. Preceding him in death were his wife and two daughters, Genevieve and Carolyn.

(Picture p. 71) A picture of an early Stanley Slepicka Band of Wilber. L. to r: Stanley Slepicka, accordion; Frank Kudlacek, trumpet; Lumir Simecek, drums; Joe Zvonecek, trumpet and bass horn. Picture courtesy of Mrs. Jelinek

MUSIC IN SALINE COUNTY

By Edward C. Brt

For the past twenty-one years since returning to Saline County from Butler County, I have been gathering historical material pertaining to our great state of Nebraska for the coming Centennial in 1967

I have been requested by many musician friends to write and mention something about the musical tradition in Nebraska. All my life I have worked for or with the early pioneers of Saline and Butler counties, with all the different nationalities, but mainly with the Czech pioneers.

I thought it might be interesting to mention the Czech musical tradition in Nebraska. . I have claimed Crete as my hometown since 1889, but after being married, my wife and I were absent from Crete for 27 years. This story I am relating in my biography, which I will write in the near future. We spent over a year in Tobias, Nebraska, during World War I,, then ten years in Western and about seven years in Omaha.

From my musical experience in all these different places, I can state that you will not find such a musical tradition in any other county or state. Every place I lived in, I either played in a band or orchestra.

I would say that the first outstanding early Czech pioneer musician was Josef Francl, who was called the Vanguard of the Czech pioneers in Nebraska and Saline County. There are many of his descendents in Saline County. The writer was well acquainted with his widow, sons and grandchildren.

Our next outstanding musician was Stepan Jelinek, who was brought to Saline County by his parents at the age of six weeks. The family came from Wisconsin.

The next great musician of Saline County was Frank Nedela. He came from Chicago. Jan Nedela, his father, went to Russia (while they were in the “old country”) to make a living with music. Jan Svoboda, Tomas Aron, Jan Chyba and Jan and Frank Nedela Sr., already played together in a band in Chicago. All five of the above, emigrated to Saline County and settled in one section south of Crete. They played at the Inauguration of Governor David Butler, Nebraska’s first Governor

Frank Nedela Sr., was my instructor in music and also served as the Godfather at my baptism, so I have always held him in the highest esteem. In 1896 he placed me in his band composed of the older musicians that came from the “old country.” He had started a juvenile boys band in 1893 or 1894. Ever since I have kept up my interest in music and have tooted a horn.

For more than fifty years Nedela’s bands – the old and young-- were known far and wide. They played for every occasion requiring music, political rallies, funerals, church, etc. I recollect my special joy was when Nedela gave me a silver dollar for playing with his old band. At that time it seemed there were not a lot of silver dollars in circulation, so the one he gave me when I was 14, looked like a little saucer.

Now I would say that the next outstanding musical organization that came to Saline County was that of my grandfather Bartolomej Brt, composed of my grandfather, playing a Czech bagpipe, my father on the bass horn and clarinet, and my uncle Vaclav Brt playing a Czech trumpet. The above all came to America in 1874 and located in Saline County. All these have their instruments preserved, and I have reason to believe that my grandfather’s Czech bagpipe is the only one in America. It is still in good shape and could be made to play if the person could be found to play it. Twelve or more years ago, it was presented to our State Historical Society in Lincoln. At its dedication and since that time, I am informed they have never received any other kind of bagpipe, Czech or Scotch.

I might add that the “Brt Trio,” after coming to America, played for our First Saline County Czechs at the Frank Jelinek place. They received a live cow for their services. (This was not bad pay in the pioneer days). The Nedela Brass Band with whom my father, Frank Brt Sr., later played bass horn, and was paid $8.00 when they would go to Lincoln to play. Their driver, if he was one of the musicians, also, got $8.00 more.

Twenty years ago one of the cCounty pioneers, namely J. Kotas, wrote to me from Denton, Montana, stating that the “Brt Trio” played for his wedding, which he celebrated with two other relatives, all at the same time and place. They danced to the sweet strains of the “dudy” (the Czech name for bagpipe) at this “marathon” wedding, dancing all day,. aAll night, and part of the next day.

The next outstanding musical organization which was a credit to Saline County was the Medical Musical Organization of Crete led by Lumir Havlicek.

There were many more bands, musical organizations and orchestras in Saline County and throughout the state. I have been furnished pictures of some that were donated to me for historical purposes. I would like to mention these here but will present them later.

I must also mention that our neighboring city Wilber also had many musical organizations. I have many pictures of them. Especially I wish to mention Wilber’s most famous Czech musician Tomas Pasek and his different bands. Pasek was another of Saline County’s famous band leaders.

In conclusion, I will say: “there is nothing in any state that can compare with the musical tradition of Saline County and the state of Nebraska.”

(Picture p. 75) This is a picture of the four Kubert Brothers when they lived on a

farm at DeWitt and later on a farm near Crete. From l. to r:

Lambert played alto and drums; Ervin played saxophone and

Baritone; Fred played piano accordion and trumpet; Edward

Played tuba and saxophone. Photo courtesy of L. Kubert,

Dorchester, Ne.

FRANK ANYZ JR. – A Publisher, Composer, Teacher

Frank Anyz, Jr. was born on July 6, 1885. When he commenced attendingstarted school, his parents decided on a musical career for him and arranged with a professor to give him violin lessons. Young Frank devoted himself studiously to the violin, the instrument of his choice. At the age of 14 he was admitted to the Austro-Hungarian Army School of Music where he kept up his lessons on the violin and, in addition, took lessons on various band and orchestra instruments.

