Classical Music

When a double volume featuring Ivan Moravec was included in the 1999 “Great pianists of the 20th Century” box set (Philips Records), many a music lover was taken aback. Although Americans knew the Czech artist, owing mainly to the Connoisseur Society, a lot of European listeners and critics had overlooked him – yet the recordings contained in the edition certainly attested to Moravec being a pianist of global calibre. Repertoire magazine referred to him as the “most closely guarded secret of the classical music world”. The 90th anniversary of Ivan Moravec’s birth is a very good reason to for come up with a special project. The most complete collection of his recordings to date, the present Supraphon release encompasses 11 albums and a documentary and unique, previously unseen footage from the Czech Television archives. Moravec recorded his core repertoire for the Connoisseur Society, Supraphon, Dorian, Nonesuch and Vox labels. Some of his recordings are now being released on album for the first time. A number of older recordings have been remastered from the original analogue tapes. The set includes the complete Moravec repertoire of Beethoven, Schumann, Debussy, solo Franck, Janácek and Chopin’s Mazurkas. The booklet provides an exhaustive account of one of the greatest 20th-century pianist‘s artistic development, from the early 1960s to the end of the millennium. Most significantly, the release affords the listener the opportunity to revel in the music that – due to its sheer profundity, myriad colour shades and irresistibly personal delivery – touches one’s very heart. A portrait of a great artist.

"• The award-winning Smetana Trio's lastest offering includes two chamber music masterworks, Maurice Ravel's one-and-only piano trio and Dmitri Shostakovich's E-minor wartime trio. • The Smetana Trio has an extensive discography and has recorded exclusively for Supraphon since 2000, and are recognized as the premiere piano trio in their native Czech Republic. • The Smetana Trio tour extensively as a both chamber music ensemble and orchestral soloists."

The viola’s dark, velvety sound and its depth of expression enchanted many composers of the twentieth century (Bartók, Martinu, Hindemith, Clarke etc.) who made major contributions to the instrument’s repertoire. Jitka Hosprova, however, likes to stay off the beaten path. For her recording with the Prague Radio Symphony Orchestra, she has chosen three modern works composed in her homeland over a span of 30 years at the turn of the 20th and 21st centuries. Oldrich Flosman completed Visions of Michelangelo, a work that is now nearly forgotten, in 1975 on commission for celebrations of the 500th anniversary of Michelangelo’s birth. Jindrich Feld’s Viola Concerto, one of his last works, bears comparison with Bartók’s and even exceeds it in terms of technical difficulty; the demands made on the soloist are quite extreme. Sylvie Bodorova‘s Planctus (the title refers to a Medieval form, the “laments of the Virgin Mary”) reflects the gloom, stress, and hopelessness of life in communist Czechoslovakia of the 1980s. In all three movements, the deep intimacy of the viola stands in contrast to the massive symphonic sound of the orchestra. More than any other instrument, the viola has a tone that reaches the innermost world of the composer and of the subject matter. On this revelatory, technically virtuosic recording of rarely played works, Jitka Hosprova brings back to life three works that definitely deserve the attention of performers and listeners. Modernity and traditional form, totality and freedom – three Czech viola concertos from the turn of the millennium

Leo� Jan�cek and the generation younger B�la Bart�k and Igor Stravinsky were major 20th-century composers markedly influenced by folk music, bringing it to bear in their own creations. Jan�cek and Bart�k also keenly devoted to folklore as theoreticians and collected folk songs around the villages. Stravinsky, for his part, was mesmerised by folk rituals. A case in point is Les noces, which in four choreographed scenes depicts Russian wedding customs. Following significant revisions of the instrumentation, the fourth, definitive, version of the piece received it's world premiere in 1923 in Paris, as performed by Sergei Diaghilev's Ballets Russes, to Bronislava Nijinska's choreography. Jan�cek conceived his Nursery Rhymes at the age of 71, shortly after completing the opera The Makropulous Case. He too made changes to the instrumentation before arriving at a satisfactory form. The second version of the set bears witness to Jan�cek's being enthralled by Stravinsky's music. The Three Village Scenes for female voices and chamber orchestra feature arrangements of folk tunes Bart�k collected in the Zvolen district in today�s Slovakia. The set is evidently influenced by Stravinsky's style as well. The three challenging works have been undertaken by Luk� Vasilek conducting the outstanding Prague Philharmonic Choir, which on numerous occasions have displayed it's exceptional qualities and a great sense for performing music inspired by folk art. The album links up to the highly acclaimed recording of Bohuslav Martinu's cantatas (Gramophone Editor's Choice, nomination for the BBC Music Magazine Award). The rediscovered magic of folk songs and traditional rituals in the music of three 20th-century masters.

