Prague Chamber Orchestra
Orchestra
b. 1951. Czech orchestra. in the Classical Era tradition.
Prague-based chamber orchestra specializing in Bohemian Classical repertoire, particularly the Benda family and Stamitz. Niche catalog focused on historically informed performance of 18th-century Czech composers.
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M. Haydn: Serenade, Divertimento / Schmalfuss, Klocker, Prague Chamber Orchestra
Orfeo · Jun 2007CD$20.99 -
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Martinu: La Jolla, Toccata, Concerto Grosso / Josef Hála, Petr Jiríkovsky, Ondrej Kukal, Et Al
Supraphon · Oct 2008CD$25.99 -
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Orfeo 40th Anniversary Edition: 40 Ultimate Recordings
When the ORFEO label was established in Munich forty years ago, surely no one with the music scene back then would have predicted that the record company would develop into a firmly established player on the classical music market. One of the label’s main priorities in the early years was vocal music, with opera rarities top of the list and since the mid 1980s the re-use of historic tape recordings. Big names featured on the label’s own productions, while ORFEO also developed into a talent factory by discovering and nurturing young artist. This “ORFEO 40th Anniversary” 2-album sampler well reflects these two sides of the label by combining highlight tracks of historical recordings with today’s global stars.
Kozeluch: Klarinettenkonzerte / Klocker, Lajcik, Prague Co
KOZELUCH Clarinet Concertos: No. 1 in Eb; No. 2 in Eb. Sonata concertante in Eb • Dieter Klöcker (cl); Milan Lajík, cond; Prague CO • ORFEO 193 061 (69:21)
With Jan Antonin Koželuh (1747–1818), we find that—like many Bohemian subjects of the Austro-Hungarian Empire, including Jan Waczlaw Stamic (Johann Stamitz) and Anton Rössler (Antonio Rosetti)—the spelling of his name was altered and usually was written as Leopold Kozeluch, although there are instances where it is seen partially in Latin, i.e., Iohannes Antonius Kotzeluch. Kozeluch—to adopt the form generally used in the musical world today—was one of many Bohemians whose desire for fame and fortune took them to Europe’s great musical centers, including Mannheim, Berlin, Prague, Vienna, Paris, and London. There is an 18th-century map showing lines radiating from Bohemia to these and other cities and the lines are so numerous that they resemble a spider’s web. It was Bohemia’s national musical fecundity that prompted Dr. Charles Burney, the well-known 18th-century traveler and writer on music, to refer to Bohemia as the conservatory of Europe.
Among the little country’s musical progeny was Kozeluch, termed in The New Grove’ s Dictionary of Music and Musicians “one of the foremost representatives of Czech [Bohemian, to be politically correct] music in 18th-century Vienna.” It appears that Kozeluch was a declared adversary and critic of Mozart, as contemporary accounts indicate that Kozeluch—with the help of Antonio Salieri—tried to establish himself as Mozart’s rival. Nine years after Mozart’s death, Friedrich Rochlitz noted in the Allemeine Musikalisches Zeitung , “Kozeluch expressed his mind too volubly,” and further on we read, “envy and obsessive criticism are not the way to surpass a great man.”
First and foremost, Kozeluch was a secular composer. His musical legacy extends to some 420 separate works, including arrangements of his and other composers’ works. The bottom line though, is a catalog of some 250 original compositions, including 11 symphonies, 22 keyboard concertos, and two for the clarinet, the last not listed in TNG.
There are four concerted works for clarinet that bear Kozeluch’s signature, but the Czech clarinetist Jirí Kratochvil maintains that one was written by Leopold’s cousin, Antonin, so it has been eliminated from this recording. Of the three works on this Orfeo release, the Sonata concertante in Eb is almost one-of-a-kind, joining a similar work by one Franz Bühler (1760–1823). The first concerto is indebted to the Mannheim School, while the second, written for the German virtuoso Josef Beer, is (according to Dieter Klöcker’s copious and erudite annotations) based upon the popular Clarinet Concerto No. 3 in Bb by Kozeluch’s countryman, Carl Stamitz, but the Kozeluch concertos are far superior to anything Stamitz wrote for the instrument and along with the concertos of Franz Krommer, run a close second to Mozart’s lone clarinet concerto.
Dieter Klöcker’s musical instincts are unfailing; he has continuously and consistently brought forth a great deal of lovely and neglected—not negligible—music for his chosen instrument and each new release is a musical epiphany. Much of the repertoire he has chosen, including music of Soleré, Bärmann, and Schacht, still exists in only his recordings and where other works have seen additional recordings since Klöcker’s premieres, his remain benchmark.