(Picture p. 76)

On graduation from the Army School he was assigned to the Army regimental band stationed at Budapest, Hungary. He spent four years with the Army Band and then came to the United States with his parents and settled in Wilber, Nebraska.

At first he was employed as a reporter and later as publisher of the Czech weekly newspaper,, “Wilbersky Listy.” Later he became editor of “The Saline County Democrat.” He still remained greatly interested in music and gave lessons to many young boys on various musical instruments. Among his youngest students were Louis Kusy, violin, Otto Jelinek, violin and Bernard Klasek, violin and drums.

He played in various bands and orchestras and for several years was the director of the Wilber Commercial Club Band.

However, when his health commenced began to fail, he had to give up these activities and also his job as well as his permanent employment with the Wilber State Bank which he held for a number of years. After spending a month in a hospital in Lincoln, Nebraska, he went to Boulder,. Colorado where he passed away on December 28, 1920.

He arranged for the piano a composition entitled “From the Bohemian Hills” (Z ceskych hor), published in sheet music form. Another arrangement “Memories” (Vzpominky) remained unfinished and was never published.

Photo of Frank Anyz Jr. (p. 76) taken about 1913 and sent by

Courtesy of Bernard J. Klasek

LUMIR C. HAVLICEK – MUSICIAN, COMPOSER, DIRECTOR OF MUSIC

Lumir C. Havlicek, musician, composer and director of music was born August 11, 1895 in Crete, Nebraska and died March 16, 1969.

His musical education began in the Crete School and Doane College. He received a Bachelor of Music Degree from the Vandercook School of Music in Chicago, a Bachelor Degree of Music in Education and a Master Degree of Music in Education from the University of Nebraska. He was a Charter Member of the National Band Association and a lLife mMember of the Nebraska Music Educational Association

(Picture p. 77)

Stamford, Nebraska was his first teaching assignment, consisting of all vocal and instrumental music in the school from 1941-1942. Gothenburg was his next position as instrumental instructor. He began his teaching career in the Crete Schools in 1943 where he taught for 17 years. During his term as bBand dDirector he also served as vocal instructor for two years. Under his direction the chorus and vocal groups presented two operettas, the first one “Chonita, a Gypsy Romance” at the Sokol Hall in 1946. The next year, 1947 the operetta “Jeannie” was given with 53 in the cast and chorus. Other schools where he served as bBand iInstructor were Newcastle, Milligan, Stromsburg, Western, Dorchester, Alexandria, Tobias and Peru State College.

During the years he spent in Crete he also directed the American Legion Juvenile Band and the Crete Municipal Band. In 1944-1945 he was dDirector of the Navy Band when it was stationed at Doane College. He was also dDirector of the 110^th Medical Regiment Band for nine years. Concerts were given weekly in the cCity pPark

While in the Army in World War I, he was a member of the 355^th Infantry Band of the 89^th Division, seeing active service in the Muse-Argon and St. Micheal Drive. Before going overseas the bBand made a tour of Nebraska towns, Crete included.

Mr. Havlicek was wWarrant oOfficer and dDirector of the 110^th Medical Regiment Band, the first National Guard bBand west of the Mississippi River. He served in that capacity for nine years. When the band was first organized in 1927 in Crete, Doane Music Professor W. H. Hupford was the Director and soon after recommended Mr. Havlicek for the position. The membership consisted mostly of Crete musicians. They gave many concerts in Crete and surrounding towns and were much in demand as a fine musical organization. During August of each year, the entire bBand spent two weeks at the National Guard encampment in Ashland, Nebraska.

Dr. David Hilton of Lincoln was influential in locating the 110^th Medical Regiment Band in Crete. Mr. Havlicek was also a composer of many bBand selections and arrangements. His first published number was a march for full band entitled “On the Big Blue,” dedicated to the city of Crete. Among other publications are “Sunset Trail,” “Sky Pilot,” “Pride of the Prairie,” “American Hymns,” “Scherzo for Band,” “Three Pals,” a trumpet trio “Trumpeters Polka,” “Two Canaries,” a flute duet with piano accompaniment, and “Woodwind Caprice.”

In 1923, when Mrs. B. G. Miller promoted the planting of the First Living Christmas Tree, she requested that Mr. Havlicek compose some music for that occasion. He arranged, but did not composed, several Christmas carols and hymns for full band which were printed as “The Living Christmas Spirit,” the tree to be a symbol of lasting peace.

Besides his compositions for band he also composed, and had published, four books of piano marches for the Order of the Eastern Star. He was a pPast pPatron of the Order and organist at one time. Thousands of his piano marches have been sold and are still in demand.

Mr. Havlicek was also piano accompanist for various choral groups, including – the Men’s Glee Club of Doane College in 1923-1924, and he played violin in Doane Symphony concerts and trumpet in with the Doane Crete Choral Society.

For many years he was the piano accompanist for the Cretonians, a Crete men’s choral group under the direction of Professor Geo H. Aller. The Cretonians earned the title of “Ambassadors of Song” and were presented with an Award of Merit by the Music War Council of America.

He was a Past Master of the Crete Masonic Lodge, High Priest in the Royal Arch and belonged to the Scottish Rite in Lincoln.

As a member of the Methodist Church since 1915 he served there as organist for 17 years.

He had three sons and a daughter, all of whom are associated with music in various music connectionsways.- His son Gerald is, a salesman for several music companies; Byron, a band instructor; Dr.. Larry, who has a Master Degree in Music, and is now pProfessor of eEducation at Kansas University.; His daughter Alice is, a teacher in Casper, Wyoming. In 1958, when Larry returned from service overseas in the U. S. Army, Mr. Havlicek was teaching band in theat Crete High School, Byron was the bBand iInstructor at Nebraska Wesleyan University and Larry directed the Doane College Band, while the oldest son Gerald was out selling instruments.

