Robert James Dvorak
OCTOBER 3, 1919 – JULY 22, 2020
Robert James Dvorak peacefully passed away in his sleep at his home in Houston, Texas at the venerable age of 100 years old. He was born in Chicago of Czech and Norwegian parents. Although both his parents were working professionals, both also had artistic talents. His father was an accomplished cornet player, and his mother a gifted painter. At the age of eight, Robert’s interest and introduction to music study was guided by Czech composer-arranger, Frank Mulacek, who gave him piano lessons and taught him about quality music literature. At 12 years of age, he began French horn lessons with Chicago conductor and brass instructor, Karel Husa. When his father saw that young Robert was showing signs of becoming a gifted French horn player, he special-ordered from Germany “the finest horn money could buy” - a horn handmade by C. F. Schmidt. During his high school years (1933-37), his music teacher, Louis M. Blaha, played a vital part in his musical development.
Blaha was a Czech who emigrated from Vienna in the 1920’s. As Director of Orchestra and Bands at Morton High School, Blaha inspired his students as he introduced them to music of the world’s great masters, as well as guiding them in future pursuits. He encouraged Robert’s early music composition efforts, and advised his application for a scholarship to the Chicago Musical College Conservatory (now Roosevelt University School of Music) in downtown Chicago. Robert’s application was granted, awarding him a full scholarship in composition and theory to study with composer, Max Wald. Robert had a difficult decision to make; he had also been offered a full scholarship to the Chicago Art Institute, as he was a talented painter in addition to his music. With reluctance, he laid his art aside in order to pursue music. Throughout high school and college, he studied with legendary Chicago Symphony hornists, Josef Mourek and Max Pottag. He went on to win a spot with the Chicago Civic Orchestra, and became a student of the CSO’s principal hornist, Philip Farkas.
Shortly thereafter, Robert signed a contract to join the horn section of the Chicago Symphony Orchestra. He was already a frequent performer as an extra in regular season concerts, and at the Orchestra’s Summer home of Ravinia. Only a few weeks after receiving this offer (August of 1941), and after only three years of conservatory, a call to military service interrupted his plans. He was drafted and assigned to the United States Military Academy at West Point, New York, where he played Principal French horn in the West Point Band. He also served as organist and choirmaster at the Protestant Post Chapel, and continued to compose vocal and instrumental music until his discharge in December of 1945. It was during this time at West Point that a son, Robert Hutchison (Hutch) was born to Robert and his wife, Lola.
Following World War II (1946), Master Sgt. Dvorak returned to the Chicago Conservatory and completed his Bachelor’s and Master’s degrees in composition and theory. During his student days, his musical activities included singing second Bass with the Tudor Madrigal Singers. Under founder William Ballard’s scholarly direction, their performances included early and contemporary madrigals, including some of Robert’s own works (e.g. “Piping Down the Valleys Wild” and “The Life of the Year”). Eventually the group travelled on concert tours to various colleges and universities, and made several successful recordings. In 1947, Robert founded and directed the Chicago Manuscript Society. This organization allowed newly written choral and instrumental works to be presented in Chicago’s downtown performance centers, and to be judged by the city’s music critics. As a result of this Society, some composers whose manuscripts received performances went on to achieve prestigious awards and commissions to write new music.
Robert taught music appreciation and music theory for two years at Wilson Junior College in Chicago, taking extra church jobs to support himself and his family. At this time, he received his first commission: a Christmas cantata for soloists, chorus, and orchestra. In December of 1949, Robert Dvorak’s newly written cantata, “The Nativity,” was performed at the annual Christmas concert at Orchestra Hall. The performance featured soloists, 350 voices of the Christian Choral Club of Chicago and the Chicago Christian High School Choir, and the Chicago Symphony Orchestra. The choral conductor, James Baar, commissioned the work only six months prior to the December 20 concert. The music received rave reviews and bravos. “Dvorak’s music was exhilarating…it was like a fresh breath of spring in the program.” This success gave him a name and reputation as a composer.
Another unexpected turn came in early 1950, when Robert’s Reserve Commission was activated (due to the Korean War), and he was once again called back to West Point, this time for three years. Along with a promotion to 2nd Lieutenant, he was also appointed Assistant Bandmaster under Captain Francis E. Resta. This special band, in addition to regular duties at Academy functions, also performed at prestigious ceremonies for American Presidents, Heads of Foreign Countries, Ambassadors, Generals, and members of Congress. During this time, preparations were also underway for the Academy’s sesquicentennial year of 1952, and Lt. Dvorak, along with a number of other composers in America and abroad, was commissioned to write music for the celebration. His composition, although originally conceptualized for orchestra, was arranged at that time for band. The “West Point Symphony” is based on themes of the Academy. Today the third movement, “Allegro Spiritoso,” is considered a classic of band literature. It ends triumphantly, portraying the eager graduating cadet’s understanding of their moto, Duty, Honor, Country. During this additional time at the Academy, he also sang bass in New York City with a group that would later become the Robert Shaw Chorale. He also conducted the West Point band and Cadet Chorus in its sesquicentennial concert at Carnegie Hall, in a premier performance of his musical setting of “The Cadet Prayer,” a piece written specifically for the occasion. Upon completion of his second period of military service, he returned to Chicago in late 1952. He was on track to become a prominent music educator.
Robert accepted a position in the Music Department at the Chicago Teachers College. However, with the untimely death of his high school music director-mentor, Louis Blaha (summer of 1953), he instead advanced to the position of Head of the Music Department at his alma mater, J. Sterling Morton High School and Junior College. This position was paved by Blaha himself, who along with his students, had already been performing many of Robert’s band compositions, such as “Concerto for Trumpet” and “Concerto for Trombone and Band.” It soon followed that Robert then became the Director of Fine Arts for the J. Sterling Morton Junior College and High Schools of Cicero and Berwyn, Illinois. This was a post he held from 1953-1980. This collection of campuses is located in the western suburbs of Chicago, and comprises its own district. To this day, it serves the six townships of Cicero, Berwyn, Lyons, Stickney, Fairview, and McCook. Robert’s Visual Arts and Music staff for the District consisted of full-time teachers, as well as vocal and instrumental specialists, including Chicago Symphony players, who gave private lessons and coached sections of the outstanding Morton District’s Symphony Orchestras and Concert Bands.
