2014, vol. 20, br. 43, str. 10-26
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Jovan i Vojteh Frajt u Velikom ratu
Jovan and Vojteh Frajt in World War I
Sažetak
Ova monografska studija temelji se na istraživanju obimne arhivske zaostavštine porodice Frajt. Takođe su korišćeni i iskazi i sećanja članova porodice, posebno oni koji se odnose na učešće Jovana i Vojteha Frajta u Prvom svetskom ratu. U uvodnom delu studije razmatra se dolazak porodice Frajt u srpsku prestonicu i njeno uključenje u muzički život grada u kontekstu delovanja mnogobrojnih čeških muzičara. U tom smislu, osnivanje Salonske koncertne kapele Jovana Frajta pred sam početak Velikog rata značajno je ne samo zato što u njoj sviraju i tri člana porodice Frajt, već i stoga što je ta vrsta njihove aktivnosti predstavljala prvi korak ka osnivanju izdavačke kuće (tada jedine takve na Balkanu) Muzikalije Jovana Frajta. Mada je Veliki rat prekinuo nastupe Salonske kapele, iskustva koja su iz njega ponela braća Frajt uticala su na njihov dalji umetnički razvoj. Stoga je središnji deo studije posvećen njihovom učešću u Velikom ratu. U centru razmatranja ovog dela teksta su koncertni nastupi Jovana Frajta u vreme njegovog zarobljeništva u Plzenu i Vojteha Frajta kao soliste i člana Orkestra Muzika kraljeve garde u Solunu i mnogim gradovima Francuske. Osnivanje posle rata izdavačke kuće Muzikalije Jovana Frajta i pokretanje edicije Narodna izdanja predstavlja značajan datum u muzičkom životu Beograda. U završnom delu studije akcenat je stavljen na dve starogradske pesme Kreće se lađa francuska i Tamo daleko, nastale u toku Velikog rata i objavljene neposredno posle njega u Frajtovoj ediciji. Dokumentarni i notni materijal priložen uz ovu studiju objavljuje se prvi put.
Abstract
This monographic study is based on a research of extensive archival legacy of the Frajt family. The testimonies and memories of family members, especially those referring Jovan and Vojteh Frajt's participation in the First World War have also been used. The introductory part of the study deals with the arrival of the Frajt family in the Serbian capital and its inclusion into the musical life of the city within the context of performance of many Czech musicians. In this regard, the establishment of the Jovan Frajt's Salon concert chapel before the beginning of the Great War is significant not only because three members of the Frajt family played in it, but also because this type of activity was a first step towards establishing a publishing company (the only one of that kind in the Balkans at that time), Jovan Frajt's Muzikalije. Therefore, a great part of the study deals with performances of the Frajt chapel in the Hotel Moscow as the main urban exponent of Serbian capital and the herald of a new spirit of the city. This has been shown by means of an analysis of the printed book of the Moscow hotel that contained a list (which was a novelty at that period) of all compositions that were performed by the chapel, as well as a thorough analysis of the atmosphere and the milieu created not only by the Chapel, but also by the hotel visitors - Belgrade's artistic and trading elites. Although the performances of Salon chapel were halted by the Great War, the experiences that the Frajt brothers carried from there had an impact on their further development as artists. Therefore, the central part of the study deals with their participation in the Great War. In the centre of discussion in this part of the text are, on the one hand, Jovan Frajt's concerts during his captivity in Plzen, and on the other, Vojteh Frajt's concerts as a soloist and member of the Royal Guards Orchestra Music in Thessaloniki and in many French cities. Jovan Frajt's foundation of the publishing house Muzikalije after the war in 1920 and the launch of the edition Narodna izdanja represent a significant date in the musical life of Belgrade. Numerous folk and old urban songs were published in this edition, but also the modern dance of that time (Foxtrot, Charleston, one step, shimmy) which also represent the first edition of so-called popular music in our country. The final part of the study emphasises two old urban songs Kreće se lađa francuska and Tamo daleko, created during the Great War and published immediately afterwards in the Frajt edition. They were used as examples of the importance of these issues in general. In fact, this edition preserved and revealed the first, and in some cases, original versions of the so-called starogradske (old urban) songs and made them available to a wide audience, since the arrangements of these songs were intended for domestic performances. Therefore, the entire Frajt edition reflects the preferences and tastes of the urban Belgrade citizens of that time. Documentary and sheet music material enclosed with this study is published for the first time.
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