Dulcimer player from the Javory Band, bandleader and founder of the folk Cimbal Classic and music educator Dalibor Štrunc released his new record Malované na cimbál. Štrunc's instrumental songs on this album are played by his students from the Conservatory Anna Múčková, Kateřina Harnošová, and Barbora Jagošová. We talked to the dulcimer player and songwriter, who has just turned 50, about this piece of work and more.
Jarda Svoboda from Traband released his first solo album on the day of his 50th birthday. For your 50th birthday, you gave yourself your own CD on which you do not play. Why did you decide for this model? Do you see the album Malované na cimbál also as a gift to yourself for this special birthday?
It was not originally planned that the album would be released on my 50th birthday but at least it will be easy for me to remember this milestone. The decision to record it was made very impulsively in December of last year and then everything went fairly quickly. The fact that I do not play and play on it at the same time is my little gift to myself. I consider the whole project to be a sort of reciprocal giving of gifts. It is a look back at the 15 years spent at the Brno Conservatory and a thank you to my students for the fact that my work brings me joy. To them, it is some sort of an imaginary apprenticeship certificate and tangible evidence that they have something to offer to the sphere of classical professional music, both in terms of playing instruments as well as in terms of dulcimer literature.
Therefore, you composed compositions for your students from the Conservatory. Did you write them directly for them?
In the first phase, I placed them in the role of a test player and, especially their dulcimer line, I wrote the compositions for them directly for me, thinking of the ancient rule of love "Do unto others as you would have done to you." In other words, since I love my students and my instrument, I tried to make sure that the tones flowed as naturally as possible under their hands from the technical perspective. Which means without unnecessary instrumental maliciousness and gimmicks that would discourage other potential performers in the future. It does not mean, however, that it is simple playing but primarily it is necessary for music to bring us joy and I took that into consideration. For me, as a teacher, player, author and listener, expressive and passionate playing is mainly above the often meaningless and purposeless technical equilibristic. However, if these play elements are meaningfully connected, it is the ideal situation. It is necessary to look for specific persons and situations behind the actual content, philosophy and the reasons of the origin of individual songs overall. For example, the duet Anče honí Káču could not have found any target other than the two classmates and friends Anička Múčková and Kačka Harnošová.
How does the process of songwriting for Cimbal Classic and songs on your new album actually differ in your case? Is the author of artificial music separated from the "songwriter" in your core?
Before I tried it, I had the feeling that those are two separate worlds. Over time, all my experience – whether with writing and arranging "ordinary" songs, with theatrical music, but also my interpretive experience with the music of other authors – led me to believe that this is not true. In Cimbal Classic, I normally arranged for six to twelve instruments, and that is not much different from the number of parts in a score for an orchestra and the like. Ultimately, it comes down to the idea and its execution.
What is the most demanding thing about composing "classical" compositions for the dulcimer? And, conversely, what is the hardest thing when writing songs?
Both are similarly as hard and easy. Many elements are very similar. Melody, harmony and rhythm are the cornerstones of every composition and the lyrics are an integral part of songs. The adaptation is the main difference. In songs, music intensifies and supports the message of the lyrics. It should be simple and powerful at the same time. Technically, it should not be too showy to prevent distraction from singing and its ideas. On the other hand, instrumental compositions generally require far more exposed parts not only for solo instruments. Overall, greater sections encourage increasing sophistication of individual topics give space to colourful sound possibilities and a means of expression of both the songwriter and the performers. Basically, classical music costs you far more time and thinking because there are millions of paths where to go. In contrast, writing a powerful song means choosing only a few really good notes from many. Therefore, time, hard work and talent all play a role in this.
In 2000, you released a solo album Prameny. Is there any direct link between that album and the CD Malované na cimbál?
There are many links, direct and indirect. At the exact same time I was finishing this album, I received an offer to teach at the Conservatory. It was at a time when I was professionally very exposed and in addition to various guest performances I was also simultaneously operating in three prosperous and successful ensembles. Cimbal Classic, Javory and BROLN were filling up my musical space across the board and teaching seemed to me to be a step backwards in my case. The scales with the final decision were tipped by the producer and record producer of Prameny Jiří Plocek. He gave a different perspective of the matter and I am glad for it looking back. Prameny opened the door up wide to my creative and playing abilities and then they sort of exposed me to a much more complex task. And that was to share my abilities with my audience in a comprehensive language. Initially I was learning and finding out things about myself through my students – about my playing, my talents and mainly about my character. From that, mainly whether I know how to be empathetic, patient, sensitive and mainly selfless. Over the fifteen years, my students have become my second family, teaching has priority in my activities and it warms me the most about Malované that my energy flows in my students' tones, my sources are part of their varied dulcimer painting.
"Dulcimer is a percussion instrument, a melodic storyteller and the supreme creator of harmonic sections in one," writes Jiří Plocek on the cover of his new album. Do you feel that when composing you give preference to any of these roles – even subconsciously? And is it changing somehow with time?
As a musician and composer, I have always tried to present the dulcimer in all its rich possibilities. It is an instrument with a wide range of sound colours, shades and means of expression that are based primarily on working with the tone. Its sophistication, richness and diversity are probably the most striking features of the Moravian dulcimer school. Of course, the assignment differs slightly due to the type of composition. Generally, I take pride in ensuring that the compositions are communicative, melodically playful and the dulcimer sings in the full tonal range – just as wisely suggested by Jiří. Over time, of course, I went through a natural development. As a young man, I used to prefer the quantity and speed of the notes played, which attract attention, to their quality and sophistication. In terms of my age and experience, I am shifting towards deeper and more truthful expression.