The first concerto of Kozeluch is included with works by Krommer and Crusell on a well-played ASV CD of 18th- and early 19th-century concertos played by Emma Johnson (ASV 763). A search of the Sanctuary Classics Web site reveals that the 1997 disc is still available, so if one is in search of a broader picture of the late-Classical and early-Romantic clarinet concerto repertoire, then this would be the way to go. But the decision of Orfeo and Klöcker to issue an entire disc of Kozeluch is wholly in keeping with the way they go about things and should not be overlooked by those with the slightest curiosity. I should also point out that Klöcker plays a clarinet fitted with the Oehler fingering system (standard, I believe, in the German-speaking countries) and a wooden mouthpiece with the reed held in place in the old-fashioned manner by string, the combination of these most surely accounting for his unusual tone quality.
Both recordings are lively, well played, and equally well recorded, with Klöcker’s Orfeo offering a more distant perspective and therefore a hint of concert hall realism. Violinist Milan Lajcík and his colleagues in the Prague Chamber Orchestra are more than up to the tasks offered by these works. The orchestral support is beyond reproach, with unforced directness, poise, and verve that is totally void of metrical stiffness. Another star in the crowns of both Orfeo and Dieter Klöcker.
FANFARE: Michael Carter
The Many Passions of Leoš Janáček
An original selection of Leoš Janácek’s works released on the occasion of the 95th anniversary of the composer’s death.
In connection with the previous compilation, The Many Loves of Antonín Dvořák, which met with favorable response from reviewers in the USA and in the UK, we asked the BBC3 long-time music producer and one of the great experts in and lovers of Czech music and its recordings, Patrick Lambert, to compile a similar series dedicated to the Moravian master.
Its name alone – Many Passions – reflects Janáček’s temperament and the selection is a result of thorough research into his personality. The composer approached all life’s changes with a wide range of emotions. Therefore, eight categories were created and got the same names as Janáček’s passions: the Folk Tradition; the Czech Case – Politics and Patriotism; Family; Life and Nature; Friendship with Dvorák; Women; Russian Literature; Religious Roots.
The set contains famous pieces, such as Sinfonietta, Taras Bulba, Glagolitic Mass, Jenufa and The Cunning Little Vixen, as well as many discoveries that put Janáček’s work into context, e.g. his choruses Seventy-thousand and The Czech Legion, the Danube Symphony, Prelude in G minor for organ and a fragment of his Mass in E flat major. The selection of performers includes the classics of Janáček interpretation from Brno and Prague and some unique archival recordings as well as many new ones.
Among the conductors are Bretislav Bakala, František Jílek, Jaroslav Vogel, Václav Neumann, Karel Ancerl, Bohumil Gregor, Sir Charles Mackerras and Jakub Hruša, and other performers include important Bohemian and Moravian choirs, soloists Theodor Šrubar, Beno Blachut, Libuše Domanínská and Gabriela Benacková, and instrumentalists Josef Suk, Ilja Hurník, Jan Panenka, the Janáček Quartet and the Pavel Haas Quartet. The choice of compositions deeply reflects Janáček’s greatly varied music, paying homage to the most remarkable 20th-century Czech composer on the occasion of the 95th anniversary of his death and celebrating the unique richness of Supraphon’s archives.
M. Haydn: Serenade, Divertimento / Schmalfuss, Klocker, Prague Chamber Orchestra
--David Hurwitz, ClassicsToday.com
Ave Maria - Marian Hymns
Martinu: La Jolla, Toccata, Concerto Grosso / Josef Hála, Petr Jiríkovsky, Ondrej Kukal, Et Al

This splendid disc was originally released on the Panton label, but happily reappears here on Supraphon. The fact that the conductorless Prague Chamber Orchestra can play this rhythmically tricky music with such confidence bespeaks long familiarity with Martinu's personal idiom. These are, one and all, fabulous pieces, particularly the Toccata e due canzone, a masterwork if ever there was one, and a much darker and more emotionally draining essay than the neo-baroque title might suggest.
Here's the bottom line: these are simply the finest versions of all three works. Tempos are lively, balances true, those long, syncopated, lyrical cantilenas in the first movements of the Tocatta and Sinfonietta soar as if self-propelled. No detail of Martinu's ceaselessly inventive orchestration passes unobserved, and his busy rhythms and obsessive ostinatos never turn mechanical (a potential issue in the Concerto Grosso especially). As usual, the Czech woodwinds (oboes especially) are a joy, and pianist Josef Hála plays delightfully in all three pieces. Excellent sonics offer an ideal combination of warmth and clarity. It doesn't get any better than this.
--David Hurwitz, ClassicsToday.com
Antonin Kraft, Antonin Vranicky, Carl Stamitz: Cello Concertos
Hindemith: Music For Viola
Horn Concertos By Pokorny, Rosetti & Punto
POKORN´y Concerto in D for Horn, Timpani, and Strings. ROSETTI Horn Concertos: in E?; in d. PUNTO Horn Concerto No. 5 in F • Radek Baborák (hn); Prague CO • SUPRAPHON 4017 (72:51)
František Xaver Jan Pokorný (1729–94) served Count Philipp Karl of Öettingen-Wallerstein as court violinist from 1750 to 1754, whereupon he was sent to further his studies at Mannehim with Johann Stamitz, Richter, and Holzbauer. Upon returning to his court position, Pokorný was promised the position of choral director, but the Count reneged on his pledge. Patiently biding his time, Pokorný waited until 1766 when the Count finally obliged him by dying. It was then that Pokorný petitioned Prince Alexander Ferdinand Thurn-Taxis in Regensburg for a position at the Prince’s royal chapel. Admittance was granted, and there he remained for the rest of his life.
