Interview with Vladimir Roubal: When Music Becomes a Prayer

We bring you an interview with Vladimir Roubal, organist of Strahov and master of organ improvisation, on the occasion of his 60th birthday.

Since 1990, Vladimir Roubal has been Director of Church Music of the Royal Canonry of Premonstratensians at the Basilica of the Assumption of the Virgin Mary at Strahov in Prague. There he founded and leads the church choir Collegium Strahoviense and a chamber orchestra. His extensive concert activity includes not only the Czech Republic and European countries, but also the USA and Japan.

Mr Roubal, which musical instruments do you play?

I play the accordion, piano and organ.

What led you to the organ and how did you become an organist?

Since childhood my family and I went to church in Mesto Touskov. There, Mr Vetrovec played the organ, an exceptional organist who could work wonderfully with the sound of the instrument. It was he who brought me to the organ. Not only was I fascinated by his playing, but he often showed me how the organ works, how the colour and strength of the sound change with different stops, how to work with individual voices and tones. At that time, I was already playing the accordion. But even when playing that instrument, I imagined I was sitting at a large organ. The air supply, which I controlled with my left hand via the bellows, reminded me of working the organ bellows. It was as if I were secretly "practising" at home on a small portable organ. This childhood fascination gradually turned into a real passion. And so, under Mr Vetrovec's guidance and thanks to my desire for the beautiful sound of the organ, I set out on a path that eventually led me to become an organist.

What abilities and skills does a good organist need?

A good organist should above all have imagination and the ability to shape and control sound. On the organ, sound is not produced in the same way as, for example, on the piano. Once a pipe starts a tone, it holds it until the organist ends it. It is therefore important to feel how long to hold each tone and when to change it in time so that tones do not overlap each other. If they did, it would sound very rough and disturbing. Controlling this process requires sensitivity, technical skill and musical imagination.

What does the life of an organist look like? How would you describe yourself as an organist?

That is a very difficult question. Every organist is different as a person and as a musician. Everyone works in a different environment and must adapt to the conditions and requirements, whether it is liturgy, concert activity or other duties. If he has a family, he must also find a balance between his profession and family life.

The life of an organist is constant practice and preparation. Ideally, an organist not only plays, but also listens to a wide range of music-not only church music, but also music of various genres. This develops his versatility and musical imagination, for example when working with a choir, soloists or an orchestra.

An organist must have a feel for harmony, know when to create a wide chord and when a closer one, so that he can respond flexibly to different situations. It is a very complex and demanding job. It is no coincidence that, alongside the work of conductors and composers, it ranks among the highest levels of musical skill.

Organists also specialise according to the environment in which they work. Some play in concert halls, others accompany the liturgy in church, others work in ceremonial halls and crematoria. Each situation requires a different approach-you will not play folk songs in church, just as in a crematorium you must choose music sensitively so that it matches the gravity of the moment. Versatility, empathy and a sense for the situation are absolutely crucial.

What does playing the organ mean to you?

Playing the organ is mysticism for me. Even if one plays the organ often, it is never the same. Every tone you start has its length and duration, but each time it carries something different within it. With every tone I realise where it is leading me. Sometimes through the church, sometimes through the environment I am in at that moment. And sometimes a quiet but powerful dialogue between a person and God is created through it. At such a moment, music becomes something more than just sound-it becomes a prayer.

What kind of organ sound do you like?

The ideal situation is when the organ is well tuned and its sound is balanced. But it is not only about the instrument itself. The place in which the instrument sounds is also very important. Every church space is different, every concert hall has its own acoustics. And that is what is beautiful about it-watching the journey of the tone, how the sound of the organ develops and changes.

I remember the words of Professor Jaroslav Vodrazka, who taught me improvisation. After one concert in the Smetana Hall of the Municipal House he said to me: "Today churches are being turned into concert halls, and we must turn concert halls back into churches." This sentence affected me deeply. I realised that one of the missions of an organist is not only to play, but also to serve the space, the people and God through music.

Which composers are closest to your heart?

I admire the enormous variety and number of pieces that have been written throughout history. Our generation was fortunate to be able to look into this rich musical treasury. Still, I must say that I have my favourite composers. Above all Antonin Dvorak, whom I admire for many reasons, and Ludwig van Beethoven. They are two completely different worlds. I have been delving into their music my whole life and still feel that I have not yet discovered everything they can offer me. I cannot say that I have "exhausted" them.

Which musicians have fundamentally influenced you, and how?

