Karel Husa, winner of the 1969 Pulitzer Prize and the 1993 Grawemeyer Award, will be composer-in-residence at the University of Cincinnati College-Conservatory of Music this week. Husa is perhaps best known for "Music for Prague: 1968," written in protest of the Soviet invasion of his homeland.
"When 'Music for Prague' was first performed in 1968, it had the same sort of revolutionary effect that Stravinsky's 'Rite of Spring' had on the orchestral world," says CCM professor Rodney Winther, director of wind studies and Husa's former colleague at Ithaca College in New York.
"Wind band composition took a new turn at that premiere, opening everyone up to the myriad colors and emotional content that was unexplored by composers for the band to that point.
"Karel's compositions are in complete contrast to the man himself. He is the quintessential grandfatherly figure - quiet, unassuming and nurturing, while his music is demanding, forceful and at times, shatteringly powerful.
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He served on the faculty of Cornell University from 1954 until his retirement in 1992.
On Wednesday, the composer will attend the regional premiere of his "An American Te Deum" in Corbett Auditorium, in honor of his 85th birthday. On Thursday, a concert of his music will include his "Music for Prague: 1968.
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Question: Did you mean for "Music for Prague: 1968" to be a political statement?
Answer: I never thought of "Music for Prague" as a political thing, but of course, it became one. I almost called it a symphony - but I didn't, because I thought at the time we have to make known what the inspiration is.
In 1968, it was the fight of a small country for freedom. As I was born in Prague and remembered the (Nazi) occupation when I was 18 years old, I thought that was what I would like to express.
Q: What do you want to communicate with your "American Te Deum" of 1977?
A: I had a commission from Coe College in Cedar Rapids, Iowa, which had a lot of Czech, German and Scandinavian immigrants. I thought about being, myself, an immigrant, that I'd like to write something about what this country means and how people feel coming here. For many Europeans, it was a place where they could start a new life.
That was my case too, because the U.S., by hiring me at Cornell, gave me the chance to perfect my composing and conducting.
Q: What is your view on the future of classical music in this country?
A: I am optimistic. .
.. It is true that we have problems getting audiences, but it's a curious thing that people read new novels, they are going to new movies and they are interested in modern art.
But in music, somehow, people want to hear the things that they know. Believe me, I think that Bach's "B Minor Mass" is an absolute masterpiece, but as a person I am also interested in what's happening today. Our own music today is also classical music.
Q: What would you like listeners to come away with?
A: I hope that they could hear in the "Te Deum" my admiration for the country that adopted me, that I live here, that I could raise my family, and that so many incredible things have happened in America. America is a country that has given the 20th century so much, and I hope I have put something into it.
Wednesday: Karel Husa's "An American Te Deum," "Concerto for Percussion" and "Smetana Fanfare." Rodney Winther, conductor; CCM Wind Symphony, CCM Chorale, Xavier University Concert Choir and Percussion Group Cincinnati. Thursday: CCM Symphony Band, Terrence Milligan, conductor, performs Husa's "Music for Prague: 1968," "Etude" and "Al Fresco.
" Where: Both concerts are at 8 p.m.
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