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Czech Music

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MVS
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« Reply #120 on: January 22, 2014, 01:28:43 am »

Michael Kocáb:  Festivals of Understanding (1980)
1.   Andante zephyroso  (attacca)
2.   Allegro con rabbia
3.   Andante con calore  (attacca)
4.   Allegro
Prague Chamber Orchestra/Oldřich Vlček – artistic leader
…from Panton LP 810820 0131
https://www.mediafire.com/?jsuekwgg4l85zi1


Arnošt Košťál:  The Courage Stanzas (1978) 

-   Dedicated to the memory of Jinrich Rohan (1919-1978)
Prague Symphony Orchestra/Bĕlohlávek
…from Supraphon LP 1410 2855
https://www.mediafire.com/?yynahb85tb5wcch
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« Reply #121 on: February 20, 2014, 02:40:40 am »



Petr Fiala (1943-)
Symphony No.3 for Baritone and Orchestra "The Message" (1985)

http://www.mediafire.com/listen/3u6lid8o3dy0vzc/Fiala_Symphony_No.3.mp3


Veroslav Neumann (1931-2006)
Symphonic Dances
http://www.mediafire.com/listen/a37v66unx6ya3l7/Neumann,Veroslav_Symphonic_Dances.mp3


Radomil Eliška
Pavel Kamas (baritone)
Karlovy Vary Symphony Orchestra



PANTON 8110 0540 (LP) (1985)



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« Reply #122 on: February 25, 2014, 04:05:38 pm »

Music of Jan Novák


From the collection of Karl Miller

http://www.mediafire.com/download/n2cuytnj5mm6ms8/Novak.zip


Cappricio for Cello and Small Orchestra (1958)
Frantiscek Kopency, cello
Announcer credits this performance to Brno Philharmonic/Otakar Trhlik
According to OCLC:, it is the Symonicky Orchestr Cd. Razhlasu/Alois Klima
Source LP: Supraphon DV 5819

Balletti for Nonet (1955)
Czech Nonet
Source LP: Supraphon SUA 10031

Philharmonic Dances (1956)
Nurnberg Symphony Orchestra/Josef Hrncir


Loci Vernales
Richard Novak, Bass
Brno State Opera Orchestra/Frantisek Jilek
Source LP:  Supraphon ST 58852

Cantata Dido
Marilyn Schmiege, soprano
Paul Kelly, tener
Werner Klemperer, narrator
New York Choral Artists
New York Philharmonic/Martin Turnovsky
[April 1986]



Bio from www.jannovak.eu
Jan Novák was born on April 8th, 1921 in Nová Říše, a little town in southwest Moravia. The place is dominated by a Premonstratensian monastery, which has been in its time an important center for culture and music. Nová Říše is also the birthplace of the Vranický brothers Pavel and Antonín, themselves well-known Viennese composers at the end of the 18th century.

Novák’s parents were first employed in the monastery, then his father made himself independent as a bookbinder. The boy received a thorough education in the humanities at the Jesuite School in Velehrad, a place of Old Slavonic Christian tradition, and at the classical Gymnasium in Brno. This, together with the music- and art-loving atmosphere at home, influenced the development of his personality, primarily directed towards music.

From early childhood Jan Novák showed great musical talent, especially on the violin, piano and organ. In his grammar school years this talent was already reflected in his first compositions. This took him to the Brno Conservatory, where he studied composition with Vilém Petrželka and piano with František Schaeffer. During the Second World War he was forced to interrupt his musical studies for two and a half years. Like most of the Czech students of his generation, he was deported by the Nazis to engage in forced labor in Germany. Eventually he succeeded in fleeing Germany and spent the end of the war hidden in his uncle’s home.

In 1946 Novák graduated with a string quartet and the DANCE SUITE for orchestra. He then continued his studies at the Prague Academy of Music with Pavel Bořkovec, before returning to Brno for a further period of study with Petrželka. He completed his studies with a scholarship to the USA awarded by the Ježek Foundation. There he spent the summer 1947 at the Berkshire Music Center in Tanglewood, Mass., where he worked with Aaron Copland. After that he went to New York, to meet his famous compatriot Bohuslav Martinů. He studied with Martinů, whom he called his “divine tutor”, until he returned to Czechoslovakia in 1948, on February 25th, the day of the Communist takeover. The epistolary contact with Martinů lasted even after, right through the Iron Curtain, until Martinů’s death in 1959.