In 1955, Robert also founded and directed a summer youth music camp at Camp Lake, Wisconsin, for incoming first year music students and high school students. The project was co-sponsored by the district school board and an organization of the music parents, some of whom also served as camp counselors. The project continued to function successfully beyond his retirement in 1980. In addition, he also taught for three summers at the National Music Camp at Interlochen, Michigan, where he conducted the National High School chorus, and taught music theory and music appreciation.
During the late 1950’s, Robert and his wife Lola were part of a group that organized and founded the First Baptist Church of Westchester, Illinois, where he also served as Music Director. For three summers during this time, Robert also served as Director of Music at the American Baptist Assembly in Green Lake, Wisconsin. This beautiful setting hosted conferences for religious and secular groups from all across the nation. It was here that Robert struck up a friendship with Martin Luther King, Jr., in which they decided to collaborate on an opera. MLK would write the libretto, and Robert the music. Sadly, plans for the project had to be cancelled, when MLK started his meteoric rise to prominence in the early 1960’s.
From 1966-1969, Robert served two terms as President of the Illinois Music Educators Association. During these terms, he encouraged and guided 300 specially selected Illinois All-State students on a trip to France, performing for the 1969 International Society for Music Education Conference. The audience represented a gathering of over 50 nations. Following this experience, he was elected as President of the Midwest Chapter of the International Society for Contemporary Music, serving for two terms (1970-1974). Focusing on the Morton District Schools once again, he enjoyed organizing a trip in 1975 that took his students, together with community members, on a music appreciation and performance tour to Czechoslovakia, Austria, and Hungary.
Because many conventions hosted by the professional and musical organizations in which he was involved took place in Chicago, Robert usually assisted in some type of leadership role. He was a member of the American Society for Composers, Authors, and Publishers (ASCAP). He received numerous honors, but the one he cherished most was being chosen by his fellow music educators and professional musicians who elected him to be the official 1976 Illinois Bicentennial Composer.
Robert’s musical life included performing as a pianist, French hornist, accompanist in vocal and instrumental recitals, and playing in theatre pit orchestras. He served as organist, choir director (or both) for churches of various denominations. He guest conducted vocal and instrumental festivals of combined high school groups, and appeared on many college campuses in that capacity. He also lectured on various topics dealing with music and performance. He enjoyed traveling, and had the opportunity to live in London for four summers. These summers brought him much enrichment, both musically and artistically, giving him opportunities to make new contacts with musicians and artists, and attend various artistic events. He also had an opportunity to study composition in New York with Vittorio Giannini at the Juilliard School of Music, and in 1963 was invited by Mlle. Nadia Boulanger to Fontainebleau, Paris, where he spent six months studying under her expert direction. This honor contributed greatly to his value as a teacher, as a practicing musician, and as a composer.
In 1990, ten years after retiring from the Morton District, Robert moved to Texas to be close to his son and grandchildren, who were living in the Houston area. He continued to pursue his “passion,” composing meaningful music, and he found additional purpose participating in the establishment of the Czech Center Museum Houston (CCMH). He was a founding member of this organization and a steadfast board member for many years. His most popular and requested role, though, was that of docent - he gave popular museum tours every Saturday for many years. It was there, in 2007, he met and fell in love with his current wife, Donna. They were married in 2010, and celebrated ten years of marriage in February of 2020. In addition to a life rich with accomplishments, he was also an accomplished raconteur (storyteller), an engaging speaker, and always a gentleman. He was awarded the Comenius Award by the CCMH for his unfailing zeal to keep his Czech heritage alive through education. He proudly passed on his heritage to his son, grandchildren, and anyone he met. Eventually, the effects of dementia made it no longer feasible for him to give his famous tours, and thus he moved into the role of Board Member Emeritus, but he never stopped faithfully supporting his beloved CCMH. He continued pursuing the composition of new music, and was forever editing his extensive works at the request of his publisher, Anita Smisek, OP.
In October of 2019, Robert turned 100 years old. It was a wonderful time, with an outpouring of well wishes from family and friends worldwide. His family is so happy to have had the opportunity to celebrate not only this century milestone with him, but to honor him - the man he was - and the things he stood for. He is much loved and will be greatly missed by all his friends and family. We are proud of him, and proud that we had the honor of calling him Husband, Father, Grandpa, and Friend.
His memory will continue to be cherished by his loving wife, Donna Dvorak (Houston, TX), his devoted son, Robert H. (Hutch) Dvorak and his wife, Mary Jo (Richmond, TX), three beloved grandchildren: Richard Dvorak and his wife, Traci (Clear Lake, TX), Jamie Tillman and her husband, Rudolph (Flower Mound, TX), and Caroline Neal (Houston, TX), several nieces and nephews, and eight precious great-grandchildren.
It is the family’s heartfelt desire to have a memorial service at a later date, which has yet to be determined. We are choosing to wait, in the hope that Coronavirus restrictions will loosen, and allow us to be together with you, our friends. Details will be posted to this site as soon as we know them.
