Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

Classical Music

This album is dedicated to Czech composers. The first is Antonin Dvorak, who wrote his Moravian Duets in 1875 and 1876. The original idea was to arrange folk melodies from the collection of Frantisek Susil, but Dvorak eventually decided to use just the folk texts, setting them to music by himself. The resulting work in a way marked the beginning of his worldwide recognition. Although the genre of duets for two women’s voices and piano is well known today thanks chiefly to Dvorak, in its time it was cultivated by other composers too. Among them by Dvorak’s contemporary and friend Karel Bendl, whose “Dvanact dvojzpevu” (Twelve Duets) are settings of mostly lyrical texts by Vitezslav Halek from the collection “V prirode” (In Nature) and were probably written in the second half of the 1870s. The last cycle is The Slovak Duets by one of the most important contemporary Czech composers Sylvie Bodorova. Working with the rhythmic aspect of her music and layering her polyphony are typical features of her approach. She has also found inspiration in Roma, Jewish, and contemporary approach to folk (especially East European and Balkan) music, as well as other areas of the music of our time. The works here are sung by Hana Dobesova and Michaela Rozsa Ruzickova, accompanied by pianist Ladislava Vondrackova, and were recorded live at Martinu Hall, Academy of Performing Arts in Prague.

Classical Music

Twice a laureate of the International Smetana Piano Competition and a winner of the Bedrich Smetana Prize, Johanna Hanikova studied piano playing at the Janacek Conservatoire in Ostrava with Professor Monika Tugendliebova. During her conservatoire studies she already made her name at national as well as international competitions- 1st prize at Prague Junior Note, 1st prize at Pro Bohemia, and laureate title at the Prague Conservatoire Young Pianists Competition. She is developing her concert activities as a soloist regularly with renowned Czech symphonic orchestras. For this release, she has chosen a programme of well-known composers Ludwig van Beethoven and Sergei Rachmaninoff, Czech composers Bedrich Smetana and Leos Janacek, and contemporary composer and pianist Adam Skoumal.

Czech Masses (2013) by Jan Mor�vek (bass), Jana Tukov� (alto), Marta Fadljevicov� (soprano), Ondrej Socha (tenor), Petr Cech (organ), V�clav Jel�nek (organ), Charles University Choir Prague (choir, chorus), Prague Youth Chamber Ensemble

The Czech Philharmonic Cimbalom Ensemble originated from a group of orchestra members who share passion for folk music and occasionally play it to give joy to themselves as well as their friends and supporters. They gradually started to perform in public- at a joint concert with Bobby McFerrin in Rudolfinum, at social events with orchestra attendees, and at other concerts in various places around the country. Their concert programs are unique- they usually combine folk music with classical music in their own arrangements. One of the paths chosen by the ensemble is the exploration of works by famous composers which were inspired by folk music. It comes as no surprise that each of the composers explored on this release has a different approach to folk and national music, and reflects it in their compositions in varying depth. These compositions have become a source of inspiration for many generations of musicians. The Czech Philharmonic Cimbalom Ensemble uses these scores as a launch pad, but strives to approach them with new ideas, invigorating the pieces and working with their own arrangements.

Classical Music

Classical Music

Mezzo-soprano Ester Pavlu has chosen four of the two dozen individual songs and song cycles that the world-famous Czech composer Antonin Dvorak (1841-1904) wrote during his lifetime. Ester Pavlu's magnificent voice as well as her and her convincing stage presence make her one of the most promising mezzo-sopranos of the current generation, who wins the admiration of audience and critics both on domestic stages and abroad. Charles Spencer is one of the most sought-after piano accompanists worldwide who regularly collaborates with many of the world's most renowned singers.

In his 1979 biography of the composer John Clapham says; "[Dvorák] wrote his Alfred on quasi-Wagnerian lines between 26 May and 19 October 1870, and having completed it he stowed it away, out of sight, realising it was a hopeless failure". Given that this performance - a recording of a live concert - is the world premiere of the complete work in its original German-language form and only the second performance ever - the first was in Czech translation in 1938 - perhaps Clapham can be forgiven for taking a punt as to the quality of this work. Hopeless failure it most singularly is not.