By Mrs. Lumir Havlicek

THE CZECH BANDMASTER OF THE SIOUX

(Picture p. 81)

John F. Lenger, a Czech immigrant with a very colorful life, was born in Tabor, South Bohemia, Czechoslovakia in 1849. He started his musical career at the age of six.

His musical studies were at the cConservatory in Prague, Bohemia. At the age of fourteen he enlisted in the Austrian army as a musician. (At that time Bohemia and Moravia were part of the Austrian Empire).

The future life of this musically gifted man had a very interesting continuation.

In 1869 John imemigrated to the United States and his first stop was Baltimore, Maryland. From there he moved to Chicago, Illinois but not for too long. The American West was too tempting for him. His next stop was Yankton, South Dakota where his parents as immigrants also were livinglived. There the young “professor” of music organized the Yankton City Band. There Lenger also met a girl who was to be his wife one dayhis future wife.

This southeast corner of South Dakota and northeast territory of Nebraska were in the north stream of the immigration settlements of the Czechs who were mostly comingcame mostly from Chicago, Illinois.

In 1879 Lenger and his wife moved to the newly established village of Niobrara in Knox County, Nebraska, and there they spent much of their lives. As late as 1858 Niobrara was the territory of a Ponca Indian village.

In Niobrara, Lenger started as a music teacher and bandleader. In 1882 he organized the Niobrara Helicon Band with forty members. In the same year Lenger organized a “pParlor oOrchestra,” a special organization to entertain immigrants when they came to Niobrara without money.

““Lenger was a member of the local (Niobrara) Masonic Lodge and attained the 32^nd degree in this order, a fact which he proudly announced on his personal letterhead. A copy of the letterhead given to the author (James H. Howard) by his niece Mildred Lenger (still living in Niobrara) has an engraving of a handsome man with a full black beard and the caption J. F. Lenger, 32^nd Band Master, Niobrara, Nebraska.” (From the article by James H. Howard: Nebraska History, summer edition 1972).

In Niobrara, John F. Lenger was very active organizing musical bands in eastern Nebraska and southern South Dakota, including municipal bands in Verdel, Lynch, Winetoon, Orchard, Page, Royal and Foster, all in Nebraska, and Gregory in South Dakota. and a Bohemian Band in the Gregory area of South Dakota, composed of Czech farmers. He had a very large and wide plan that every town should have a band.

But his most historically famous band was organized in 1884 which was a band among the Santee Sioux on the Niobrara Reservation. He is probably the only one Czech who did this with the IndiansIndians.

A group of Santee leaders visited J. F. Lenger, the music man, asking if he would be willing to teach their young men music, and thus this famous Santee Sioux Band, entirelyall composed of Indians was formed, which was a success from the beginning.

When Lenger started to teach music to his young Indian boys he had some problems with the Sioux language.

“At first he worked through an interpreter, but soon mastered the Sioux language. He found it necessary to work out a plan of explaining musical terms by signs in order to help those native Americans to grasp the idea of musical phenomena.

“The Indian youth in school is easily taught music, but it was a different matter to undertake training a band of thirty-seven braves, who could not speak English,” he said. (Norfolk News, Nebraska, January 2, 1929)..

In 1885 the agent for the Santee, Flandreau and Ponca Agencies wrote, “During the last winter, a few of the Santees concluded to start a brass band. Some assistance was rendered and about $200.00 was expended for instruments. The band was started with 17 members. They now play very nicely. They received $65.00 for playing at Niobrara, Nebraska on the 4^th of July. The Indians take quite an interest in music and can learn very readily.” (Reports of the Commissioner of Indian Affairs 1885)

The Niobrara engagement was among the first public appearances of the Santee Sioux Band. The band soon became known throughout the area and was invited to play for any official or private program.

“The body of handsome Indian youth in their bright uniforms, instruments polished until they sparkled, was at once a sensation. Even more striking was their leader, Professor Lenger, attired in a beaded buckskin chief’s costume made for him by the Santee women, his long black beard whipped by the breeze. Great events for the Santee Sioux Band were their appearances at the Chicago World’s Fair in 1893 and the Trans-Mississippi Exposition in Omaha in 1898. Perhaps the greatest occasion for Lenger and the band, however, was a special command performance for President Benjamin Harrison.”

John F. Lenger

Music Man Among the Santee

By James H. Howard

John F. Lenger spent the later years of his life in Gregory, South Dakota.

On January 2, 1929 the Norfolk News had featured thea story that Lenger was still bandmaster of two bands at eighty-one years of age:

“He takes pupils on any or all instruments. From early morning until late at night a person passing his house can hear the sweet strains of music. He

is either helping one of his many pupils over a difficult passage or playing for his own pleasure.

“Our very special and colorful Czech musician, teacher and bandmaster John F. Lenger died at the age of 92.

“Lenger did have really deep Czech roots. His paternal grandfather, a Frenchman, had died at the age of 136, his maternal grandmother lived to the age of 110, mother lived to 95 and his father lived to 99.

(Norfolk News)

Lenger’s favorite composition “Colonel Bogey March” was used in the movie “Bridge on the River Kwai,” and was played at his funeral on March 29, 1941 by the Niobrara High School Band.