Memorial contributions in Robert’s honor can be made to:
The Czech Center Museum Houston 4920 San Jacinto St. Houston, TX 77004 (713)-528-2060 www.czechcenter.org https://www.czechcenter.org/give-1/
For a list of Robert’s published works, please visit Hal Leonard Online: https://www.halleonard.com/search/search.action?keywords=robert+james+dvorak&dt=item#pro ducts
Neptune Society
OCTOBER 3, 1919 – JULY 22, 2020
Robert James Dvorak peacefully passed away in his sleep at his home in Houston, Texas at the venerable age of 100 years old. He was born in Chicago of Czech and Norwegian parents. Although both his parents were working professionals, both also had artistic talents. His father was an accomplished cornet player, and his mother a gifted painter. At the age of eight, Robert’s interest and introduction to music study was guided by Czech composer-arranger, Frank Mulacek, who gave him piano lessons and taught him about quality music literature. At 12 years of age, he began French horn lessons with Chicago conductor and brass instructor, Karel Husa. When his father saw that young Robert was showing signs of becoming a gifted French horn player, he special-ordered from Germany “the finest horn money could buy” - a horn handmade by C. F. Schmidt. During his high school years (1933-37), his music teacher, Louis M. Blaha, played a vital part in his musical development.
Blaha was a Czech who emigrated from Vienna in the 1920’s. As Director of Orchestra and Bands at Morton High School, Blaha inspired his students as he introduced them to music of the world’s great masters, as well as guiding them in future pursuits. He encouraged Robert’s early music composition efforts, and advised his application for a scholarship to the Chicago Musical College Conservatory (now Roosevelt University School of Music) in downtown Chicago. Robert’s application was granted, awarding him a full scholarship in composition and theory to study with composer, Max Wald. Robert had a difficult decision to make; he had also been offered a full scholarship to the Chicago Art Institute, as he was a talented painter in addition to his music. With reluctance, he laid his art aside in order to pursue music. Throughout high school and college, he studied with legendary Chicago Symphony hornists, Josef Mourek and Max Pottag. He went on to win a spot with the Chicago Civic Orchestra, and became a student of the CSO’s principal hornist, Philip Farkas.
Shortly thereafter, Robert signed a contract to join the horn section of the Chicago Symphony Orchestra. He was already a frequent performer as an extra in regular season concerts, and at the Orchestra’s Summer home of Ravinia. Only a few weeks after receiving this offer (August of 1941), and after only three years of conservatory, a call to military service interrupted his plans. He was drafted and assigned to the United States Military Academy at West Point, New York, where he played Principal French horn in the West Point Band. He also served as organist and choirmaster at the Protestant Post Chapel, and continued to compose vocal and instrumental music until his discharge in December of 1945. It was during this time at West Point that a son, Robert Hutchison (Hutch) was born to Robert and his wife, Lola.
Following World War II (1946), Master Sgt. Dvorak returned to the Chicago Conservatory and completed his Bachelor’s and Master’s degrees in composition and theory. During his student days, his musical activities included singing second Bass with the Tudor Madrigal Singers. Under founder William Ballard’s scholarly direction, their performances included early and contemporary madrigals, including some of Robert’s own works (e.g. “Piping Down the Valleys Wild” and “The Life of the Year”). Eventually the group travelled on concert tours to various colleges and universities, and made several successful recordings. In 1947, Robert founded and directed the Chicago Manuscript Society. This organization allowed newly written choral and instrumental works to be presented in Chicago’s downtown performance centers, and to be judged by the city’s music critics. As a result of this Society, some composers whose manuscripts received performances went on to achieve prestigious awards and commissions to write new music.
Robert taught music appreciation and music theory for two years at Wilson Junior College in Chicago, taking extra church jobs to support himself and his family. At this time, he received his first commission: a Christmas cantata for soloists, chorus, and orchestra. In December of 1949, Robert Dvorak’s newly written cantata, “The Nativity,” was performed at the annual Christmas concert at Orchestra Hall. The performance featured soloists, 350 voices of the Christian Choral Club of Chicago and the Chicago Christian High School Choir, and the Chicago Symphony Orchestra. The choral conductor, James Baar, commissioned the work only six months prior to the December 20 concert. The music received rave reviews and bravos. “Dvorak’s music was exhilarating…it was like a fresh breath of spring in the program.” This success gave him a name and reputation as a composer.
Another unexpected turn came in early 1950, when Robert’s Reserve Commission was activated (due to the Korean War), and he was once again called back to West Point, this time for three years. Along with a promotion to 2nd Lieutenant, he was also appointed Assistant Bandmaster under Captain Francis E. Resta. This special band, in addition to regular duties at Academy functions, also performed at prestigious ceremonies for American Presidents, Heads of Foreign Countries, Ambassadors, Generals, and members of Congress. During this time, preparations were also underway for the Academy’s sesquicentennial year of 1952, and Lt. Dvorak, along with a number of other composers in America and abroad, was commissioned to write music for the celebration. His composition, although originally conceptualized for orchestra, was arranged at that time for band. The “West Point Symphony” is based on themes of the Academy. Today the third movement, “Allegro Spiritoso,” is considered a classic of band literature. It ends triumphantly, portraying the eager graduating cadet’s understanding of their moto, Duty, Honor, Country. During this additional time at the Academy, he also sang bass in New York City with a group that would later become the Robert Shaw Chorale. He also conducted the West Point band and Cadet Chorus in its sesquicentennial concert at Carnegie Hall, in a premier performance of his musical setting of “The Cadet Prayer,” a piece written specifically for the occasion. Upon completion of his second period of military service, he returned to Chicago in late 1952. He was on track to become a prominent music educator.
Robert accepted a position in the Music Department at the Chicago Teachers College. However, with the untimely death of his high school music director-mentor, Louis Blaha (summer of 1953), he instead advanced to the position of Head of the Music Department at his alma mater, J. Sterling Morton High School and Junior College. This position was paved by Blaha himself, who along with his students, had already been performing many of Robert’s band compositions, such as “Concerto for Trumpet” and “Concerto for Trombone and Band.” It soon followed that Robert then became the Director of Fine Arts for the J. Sterling Morton Junior College and High Schools of Cicero and Berwyn, Illinois. This was a post he held from 1953-1980. This collection of campuses is located in the western suburbs of Chicago, and comprises its own district. To this day, it serves the six townships of Cicero, Berwyn, Lyons, Stickney, Fairview, and McCook. Robert’s Visual Arts and Music staff for the District consisted of full-time teachers, as well as vocal and instrumental specialists, including Chicago Symphony players, who gave private lessons and coached sections of the outstanding Morton District’s Symphony Orchestras and Concert Bands.
