The History of Babouci: A South Bohemian Brass Band

The Babouci, the oldest brass band in South Bohemia, boasts a rich history spanning over a century, originating in the village of Němčice in the Netolice region. Their story is a testament to the enduring power of traditional music and community spirit.

Early History and Formation

The roots of the Babouci can be traced back to the 1860s, when Jan Votava, a teacher in Němčice, supplemented his income by teaching brass instruments. Votava's tutelage was highly effective, with many of his students finding success in military bands or as renowned circus musicians, traveling far and wide. Like many South Bohemians seeking better opportunities, Votava eventually emigrated to America, leaving behind his "Turkish" brass band.

In 1868, Josef Prener, a native of Němčice and Votava's most accomplished student, took over the band. Affectionately known as "Jouzík," Prener named the ensemble "Jouzíci." This was a "gentry" band, distinct from the existing "peasant" (bagpipe) or "string" bands of the time.  Its instrumentation included an E-flat clarinet, B-flat clarinet, B-flat tenor, first and second E-flat trumpets, and an F bass.Prener himself played the E-flat clarinet, colloquially known as the "short" clarinet. A significant innovation of the Jouzíci was their practice of playing from sheet music rather than improvising from memory. The band comprised experienced musicians from the Netolice region and quickly gained widespread popularity.

Shortly after the Jouzíci's formation, the exceptionally talented brothers Matěj and Matouš Babouček, known as "Babouci" after their homestead in Dubné, joined the band upon their return from military service.  However, their tenure with Prener was brief. In 1875, they established their own band, which completely superseded the Jouzíci and became its direct successor. The public immediately began referring to this new ensemble as the "Babouci."  Due to the Baboučeks' reputation as outstanding musicians, they soon attracted other equally skilled players, including Jan Novotný and Kašpar Cihlář from Němčice, and later, additional musicians from the surrounding areas. Initially, the band consisted of seven members, eventually expanding to eleven.

Performance Traditions and Evolution

The Babouci primarily performed at village dances.  Since there was no entrance fee for dancing and the musicians were not paid, a unique custom emerged: the musicians would pause mid-performance and "stop" on one of the dancers, who would then place money on a plate. Only then would the music and dancing resume.

As was common with village bands, not all musicians played with the Babouci regularly, which could impact the quality of their performances.  Committed to maintaining their band's good reputation, the Baboučeks sought a stable lineup, which they successfully achieved due to the band's popularity. This led to a further increase in the Babouci's quality, and it became widely recognized in the region that anyone playing with the Babouci was considered a "true musician." For nearly two decades, the Babouci maintained a consistent lineup. However, as musicians aged, new, younger players joined the band in 1894.  Notable additions included the excellent flugelhorn player Matěj Krejčí from Včelná, Josef Moučka from Čakovec, and around the turn of the century, František Lajer from Habří, who married into the Dubné community. At that time, most "Babouci" musicians were masons and farmers.  They wore uniform attire for their performances, and later adopted the military caps seen in Aleš's depictions of village musicians.

Around 1900, the band's founder, Matěj Babouček, and two other players departed.  Their places were filled by Matěj Babouček's sons, Jan and Vojtěch, and the talented E-flat trumpet player Josef Placer from Čakov.  Despite subsequent changes and generational shifts within the band, the distinctive "Babouci" musical style, tuning, and instrumentation remained consistent.  The Babouci were so recognizable that their presence at a performance needed no introduction; everyone knew them from afar, a tradition that continues to this day.

A hallmark of the "Babouci" tradition was their focus on playing and singing folk songs and compositions from South Bohemia. They did not feature solo vocalists; instead, all musicians both played and sang.  Instrumental solos would alternate with the verses of songs—clarinets after the first verse, flugelhorns after the second, and tenors after the third. The audience would sing along.  Even today, when the Babouci recruit new members, they ensure that each individual not only masterfully plays their instrument but also possesses vocal abilities.

The evocative power of their music, such as "Kubata" or "Zbudovský valčík," is said to transport listeners to the landscapes of the Blata region, evoking images from Klostermann's novel Mlhy na Blatech and the characters within it. The Zbudovská landscape, through their melodies, continues to reveal its poetry and mystery.

