Wolfgang Amadeus Mozart (1756-1791) wrote his opera Don Giovanni on a commission for Prague where it was also first performed on October 29, 1787, at the Estates Theatre, which is the only existing theatre where Mozart.

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This collection from the legacy of Jirí Belohlávek was put together during the year after the demise of this outstanding conductor. It is intended mainly as a recollection of this extraordinary musician and person. His life can be briefly described by enumerating the greatest of his achievements (Chief Conductor of the Czech Philharmonic, BBC Symphony Orchestra, guest conductor with the Berliner Philharmoniker, New York Philharmonic, Royal Concertgebouw, appearances at the MET, Glyndebourne, etc.; holder of the Commander of the Order of the British Empire /CBE/ title). The Maestro himself may have preferred a sharing of memories to recordings; yet the set of twenty-three pieces taken from the almost three hundred pieces from Supraphon archives and recorded in the years 1971 – 2016 is a wonderful illustration of Belohlávek’s professional maturing. They capture him as a conductor of several leading Czech orchestras, beginning with the Brno Philharmonic Orchestra and concluding by the Czech Philharmonic and Prague Philharmonia. In the very centre of Belohlávek’s repertoire we find compositions by Dvorák (From the New World), Smetana (My Country), Suk, Janácek and, notably, Martinu, whom he introduced to the world. The collection is enriched by several side-steps into other areas of repertoire including Mozart, Ravel, Mahler and Bartók, which documents the amazing scope of the conductor’s focus.

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The piece reflects the tumultuous post-war musical development and can be designated as one of Foerster’s most progressive compositions. The young and gifted Janáček Trio interprets Foerster’s works with an understanding of the composer’s inner world and complete engagement.

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Recorded in the St. Francis of Assisi Church, this cycle was originally intended for the transverse flute, yet its being played by the oboe is fully in keeping with the Baroque performance practice, affording the soloist the opportunity to display the instrument’s virtuosity, as well as the wide color scale and expressive abilities. A repertoire spanning the period between Baroque and contemporary music is one of the most salient features of the recording’s protagonist, acclaimed soloist Vilém Veverka.

Over 20,000 discs sold, more than 220 concerts at home and abroad, two extensive tours... + Those are just a few examples of the successes gained by the Gipsy Way project in the wake of the 2008 album Pavel Šporcl recorded with his Gipsy band. + Six years later, in tandem with Supraphon, the violinist held two concerts at Prague’s legendary Domovina Studio, whose fruit is the new CD, Gipsy Fire. + On this new release a succession of technically challenging “Gipsy” repertoire pieces are blended with catchy and melancholic film melodies (Grand blond avec une chaussure noire and Fiddler on the Roof, and a theme Pavel recorded for the Czech movie Divided We Fall) and Piazzolla’s breathtakingly beautiful prayer Ave Maria. + Pavel and the Gipsy Way Ensemble play as if their very lives are in the balance; the audience’s frenzied response indicates that they don’t want the music to ever stop.

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