In 1955, Robert also founded and directed a summer youth music camp at Camp Lake, Wisconsin, for incoming first year music students and high school students. The project was co-sponsored by the district school board and an organization of the music parents, some of whom also served as camp counselors. The project continued to function successfully beyond his retirement in 1980. In addition, he also taught for three summers at the National Music Camp at Interlochen, Michigan, where he conducted the National High School chorus, and taught music theory and music appreciation.
During the late 1950’s, Robert and his wife Lola were part of a group that organized and founded the First Baptist Church of Westchester, Illinois, where he also served as Music Director. For three summers during this time, Robert also served as Director of Music at the American Baptist Assembly in Green Lake, Wisconsin. This beautiful setting hosted conferences for religious and secular groups from all across the nation. It was here that Robert struck up a friendship with Martin Luther King, Jr., in which they decided to collaborate on an opera. MLK would write the libretto, and Robert the music. Sadly, plans for the project had to be cancelled, when MLK started his meteoric rise to prominence in the early 1960’s.
From 1966-1969, Robert served two terms as President of the Illinois Music Educators Association. During these terms, he encouraged and guided 300 specially selected Illinois All-State students on a trip to France, performing for the 1969 International Society for Music Education Conference. The audience represented a gathering of over 50 nations. Following this experience, he was elected as President of the Midwest Chapter of the International Society for Contemporary Music, serving for two terms (1970-1974). Focusing on the Morton District Schools once again, he enjoyed organizing a trip in 1975 that took his students, together with community members, on a music appreciation and performance tour to Czechoslovakia, Austria, and Hungary.
Because many conventions hosted by the professional and musical organizations in which he was involved took place in Chicago, Robert usually assisted in some type of leadership role. He was a member of the American Society for Composers, Authors, and Publishers (ASCAP). He received numerous honors, but the one he cherished most was being chosen by his fellow music educators and professional musicians who elected him to be the official 1976 Illinois Bicentennial Composer.
Robert’s musical life included performing as a pianist, French hornist, accompanist in vocal and instrumental recitals, and playing in theatre pit orchestras. He served as organist, choir director (or both) for churches of various denominations. He guest conducted vocal and instrumental festivals of combined high school groups, and appeared on many college campuses in that capacity. He also lectured on various topics dealing with music and performance. He enjoyed traveling, and had the opportunity to live in London for four summers. These summers brought him much enrichment, both musically and artistically, giving him opportunities to make new contacts with musicians and artists, and attend various artistic events. He also had an opportunity to study composition in New York with Vittorio Giannini at the Juilliard School of Music, and in 1963 was invited by Mlle. Nadia Boulanger to Fontainebleau, Paris, where he spent six months studying under her expert direction. This honor contributed greatly to his value as a teacher, as a practicing musician, and as a composer.
In 1990, ten years after retiring from the Morton District, Robert moved to Texas to be close to his son and grandchildren, who were living in the Houston area. He continued to pursue his “passion,” composing meaningful music, and he found additional purpose participating in the establishment of the Czech Center Museum Houston (CCMH). He was a founding member of this organization and a steadfast board member for many years. His most popular and requested role, though, was that of docent - he gave popular museum tours every Saturday for many years. It was there, in 2007, he met and fell in love with his current wife, Donna. They were married in 2010, and celebrated ten years of marriage in February of 2020. In addition to a life rich with accomplishments, he was also an accomplished raconteur (storyteller), an engaging speaker, and always a gentleman. He was awarded the Comenius Award by the CCMH for his unfailing zeal to keep his Czech heritage alive through education. He proudly passed on his heritage to his son, grandchildren, and anyone he met. Eventually, the effects of dementia made it no longer feasible for him to give his famous tours, and thus he moved into the role of Board Member Emeritus, but he never stopped faithfully supporting his beloved CCMH. He continued pursuing the composition of new music, and was forever editing his extensive works at the request of his publisher, Anita Smisek, OP.
In October of 2019, Robert turned 100 years old. It was a wonderful time, with an outpouring of well wishes from family and friends worldwide. His family is so happy to have had the opportunity to celebrate not only this century milestone with him, but to honor him - the man he was - and the things he stood for. He is much loved and will be greatly missed by all his friends and family. We are proud of him, and proud that we had the honor of calling him Husband, Father, Grandpa, and Friend.
His memory will continue to be cherished by his loving wife, Donna Dvorak (Houston, TX), his devoted son, Robert H. (Hutch) Dvorak and his wife, Mary Jo (Richmond, TX), three beloved grandchildren: Richard Dvorak and his wife, Traci (Clear Lake, TX), Jamie Tillman and her husband, Rudolph (Flower Mound, TX), and Caroline Neal (Houston, TX), several nieces and nephews, and eight precious great-grandchildren.
It is the family’s heartfelt desire to have a memorial service at a later date, which has yet to be determined. We are choosing to wait, in the hope that Coronavirus restrictions will loosen, and allow us to be together with you, our friends. Details will be posted to this site as soon as we know them.
