Clarinettist Milan Kostohryz: His contribution to the field of reconstruction of historical instruments and his innovative promotion of new instruments

Abstract

My dissertation at the Department of Music Education and Culture at the University of West Bohemia is entitled “Milan Kostohryz. His contribution to music interpretation and pedagogy.” The dissertation focuses on an extraordinary musician, Milan Kostohryz (1911–1998), who had a significant impact on both the Czech and worldwide music community. He was highly professional, passionate, and meticulous, which was reflected in the wide scope of his activities. He was a reliable and sought-after player (in opera orchestras, chamber ensembles and as a soloist); a respected and successful teacher (almost all his students were successful in the field); an exceptional methodologist (he wrote a number of methodical articles and papers, which are relevant to this day); a researcher in the field of music history (he investigated the development of wind instruments in Czechia and revised dozens of old compositions). Many contemporary composers wrote works specifically for him, which he then premiered. Thanks to his extensive correspondence with dozens of music personalities all over the world, he contributed to several specialized international publications and was regularly invited to music conferences abroad (e.g. USA, Germany). His niche specialisation included official reviews of the quality of instruments (clarinets and saxophones) and mouthpieces available on the market at that time. He took part in the reconstruction of “Mozart’s basset clarinet” based on period sketches and built a working quarter-tone clarinet. His extensive interest in his field sets him apart from his contemporar - ies, many of whom were “just players”, rather than researchers. This dissertation is concerned mainly with his above-mentioned research. The principal resource for the research is an extensive written estate, with which I have been entrusted. It is currently deposited in the Czech museum of music in Prague (CMM). There are very few printed resources, as M. Kostohryz was not permitted to make substantial publications due to political reasons (see Bibliography).