In 1870 Dvorák was some years into his post as viola player in the Provisional Theatre in Prague. Smetana was the principal conductor and was laying the foundations for a Czech national opera. Given his direct involvement with works as diverse as William Tell, Fidelio, Faust and La Traviata it is no surprise that Dvorák should want to try his hand at operatic form. Even today, with only Rusalka of Dvorák's eleven operas in the international repertoire it is easy to forget that he wrote more stage works than the 'father' of Czech opera, Smetana. Alfred was his first operatic essay and the only one he wrote using a German libretto. The reason for this is most probably pragmatic and financial. The libretto by Karl Theodor Körner was already over fifty years old and had the benefits of being both dramatically apt and better still, free for him to use. At the time of its composition Dvorák was somewhat in the thrall of Wagner. This resulted in him using leitmotifs to delineate characters and there is an undoubted Germanic flavour to the work. Indeed, the shadow of Wagner hangs heavy over the work. Not that Dvorák was alone in having such an influence early in his compositional career. It could easily be argued that Strauss' Guntram is even more so. Which does lead me to wonder if Dvorák's 'shelving' of this work was more political - small and large 'p' - expediency than artistic critique. With extended passages of dramatic recitative and a consciously heroic style there is little of the Bohemian character that would become so typical of his greatest works. Aside from the Act I ballet which even though set in southern England is a proto-Slavonic dance, I am not sure anyone listening with an 'innocent ear' would be able to identify the composer.

At the same time there is so much to admire here. The work is well paced; three well balanced acts that do not outstay their welcome. Undoubtedly the characters are rather 'stock' and the work lacks a central villain to introduce any sense of danger but conversely they are considerably less generic than many similar works. A couple of other observations; the eponymous hero Alfred does not appear at all until the second Act and his imperilled betrothed - Alvina - is the only significant solo female role in the work. Dvorák gives the bulk of the duets to Harald and Alvina, The greatest weakness is the sense of dramatic stasis - the work feels more like a series of tableaux - indeed more than once the work reminded me of cantatas such as Elgar's King Olaf or Caractacus rather than opera proper. That said, this is work in progress so it seems unduly harsh - as indeed Dvorák was himself on the work - to consign it to the waste-bin of history.

Which is where this important and valuable world premiere recording comes in. The good news is that it is really very good. The performance was given as part of the International Dvorák Festival in Prague as recently as September 2014. There seem to have been two performances on consecutive days and these discs are the result. The absence of any applause between Acts or at the end of the Overture implies that some rehearsal/patching sessions were involved as well. Very occasionally there is an audible audience cough but nothing to seriously disrupt the performance. Applause is left in at the very end of the work which seems slightly anachronistic. Further good news in that the Arco Diva production team have caught the performers in extremely good sound in the Dvorák Hall of the Rudolfinum. The balance between orchestra, chorus and soloists is very good. Although essentially a static concert performance the voices have been well separated. Certainly the brass particularly of the Prague Radio Symphony Orchestra have been especially well caught; likewise the wind are given an appealing bloom. No surprise, given the bardic nature of several scenes, Dvorák wrote a prominent harp part which is pleasingly audible throughout. As is the Czech Philharmonic Choir Brno. If one was being picky you would have to say that they sound a fraction small to represent a hoard of ravening Vikings but what they lack in number is made up for by a characteristically fine focused and well-balanced tone. There are occasions when the upper strings struggle for absolute unanimity with Dvorák's tricky writing but again nothing to disappoint overly.

Conductor Heiko Mathias Förster paces the work very well. The use of predominantly German-speaking solo singers ensures idiomatic pronunciation of the text too. The only relatively familiar part of the work is the Overture. Dvorák rescued it from oblivion, revised it and renamed it as the Tragic Overture although he never heard that performed either and it was ultimately published as an Op. Posth. In this form it has been recorded on Marco Polo with Libor Pešek conducting the Slovak Philharmonic Orchestra. It is not absolutely clear if the revised Tragic Overture and the original operatic version are essentially identical. Assuming they are, Pešek takes a full two minutes off Förster's interpretation which is probably to the benefit of the work. The Slovak orchestra's playing is just that little bit more incisive too - both of the opening slashing chords played with absolute precision whereas the Prague orchestra live suffer from fractional lack of ensemble. After a lusty opening chorus there are a series of scenes in which the principal Danish protagonists are introduced. Especially impressive is the ringing tenor of Ferdinand von Bothmer as Harald - the invading prince. Dvorák's writing for this tenor role and that of Alvina is both extended and demanding. Petra Froese as Alvina is more tested by the writing and does not sound altogether comfortable. Indeed during the complexities of the Act II finale it sounds as though she is struggling to maintain her pitching in the thick textures. Conversely the baritone of Felix Rumpf singing the eponymous Alfred is very good indeed - youthful and virile with a very attractive voice. He makes a good foil for von Bothmer.

