This allowed gradual development of concert activities, whose main promoter from the very beginning was Václav Smetáček. By recording music for the majority of Czech films in the 1930s and performing regularly in live broadcasts of Czechoslovak Radio, the FOK Orchestra made a name for itself and its economic existence was assured. He defined the ensemble’s fields of activity with the words “Film-Opera-Koncert”, which became part of the orchestra’s title as the abbreviation FOK. SVATOS is Assistant Professor at Zayed University.Established in autumn 1934 by conductor and musical organizer Rudolf Pekárek. Martinu's diaries provide a unique contribution to the history of musical aesthetics and shed light on a composer who loomed large in the musical worlds of Europe and America. In place of the Romantic sentiment that he found others invoking to explain musical inspiration, Martinu suggested looking for "emotion" elsewhere, such as in the technical decisions a composer makes while producing the score, or even in the composer's ability to work "without conscious involvement." And in place of the schematic formal analyses that he felt were misleading listeners about a work's "musical structure," he urged that we treat the work as a Gestalt, or as a synergy of functional relations. Martinu's diaries are, in large measure, a quest to establish a new kind of discourse on music. The book also offers, for the first time, a translation of the composer's American Diaries, in which he set down his musical philosophy in direct and convincing terms. Martinu's Subliminal States fills this gap by discussing the political, cultural, and musical challenges that he faced. History books, however, rarely give a sense of what he stood for as a musician. Bohuslav Martinu (1890-1959) was one of the most productive and frequently performed composers of the mid-twentieth century, renowned for such works as his opera Julietta the Double Concerto for Two String Orchestras, Piano, and Timpani and Symphony no.
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