NOTES

James H. Howard: John F. Lenger:

“Music Man Among the Santee”:

Nebraska History, a quarterly journal

Published by Nebraska State Historical

Society, Summer 1972

Norfolk News – Norfolk, Nebrraska

Reports of the Commissioner of

Indian Affairs, 1885

A niece of the Czech bandmaster John F. Lenger, Mrs. Mildred Lenger of Niobrara, Nebraska, a very kind lady of cooperation, sent me not only some photos of her uncle from the family album but also this information: - “My uncle married a Czech girl named Mary Pisek. They didn’t have children of their own but they were like parents to several orphaned nephews and a niece.

“If you need more information in that area I might be able to find out some but I doubt it would be material pertinent to my uncle’s musical career. Although Uncle John is known for the Santee Sioux Indian Band, he also played with many Bohemian musicians in bands, concert work and directed so many Czech groups and bands with Czech players. I have another picture that could be better for he history in your book and I will send it to you. To me, it is more impressive than the picture I have already sent you.”

BIOGRAPHY OF FRANK HLADKY

Born in Crete, Nebraska, January 31, 1898

Frank Hladky, son of Frank and Anna Hladky of Crete, Nebraska, started violin lessons at an early age with James Shebl and continued his instruction for ten years with Joseph Franta of Crete, who was a pupil of Edward Herman, a New York City violin virtuoso.

Later he studied at the Bush Conservatory in Chicago with Richard Czerwonky. Still later he studied violin with Richard Burgin at the New England Conservatory and played viola as well as violin in chamber music there under Joseph Adamovski.

(Picture p. 86)

In 1920 Frank Hladky accepted a position with Oklahoma A & M College, now known as Oklahoma State University in Stillwater, Oklahoma. He was head of the Department of Violin and String instruction, taught many music courses such as conducting and, chamber music, etc., and was cConductor of the University Symphony Orchestra during his tenure at Oklahoma State University. He retired from the University in 1963 with a special retirement performance by the Oklahoma City Symphony with his son Robert Hladky performing a cello concerto and Frank conducting. During his 43 years of teaching he played in faculty trios and quartets, and took his uUniversity sSymphony oOrchestra on tour many times. He also played violin in the Oklahoma City sSymphony for six years.

His contributions to the musical life of our country have been mainly to teach and encourage young students by coaching and teaching and then allowing them to perform as soloists with the uUniversity oOrchestra. Many of his former students are now playing in professional orchestras and, chamber music groups an and are teaching in universities and high schools

In 1922 Frank Hladky married Keyte Madden of Ardmore, Oklahoma, who was, at the time of their marriage, a professor at Oklahoma State University. They had three children: Frank, Jr., who is a an M. D. and Psychiatristpsychiatrist, plays the violin, is married and has two children and a grandson. He is currently living in New Mexico after being head of the Tulsa Psychiatric Clinic for 16 years. Their second son, James Robert, has a dDoctorate in pPerforming aArts from the Eastman School of Music in Rochester, New York, and is presently professor of cCello and hHead of gGraduate sStudies in mMusic at the University of Oregon, Eugene, Oregon. He performs a lot as a cello soloist and in chamber music at the uUniversity. He is married and has three children.

The Hladky’s’ third child is their daughter Markeyta, who is a pianist and piano teacher. She has a mMasters dDegree in pPiano from the University of Oklahoma. She, like her brother Robert, does a lot of performing and accompanying. She is married and has three children and lives in Tulsa, Oklahoma.

Kayte and Frank Hladky traveled extensively after retirement and thenn settled in Florida where they lived 8 for eight years on Ann Maria Island, Florida

(Picture p. 87)\

Frank Hladky, Professor of

Violin at Oklahoma State

University-Photo taken in

January 1956

While there they made many friends and Frank Hladky played in two string quartets every week with fellow musicians. They are presently residing with their daughter, Markeyta Morey and her family, at 5853 S. Irvington, Oklahoma.

Mrs. Markeyta Hladky Morey

(Picture p. 88)

Mr. Frank and Mrs. Keyte Hladky

50^th wedding anniversary 1972

Jeste jsou pametnici toho, kdy po nasi vlasti

Se rozlehaly pisne od rana do vecera. Matka

Uspavala zpevem dite, mladez si zpivala pri

Hrach. Pisnicku si notil pasacek, kdyz se ba-

Tolil za husami. Take divka na pastve si ve-

Sele prozpevovala. Clovek si pisni oslazo-

Val kazdou praci. A ta starenka, kdyz prekla-

Dala veci ve sve starodavne thruhlici, zpiva-

La si starou pisnicku.-

(Decoration p. 88

MARY ELIZABETH ARON SHEBL

From gGrandma’s sStories by Mary Aron Shebl (1871-1962) who

wWas born in Saline County on her father’s homestead on the bank

oOf the Blue River south of Crete, Nebraska. She wrote these

aAccounts for her great grandson (4) who represents the 6^th

gGeneration of Nebraskans living in the state:

Mary Elizabeth Aron Shebl was the daughter of Thomas Aron (of Podebrady, Bohemia,) a Saline County pioneer and homesteader. She was a proud Czech pioneer who instilled in all of us the pride of our Czech heritage and American opportunities. She could read and write in both languages and she taught her only child, Elsie Shebl Dredla (Mrs. Thomas J. Dredla Sr. – 1892-1945) and her granddaughter, Marion Dredla Moravec (Mrs. Daniel F. Moravec Sr.) to do so also. Mary Aron came from a musical family both from her father’s side and her mother’s side and married Joseph George Shebl who also was musical. Her daughter, Elsie Shebl Dredla, was a music major in college and taught piano in Crete before her marriage.