Memorial contributions in Robert’s honor can be made to:
The Czech Center Museum Houston 4920 San Jacinto St. Houston, TX 77004 (713)-528-2060 www.czechcenter.org https://www.czechcenter.org/give-1/
For a list of Robert’s published works, please visit Hal Leonard Online: https://www.halleonard.com/search/search.action?keywords=robert+james+dvorak&dt=item#pro ducts
Neptune Society
Robert James Dvorak
OCTOBER 3, 1919 – JULY 22, 2020
Robert James Dvorak peacefully passed away in his sleep at his home in Houston, Texas at the venerable age of 100 years old. He was born in Chicago of Czech and Norwegian parents. Although both his parents were working professionals, both also had artistic talents. His father was an accomplished cornet player, and his mother a gifted painter. At the age of eight, Robert’s interest and introduction to music study was guided by Czech composer-arranger, Frank Mulacek, who gave him piano lessons and taught him about quality music literature. At 12 years of age, he began French horn lessons with Chicago conductor and brass instructor, Karel Husa. When his father saw that young Robert was showing signs of becoming a gifted French horn player, he special-ordered from Germany “the finest horn money could buy” - a horn handmade by C. F. Schmidt. During his high school years (1933-37), his music teacher, Louis M. Blaha, played a vital part in his musical development.
Blaha was a Czech who emigrated from Vienna in the 1920’s. As Director of Orchestra and Bands at Morton High School, Blaha inspired his students as he introduced them to music of the world’s great masters, as well as guiding them in future pursuits. He encouraged Robert’s early music composition efforts, and advised his application for a scholarship to the Chicago Musical College Conservatory (now Roosevelt University School of Music) in downtown Chicago. Robert’s application was granted, awarding him a full scholarship in composition and theory to study with composer, Max Wald. Robert had a difficult decision to make; he had also been offered a full scholarship to the Chicago Art Institute, as he was a talented painter in addition to his music. With reluctance, he laid his art aside in order to pursue music. Throughout high school and college, he studied with legendary Chicago Symphony hornists, Josef Mourek and Max Pottag. He went on to win a spot with the Chicago Civic Orchestra, and became a student of the CSO’s principal hornist, Philip Farkas.
Shortly thereafter, Robert signed a contract to join the horn section of the Chicago Symphony Orchestra. He was already a frequent performer as an extra in regular season concerts, and at the Orchestra’s Summer home of Ravinia. Only a few weeks after receiving this offer (August of 1941), and after only three years of conservatory, a call to military service interrupted his plans. He was drafted and assigned to the United States Military Academy at West Point, New York, where he played Principal French horn in the West Point Band. He also served as organist and choirmaster at the Protestant Post Chapel, and continued to compose vocal and instrumental music until his discharge in December of 1945. It was during this time at West Point that a son, Robert Hutchison (Hutch) was born to Robert and his wife, Lola.
Following World War II (1946), Master Sgt. Dvorak returned to the Chicago Conservatory and completed his Bachelor’s and Master’s degrees in composition and theory. During his student days, his musical activities included singing second Bass with the Tudor Madrigal Singers. Under founder William Ballard’s scholarly direction, their performances included early and contemporary madrigals, including some of Robert’s own works (e.g. “Piping Down the Valleys Wild” and “The Life of the Year”). Eventually the group travelled on concert tours to various colleges and universities, and made several successful recordings. In 1947, Robert founded and directed the Chicago Manuscript Society. This organization allowed newly written choral and instrumental works to be presented in Chicago’s downtown performance centers, and to be judged by the city’s music critics. As a result of this Society, some composers whose manuscripts received performances went on to achieve prestigious awards and commissions to write new music.
Robert taught music appreciation and music theory for two years at Wilson Junior College in Chicago, taking extra church jobs to support himself and his family. At this time, he received his first commission: a Christmas cantata for soloists, chorus, and orchestra. In December of 1949, Robert Dvorak’s newly written cantata, “The Nativity,” was performed at the annual Christmas concert at Orchestra Hall. The performance featured soloists, 350 voices of the Christian Choral Club of Chicago and the Chicago Christian High School Choir, and the Chicago Symphony Orchestra. The choral conductor, James Baar, commissioned the work only six months prior to the December 20 concert. The music received rave reviews and bravos. “Dvorak’s music was exhilarating…it was like a fresh breath of spring in the program.” This success gave him a name and reputation as a composer.
Another unexpected turn came in early 1950, when Robert’s Reserve Commission was activated (due to the Korean War), and he was once again called back to West Point, this time for three years. Along with a promotion to 2nd Lieutenant, he was also appointed Assistant Bandmaster under Captain Francis E. Resta. This special band, in addition to regular duties at Academy functions, also performed at prestigious ceremonies for American Presidents, Heads of Foreign Countries, Ambassadors, Generals, and members of Congress. During this time, preparations were also underway for the Academy’s sesquicentennial year of 1952, and Lt. Dvorak, along with a number of other composers in America and abroad, was commissioned to write music for the celebration. His composition, although originally conceptualized for orchestra, was arranged at that time for band. The “West Point Symphony” is based on themes of the Academy. Today the third movement, “Allegro Spiritoso,” is considered a classic of band literature. It ends triumphantly, portraying the eager graduating cadet’s understanding of their moto, Duty, Honor, Country. During this additional time at the Academy, he also sang bass in New York City with a group that would later become the Robert Shaw Chorale. He also conducted the West Point band and Cadet Chorus in its sesquicentennial concert at Carnegie Hall, in a premier performance of his musical setting of “The Cadet Prayer,” a piece written specifically for the occasion. Upon completion of his second period of military service, he returned to Chicago in late 1952. He was on track to become a prominent music educator.
Robert accepted a position in the Music Department at the Chicago Teachers College. However, with the untimely death of his high school music director-mentor, Louis Blaha (summer of 1953), he instead advanced to the position of Head of the Music Department at his alma mater, J. Sterling Morton High School and Junior College. This position was paved by Blaha himself, who along with his students, had already been performing many of Robert’s band compositions, such as “Concerto for Trumpet” and “Concerto for Trombone and Band.” It soon followed that Robert then became the Director of Fine Arts for the J. Sterling Morton Junior College and High Schools of Cicero and Berwyn, Illinois. This was a post he held from 1953-1980. This collection of campuses is located in the western suburbs of Chicago, and comprises its own district. To this day, it serves the six townships of Cicero, Berwyn, Lyons, Stickney, Fairview, and McCook. Robert’s Visual Arts and Music staff for the District consisted of full-time teachers, as well as vocal and instrumental specialists, including Chicago Symphony players, who gave private lessons and coached sections of the outstanding Morton District’s Symphony Orchestras and Concert Bands.
