The division of the young Czech avant-garde of the 1930s produced two camps, both aiming to resolve the question of how best to recapture an audience alienated by modernism. Any opera composers of this generation would be daunted by the task of presenting their work before an audience that no longer considered opera a principal form of entertainment, or one that reflected their identity in the modern world. Each of the two compositional factions in Prague, however, faced a further uphill battle, in that neither of their aesthetic programs, in its purest form, was well suited to the traditional conventions of opera. For Hába and the postexpressionists, eager to use socialist themes to educate the audience, stage plays set to music were, in theory, an ideal way to capture the attention of large cross-sections of society, but their uncompromising, new musical vocabulary was not conducive to musico-dramatic narrative and pace without making significant concessions to tradition. Hába's quarter-tone opera Matka (The Mother) became the subject of discussion among Prague critics, but found an audience only in the more open-minded atmosphere of Munich in 1931. On the other side, Krejčí and the neoclassicists shied away from full-scale opera as a genre because this same issue of musico-dramatic narrative conflicted with their ideology that pure rhythm and sound should affect the listener directly through absolute forms, without the assistance of a program.