Mary Aron Shebl says of her father: “His trade in Cechy was that of a bricklayer and stone mason, and as an extra source of revenue, he played his cornet. Though he was self-taught, he was adept at transposing for various other instruments in the brass band. He had a very keen ear for music. He was one of eight children of a family with meager possessions and an uncertain future in the oOld cCountry. He emigrated to the promised land of America. He landed in Baltimore in the early part of the year 1867. He came with all of his earthly possessions in a little bundle and his faithful cornet to make a living and establish

a home and family. He had no opportunity to work at this trade in Baltimore as it was mainly a seaport where ships were loaded and unloaded of lumber cargo. He decided to go on to Chicago, a rising metropolis where many Bohemians were starting a new history in the Czech tradition. It is there he met and married my mother, Elizabeth Nedela.”

“The Nedela family was also very talented in music but poor. They could not furnish the means for education for all the children (in Cechy)in Bohemia so only the eldest child, a son Vaclav, was favored to excel in the musical talent that they all had. As with so many people in Europe in that day his fame was of short duration because of the disease of tuberculosis. He had made his debut as tTenor sSoloist in the National Opera House of Prague. My mother was 14 years old when she heard him sing there. The death of this brilliant brother at the height of his career determined the fate of the family to sail for America to save at least three of the children..

“Thomas Aron joined with his brother-in-law Frank Nedela to form the first brass band in Nebraska which played for the inauguration of Governor Butler. He was responsible for organizing the first Czech Society called the ‘Ctenarsky Spolek’ to propagate the use of the Czech language. He made sure to get aAll the literature available at that time he was sure to get and all of us children were able to train ourselves in the use of the Czech language,”

On the subject of Crete and celebrations:

“I remember hearing that there were just a couple of buildings in Crete the first fourth of July when my parents came in 1867

“I don’t remember that because I was born in 1871 and Crete was organized in 1870. But the first fourth of July that they celebrated, they did so at what they used to call Blue River City and so they all celebrated with all the other nationalities. My father with Frank Nedela provided the music with their brass band—the first in the state of Nebraska.”.

Other occasions; Barn raisings and weddings:

“The first schoolhouse was a gathering place where the settlers used to take part in dramatic plays in education and my father organized the ‘Reading Circle.’ The members gathered together so that they might improve their education, their use of the new language and to learn the customs of the new land. The band was the center of many of the social gatherings. The whole family would go to the barn dances and weddings. The little ones played until they fell asleep. When it was late and time to go home, all the sleeping children would be gathered up and put in the wagon and off the family went for home.”

About her husband Joseph George Shebl:

“I came from a musical family and I married Joseph Shebl (Mseno) on May 28, 1888, and he too was musical. He came directly to Nebraska , as his family knew the Nedela family in CechyBohemia. He lived with the Aron – Nedela families the first winter before he established himself as a wagonmaker and cabinet builder. He made friends with the Aron boys and soon became involved with thein musical activities. He played the violin and trumpet. He became a member of the first brass band along with all the relatives. We had one child, a daughter Elsie Shebl Dredla who was an accomplished pianist. Mr. Shebl passed away on April 3, 1921. His sister Anna married C. W. Havlicek whose son Lumir taught music in the Crete Public Schools and organized bands and music for succeeding generations of American-Czechs to perform in contests with great success. Lumir’s son is presently involved with music and the music field.

Mrs.Daniel F. Moravec

(Marion Dredla Moravec) Lincoln, Nebraska

FRANTISEK ALOIS DRDLA – Violinist and Composer

Frantisek Alois Drdla was a recognized Czech composer and violinist in Czechoslovakia. He was born November 28, 1868 in Zdar on the Sazava and died November 3, 1944 in Bad Gastein, Austria. He was a student of music under the director Antonin Hromadka, the elder. He was associated with the Pragueha cConservatory in the years 1880-1882. HereTh ere he studied with Bennewitz and Josef Foerstr.

He continued his studies at the Vienna Conservatory (1882-1888) studying violin with J. Helmersberger, the younger, and composition with Fr. Frenn and A. Brueckner. At this time his father moved the family from Zdar, Moravia to Vienna.

He was a violinist at the Vienna Court Opera from(1890-1893). He was the director of the orchestra and the concert master in the theatre in Vienna from 1894 to-1899. Solos were written for him by Johann Strauss, the younger, and C. Millocker. He acquired a reputation as a violinist of the refined technique and capacity for expression. He performed in festivals in Bayreuth and performed in concerts in Europe in the years1899 to -1905 and in America from 1923 to-1925. He performed for President Coolidge at the White House.

In 1927, the pPresident of Austria conferred the title of pProfessor on him and Drdla devoted himself mainly to composing and private instruction. He composed wrote over 300 compositions and was best remembered for his popular “Serenade A,” “Souvenir,” “Vision” and “Intermezzo.” The influence and sponsorship of his friend Jan Kubelik as well as Vaclav Prihoda and Oskar Nedbal is reflected in his expressive national themes.

(Picture of Drdla p. 93)

Frantisek Drdla was very proud of his Czech origin. He had a feeling for his Czech nationality. He often appeared at Czech concerts in Vienna and various social gatherings, especially the Slavic Beseda and the Choral Group Slovan (1891, 1898, 1908, 1910) and even after the revolutionary change in 1918. He loved to return to his native Zdar on the Sazava where he held concerts in 1900 and 1922. He last visited his native town in 1941 and 1943.