Novák settled down in Brno where he lived as a freelance composer. A liberal-minded humanist, with his uncompromising artistic and public attitudes, he had recurrent confrontations with the official Czech authorities and with the leading representatives of the Composers’ Union. At that time he experimented with jazz (CAPRICCIO for cello and orchestra, CONCERTINO for wind quintet) and the dodecaphonism (PASSER CATULLI for bass and 9 instruments). Both musical languages were at that time proscripted as too “western” by the artistic dogmas of the official socialist realism.

In the mid-Fifties, Novák began to devote himself to the Latin language and literature. The soft wording and the rhythmic conciseness of Latin verse fascinated him. He began to set the poetry of Horace, Catullus, Virgil and others to music, carefully preserving the metre and rhythm of the original. Then he went on to create musical versions of the great prose works of Caesar, Cicero and Seneca, eventually using his own texts as well. When asked why the Latin language played such an important role in his work, Novák would say: “Nihil est, bone, immortalitatis causa hoc fit” (No special reason, my dear friend, I only do it for the sake of immortality).

In 1967, Jan Novák reached the high point of his popularity in Czechoslovakia with the premiere of his cantata DIDO. Even at this stage the composer made no secrets of his political beliefs: the year before he had written the music to a  Christian passion play, this being interpreted by the officials as a religious gesture and thus as a provocation. The invasion of Czechoslovakia on August 21st in 1968 took place while Novák was on a concert-tour in Italy. It was a violent shock, and decisive moment in his life. He decided not to return, his family followed him, first for a brief stay in Austria and Germany, then to Aarhus in Denmark. There, in his first year of exile, he wrote the cantata IGNIS PRO IOANNE PALACH, as the homage to Jan Palach, the young Czech student who burned himself publicly in Prague to protest against the invasion.

Then his trio for voice, clarinet and piano MIMUS MAGICUS won a Composers’ Competition in Rovereto, Italy, in 1969. Sunsequently Jan Novák decided to move to the country, which was the birthplace of Latin culture. The family settled down in Riva, on the shore of the beautiful lake Garda. In Rovereto he founded “Voces latinae”, a choir devoted exclusively to music with texts in Latin.

Although being a convinced European, it was not easy for Jan Novák to get a  foothold in the West. He couldn’t, nor did he want to, contribute to any of the preponderant musical avantgarde-streams of the time, thus becoming an outsider in the world of western contemporary music. Nevertheless, it was during these years spent in Italy and then in Germany that he composed his most important and mature works, such as his only opera DULCITIUS. He went back to Germany in 1977, to live in Ulm. Finally he was appointed in 1982 to a chair in music theory at the “Staatliche Hochschule für Musik un Darstellende Kunst” in Stuttgart.

Jan Novák died on November 17th 1984 in Neu-Ulm.

His extensive work is now becoming accessible, also thanks to the support of the Czech Republic after the political changes in 1989. President Václav Havel decreed him the Czech State Award in 1996, and in 2006 he was appointed the Honorable Citizenship of Brno.

His free use of tonality and clear structures, his creative invention, and omnipresent humour and wit, reflect his positive and humanistic view of the world, and in his pure melodic lines one can see perhaps also the Bohemian origin of this great European.
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« Reply #123 on: March 18, 2014, 12:04:55 pm »

Jaroslav Kvapil: From Hard Times, Symphonic Poem

From the collection of Karl Miller

Brno State Philharmonic Orchestra/Jaroslav Vogel
Source LP: Supraphon DM 5697

http://www.mediafire.com/download/tsoi18xet2z1a1z/kvapil.zip

Wikipedio Bio:
Jaroslav Kvapil (composer)
From Wikipedia, the free encyclopedia

Jaroslav Kvapil (21 April 1892 – 18 February 1958) was a Czech composer, teacher, conductor and pianist.

Born in Fryšták, he studied with Josef Nešvera and worked as a chorister in Olomouc from 1902 to 1906. He then studied at the Brno School of Organists under Leoš Janáček, earning a diploma in 1909. He studied with Max Reger at the Leipzig Conservatory from 1911 through 1913.

Kvapil was an excellent accompanist, noted for his skill in sight reading. As the choirmaster and conductor of the Brno Beseda (1919–47) he gave the Czech premičres of Johann Sebastian Bach’s St Matthew Passion (1923), Arthur Honegger’s Judith (1933) and Karol Szymanowski’s Stabat mater (1937). He received the Award of Merit in 1955. He taught at the School of Organists and at the Brno Conservatory, and he was appointed professor of composition at the academy in 1947. His students included Hana Janků, Miloslav Ištvan, Ctirad Kohoutek, Čestmír Gregor and Jiří Matys. He died in Brno[1] at the age of 65.
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« Reply #124 on: March 18, 2014, 03:51:51 pm »