Classical Music

The Smetana Quartet are a true legend. For over four decades (1945-1989), the ensemble gained critical acclaim and enthused audiences all over world, particularly in the UK, USA and Japan. They attained perfect chime and extraordinary flexibility in voice leading, resulting in part from their playing the entire repertoire by heart. The quartet performed Beethoven’s works throughout their existence – following Smetana, he was the composer on whose music they focused the most and whose complete quartets were in their repertoire from 1974 onwards. They explored some of Beethoven’s pieces for several years before including them in their concert programmes. In collaboration with a Supraphon team, in 1978 the ensemble embarked upon a colossal project, which in 1985 came to fruition with the release on Nippon Columbia of a recording of the complete Beethoven string quartets. Even though the past decade has seen significant changes pertaining to interpretation and technology, the Smetana Quartet’s account of Beethoven’s works is by no means a “museum exhibit”, with their vivacity and dynamism still enthralling today’s listeners. The recording, carefully digitally remastered from the original analogue tapes, is the very first release beyond Japan.

Classical Music

The reissue of the recordings made in 1978 and 1988 pays tribute to the unforgettable Czech tenor Vilém Pribyl’s superb performance of three extraordinary Czech song cycles. The artist dazzled several generations of music-lovers in Bedrich Smetana’s and Leoš Janácek’s operas. His professional career was mainly connected with Brno, where he lived and worked for three decades. Moreover, Pribyl performed as a guest at the National Theatre in Prague, and he also impressed audiences in Edinburgh, London (Royal Opera House), as well as in France, Italy and the USA. The three song cycles are deemed to be the best works in the genre created by Smetana, Dvorák and Janácek. They are fundamentally different in terms of inspiration. While in his short cycle Evening Songs Smetana sumps up his lifelong endeavours and experiences, Dvorák’s Biblical Songs represent the composer’s intimate prayer and thanksgiving. In The Diary of One Who Disappeared, Janácek’ depicts the story of a village boy who madly falls in love with a beautiful gypsy girl. The benchmark historical albums are as enchanting today as they were decades ago. An engrossing recording of three Czech mature song cycles, as performed by Vilém Pribyl.

Two centuries after the prosperous era of Charles IV, Prague enjoyed its second Golden Age, under the reign of the art-loving Emperor and King Rudolf II, as it became a busy cultural centre, attracting artists from all over Europe. Like in a melting pot, a variety of musical styles mingled together in the city: the Franco-Flemish polyphony, represented by the world’s most accomplished composer at the time, as well as the vigorous tradition of literary brotherhoods with the archaic polyphonic repertoire of the previous generations. The focal point of the album is the recently rediscovered Prague manuscript of polyphonic masses, with the fabulously survived Missa Presulem ephebeatum by Heinrich Isaac, one of the most significant masters of the Franco-Flemish polyphonic style. Petrus Wilhelmi de Grudencz’s Presulem ephebeatum, whose thematic material inspired Isaac, attests to his mass being connected with Bohemia and Prague. The album contains a number of other extraordinary pieces, including Josquin Des Prez’s celebrated Stabat Mater, with the added sixth voice, which has been uniquely preserved in this form in Bohemia. Cappella Mariana, made up of stellar early music singers (Hana Blažíková, Barbora Kabátková, etc.), have performed Renaissance polyphony to great acclaim at Europe’s most prestigious concert venues and festivals. Vocal polyphony of Renaissance Prague in the perfect harmony of the Cappella Mariana voices.

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REVIEW:

There is an ancient depiction of Bohemia as a rose, with Prague at its center, which presumably is the source of the disc’s title (and stylized cover art), although, from a marketing standpoint, the exclusive Latin inscription on the CD’s front cover is more likely to result in bewilderment for prospective listeners than the ready offer of a credit card number. What exactly is this recording anyway? A line of very small type on the back cover offers a clue: “Music in Renaissance Prague”. Okay, now we’re (sort of) getting somewhere, and yet, with no other information, the list of mostly unfamiliar composer names on the program–Petrus Wilhelmi de Grudencz; Lupus Hellinck; Joannes Sixtus Pragensis; Pierre de Bonhomme; Kryštof Harant; Johannes Tourout; Jacobus Regnart–does little to incite more than curiosity. But wait: there’s a Mass by Heinrich Isaac, a motet by Jacob Obrecht, a Stabat Mater by Josquin, all claimed to be “world-premiere” recordings (as are many of those other pieces). What gives?