Another impressive aspect of the work is Dvorák's handling of the big set-pieces. Act I closes with Alvina spurning Harald's advances with the chorus in full-flight singing "Now new turmoil awaits us, we are ready to fight". The dramatic highpoint of the entire work is the end of Act II. In true 'rescue opera' mode Alfred has secretly entered Harald's stronghold disguised as a Minstrel to rescue the imprisoned Alvina. Before doing so he sings a ballad: "Man can stand a lot before the final restraint breaks, then he must risk everything, Thunder and hell will not stop him. Therefore tremble, you Danes! Bravely will the Briton stand." Not the least attention-seeking way of avoiding capture but in best operatic tradition with a single bound he is free, sweeping Alvina away to freedom and leaving confusion in his wake. Once the conventions of such scenes are accepted it makes for an exciting and actually rather impressive sequence. Dvorák had already written his first two symphonies before he essayed this opera so it should not come as a total surprise that his handling of the orchestral parts if not always refined is certainly confident.

It is not just the large ensembles that impress - Alfred makes his delayed entrance in Act II scene 1 with an extended soliloquy where he ponders the recent battle against the Danes that he has lost. This is an overtly Wagnerian passage but still an impressive one. Once again Förster proves himself masterly at pacing the scene so that it progresses from reflection to determination and ultimately to action when Alfred's loyal servant Sieward - sung by the ever-excellent bass Peter Mikuláš - enters to tell him of Alvina's capture and Alfred vows revenge. Having rescued Alvina at the end of Act II she rather carelessly manages to get herself captured again early in Act III. If nothing else this allows for more ardent wooing from Harald and equally vehement rejection by Alvina. In a separate, and again rather Wagnerian scene, Alfred and his army pray for victory in the coming battle. During the ensuing fight, Alfred defeats the Danes and Harald is captured. Alfred offers mercy but Harald chooses to die by his own hand. The opera ends with Alfred and Alvina reunited and the obligatory general rejoicing. By some degree this is the least impressive end of an act in the work.

Even allowing for that relative weakness, I think it is important to reiterate that this is a wholly enjoyable work. No, it is not a lost masterpiece; Dvorák would go onto greater things, but at the same time it is far from being the total failure the text books would tell you it is. I cannot imagine there being many other complete recordings coming along any time soon to challenge this one which makes this set's overall quality all the more valuable. The set does not come with a printed libretto but rather unusually it is embedded on both CDs as a pdf file. This is easy to save to a computer and is clearly printed in the original German with Czech and English translations. Having any libretto is better than none although personally I would prefer a traditional printed booklet. The liner is in Czech and English and includes a useful essay, opera synopsis and historical background as well as the usual artist's biographies and some pictures from the concerts. One entertaining typo says: "... the overture was performed under the title Dramatic (or Tragic) after Dvorák's death in 1905 and 1912 respectively." He wasn't dead, he was just sleeping - no that's King Arthur not Alfred (or Dvorák).

Czech opera, apart from The Bartered Bride, Rusalka and the major works by Janá?ek, struggles for any kind of toehold in the international repertoire. That being the case it is hard to imagine Alfred being preferred for revival before other finer works. However for those interested in Dvorák's development as a composer this is both fascinating and vital in appreciating his genius - it is important to remember that this was by far the most substantial composition Dvorák had attempted at the date of its composition. Taking that fact into account the successes of the work far outweigh the shortcomings. Exactly the same can be said of this performance - the minor flaws of execution that come with a live concert count for little compared to the confident, committed and dramatic sweep of the performance. A set all admirers of the composer should hear.

- Nick Barnard, MusicWeb International

This new recording features spiritual compositions of Czech artists of the twentieth and twenty-first centuries performed by the internationally renowned Czech Philharmonic Choir of Brno. Bohuslav Martinu’s “The Mountain of Three Lights” and “Hymn to St. James” have been rarely recorded, and are therefore of special notice on this release. World premiere recordings by Petr Reznicek and Petr Fiala are also featured- “Dies irae,” and “Regina coeli laetare,” respectively. "After all my experience at home and abroad, after many concerts in various parts of the world I can say with full responsibility and conviction that at present the Czech Philharmonic Choir of Brno is clearly the best choir in the Czech Republic and one of the best choirs in Europe. Your presence at first-class stages and podiums, top-class festivals and prestigious concerts, cooperation with the best orchestras and conductors proves your quality. I am proud of the fact that this choir is at home in Brno." (Petr Altrichter – ex-chief conductor, Brno Philharmonic)

The contents of this release present a selection of roughly a century of Czech choral works performed by Prague Mixed Choir and soloists. The wealth of choral works left to us by Czech composers is very rich and amazing - this new album features pieces of Antonín Dvorák, Vítezslav Novák, Bohuslav Martinu and Zdenek Lukáš. Prague Mixed Choir has long been one of the top Czech non-professional choirs. It has enjoyed much success at home and abroad and has won several awards at prestigious choral competitions, including the international competition Praga Cantat. In addition to its domestic concerts, the choir proudly performs Czech music on foreign concert tours, of which it has completed more than sixty to date. These include visits to most European countries, the United States, Canada, Japan, Israel, China, and Egypt.

