Bratislava, laying at the banks of the Danube - not so blue anymore, as during the days of Waltz king Johann Strauss - has a unique position. Not merely speaking in the geographical sense. It used to be a city, that has endured during the centuries many different influences, as can be seen from the different names the city bore, from Celtic times, Roman occupation, the Great Moravian Empire, Hungarian rule, Austro-Hungarian era resulting finally in the capital of Slovakia, be it under the Czechoslovak independence in 1918, later the independent Slovak Republic in 1993. Historically speaking definitively an interesting place to be.
Culturally, it goes without saying, that Bratislava therefore contains an interesting mix of traditions that rushed through its veins. Yet this richness, is somehow muffled below a drab surface of prejudices and a streak of passive defeatism. But - for crying out loud - why??? While we put spotlights on European cities, having internationally renowned festivals or grand exhibitions, Bratislava seems just to have a slight hiccup once a while, immediately go into hiding, as if hoping to again disappearing into deep oblivion.
When regularly talking to fellow musicians, there is almost always this dreadful resignation in them. Interestingly enough, almost all of them seem to have a similar feeling and what is most amazing, knowing fairly well where the greatest challenges are - at least most of problems. Yet, where is the darned blocking discrepancy between the generally felt sentiments and the so much needed change forward?
Partly, there is definitively a historical legacy there; during cold-war era, culture was readily used by the communist rulers in Prague, to keep the masses lulled into their proletariat happiness. At least they learned a lot from the Roman emperors. Bratislava was, however, in this scenario the "provincial little brother". Maybe the Slovak Philharmonic was felt to be slightly second rated to the Czech Philharmonic. This politically directed cultural balance was causing a certain lingering resentment, especially after the turnover of power, and finally full independence.
The other reason, and far more dramatic than the former, is that - and again - the former regimes have created a mentality and with it a certain standard, which was surely detached from the general trend in classical music in the outside world. Artistic excellence was not most important, it was your loyalty to the party which would guarantee your career, being able to perform outside, go to prestigious events...
The old structure still lingers here. Some time ago, a befriended violinist, was lamenting over a glass of beer about the fact, that though he graduated from the Academy of Performing Arts (in Bratislava) under the so-called finest teacher, he was always being turned down when applying for a job abroad. And that's exactly what keeps him barred off. Slovakia's culture rulers, managers and teachers have created a fairly backward status quo (yes they are aware that there are those around, who are better - but it a scary experience) , which is not only a trap for themselves but also for whole generations to come.
Aren't there any positive trends? In fact, there are of course enough people with enthusiastic ideas and talents. But it is very hard for them, to push through the needed changes. There's is this barrier of not letting them into the established old circle. With a incidental exception. For the rest, there is a strong clique, who directly on indirectly devastating the classical music scene.
What could have been perhaps a beacon in the storm, where the last hopes would find refuge, is the Academy of Performing Arts. Fostering and nurturing new talents, guarding quality, investing in thorough music know-how. Instead, as the governments funds seem to dry up, the best quality is being skimmed off first, leaving a mediocre layer of bureaucratic musicians, who treat music perhaps more like a dusty and boring academic matter instead of a form of excellent artistic treasure. Music students are generally speaking
Yes dear friend, still sulking over your beer; the fact that you play like you were taught, makes you, sad to say, a priori uninteresting to foreign orchestras outside. Your Academy's record will be only used against you, but if, at least, you do not show more interest in better standards, it will, how unfortunate, definitively not lead you anywhere. He lacks - just as the majority - a birdeye's view and a (self)critical consciousness, and does therefore not fully realise his deficiency. (Brought up as in a pseudo-Russian way, as if being another Oistrakh - almost cocky in his playing, convinced of his infallible skill). A sad result of being a product of the old school. As if still living in a time-capsule. The world around him has moved in the meantime.
This is just an individual experience of one musician, and there are many many more. One would wish, that the Academy would show more vision and a stout standing. The current management style of "utmost seclusion" will have catastrophic ramifications. Most possibly. But the signs are there, that this Academy of Performing Arts will eventually become the downfall for the eager musicians. Both generally speaking, as well as for specialised fields, which are highly demanded outside Slovakia's borders.