In 1955, Robert also founded and directed a summer youth music camp at Camp Lake, Wisconsin, for incoming first year music students and high school students. The project was co-sponsored by the district school board and an organization of the music parents, some of whom also served as camp counselors. The project continued to function successfully beyond his retirement in 1980. In addition, he also taught for three summers at the National Music Camp at Interlochen, Michigan, where he conducted the National High School chorus, and taught music theory and music appreciation.
During the late 1950’s, Robert and his wife Lola were part of a group that organized and founded the First Baptist Church of Westchester, Illinois, where he also served as Music Director. For three summers during this time, Robert also served as Director of Music at the American Baptist Assembly in Green Lake, Wisconsin. This beautiful setting hosted conferences for religious and secular groups from all across the nation. It was here that Robert struck up a friendship with Martin Luther King, Jr., in which they decided to collaborate on an opera. MLK would write the libretto, and Robert the music. Sadly, plans for the project had to be cancelled, when MLK started his meteoric rise to prominence in the early 1960’s.
From 1966-1969, Robert served two terms as President of the Illinois Music Educators Association. During these terms, he encouraged and guided 300 specially selected Illinois All-State students on a trip to France, performing for the 1969 International Society for Music Education Conference. The audience represented a gathering of over 50 nations. Following this experience, he was elected as President of the Midwest Chapter of the International Society for Contemporary Music, serving for two terms (1970-1974). Focusing on the Morton District Schools once again, he enjoyed organizing a trip in 1975 that took his students, together with community members, on a music appreciation and performance tour to Czechoslovakia, Austria, and Hungary.
Because many conventions hosted by the professional and musical organizations in which he was involved took place in Chicago, Robert usually assisted in some type of leadership role. He was a member of the American Society for Composers, Authors, and Publishers (ASCAP). He received numerous honors, but the one he cherished most was being chosen by his fellow music educators and professional musicians who elected him to be the official 1976 Illinois Bicentennial Composer.
Robert’s musical life included performing as a pianist, French hornist, accompanist in vocal and instrumental recitals, and playing in theatre pit orchestras. He served as organist, choir director (or both) for churches of various denominations. He guest conducted vocal and instrumental festivals of combined high school groups, and appeared on many college campuses in that capacity. He also lectured on various topics dealing with music and performance. He enjoyed traveling, and had the opportunity to live in London for four summers. These summers brought him much enrichment, both musically and artistically, giving him opportunities to make new contacts with musicians and artists, and attend various artistic events. He also had an opportunity to study composition in New York with Vittorio Giannini at the Juilliard School of Music, and in 1963 was invited by Mlle. Nadia Boulanger to Fontainebleau, Paris, where he spent six months studying under her expert direction. This honor contributed greatly to his value as a teacher, as a practicing musician, and as a composer.
In 1990, ten years after retiring from the Morton District, Robert moved to Texas to be close to his son and grandchildren, who were living in the Houston area. He continued to pursue his “passion,” composing meaningful music, and he found additional purpose participating in the establishment of the Czech Center Museum Houston (CCMH). He was a founding member of this organization and a steadfast board member for many years. His most popular and requested role, though, was that of docent - he gave popular museum tours every Saturday for many years. It was there, in 2007, he met and fell in love with his current wife, Donna. They were married in 2010, and celebrated ten years of marriage in February of 2020. In addition to a life rich with accomplishments, he was also an accomplished raconteur (storyteller), an engaging speaker, and always a gentleman. He was awarded the Comenius Award by the CCMH for his unfailing zeal to keep his Czech heritage alive through education. He proudly passed on his heritage to his son, grandchildren, and anyone he met. Eventually, the effects of dementia made it no longer feasible for him to give his famous tours, and thus he moved into the role of Board Member Emeritus, but he never stopped faithfully supporting his beloved CCMH. He continued pursuing the composition of new music, and was forever editing his extensive works at the request of his publisher, Anita Smisek, OP.
In October of 2019, Robert turned 100 years old. It was a wonderful time, with an outpouring of well wishes from family and friends worldwide. His family is so happy to have had the opportunity to celebrate not only this century milestone with him, but to honor him - the man he was - and the things he stood for. He is much loved and will be greatly missed by all his friends and family. We are proud of him, and proud that we had the honor of calling him Husband, Father, Grandpa, and Friend.
His memory will continue to be cherished by his loving wife, Donna Dvorak (Houston, TX), his devoted son, Robert H. (Hutch) Dvorak and his wife, Mary Jo (Richmond, TX), three beloved grandchildren: Richard Dvorak and his wife, Traci (Clear Lake, TX), Jamie Tillman and her husband, Rudolph (Flower Mound, TX), and Caroline Neal (Houston, TX), several nieces and nephews, and eight precious great-grandchildren.
It is the family’s heartfelt desire to have a memorial service at a later date, which has yet to be determined. We are choosing to wait, in the hope that Coronavirus restrictions will loosen, and allow us to be together with you, our friends. Details will be posted to this site as soon as we know them.