The compositions of F. Drdla distinguish themselves by technical maturity especially with a melodic desire to please and with a live sense of sound. His compositions were written for the piano and violin. His “Serenade A” gained world renown thanks to Jan Kubelik and his violin. This serenade was dedicated to Jan Kubelik and was especially popular after the Czechoslovakian Republic was established 1918 after World War I and on into World War II. As late as 1941 his work was performed in the German theatre. His “Goddess of Love” was broadcast in Czechoslovakia on November 25, 1944.

Many of his momentos are in the possession of the County Museum in Zdar. Yehudi Menuhbin and Fritz Krisler both recorded Drdla’s work here in this country.

Drdla’s American relatives settled in Saline County. Thomas Drdla, his cousin, came to this country in 1880. The family lived in Crete, SalineCountyNebraska. An Irish postmaster felt the original name had too many consonants and inserted an E into the original name. Since “Dredla” became a banking and legal business name for Thomas Drdla’s son, Anton who became mayor of Crete and was associated with the Crete State Bank., and It was also a public name for Anton’s son, Thomas J. Dredla Sr. who was both City and County Attorney, and his son, Thomas J. Dredla Jr. also was an attorney in public life., As a result, the second spelling remained. Family members who settled in Omaha retained the original spelling.

Thomas J. Dredla Sr. took his family to Europe many times. On one of the visits in 1934 he met and visited with Franz Drdla in Vienna where he and his sister lived..-

Mrs. Daniel F. Moravec (Marion Dredla Moravec)

Lincoln, Nebraska

(Picture p. 95)

A souvenir to revive my many reminiscences. Edward C. Brt donated

tThis cornet to the Historical Society, Lincoln, Nebraska.

Anytime, when this Czech musician and historian visited the

sSociety’s building after his stop in the office of Marvin F. Kivett,

dDirector of the sSociety, he never forgot to visit me also when I worked

tThere.

Edward C.Brt Collection

Courtesy of Mrs. James (Brt) Denney

REVEREND DR. EDWARD J. CHAPURAN

By Frank J. Chapuran, Omaha

Reverend Edward Chapuran (Cepuran) was born in Omaha, Nebraska on January 30, 1898. He was ordained a priest July 1, 1922. He was sent to St. Wenceslas Church in, Dodge, Nebraska, and was recalled to St. Wenceslas Church in Omaha on January 1923 as an assistant to Msgr. Jan Vranek of St. Wenceslas Church.

He was National Chaplain of the Catholic Sokol movement, which was always known as good in heart, clean and strong in loyalty, faith and physique. To him was given the responsibility of placing the Czech language as a credited language in the universities of America.

This he has accomplished. He also founded the Czech Department at Creighton University and the first Czech college girls’ club in America at Mt. Saint Mary’s

College in Omaha. In all matters pertaining to Czech-Americans in the U. S. A.America, he was always called upon to for aid on different occasions whether it be of a general scope in his position as State Chaplain of the National Alliance of Czech-American Catholics, or conventions or meetings of fraternal unions.

(Picture p. 96)

Among the many organizations and clubs he was interested in, he helped the young people of the parish, fond of their mother tongue, organize themselves into a cultural, musical and dramatic club. The club was named the Smetana Club after the famous Czech composer, Bedrich Smetana, and called themselves the Sme.tana Club.

Father Chapuran organized the Saint Wenceslas Band August 10, 1931 to duly represent the Nebraska Czechs. The band traveled throughout Nebraska and also to South Dakota playing concerts featuring Czech music. He composed many band numbers, one of which was “The Deal March” played in honor of President Franklin D. Roosevelt over network radio in 1936.

The band was invited to participate and play in the celebration of Czech Day at the World’s Fair in Chicago, where they won the National Class A Amateur Contest.

To counteract the evil influence that jazz music brought about, Father Chap with the assistance of the Smetana Club developed the Smetana Orchestra playing traditional folk music of the Czechs. On February 5, 1928 this orchestra sponsored an all- Czech dance for young people. From then on Czech music became popular throughout the nation. The Smetana Orchestra traveled over 200,000 miles of musical tours as far as Texas featuring Czech dance music.

The band gave several weekly broadcasts over Station W. Z. A. W.. On July10, 1936 the Saint Wenceslas Band played in San Antonio, Texas for the National Sokol Tournament.

During the Czech crisis when Hitler was encroaching on Czechoslovakia,. the Saint Wenceslas Band, directed by Father Chapuran, raised considerable amounts of money by concerts, etc., and sent it to the Czech refugees banished from the Sudetenland.

Father Chapuran died in Omaha April 11, 1952 (Good Friday).

The author of this article, Mr. Frank J. Chapuran of Omaha, a nephew of Father

Chapuran, sent me this information: “The information given you was compiled

fFrom the History of Saint Wenceslas Bohemian (Czech) Catholic Church written

bBy Rev. Edward Chapuran, Pastor. This information was compiled in case I

nNeeded it when I was asked to accept a plaque placing the name of Father

Chapuran into the Sokol Polka Hall of Fame at 13^th & Martha Sts. Sokol Hall, in\

rRecognition for contributions and the perpetuation of pPolka mMusic for dancing

aAnd the listening public. This award was made on October 21, 1973.”