The Babouci's music was so beloved that they struggled to fulfill all their invitations.  At village festivals, weddings, carnivals, or social gatherings, it was said that there was no room to sit, not even for the elderly women on the "judgment bench." Beyond their musical talent, the Babouci were known for bringing joy and entertainment.  Older generations recalled their playful antics, such as making ears from handkerchiefs, playing under tables, or mingling with dancers and even performing on balconies, leaving only the drummer on the choir loft.

Wider Recognition and Post-War Era

The Babouci's reputation soon extended beyond the borders of South Bohemia.  In 1927, the renowned actress Marie Svobodová, who later performed at the South Bohemian Theatre in České Budějovice, invited the Babouci to Prague to play at an old Czech wedding. The celebrated speaker and singer Jan Hakl-Slavíček from Kvítkovice served as the groomsman at this event.

The year 1935 marked a significant turning point for the Babouci.  Following the Babouček brothers, Jan Ferebauer from Dubné, a mason and passionate musician known as "Šmajda," became the bandleader, a role he held until 1962.  Ferebauer was adept at attracting the best musicians, including E-flat clarinetist Jakub Španinger from Dubné, Vít Postl from Stupné, and from the Babouček family, Jan's son Václav, and after the war, Vojtěch's son, also named Václav. This infusion of new Babouček musical talent revitalized the band.  During this period, other notable names emerged, such as Jan and Josef Moučka from Čakov, Stanislav Vojta, Josef Našinec, Bárta, František Pach (E-flat trumpet), Stanislav Borovka from Nová Ves u Brloha (bass), his namesake from České Budějovice (clarinet), and Josef Šabatka.

During the Nazi occupation, rural dances were prohibited. However, concerts aimed at maintaining public morale were permitted. The Babouci traveled to villages to perform, often on foot or by bicycle, regardless of the weather.With the end of the Nazi occupation, people emerged from a difficult period, and life, joy, and dancing were once again allowed. The Babouci resumed playing, bringing pleasure and entertainment to those who had survived the harsh years.  By 1947, their fame had spread far and wide, and they were invited to dances, events for the establishment of cooperatives, meetings, festivals, and carnivals.

On St. Catherine's Day in 1947, a day traditionally associated with "musician's trade" or a transitional period, the twenty-three-year-old versatile tenor player Václav Rožboud from Němčice replaced Vojtěch Babouček. Rožboud would eventually become the bandleader of the Babouci, though at this time, Jan Ferebauer was still at the helm. During this era, the Babouci became members of the Works Club (ZK ROH) of Czechoslovak Radio in České Budějovice.  They later moved under the umbrella of the České Budějovice Municipal House of Culture, eventually finding a permanent home with the Works Club of the South Bohemian Paper Mills in České Budějovice.

During their membership with the radio's Works Club, the Babouci began performing on radio broadcasts from both České Budějovice and Prague. For the programming needs of the time, their instrumental compositions, without vocals, were primarily recorded.  A number of composers and arrangers worked with the Babouci, including J. Nováček, J. Drobílek, J. Beneda, and the Kubeš family. Miroslav Vaverka, a radio music editor, praised the Babouci as a truly top-tier and reliable group that was easy to work with.  Their timeless recordings, such as "Jarní květy" (Spring Flowers), "Kytička vzpomínek" (Bouquet of Memories), and "V zeleném háji" (In the Green Grove), continue to be cherished. This is evidenced by the letters that have consistently been sent to both the Babouci and the radio station.  One listener, J. Stejskal from Mýto u Rokycan, wrote, "Every time the Babouci play on the radio, we sing along with them because we almost know their songs by heart."  Workers from the KIN pencil factory in České Budějovice expressed their gratitude: "We love listening to you, both on the radio and at events, at the exhibition grounds, and in the Háječek in České Budějovice. We would like to thank you today for all the beautiful songs, for the pleasant moments with your music. You deserve our thanks and recognition for spreading good cheer among people, for successfully continuing the hundred-year tradition of the Babouci, and for reviving those beautiful folk songs that we love so much... We wish you to continue playing as beautifully as you do now, to always be a good team, and we look forward to your new melodies."

By this time, the Babouci were also known in Prague, having performed at Lucerna alongside the Mugrauer brass band from Křenovice.

From time time there were important periods of leadership by Václav Rožbouda from Němčice, František Petrách from Čakov and Petr Shýbal from Lišov. Currently, the group is led by Tomáš Staněk.