Memorial contributions in Robert’s honor can be made to:
The Czech Center Museum Houston 4920 San Jacinto St. Houston, TX 77004 (713)-528-2060 www.czechcenter.org https://www.czechcenter.org/give-1/
For a list of Robert’s published works, please visit Hal Leonard Online: https://www.halleonard.com/search/search.action?keywords=robert+james+dvorak&dt=item#pro ducts
Neptune Society
OCTOBER 3, 1919 – JULY 22, 2020
Robert James Dvorak peacefully passed away in his sleep at his home in Houston, Texas at the venerable age of 100 years old. He was born in Chicago of Czech and Norwegian parents. Although both his parents were working professionals, both also had artistic talents. His father was an accomplished cornet player, and his mother a gifted painter. At the age of eight, Robert’s interest and introduction to music study was guided by Czech composer-arranger, Frank Mulacek, who gave him piano lessons and taught him about quality music literature. At 12 years of age, he began French horn lessons with Chicago conductor and brass instructor, Karel Husa. When his father saw that young Robert was showing signs of becoming a gifted French horn player, he special-ordered from Germany “the finest horn money could buy” - a horn handmade by C. F. Schmidt. During his high school years (1933-37), his music teacher, Louis M. Blaha, played a vital part in his musical development.
Blaha was a Czech who emigrated from Vienna in the 1920’s. As Director of Orchestra and Bands at Morton High School, Blaha inspired his students as he introduced them to music of the world’s great masters, as well as guiding them in future pursuits. He encouraged Robert’s early music composition efforts, and advised his application for a scholarship to the Chicago Musical College Conservatory (now Roosevelt University School of Music) in downtown Chicago. Robert’s application was granted, awarding him a full scholarship in composition and theory to study with composer, Max Wald. Robert had a difficult decision to make; he had also been offered a full scholarship to the Chicago Art Institute, as he was a talented painter in addition to his music. With reluctance, he laid his art aside in order to pursue music. Throughout high school and college, he studied with legendary Chicago Symphony hornists, Josef Mourek and Max Pottag. He went on to win a spot with the Chicago Civic Orchestra, and became a student of the CSO’s principal hornist, Philip Farkas.
Shortly thereafter, Robert signed a contract to join the horn section of the Chicago Symphony Orchestra. He was already a frequent performer as an extra in regular season concerts, and at the Orchestra’s Summer home of Ravinia. Only a few weeks after receiving this offer (August of 1941), and after only three years of conservatory, a call to military service interrupted his plans. He was drafted and assigned to the United States Military Academy at West Point, New York, where he played Principal French horn in the West Point Band. He also served as organist and choirmaster at the Protestant Post Chapel, and continued to compose vocal and instrumental music until his discharge in December of 1945. It was during this time at West Point that a son, Robert Hutchison (Hutch) was born to Robert and his wife, Lola.
Following World War II (1946), Master Sgt. Dvorak returned to the Chicago Conservatory and completed his Bachelor’s and Master’s degrees in composition and theory. During his student days, his musical activities included singing second Bass with the Tudor Madrigal Singers. Under founder William Ballard’s scholarly direction, their performances included early and contemporary madrigals, including some of Robert’s own works (e.g. “Piping Down the Valleys Wild” and “The Life of the Year”). Eventually the group travelled on concert tours to various colleges and universities, and made several successful recordings. In 1947, Robert founded and directed the Chicago Manuscript Society. This organization allowed newly written choral and instrumental works to be presented in Chicago’s downtown performance centers, and to be judged by the city’s music critics. As a result of this Society, some composers whose manuscripts received performances went on to achieve prestigious awards and commissions to write new music.
Robert taught music appreciation and music theory for two years at Wilson Junior College in Chicago, taking extra church jobs to support himself and his family. At this time, he received his first commission: a Christmas cantata for soloists, chorus, and orchestra. In December of 1949, Robert Dvorak’s newly written cantata, “The Nativity,” was performed at the annual Christmas concert at Orchestra Hall. The performance featured soloists, 350 voices of the Christian Choral Club of Chicago and the Chicago Christian High School Choir, and the Chicago Symphony Orchestra. The choral conductor, James Baar, commissioned the work only six months prior to the December 20 concert. The music received rave reviews and bravos. “Dvorak’s music was exhilarating…it was like a fresh breath of spring in the program.” This success gave him a name and reputation as a composer.
Another unexpected turn came in early 1950, when Robert’s Reserve Commission was activated (due to the Korean War), and he was once again called back to West Point, this time for three years. Along with a promotion to 2nd Lieutenant, he was also appointed Assistant Bandmaster under Captain Francis E. Resta. This special band, in addition to regular duties at Academy functions, also performed at prestigious ceremonies for American Presidents, Heads of Foreign Countries, Ambassadors, Generals, and members of Congress. During this time, preparations were also underway for the Academy’s sesquicentennial year of 1952, and Lt. Dvorak, along with a number of other composers in America and abroad, was commissioned to write music for the celebration. His composition, although originally conceptualized for orchestra, was arranged at that time for band. The “West Point Symphony” is based on themes of the Academy. Today the third movement, “Allegro Spiritoso,” is considered a classic of band literature. It ends triumphantly, portraying the eager graduating cadet’s understanding of their moto, Duty, Honor, Country. During this additional time at the Academy, he also sang bass in New York City with a group that would later become the Robert Shaw Chorale. He also conducted the West Point band and Cadet Chorus in its sesquicentennial concert at Carnegie Hall, in a premier performance of his musical setting of “The Cadet Prayer,” a piece written specifically for the occasion. Upon completion of his second period of military service, he returned to Chicago in late 1952. He was on track to become a prominent music educator.
Robert accepted a position in the Music Department at the Chicago Teachers College. However, with the untimely death of his high school music director-mentor, Louis Blaha (summer of 1953), he instead advanced to the position of Head of the Music Department at his alma mater, J. Sterling Morton High School and Junior College. This position was paved by Blaha himself, who along with his students, had already been performing many of Robert’s band compositions, such as “Concerto for Trumpet” and “Concerto for Trombone and Band.” It soon followed that Robert then became the Director of Fine Arts for the J. Sterling Morton Junior College and High Schools of Cicero and Berwyn, Illinois. This was a post he held from 1953-1980. This collection of campuses is located in the western suburbs of Chicago, and comprises its own district. To this day, it serves the six townships of Cicero, Berwyn, Lyons, Stickney, Fairview, and McCook. Robert’s Visual Arts and Music staff for the District consisted of full-time teachers, as well as vocal and instrumental specialists, including Chicago Symphony players, who gave private lessons and coached sections of the outstanding Morton District’s Symphony Orchestras and Concert Bands.