HOWARD – BUFFALO COUNTIES

Many small Czech communities over the state of Nebraska used the talents of Czech-Americans. Many also were first, second and third generation Americans at the turn of the century

The Howard County community of St. Paul had Czech immigrants who came by way of Wisconsin and Minnesota. Elba too had Czech immigrants and the cemetery at Warsaw has very early records of the pioneers of this county who are buried there. Although no organized club or group of Czech immigrants can be identified per se, many fine Czech musicians added to the community musical life. Musical groups, bands, choirs and study clubs were held at various times in the late 1800’s and early 1900’s. Some of these people like For example, Emma Bartle Moravec of St. Paul (1884-1949) daughter of pioneer Howard County merchants Frank (1856-1949) and Veronica (1859-1927), attended Nebraska Wesleyan University and taught music for 40 years in this small community. She represents hundreds of other men and women who gave of their time and talents through children’s private lessons and also through their church. Mrs. (Louis) Moravec was her church’s organist for 40 years.

Choral groups were also a part of these small communities when transportation was minimal and entertainment was centered around home, school and church. Some church choirs had members of other churches to help them with their musical efforts. In the early pioneer days, not all denominations of churches could be found in small villages. Upon close examination one would find a good percentage of school bands in many small towns of Czech descent.

Localities like Ravenna, Nebraska, in Buffalo County, was another such community. Here too was a group of Czech immigrants. In addition to musical talents, this community had the a Sokol organization, and the community was very supportive of the chapter and the men and women who took part in that the Czech-h oriented organization. They represented the community in Chicago when the national Sokol organization had its meet. People like the Hach sisters, Vlasta, Olga and Blanche (Kuncl), Slav Slavetinsky, Emil Kozel and the A. V. Hlava family were sports- minded and trained diligently to stay fit and participated in the Sokol events, both on a local level as well as competitively with other city groups and national groups.

Mrs. Daniel F. Moravec (Marion Dredla Moravec)

(Printed music p. 100)

MY FATHER, ALBERT ELIAS, AND HIS MUSICAL FAMILY

My father, Albert Elias, became a member of the American Federation of

Musicians Union in its beginning in 1897. He became identified with professional

musical affairs in Omaha in 1892 and earned a high reputation as a trumpet player in the

good old days.

My brother, Frank, was a drummer who played drums in the pit orchestra at the

Orpheum Theater during the days of vaudeville and the days of musical road

shows. He organized the Shrine Band in 1918 and was the leader of the bBand for

several years. He was a pPast pPresident of the Omaha Musicians Association.

Another brother, Fred, was a former member of the Omaha Symphony

Orchestra. He was a trumpeter and wrote three books called, entitled: “Secrets of the Trumpet,”

“The Elias Buzz System,” and the “Emboucher Developer,” in which he described his

system of playing every scale on a trumpet without touching the valves. He won a gold

trumpet from a musical instrument company in 1931 in recognition of the unusual

playing method. ( I have paper clippings on these articles.) Frank was four and Fred was

two years old when they came to Omaha. Both boys were born in Czechoslovakia.

My father and brothers would ask me quite often to join them in playing in the

orchestra. I played the piano with them for dances that were held in the various dance

halls that were in the Czech communities in Omaha. Czech music was important to us as

we grew up in our family home and of course the polkas were always popular with us.

My daughters, Geraldine and Patricia, both inherited the love of music. Both

played the piano, and Patricia (often called “Pat”) also played the flute in the school

band. She taught herself to play the organ. “Pat” is the wife of former Governor and

now U.S. Senator Jim Exon. While living in the gGovernor’s mMansion, she spent

many leisure hours playing Czech music on the organ.

.

The above written by Anna Elias Pros, Omaha, mother of Mrs. Patricia

Exon.

PATRICIA EXON

The Czechs of Nebraska may be very proud that the wife of former Nebraska

Governor and now U.S. Senator J.J. Exon is of Czech nationality. And we can be

sure of the fact that she is very proud of her origin too. Pat’s ethnic heritage shows

through clearly publicly, not only in her interviews, but also in her frequent

visiting ofvisits to Czech festivals and Sokol exhibitions. Her desire to perfect her family’s

native tongue was so strong that she attended the evening Czech class at the

University of Nebraska in Lincoln.

It wasOn January 7, 1971, during the Governor’s Inauguration Ball of her newly

elected husband, that Patricia proved her love for their Czech origin and heritage by

requesting that the a dancing group of Czech children from Dwight, under the direction

of Mrs. Policka, perform Czech folk dances during this the celebration.

Born November 6, 1921, under the sign of Scorpio, the Omaha born native said

she inherited some of the Scorpio musical interest and talent. She plays the flute,

piano and organ. She has composed musical scores and lyrics for “Homesteader”

presented on a Lincoln television station during the Nebraska Centennial celebration

in 1967, as well as having participated in the Omaha Symphony in the past. Second

only to her enthusiasm for music, bowling, and writing, comes the art of cooking, deeply

influenced by the Czech old kitchen and recipes, mostly roast pork, dumplings,

sauerkraut and kolace.

FRANK KUNC JR. --- WILBER MUSICIAN

Picture P 108

Czech musician Frank Kunc Jr. (in front) and some of

his band members: (Left to right): Leon Gerner, Adolf

Sobotka, Ed Burda, Ed Spinar, Irvin Karpisek, Anton

` Kupka and Warren Ripa.

Frank Kunc Jr. was born May 10, 1891 to a family of musicians making him the third

melodious generation that we know of. His father played the violin and alto and his grandfather

played the cornet. Many times he would walk 17 miles to Milligan to play for a dance. For three

dollars they would start at eight and sometimes see the sun coaome up while they were still

playing.

Mr. Kunc started playing as a young lad, learning his music from his father. He played

with different groups and at the age of 21 in 1912 he started his own band. The members of this

group were Charlie Drda, Adolf Hoffman, Lou Hoffman, Joe Rehor and Joe Stich. As time went

on and his band members married and moved away, he added different members to his group.