You work as a teacher at the Brno Conservatory. Besides Brno, in Moravia playing the dulcimer is also taught in Ostrava and in Kroměříž. Do the schools somehow differ in their approach? In what way is the Brno school unique?
First of all, it is good that there is so much interest in the dulcimer. It deserves it. I am not in a position to be comparing individual schools. One sometimes has problems getting to know themselves well, let alone judge someone else. The direction of each class is based on the teacher of the main specialisation and I think that there are skilful experts at all the schools who specialise in the dulcimer with love and push its development forward. I try to honour the tradition of the Moravian dulcimer school in Brno, which is not closed and conserved but which is also aware of its strengths and builds on them. Moravian dulcimer can indeed paint a beautiful picture with a few simple plain tones. It has emotion and melody which is connected to the depth and unpretentiousness of Moravian folk music. And whether we are unique in any way? Currently, mainly with this musical record, because we are not aware of any similar project where the conservatory students would record a separate album, i.e. as a debut album accompanied by the Moravian Chamber Orchestra in this case and with the music of their teacher.
You named the album Malované na cimbál based on the opening track. Do you have any specific images in your head when composing?
When I started writing the fantasy concert Malované na cimbál, I consciously determined at the beginning that the sticks were the brush and the dulcimer was the canvas. There are pictures of my mind and my heart. The mosaic of natural sceneries is combined with my memories, emotions and close people. Scenes of parts of life exposed but not revealed by music are simply incorporated in it. Thus leaving room for the imagination of the audience.
The second song is called Řeka zpívá. Water is your favourite topic – referring to the album Prameny or songs from the repertoire of Cimbal Classic, although with the lyrics of Josef Prudil (Řeka tesknice, Teče řeka). Why is it that water and rivers specifically are so inspiring for you? And do you have a favourite river that you think of when composing?
You are right. Water has been my favourite element since my childhood. Time spent in its presence gives me peace of mind and energy at the same time. However, in the course of life, our relationship has changed. As a child, I perceived the river as an inexhaustible source of entertainment with open arms of unusual and affordable toys. Every sluice, every rock, every bay and pool of the Bečva River in the Rožnov area was hiding not only an adventure but also a boundless, interminable friendship. Today, as I sit on the banks of the Moravian Thaya River behind my cottage in Modletice, my horizons have been expanded not only with the beauty of life on both banks, but I feel its inner strength with which it overcomes obstacles towards its fulfilment. It actually does not overcome them, but instead it neatly avoids them. I find it instructive and inspiring. Both, for life and for music.
What inspired you for the song Hlasy modrých stromů, the longest and most segmented on the album?
The initial impulse for this song came from my student Barunka Jagošová who asked me to write a concert for her graduation performance. Due to my long experience with the oboe, which I frequently use in my home band, and also because there are still white spots in the dulcimer literature, I have decided to create a double concerto for dulcimer, oboe and a string orchestra. Thus, a three-movement composition gives significant and equal space to both instruments that complement each other in their natural positions. It is apparent from the name that it is a tribute to nature which is the main source of inspiration.
The dulcimer is widespread throughout Southeast Europe in various forms. Do you have any role models or favourite performers or authors among European dulcimer player?
I grew up in a time that was not in favour of people knowing what was happening in the world. The dulcimer began to be systematically taught in this country only after the war and therefore role models were scarce. Jan Rokyta, Helena Červenková and Petr Oliva were players, whom I knew, but I cannot say that I would imitate them or consciously study their performance in any way. I think that what is useful about the time without the Internet is that each dulcimer player was basically a unique signal that did not copy anyone and was looking for knowledge and inspiration from within. I am not questioning the contribution of the media and the amazing performances of dulcimer players worldwide that I follow. I am just saying that every coin has two sides.
Leaving aside the special album Melodies From Around The Globe (2013), which was recorded in cooperation with the Czech Biathlon Association, and the theatre recording Betlém (2010), the last album of the Cimbal Classic, Malý kousek nad zemí, originated seven years ago. Are new songs being created? When will we see a new album?
New songs are on the way, they are played and sung. I admit, however, that also for reasons of my passionate teaching I have been neglecting the Cimbal Classic lately besides concerts. Next year, we will celebrate 25 years with the band, and therefore if health serves us well, the fifth song album may see the light of day together with some sort of a best-of selection. If we delay it by a year, the world will not end.
You come from Rožnov, settled down in Brno, from where you go spend time at your holiday home in Modletice in Czech Canada. Which of these places is most inspiring to you?
Each of those places has influenced me and I carry each inside of me. My roots are in Wallachia and my music sensibility is tightly tied to them. Brno developed and taught me and in Modletice I feel the freest and happiest thanks to the connection with nature. It is the good fate of all holiday places.
Will you continue to write songs of the nature of the songs released on the CD Malované na cimbál? And will you continue to "give them out" to your students or will you keep them for yourself?
I will certainly continue to split my time and any invention between songs and music that is only seemingly classical. I am also interested in instruments other than just the dulcimer, and therefore it is quite possible that in the next opuses I will step outside the shell of a strictly dulcimer-oriented composer. And it is actually already happening. And that determines – and that is also the basic sense of making music – that I will continue to happily give out the songs that I write. I do not know a better feeling of composing than knowing that your music warms people and makes them happy on both sides of the stage and people are interested in it.
