Jaroslav Krček

* 1939

  • “I started working on it, I had those one hundred Crowns for it, and I invited the Prague Madrigal Singers and other singers and for thirteen months we were creating my electro-acoustic opera. I hired two technicians from Supraphon for that. I had free access to everything I needed – for instance, we were using the hallway in the Rudolfinum. From today’s perspective, it was impossible, but at that time it was indeed possible. We gave it a shape – Herzog was observing it. Now I think that it was a plunge into darkness, there was a courage which I don’t have today. I jumped into it and Herzog translated it into French. It was like narrative in verse, and I had the actor Lukavský narrate it. We became friends during this work, and it was wonderful friendship. Herzog thus translated it and sent it to Geneva for a competition and we won it. Everybody here was jealous of me, but there were already posters all over Prague that we would stage it on the staircase of the National Theatre as a quadraphonic program. As the first quadraphonic piece in Czechoslovakia! Eventually it became banned, but not by the communists, but by a fearful editor from the radio whose name was Hlaváč. He was scared because it was based on Biblical themes, and the work was thus never performed.”

  • “A German solder showed up there and he saw that a bicycle has been left there; he got on the bicycle and wanted to ride away. He apparently wanted to save his life. But he was caught by our neighbours, by the people from the street where we lived. He was beaten, they tore his uniform and handed him over to policemen. I felt sorry for him. When I became an adult, I realised that it was not fair and not correct. When we were five-year-old kids, we even used to play with these soldiers, because they had their training ground there and from time to time they would even give something to us. From my child’s perspective they were thus not enemies. He was a man, a human being. Honestly, who knows who the soldier with the bike was? Perhaps he was a young man who deeply disagreed with what he was doing. He disagreed with the war. Perhaps he had been drafted, just as people are usually drafted into a war like this. And when there are two nations, or even the whole world, waging war against each other, who knows where there is the truth? It is not anywhere, basically. I simply felt so sorry for him; and on top of that, there was our neighbour there, and this woman was handing out pieces of his uniform as trophies. ‘Take it as a keepsake!’ I was proud of my grandpa Dvořák, because he refused to take it.”

  • “I thus befriended this ensemble and its conductor (Helmut Rilling). At that time, after the Soviet invasion into Czechoslovakia (in November and part of December), he had a seven- week tour in the United States. As a friend, he offered me to play the timpani drums and he would take me with him on the tour if I wanted. I didn’t know how to play the timpani, and so I said yes. I was practicing by drumming on kitchen pots in my summer cabin. In October I went for a rehearsal, and that’s why I’m talking about it: when we crossed the border, I noticed that there was a strange-looking man with me in the train compartment. He was tall, lean, and he had an aquiline nose. This man somehow trusted me, and when the train crossed the border, he reached into his bag and pulled out the book which was called Seven Days in Prague. It was a perfect documentary book about what was happening in Prague during the seven days after the invasion by the Warsaw Pact armies. What happened and where. Who killed whom, who went where, how was the radio occupied. Great reading. I thus read the book, but unfortunately he didn’t give it to me. He told me that he was taking the books out of the country so that people learn what was happening in Prague. He had a full bag of them. It was a samizdat copy with photographs and related documents. There were inscriptions which appeared in Prague streets at that time, e.g. the pun ‘The Russians and ham – both are best eaten cold.’ It was a contemporary documentary about what was happening in Prague during the seven most critical days.”

  • Full recordings
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    Praha, 11.02.2015

    (audio)
    duration: 03:36:54
    media recorded in project Stories of 20th Century
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Our hearts should aim for love and our minds for joy so that we do not lose what we can love

As a student
As a student
photo: archiv pamětníka

  Jaroslav Krček was born April 22, 1939 in Čtyři Dvory near České Budějovice. He had a great talent for music since he was a little boy and he sang in the local church. Through self-study he learnt to play accordion when he was fourteen years old. In 1954 he was admitted to the Teaching Department of B. Jeremiáš’s Music School in České Budějovice. Then he studied at the Music Academy in Prague in the department of composition and conducting under Miloslav Kabeláč and Bohumír Liška. He completed his studies in 1967. Subsequently he moved to Pilsen to work there as a music director in the local studio of the Czechoslovak Radio. At the same time he was the conductor of the mixed choir Czech Song. After some disagreements in his workplace in Pilsen he accepted a job offer as a music director in the Supraphon company in Prague. During that time he was also active in Josef Vycpálek’s Song and Dance Ensemble. His lifelong experience and interest in folklore music inspired him to form two ensembles: Chorea Bohemia (founded in 1967, working with them until 1987) and Musica Bohemica (1975) where he is still actively involved. Chorea Bohemica focused on theatre, while Musica Bohemica is a purely musical ensemble. Jaroslav Krček is the author of many vocal, instrumental and electro-acoustic compositions.