I could go on, but the point is, even for someone who knows and cares more than a little about “Renaissance music”, this program and its purpose remains something of a mystery, most importantly: what do these composers and works have to do with Prague, and why have we never heard of them before? Nothing on the outside packaging gives us a clue. So, a look at the liner notes should resolve our questions, right? Wrong. There is plenty of information, but the translations (the English ones in my case) are somewhat awkward and sketchy regarding the music’s origins and selection for the recording.

It turns out that “Music in Renaissance Prague” refers to polyphonic music found in manuscripts housed in that city, which was then (and remains) a significant cultural center that attracted musicians from all over Europe. One of the manuscripts was only relatively recently rediscovered, and contains works not necessarily found elsewhere, thus the world-premiere designation for pieces such as the Isaac Mass and Josquin Stabat Mater (in a unique version with an added sixth voice). The recording begins with the very early, and apparently once very well-known piece by Petrus–Presulem ephebeatum, trabeatum, radiatum venustemus sedulo (the first letters spelling the composer’s name)–from which Isaac garnered the cantus firmus for his Mass.

The best part about all of this is, I can assure you that if you do care about Renaissance vocal music, especially in the manner of the Franco-Flemish masters of the mid-15th/mid-16th centuries such as Josquin–and of a comparable caliber–you will enjoy every minute of this excellently programmed and exceptionally well-sung recording. In fact, while the music is uniformly first rate, you may be even more impressed by the performances by the Czech ensemble Cappella Mariana, six singers (two sopranos, alto, tenor, baritone, bass) whose artful interpretations, expert ensemble execution, and vibrant, perfectly tuned sound give well-deserved life to whatever they sing, whether or not we’ve heard of the composer or work in question.

In fact, while the Isaac and Josquin pieces are certainly worthy of a place in the recording catalog, highlights for me also include Hellinck’s In te, Domine, speravi and Regnart’s glorious seven-part tribute to his teacher Jacobus Vaet, Defunctum charites Vaetem (sound clips). What we learn from listening to this hour-long program is that, even if those illustrious Franco-Flemish composers never physically appeared in the Czech capital, their music did, and it had a notable influence on the composers who later worked there, especially in the time of Rudolf II (he became King of Bohemia in 1575 and moved the court to Prague in 1583). You may also, like me, make the happy discovery of this very special vocal ensemble, Cappella Mariana and its artistic director Vojt?ch Semerád, whose careful research and dedication to bringing this music to our attention is much appreciated. If only the packaging had made a more effective and clear presentation of the program’s content–but then, that’s why we have reviews…

– ClassicsToday (David Vernier)

WOVEN WAYS

Petr Eben Songs

Italian Operatic Arias

Violin Magic

An extraordinary constellation of artists is one the major attributes of the new recording – a Czech conductor and a Czech soloist, and a German orchestra, who have a Czech sound in their DNA. All three of them enjoy great renown in both the European and global contexts. Symbolical is the selection of the album’s repertoire – the same world war that deprived the players of the German Philharmonic in Prague of their home and that in 1946 gave rise to the Bamberger Symphoniker in Germany, made Bohuslav Martinu leave his country and Europe itself. The composer wrote his Piano Concerto No. 4, “Incantation”, in New York in the twilight of his life, when it was evident that he would never return to his homeland. The connection between Ivo Kahánek and Martinu is profound indeed, with the pianist having played the Incantation at concert halls all over the world. The performance of the Incantation in Bamberg, captured on the present album, was lauded by the critics as revelatory. The studio recording of Antonín Dvorák’s Piano Concerto (based on Sviatoslav Richter’s account) ranks among the most remarkable returns to the composer’s original version of the work, forbearing the “effective and virtuoso improvements” carried out by its later arrangers. It showcases the tender and melodious music of Dvorák, who always strove to emphasise cordial expression, giving it preference to instrumental impression.