I must mention my first music teacher, Mr Karel Hofman, a First Republic teacher and violist of the Pilsen Philharmonic. He was the one who formed me musically right from the beginning. He often played several pieces for me and then asked which one I liked best. In this way he gently explored my musical sensitivity and chose further repertoire for me accordingly. He was truly a noble man: even when he went to the garden to pick pears, he wore a jacket and a bow tie. This attitude, his dignity and love for music left a deep impression on me.

The second person I like to remember is Father Vaclav Ruzicka. His immense patience, kindness and human greatness were a great inspiration to me. Every Sunday he prepared a different organ accompaniment for me according to what I was already technically capable of. His housekeeper received simpler versions of the pieces, while he wrote more demanding arrangements for me. With Father Ruzicka I then travelled to several parishes - Vejprnice, Malesice, Chotikov - and thanks to that I gained not only musical experience, but also a love for liturgical music.

You have been active at the Strahov Monastery for 35 years. What are your first memories of the Strahov organ?

When I first came to the Strahov organ, at a time when the console was still located in the middle of the gallery, I thought to myself that I would never want to play it. That was before I started at Strahov. After I arrived, I felt that the sound of the instrument did not correspond to what was on the console. It simply did not match. The company Organa, which had repaired the organ at that time, had not yet completely closed this chapter, so we had the opportunity to rebuild it. This happened in 1991, but even after these modifications I was still not satisfied with the sound. Gradually the organ was re-voiced, some stops were replaced and we searched for a kind of ideal sound. Given the technology on which the instrument stood, it was clear that no great miracles could be done, especially with the windchests. Organ builders from the Krkonose mountains, Vit Mison and Martin Licka, continued with the rebuilding and re-voicing. Today I am convinced that the sound of the Strahov organ will surprise every musician who comes to it.

What distinctive qualities does the Strahov organ have compared to other instruments you have played?

The Strahov organ has long been characterised by a larger number of stops. After Oehlschlaegl's rebuild it had 55 stops, after Schiffner's rebuild there were 60 and today it has 58 stops. What gives the Strahov organ its distinctive character is its ability to have concert parameters. This means that the organ can handle a wide range of music, not only for the liturgy but also for concert performances. Thanks to these parameters, it is possible to use the organ in diverse musical contexts and offer a very rich sound experience.

How would you describe music at Strahov-what makes it different from elsewhere?

Music at Strahov is very diverse. If I compare it to home cooking, you will find a wide variety of ingredients here. Folk singing is cultivated, there is chant, vocal polyphony (that is, a choir without accompaniment), a choir with orchestral accompaniment and, of course, organ music. All of these are the basic existing components of church music. In addition, we also had our own brass quintet, which was part of the Castle Guard. This diversity of music at Strahov is unique to me. I must not forget the excellent musicians of the Verner family.

Which pieces do you think sound best on the Strahov organ?

It is impossible to say which pieces sound best on the Strahov organ. Every piece you perform must be adapted to the specific instrument you are playing. The sound of the organ is always influenced by the instrument you have at your disposal and by how you, as the organist, put yourself into it. Basically, it depends on the performer's conception of the piece. So it is not possible to say unequivocally that some piece sounds better on this organ than another.

Which names of composers, organists, musicologists and musically gifted and educated members of the Premonstratensian order should be mentioned in connection with the Strahov Monastery?

There are certainly more of them, but I would definitely mention Jan Lohelius Oehlschlaegl, who rebuilt the organ after Fassmann-the organ on which Mozart also played. I would also like to mention Jan Krstitel Kuchar, who was the harpsichordist at the premiere of the opera Don Giovanni. Mozart famously mentions him in his opera in the well-known exclamation: "Oh, how good your cook is!" /in Czech Kuchar=cook/ and he pointed precisely at Jan Krstitel Kuchar. Another important figure is Robert Fuehrer, who worked as choirmaster at St Vitus Cathedral and at the same time was organist at Strahov. We have preserved his beautiful Requiem, in which he uses double and triple fugues. He was an excellent practitioner; we still perform his pieces, such as his festive mass and Requiem, today.

Mozart also played the Strahov organ. What would you play on an unknown organ?

On an unknown organ I would first test its sound, I would improvise to find out what tone and character the instrument has. Once I had found that sound, I would continue improvising. And only when I was sure that I was in harmony with the organ would I play some "literature". As for Mozart, I understand that he probably tested the resistance of the keyboard, as suggested by the trilling that P. Lehmann wrote down. But that is only my imagination.

You are both a church and a concert organist. Which role is closer to you?