It is a sad observation, which I see everytime when sitting together with musicians. The change must come from within. The present structures will not lead them. Too many interests involved.
A reason the more, to start right away.
MS
Culturally, it goes without saying, that Bratislava therefore contains an interesting mix of traditions that rushed through its veins. Yet this richness, is somehow muffled below a drab surface of prejudices and a streak of passive defeatism. But - for crying out loud - why??? While we put spotlights on European cities, having internationally renowned festivals or grand exhibitions, Bratislava seems just to have a slight hiccup once a while, immediately go into hiding, as if hoping to again disappearing into deep oblivion.
When regularly talking to fellow musicians, there is almost always this dreadful resignation in them. Interestingly enough, almost all of them seem to have a similar feeling and what is most amazing, knowing fairly well where the greatest challenges are - at least most of problems. Yet, where is the darned blocking discrepancy between the generally felt sentiments and the so much needed change forward?
Partly, there is definitively a historical legacy there; during cold-war era, culture was readily used by the communist rulers in Prague, to keep the masses lulled into their proletariat happiness. At least they learned a lot from the Roman emperors. Bratislava was, however, in this scenario the "provincial little brother". Maybe the Slovak Philharmonic was felt to be slightly second rated to the Czech Philharmonic. This politically directed cultural balance was causing a certain lingering resentment, especially after the turnover of power, and finally full independence.
The other reason, and far more dramatic than the former, is that - and again - the former regimes have created a mentality and with it a certain standard, which was surely detached from the general trend in classical music in the outside world. Artistic excellence was not most important, it was your loyalty to the party which would guarantee your career, being able to perform outside, go to prestigious events...
The old structure still lingers here. Some time ago, a befriended violinist, was lamenting over a glass of beer about the fact, that though he graduated from the Academy of Performing Arts (in Bratislava) under the so-called finest teacher, he was always being turned down when applying for a job abroad. And that's exactly what keeps him barred off. Slovakia's culture rulers, managers and teachers have created a fairly backward status quo (yes they are aware that there are those around, who are better - but it a scary experience) , which is not only a trap for themselves but also for whole generations to come.
Aren't there any positive trends? In fact, there are of course enough people with enthusiastic ideas and talents. But it is very hard for them, to push through the needed changes. There's is this barrier of not letting them into the established old circle. With a incidental exception. For the rest, there is a strong clique, who directly on indirectly devastating the classical music scene.
What could have been perhaps a beacon in the storm, where the last hopes would find refuge, is the Academy of Performing Arts. Fostering and nurturing new talents, guarding quality, investing in thorough music know-how. Instead, as the governments funds seem to dry up, the best quality is being skimmed off first, leaving a mediocre layer of bureaucratic musicians, who treat music perhaps more like a dusty and boring academic matter instead of a form of excellent artistic treasure. Music students are generally speaking
Yes dear friend, still sulking over your beer; the fact that you play like you were taught, makes you, sad to say, a priori uninteresting to foreign orchestras outside. Your Academy's record will be only used against you, but if, at least, you do not show more interest in better standards, it will, how unfortunate, definitively not lead you anywhere. He lacks - just as the majority - a birdeye's view and a (self)critical consciousness, and does therefore not fully realise his deficiency. (Brought up as in a pseudo-Russian way, as if being another Oistrakh - almost cocky in his playing, convinced of his infallible skill). A sad result of being a product of the old school. As if still living in a time-capsule. The world around him has moved in the meantime.
This is just an individual experience of one musician, and there are many many more. One would wish, that the Academy would show more vision and a stout standing. The current management style of "utmost seclusion" will have catastrophic ramifications. Most possibly. But the signs are there, that this Academy of Performing Arts will eventually become the downfall for the eager musicians. Both generally speaking, as well as for specialised fields, which are highly demanded outside Slovakia's borders.
It is a sad observation, which I see everytime when sitting together with musicians. The change must come from within. The present structures will not lead them. Too many interests involved.
A reason the more, to start right away.
MS
