Ostrava Center for New Music

Petr Kotík Introduction: I have often been asked about the difference between Ostrava Days and similar summer music programs held elsewhere. There are many ways in which Ostrava Days differs and I would like to mention four of them: independence from the music establishment, a duration of 3 weeks, a focus on working with large orchestra and a link with Ostrava Days Festival, already well established on the Czech music scene.

Institutional independence makes it possible for Ostrava Days to engage in directions not supported by the conventional music world. At the same time, we have to adhere to the standard working rules, especially in the case of our resident orchestra - the 95-piece Janáček Philharmonic, which works under union contract. Therefore, regardless of our innovative ideas, we have to follow the working norms and use a realistic strategy to navigate in this difficult environment, especially when we present new compositions. Economics dictates restricted rehearsal time, resulting in the high performance demands placed on musicians. Our resident-students are thrown into a “real” situation that will continue to affect them for the rest of their professional career. They gain valuable experience by observing how a piece of music is put together under these conditions, from the uncertain first rehearsals to the convincing final performance.

We decided from the beginning to set a limit for the number of OD resident-students, even if it often means rejecting well-qualified applicants. The reason for this is the desire to form, for 3 weeks, a close community where we work and live together in the intimate space of Ostrava’s musical environment. I once had a conversation with John Cage about a music-education project (although nothing further came of the idea). Cage said, “Be sure to make good common dining arrangements.” And he went on to say, “At Black Mountain College, we taught classes and the students may have gotten something out of it, but they learned the most at meals, where we all sat together and talked.” Our common meals at Ostrava Days have come to serve exactly this purpose.

It would be misleading to look at Ostrava Days as another summer school. We aim not to teach, but to create an environment where one can learn something. Teaching and learning do not necessarily coincide. To teach means to lead students on an intellectual and practical journey, but to learn means to be influenced by someone’s ideas and experiences, particularly those that resonate in oneself.

“Influence,” or  the question of who influenced whom, is an important and frequently discussed issue in music. A composer is usually identified as being influenced by such and such music. My understanding is different and I believe that what is characterized as influence should most often be called imitation. Imitation has nothing to do with influence, and at best, it may serve as a practical tool for acquiring a technique. It is certainly true in my case that the real influences were always a confirmation of something toward which I was already inclined, or something I was thinking about.

Working independently makes for a lonely and insecure existence. To continue, one needs support of others, and this is especially true in music. Connecting with others and receiving support from them, directly and indirectly, is what I regard as influence. Very often, only in retrospect does one become aware of it. Encounters with similarities in someone else’s work or ideas may become a confirmation of one’s individual path and this encouragement can exert the most important influence.

In this process, there is no room or need for imitation and works created by different people based on similar principles are often so different that they bear no similarities at all. At Ostrava Days, we are trying to create an environment that can foster unexpected and important influences.

Petr Kotík, Artistic Director

Ostrava, August 3, 2007