The church role, in any case. I agree with Professor Vodrazka's opinion that we should turn concert halls into churches, and I try to do that. I realise that in church it is about something more than just a concert. It is not theatre, it is not a performance, nor a concert to entertain or sadden the listeners. In church a living sacrifice takes place, and that is the meaning that is essential for me.

What demands must a church organist meet? What is the most difficult thing for you about playing the church organ?

A church organist must have a wide repertoire that covers various situations, such as weddings or funerals, and must cooperate with different singers and instrumentalists. In a broader sense, if he becomes a regenschori, that is, the head of the choir loft, this also includes the work of a kapellmeister. He must be able to work with the choir, know how to get the best sound out of each singer and blend it all together. He must also be able to read scores and reduce them into a form suitable for organ or piano, depending on what is being rehearsed. The organ then becomes one element in the overall process that this person must master.

At Strahov we have divided roles. I take care of the vocal-instrumental component, that is, I rehearse with the choir and orchestra and we perform sung masses on major feasts. P. Gorazd is responsible for chant, and Jaroslav Orel for vocal polyphony.

What does a concert organist who does not play for the liturgy miss out on?

A concert organist misses the presence of something living that is happening in the church. Even though he naturally experiences each piece, is aware of the space, the instrument and his own disposition, he knows that after some time it will end, he will leave and next time he will play perhaps in another city. In contrast, in church you are in one place and it happens again and again; it is always different and you realise that it renews you. You must realise that it is not only about technique, but also about spiritual renewal. And if a person is not in his best form, he may feel routine, which can be treacherous. Sometimes that routine helps, because not every day is a feast day and the organist is not always ready for improvisation or creative work. Sometimes it is precisely that "blessed routine" that helps, but you must be perceptive and admit your weakness, just as when you are ill and know that you must rest and take medicine.

I try to make my playing sound fresh; I create interludes, codas, variations in accompaniments-this concerns dynamics, texture, speed, tempo, but also the number of people in the church. I have to adapt to that. When the church is full, it is often necessary to find a compromise tempo, because some feel it is too slow, others too fast. I encounter this, but there is nothing more to do than be universal and truly lead. The worst situation is when the priest tries to influence the tempo. But that is precisely the role of the organist-to lead, and the priest should not interfere.

What does it feel like to set the whole church resounding? What must one keep in mind during the liturgy?

It is something wonderful when you look around and see the architecture of the church, how beautifully it is harmonised with the interior, and into that the sound of the organ resounds. The paintings, the acoustics of the place-all this comes together and you become part of this space, here and now. And during the liturgy it is even stronger. You have the feeling that something that happened many years ago is returning to you, but it is still alive, made present. It is essentially part of the meaning of life-to be part of something greater that transcends time and space.

During the liturgy it is important to keep in mind not only the liturgy itself, but also Professor Vodrazka's golden rule: "So that there is just enough of it." This means that the organist must balance what is happening at the altar with what is happening in the choir loft and connect them so that the overall impression has the right structure. Church music helps to create harmony between these two worlds.

How difficult is it to coordinate organ playing with the singing of the faithful?

It is a certain compromise. The ideal situation is when you have a few singers who can lead the singing, because they then pull the whole crowd along. The organist must be constantly attentive and have one ear in the space. It is important to listen to how the singers breathe and how the phrase develops. It works best when the organist sings along with them, because then he perceives the dynamics and rhythm of the singing better, which allows him to lead the overall flow correctly.

You have also been the director of the Strahov Basilica choir loft for 35 years. What does this position involve?

It is a kind of division; sometimes I smile at it. I think differently as a kapellmeister, conductor, and differently as an organist. Sometimes I even have to stand against myself. I would like to imagine the sound of the organ as part of the orchestra, but the singers will not allow it, because there may be too few of them, or they are ill, or they cannot manage it. So I have to look for a compromise. When I have organists who accompany me in these figurative pieces, I tend to "meddle" in what they are doing as an organist. Sometimes I do not realise that these colleagues already have excellent experience and I do not need to tell them anything. I hereby apologise to them for that. Overall, it is about leading choirs and orchestras, where you have to master the whole piece in a relatively short time span and not only make sure that everything works, but also show the best that is in the music.

What experience have you used for your profession as regenschori?

Well, of course, the accordion. In the army we had the Trio VRS, consisting of Vanicek, Roubal, Srbenny-hence VRS-and we played songs "from Bach to Vlach" /Vlach K. ((1911-1986), legendary swing dirigent and band-master/ . We knew that if we played inappropriate songs, for example funeral or church songs in a pub, we would get beaten up. And vice versa. So the accordion helped me a lot to perceive singers more and react to them. It is a kind of aid for the organist on the choir loft-to react. There may also be "silent spots" in the liturgy, and I have to fill them somehow.

