Home Slovenská hudba 2011 Slovenská hudba, Vol. 37, No 3, p.275-310

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Slovenská hudba, Vol. 37, No 3, p.275-310

Title: Hudobné vysielanie v Slovenskom rozhlase v rokoch druhej svetovej vojny
Author: Jana Gálová

Abstract: Music Broadcast in The Slovak Radio in The Time of World War II
The period 1939–1945 is an autonomous era in the history of the Slovak Radio. The Slovak Radio originated from the Bratislava subsidiary of the Czechoslovak Radio which became independent, what resulted in the establishment of the Slovak Radio, Ltd. with the state as a majority owner. Thus its primary ideological background changed. The government itself realized the power of a broadcasting medium and under its pressure music broadcast was also developing. Problems concerning the personnel and organization following the origin of the independent Slovak Radio were soon eliminated by unrelenting endeavour of Alexander Moyzes, who step by step supplemented the staff of the symphonic orchestra by engaging the Bratislava Conservatory graduates, and reorganized the music department. He employed professional musicians to occupy particular leading posts of new specialized sections of the music department, thus securing the high quality of concert programmes and broadcasts of the music department. Under the baton of František Babušek and Krešemír Baranovič the orchestra developed into a supreme orchestral ensemble. As soon as in 1942 the public concerts started to be broadcast live and enriched the Bratislava music life. Slovak Radio was making progress in numerous aspects. In 1941 new recording technical equipment was bought facilitating the work of programme production. Since then Slovak autonomous creation was not dependent only on live concert performance and gradually the music archive of the Slovak Radio was being built. The quality of the music broadcast of the Slovak Radio is proved by programmes with music and spoken word in the form of annotations to symphonic concerts written for the radio by Ernest Zavarský. Some of them were addressed to more educated listener, connoisseur of art or music critic, as Zavarský expressed his ideas using an expert language incomprehensible to a music dilettante. Zavarský’s annotations to autonomous Slovak compositions were based on his study of scores, as no recordings or ready-made analyses existed. These radio programmes worked as a springboard to his study Contemporary Slovak Music written in 1947.
The results of programme analyses confirm the obvious effort to promote and cultivate Slovak  music. The Slovak Radio staff focused on symphonic and chamber creation, not leaving behind entertaining or folk music. Despite complicated economical and social-political conditions the period of the WWII is paradoxically the period of development and upraising of Slovak music culture. Slovak Radio succeeded not only in maintaining the quality of  broadcast of the former Czecho-Slovak Radio, but also in improving and upgrading it. It may be stated that the musicologically informed comments by Ernest Zavarský on the music production in the time of the WWII reached the highest level and gave an account of the state of Slovak musicology.

Year: 2011, Volume: 37, Issue: 3 Page From: 275, Page To: 310

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