Through the years he taught many, many students to play different band instruments.

Included as his students were the Broz brothers, Robert, Victor and Milo, and also Robert and

Ludvik Vosika, and later, in 1924, all these students became

members of his band. As a band they played for all occasions including dance jobs, barn dances,

platform dances, county fairs, parades, dedications of building and house parties. Some of the

dance haalls in the vicinity were Klasel, Mir, Columbus, Brush Creek, Tabor and Saline Center,

all being Z.C.B.J. Halls, plus the Wilber and Milligan Sokol Halls. His band also played

for Memorial Day at the Pleasant Hill and Norfolk Cemeteries and at funerals. His father

accompanied him on Memorial Days and at funerals as long as his health permitted him. In the

1920’s many times it was the custom to have his band play at funerals.

Picture

Page 109 Kunc’s original band - 1912

Some of the band members:

Back row: Joe Stich, Frank Kunc Jr., Lew Hoffman

Front row: Joe Rehor, Adolph Hoffman, Charlie Drda

Picture Kunc’s Band -- Back row: Milo Broz, Louis Page 110 Hoffman,Hoffman,

Page 110 Mr. Karpisek, Laddie Vosika

Front row: Bernard J. Klasek, Robert Broz, Frank

Kunc, Robert Vosika.

Picture taken May 30, 1929. Photo courtesy of

Bernard Klasek of Wilber, NE

In the 1920’s Mr. Kunc added an accordion to his group played by Fred Sasek and

changed his band to an orchestra. The orchestra played for dances which took them to spots in

Nebraska and Kansas, within a 100 mile radius offrom home. In 1931 they drove to play

at Radio station KMMJ, which was located in Clay Center NE . For two winters they traveled

to York to broadcast over a radio station there. Their highest honor, however, was

representing the sState at a Des Moines, IowaA farm convention in 1937. Among the thousands

applauding the Nebraskans was Vice President Alben Barkley.

Picture Early Day Band, leading the procession to the

Page 111 Pleasant Hill Cemetery near Dorchester for

Memorial Day Service included the young

Frank Kunc, Jr. and his father, Frank Kunc Sr.

Year of picture unknown.

Some of the other members of the oOrchestra, beside the ones named earlier, included:

Norman Blaha, Albion Broz, Bernard Broz, Ed Burda, Jim Dvorak, Lumir Freeouf, Leon Gerner,

the Horak brothers, Irvin Javorsky, Irvin Karpisek, John Karpisek, Lambert Karpisek, Leonard

Kassik, Bernard Klasek, Frank Kubert, Anton Kupka, Warren Ripa, Victpr Maryska, Adolph

Sobotka, Eddie Spinar, Lumir and Charles Tachovsky, Larry Vilda and Mr. Kunc’s son Robert.

Mr. Kunc was a dedicated farmer, beside being a great musician. His love for music

nNever ended. In later years after he could not play the trumpet as well, he played the drum. As

long as his health permitted, he and his group marched in all the Wilber Czech Days pParades.

For these occasions he asked other area musicians to accompany his group. They played

Bohemian music, Czech polkas and waltzes, and in the early days, German music also.

He played many instruments but his main loves were the trumpet and the violin. He

still loved to bring out his violin and play for his grandchildren and great-grandchildren. In fact,

he was still planning an evening of playing with Fred Horak on the concertina just before

he became ill.

Picture Kunc’s band taken in 1937:

Page 112 Back row: Ludvik Vosika, Robert Vosika, Frank Kunc, Sr., Robert Horak and Otto Horak

Front row: Frank Kubert, Frank Kunc Jr., Robert

Broz and John Karpisek.

Picture Wilber aCzech musicians 1978

Page 112 Left to right: Josef Hojer, Sobotka, Kelly Adolf

Homolka, Cleo Miller, Fred Dvorak, Sr.

In addition to his orchestra, Fred Horak played the concertina, Victor Broz played drums

and Mr. Kunc played the violin. The group played for square dances around the area.

A Czech-inscribed trumpet over a century old was among Mr. Kunc’s most choice

keepsakes. It not only reminded him of his gGrandfather’s days with a Chicago band before he

came to Saline County in 1882, but of its presence at so many big occasions around the area..

Mr. Kunc’s band and orchestra was always known as “Kunc’s Band.”

In 1938 Mr. Kunc was elected dDance Mmanager of Saline County’s dance hall, Saline

Center Hall, and held that office for at least twenty years, hiring all the orchestras and bands

during that time.

This great musician passed away on November 2, 1978 at the age of 87. He

received the Knight of Blanik award for his contribution to Czech heritage.

- - - - - - ----- - - - - - -

I remember, as a boy, that Kunc’s Band often played for funerals in my old

neighborhood in the middle of Saline County. They also played for Memorial Day at North

Fork Cemetery, near Saline County. The thing that I always remember is that they would parade

down the road to the cemetery gate playing a fast and lively polka. When they passed

beneath the cemetery gate, they would immediately switch to a mournful dirge, and they

played that kind of music in the cemetery. As they marched out of the cemetery they would be

pplaying a dirge, and as soon as they passed through the cemetery gate going out, they would

again switch to a peppy polka. Strange that such things should stay in your memory.

I also remember a rather touching time in 1964, when Saline Center Hall celebrated its

25^th anniversary. There was a big public celebration, and Kunc’s band, greatly expanded by a lot

of former players and volunteers, played a very fine concert for the occasion. At that time, most

of the band members were old, elderly or middle-aged, and most of them had spent 25 happy

years with Saline Center. They had a little different tempo and way of playing the Czech music