How do you combine all your roles-organist, choirmaster, conductor, composer, recording and performing?

Well, if you are young, it is possible. Often you take risks; it all somehow adds up and the bill comes. If you accept it humbly, with humour and gratitude, you can survive it-or it can completely knock you out. I hope I will manage to fulfil the first option. One must keep a sense of humour.

Where abroad have you performed, and where do you like to return? How do you choose your repertoire?

I actually do not choose my repertoire. I select according to what I feel is suitable, what I can play, and what I have, so to speak, "in the pantry". I have the experience that Czech music is highly appreciated abroad, which surprised me by how much. Especially in Japan and also in neighboring Germany, Czech music is extremely valued - not only the composers themselves, but also the performers.

I have performed in America, Japan, and throughout Europe. But there is one place I especially love to return to - the Seeon Monastery in Bavaria. Only later did I learn that the Mozart family used to spend their holidays there. Mozart grew fond of Brother Johan, the youngest member of the convent, and because Mozart was very curious, the abbot entrusted him to Brother Johan. Out of gratitude, Mozart dedicated one of his compositions to him. That place spoke to me long before I learned about this history. Sometimes I go there simply to switch off completely and play the organ with the local caretaker, who not only looks after the monastery but is also an excellent singer.

Which organ has given you the strongest musical experience?

That is a very difficult question. An organist must approach the instrument in a way that does not "stroke it against the grain". As soon as you try to force the organ to react according to your will, it often pushes back. Sometimes it behaves almost like a living organism. But if you adapt to it and humbly accept what it offers, you can come to an understanding. I have encountered several instruments that did not respond to my "questions" for a long time, until I understood their language. Such were, for example, the cathedral organs that "argued" with me for a long time, or the organs in the Church of Cyril and Methodius in Karlin. It still did not feel right until I changed my approach.

If I had to choose, I had a very powerful experience in Riga Cathedral, where there is a huge four-manual Walcker, or the Fisk organ in Yokohama, Japan. There, even though it was a concert hall, I felt as if I were playing in a cathedral - the atmosphere was incredible. I was turned away from the audience, so nothing distracted me. And when you have four thousand listeners in the hall and yet no one rustles candy wrappers, it is truly exceptional. The Japanese are unbelievably humble and disciplined, and they can deeply experience and appreciate organ music.

Do you have a dream to play a specific organ in our country or abroad?

I am very curious about the completion of the St Vitus Cathedral organ. There were many ideas and discussions about it, but only when it is finished and in place will we be able to compare dreams with reality and draw conclusions. Otherwise, I enjoy playing most instruments, because each offers me a new impression - even the Strahov organ after so many years. I like returning to our organ, which is technically imperfect, but precisely in the effort to give its best, we have somehow grown together. Both the instrument and I try to give the best we can.

As an organist/choirmaster/composer, what would you like to achieve? What are your musical dreams?

My musical dream is that what has been started may continue. One does not even think about personal ambitions. What matters is that what you do has meaning. That people play and sing, because when a person receives a gift, he should also make use of it.

A fundraising campaign is currently underway for the new small Strahov choir organ. Which pipe would you choose to adopt?

To be honest, I do not see the organ as something a person should own or claim for himself. It is entrusted to us so that we may serve through it, and it belongs to the community, the order, the place. My task is to listen to it, care for it, and be a bridge between it and the people. And so it seems more beautiful to me to be part of the whole rather than choosing individual parts.

Why should people contribute to the restoration of the organ?

People should contribute to the restoration of the organ because it is not only an investment in the instrument, but also in the spirit of the entire community. The choir organ historically served primarily the order, while the large organ was intended for the wider public. Today, however, it is essential that both instruments be part of the overall practice, and the new choir organ is a step toward ensuring that it can substitute for the large organ when needed, especially during its demanding repair and maintenance. By restoring this smaller instrument, we enable the continuation of worship even during the downtime of the main organ and enrich the liturgy with a wider palette of sounds. The organ thus becomes part of a broader cultural life and will continue to serve not only the spiritual dimension but also the joy and enrichment of all who hear it.

Is there anything you would like to say in conclusion?

I have one wish: that everyone who devotes themselves to music may serve God and people, and in doing so find meaning and fulfillment for themselves. And do not forget that everything we do should contain a bit of humor, because it can accompany us in difficult moments and help us overcome everything life brings.