In 1955, Robert also founded and directed a summer youth music camp at Camp Lake, Wisconsin, for incoming first year music students and high school students. The project was co-sponsored by the district school board and an organization of the music parents, some of whom also served as camp counselors. The project continued to function successfully beyond his retirement in 1980. In addition, he also taught for three summers at the National Music Camp at Interlochen, Michigan, where he conducted the National High School chorus, and taught music theory and music appreciation.
During the late 1950’s, Robert and his wife Lola were part of a group that organized and founded the First Baptist Church of Westchester, Illinois, where he also served as Music Director. For three summers during this time, Robert also served as Director of Music at the American Baptist Assembly in Green Lake, Wisconsin. This beautiful setting hosted conferences for religious and secular groups from all across the nation. It was here that Robert struck up a friendship with Martin Luther King, Jr., in which they decided to collaborate on an opera. MLK would write the libretto, and Robert the music. Sadly, plans for the project had to be cancelled, when MLK started his meteoric rise to prominence in the early 1960’s.
From 1966-1969, Robert served two terms as President of the Illinois Music Educators Association. During these terms, he encouraged and guided 300 specially selected Illinois All-State students on a trip to France, performing for the 1969 International Society for Music Education Conference. The audience represented a gathering of over 50 nations. Following this experience, he was elected as President of the Midwest Chapter of the International Society for Contemporary Music, serving for two terms (1970-1974). Focusing on the Morton District Schools once again, he enjoyed organizing a trip in 1975 that took his students, together with community members, on a music appreciation and performance tour to Czechoslovakia, Austria, and Hungary.
Because many conventions hosted by the professional and musical organizations in which he was involved took place in Chicago, Robert usually assisted in some type of leadership role. He was a member of the American Society for Composers, Authors, and Publishers (ASCAP). He received numerous honors, but the one he cherished most was being chosen by his fellow music educators and professional musicians who elected him to be the official 1976 Illinois Bicentennial Composer.
Robert’s musical life included performing as a pianist, French hornist, accompanist in vocal and instrumental recitals, and playing in theatre pit orchestras. He served as organist, choir director (or both) for churches of various denominations. He guest conducted vocal and instrumental festivals of combined high school groups, and appeared on many college campuses in that capacity. He also lectured on various topics dealing with music and performance. He enjoyed traveling, and had the opportunity to live in London for four summers. These summers brought him much enrichment, both musically and artistically, giving him opportunities to make new contacts with musicians and artists, and attend various artistic events. He also had an opportunity to study composition in New York with Vittorio Giannini at the Juilliard School of Music, and in 1963 was invited by Mlle. Nadia Boulanger to Fontainebleau, Paris, where he spent six months studying under her expert direction. This honor contributed greatly to his value as a teacher, as a practicing musician, and as a composer.
In 1990, ten years after retiring from the Morton District, Robert moved to Texas to be close to his son and grandchildren, who were living in the Houston area. He continued to pursue his “passion,” composing meaningful music, and he found additional purpose participating in the establishment of the Czech Center Museum Houston (CCMH). He was a founding member of this organization and a steadfast board member for many years. His most popular and requested role, though, was that of docent - he gave popular museum tours every Saturday for many years. It was there, in 2007, he met and fell in love with his current wife, Donna. They were married in 2010, and celebrated ten years of marriage in February of 2020. In addition to a life rich with accomplishments, he was also an accomplished raconteur (storyteller), an engaging speaker, and always a gentleman. He was awarded the Comenius Award by the CCMH for his unfailing zeal to keep his Czech heritage alive through education. He proudly passed on his heritage to his son, grandchildren, and anyone he met. Eventually, the effects of dementia made it no longer feasible for him to give his famous tours, and thus he moved into the role of Board Member Emeritus, but he never stopped faithfully supporting his beloved CCMH. He continued pursuing the composition of new music, and was forever editing his extensive works at the request of his publisher, Anita Smisek, OP.
In October of 2019, Robert turned 100 years old. It was a wonderful time, with an outpouring of well wishes from family and friends worldwide. His family is so happy to have had the opportunity to celebrate not only this century milestone with him, but to honor him - the man he was - and the things he stood for. He is much loved and will be greatly missed by all his friends and family. We are proud of him, and proud that we had the honor of calling him Husband, Father, Grandpa, and Friend.
His memory will continue to be cherished by his loving wife, Donna Dvorak (Houston, TX), his devoted son, Robert H. (Hutch) Dvorak and his wife, Mary Jo (Richmond, TX), three beloved grandchildren: Richard Dvorak and his wife, Traci (Clear Lake, TX), Jamie Tillman and her husband, Rudolph (Flower Mound, TX), and Caroline Neal (Houston, TX), several nieces and nephews, and eight precious great-grandchildren.
It is the family’s heartfelt desire to have a memorial service at a later date, which has yet to be determined. We are choosing to wait, in the hope that Coronavirus restrictions will loosen, and allow us to be together with you, our friends. Details will be posted to this site as soon as we know them.
Memorial contributions in Robert’s honor can be made to:
The Czech Center Museum Houston 4920 San Jacinto St. Houston, TX 77004 (713)-528-2060 www.czechcenter.org https://www.czechcenter.org/give-1/
For a list of Robert’s published works, please visit Hal Leonard Online: https://www.halleonard.com/search/search.action?keywords=robert+james+dvorak&dt=item#pro ducts
Neptune Society
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