Some 100 symphonies have been attributed to Pokorný, but more than half of them cannot be authoritatively verified, as autographed scores in the Thurn-Taxis archive support his authorship in only about three dozen of them. Though Pokorný was not a horn player himself, his daughter, Beata, was. She became an acclaimed virtuoso on the instrument, and it’s a certainty that Pokorný wrote the concerto heard on this disc for her.
Antonio Rosetti (c. 1750–92) has fared somewhat better in the recognized name department. He was born Anton Rösler in what is believed to have been the Bohemian town of Litom?e?ice, though details of his exact date of birth and birthplace are not known for sure. What is known is that he returned from a trip to Italy sometime around 1773 no longer Rösler but Rosetti, and under his new Italianized name, he published a great deal of music, including numerous symphonies, concertos, and vocal works. Though Rosetti’s instrument was the double bass, not the horn, he is perhaps best known today for his several horn concertos, which, according to H. C. Robbins Landon, may have been the model for Mozart’s horn concertos.
Giovanni Punto (1746–1803) is another composer who underwent a name change. He was born Jan Václav Stich in Žehušice, Bohemia. Of the three composers on this CD, Punto is the only one who actually played the horn and who distinguished himself as one of its leading lights of the day. At a young age, he was sent by Count Johann Joseph Thun to study the instrument under Joseph Matiegka in Prague, then with Jan Schindelarz in Munich, and finally with A. J. Hampel in Dresden. The last named had long-ranging significance, as Hampel taught the precocious Punto—still Stich at the time—the new hand-stopping technique, which he would later improve upon.
The story might have ended badly for Stich, but Fate intervened on his behalf. After returning to the service of the Count, who had now invested a royal’s ransom in his young horn player’s education, the 20-year-old ingrate ran away with friends. As Shakespeare wrote, “How sharper than a serpent’s tooth it is to have a thankless child!” The infuriated Count, in a fit of cut-off-your-own-nose-to-spite-your-face pique and Biblically inspired retribution, sent his soldiers to apprehend Stich and knock out his teeth to prevent him from ever playing the horn again. But Stich escaped into Italy and became Giovanni Punto. After a brief stint in a couple of court orchestras, he began to freelance, finding himself much in demand in Paris, where he played nearly 50 concerts between 1776 and 1788 and met the Mozarts, père and fils.
Punto wrote a great deal of music, mostly for horn, mainly to display his own technical prowess on the instrument. Among his works are some 16 horn concertos, 47 horn trios, and 21 horn quartets. Few are performed or recorded, but Punto’s name remains a highlighted footnote to history, immortalized by Beethoven who composed his F-Major Horn Sonata, op. 17, for the brilliant player in 1800. The sonata was also published in a version for cello, but only rarely is it included in recordings of Beethoven’s complete works for cello and piano.
Only those who might have preferred a recording of these works on period instruments will be disappointed; all others rejoice. Nothing more really need be said about Radek Baborák beyond noting that since 2003 he has played principal horn in the Berlin Philharmonic. With that prestigious post on his résumé he can lay claim to one of the loftiest perches in horndom. But should you wish to know more about his illustrious career, check it out at his Web site: baborak.com.
From an artist of this caliber one expects nothing less than perfection and that’s what one gets on this recording. A tone of burnished gold issues forth from an instrument under absolute command. Pitch and breath control are perfect, and register shifts are so smooth and seamless that one is not even aware of them. This is truly some of the most awesome horn playing I think I’ve ever heard. The Prague Chamber Orchestra is conductorless; the ensemble, which has been around since 1951, plays with unanimity and precision, and sounds like it’s thoroughly into the high spirits of this music.
And as an afterword on the music, let me just say that I would give all of Mozart’s horn concertos, and Haydn’s too, for any one of the concertos on this disc. These are gloriously beautiful works that deserve far more exposure than they’ve had. I have a now 30-year-old recording of the Punto concerto with Barry Tuckwell, Neville Marriner, and the ASMF on EMI, and a 22-year-old recording of the Pokorný with Hermann Baumann, Iona Brown, and the ASMF on Philips. Neither touches this new one with Baborák, and both are showing their age.
This is definitely a disc for the horn lover. It’s also a disc for all those interested in lesser luminaries from the time of Haydn and Mozart who in their own day shone more brightly than they do now. Thumbs way up on this one.
FANFARE: Jerry Dubins
Legendary Recordings: Dvorak, Suk, Mozart, Tchaikovsky