The Rhapsody-Concerto for Viola and Orchestra by Bohuslav Martinu (1890-1959) is one of the foremost and ever popular works of the viola repertoire. It was written in spring 1952, commissioned by Cleveland Orchestra violist Jascha Weissi. The D major Concerto by Carl Stamitz (1745-1801) offers sparkle, wit and a notable “feel” for the instrument’s tone. Zdenek Lukás’ (1928 –2007) three movement Concerto for Viola and Orchestra is a work of marked inventiveness, letting the solo instrument shine in all its colors.

The present release features Bohuslav Martinu’s works for cello and piano performed by Petr Nouzovský, who is recognized as one of Europe's eminent cellists of his generation, and great pianist Miroslav Sekera, who performs in Czech Republic as well as around the world. Bohuslav Martinu is one of the world-famous composers of the 20th century and his pieces for cello are imbued with unique depth and individuality. Petr Nouzovský and Miroslav Sekera recorded these two albums of unique Czech music with open-hearted insight and amazing musicality.

Smetana's Mavlast is one of the most powerful and undoubted cultural values of the Czech people. The work continues to be relevant, since it draws on the ideas about the history and role of the Czech nation conceived by FrantiSek Palacky, presenting a modern European nation in a light that is effective in more that the narrow national context - as exemplified by the history, interpretation, popularity and an incredible number of recordings of the Mavlast cycle from the 30s of the 20th. The new live recording of Smetana's works brings the interpretive view of the youngest generation of conductors based on current methods of interpretation, in an effort to come closer to the original text, as much as possible. Marek Stilec is the conductor of Hradec Kralove Philharmonic Orchestra.

The Novák Trio (oboe, clarinet, bassoon), which builds on the long Czech tradition of music for wind instruments started by Reicha, is a busy ensemble, annually performing about fifty concerts in the Czech Republic and abroad. This CD offers music by living Czech composers which has been directly dedicated to Novák trio. Composers include Ilja Hurník, Tomás Svoboda, Jirí Gemrot and Jaroslav Krcek.

Classical Music

ArcoDiva’s Czech Contemporary Music for Oboe features compositions by four of the finest senior composing figures in contemporary Czech music: Jiří Teml (b. 1935), Jaroslav Krček (b. 1939), Zdeněk Šesták (b. 1925) and Jan Málek (b. 1938). Performing these works on both oboe d’amore and English horn is Gabriela Krčková, an outstanding Czech oboist and musician to whom many of the works were dedicated. Supporting Ms. Krčková on this CD release is Musica Bohemica, Prague, a chamber ensemble with an almost thirty year tradition and more than three-dozen releases to date.

J.S. Bach clearly thought of the solo Cello Suites as real cycles (no key repetition), while their textures are not as strongly polyphonic as those of his works for the solo violin. It is sometimes thought, therefore, that they were written somewhat earlier, but that is only an assumption. Their invention, technical prowess and form guarantee Bach's output for solo cello it's permanent place in the repertoire, as well as representing a great challenge to every cellist. A member of the Martinu Quartet, Jitka Vlas�nkov� ranks among the finest of contemporary Czech cello soloists.

Prague Philharmonia Wind Quintet plays charming music for wind instruments and piano - for this time they play together with one of the most renowned Czech classical pianists - Ivan Klánský. The repertory of recording is very colorful and inspiring. To put Mozart, Martinu and Poulenc side by side seems entirely natural in programme design terms. Both Martinu (1890-1959) and Poulenc (1899-1963) had found in Mozart one of the main founts for their own neoclassical music. The recording is opened by Mozart's Piano Quintet in E flat major for oboe, clarinet, bassoon, horn and piano. Sextet FP 100 by Francis Poulenc for wind quintet and piano is imbued with a typical Parisian nonchalance, French colouring and with Poulenc's mischievousness balanced out with his firm faith. Bohuslav Martinu's Sextet seems to be more like a suite (5 parts composition), but the music of each of the movements is very original and enjoyable. Prague Philharmonia Wind Quintet with Ivan Klánský are presenting us highly professional and truly enjoyable interpretation of all these pieces.