Jaromir Podesva: Symphonietta Festiva(1983)


From the collection of Karl Miller

Symponietta Festiva for Chamber Orchestra(1983)
Musici di Praga/Mario Klemens
[18 March 1985]
Source LP: Panton 81120533

http://www.mediafire.com/download/7z7tdwai30y74l5/Podesva.zip

Machine Translation from musica.cz:
Jaromír Podesva came from a family of master John Podešvy, where he had the opportunity to participate from his childhood on the family music-making (if already played on the piano, the violin and viola). At an early age he began to compose songs, growing up from the then still supporting initiatives of the dvořákovsko-novákovské school. After the graduation at the gymnasium in Brno-židenice, in 1948, he graduated from a one-year Bachelor course at the Brno Conservatory (1946-47), then in the years 1947-53 he studied composition at the JANÁČEK ACADEMY of Jaroslav Kvapil and this teacher went on a three-year aspirantuře Academy in Brno.

In the years 1956-59 he served as Secretary of the creative Union of Czechoslovak composers in Prague and was later Chairman of the Brno University of technology of the Federal branch. From 1969 he taught at the Ostrava Conservatory of music composition and music theory (in 1990).

The eight-month study-scholarship of UNESCO-in the countries of Europe and in the USA západni (1960-61) significantly influenced Podešvův kompozični style. Recognized here. the song was the most influential Western European composers to h. Stockhausena, p. Boulez, and Arthur Honegger's and studied with h. Dutilleuxe and a. Copland. Their findings published in popularizačně aimed the book "contemporary music in the West" (Panton, 1963). His own compositional practice certified kompozični principles to generalise in a musically theoretical writings of the "options" field in the dvanáctitónovém cadenza (Panton, 1974) and "Introduction to the study of song" (rkp)
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« Reply #125 on: March 18, 2014, 03:58:41 pm »

Pavel Novak: Chamber Symphony for 10 Instruments


From the collection of Karl Miller


Chamber Symphony for 10 Instruments
South Bohemian State Orchestra of Ceske
Budejovice/Jaroslav Vodnansky
Source LP:  Panton 810844


http://www.mediafire.com/download/v3ox8jlgy1p01b8/novak,_pavel.zip

Pavel Novak Blurb by David Matthews:
In describing the performance of three extraordinary pieces by the Czech composer Pavel Novák, I have to begin by declaring an interest in my capacity as Artistic Director of the Deal Summer Music Festival, at which he was a featured composer. Novák was born in Brno in 1957, and has achieved a high reputation in Moravia, where he is now acknowledged to be the leading composer of his generation. He is not yet well known outside the Czech Republic, although the Schubert Ensemble have commissioned three pieces from him – Lord, We Seek the Song of the Chosen for piano trio (1991); Royal Funeral Procession to Iona for piano quintet (1995); St Mary Variations for piano quartet (2000) – and have played them in Britain and abroad. Novák's teacher, Miloslav IÎtvan, was a pupil of Janácek's pupil Jaroslav Kvapil, and Novák, more than any other composer in Moravia, seems the true inheritor of the Janácek tradition. That tradition remains a vital force in Brno, partly because Janácek is the most local of composers and his music still, and in a vital way, haunts his home town with its Janácek Academy (where Novak studied), and the Janácek Theatre (where Novak played the oboe for a number of years in the opera orchestra) at which Janácek's operas are performed as nowhere else, players and singers alike attuned to the Moravian dialect; partly through the continuing vitality of Moravian folksong, whose spirit and melodic contours inform Novák's music as they did Janácek's.

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« Reply #126 on: March 18, 2014, 04:03:54 pm »

Arnost Parsch: Symphony

From the collection of Karl Miller

Symphony
Zdenek Divoky, Horn
Martinu Zlin PO/Milos Konvalinka


http://www.mediafire.com/download/crwrktcta5s6s8j/parsch.zip


Bio from musicbase.cz

The composer Arnost Parsch began his formal training as a composer at a relatively late age. Originally economist by profession, he was 27 years old when he began to study composition at the Janacek Academy of Arts in Brno. However, he had already acquired a good grounding in music theory and the fundamentals of composition, partly by studying 20th century music scores on his own and partly through private lessons with Jaromir Podesva and Miloslav Istvan. His attention was caught early by the post-Webern development of European music. One year after graduation from the Janacek Academy he left his original profession to become secretary of the Brno regional section of the Union of Czechoslovak Composers and Concert Artists. In 1977 he became Secretary and Head of Secretariat of the Brno International Music Festival. Until recently he had been also teaching as a professor of the Janacek Academy. In the course of his studies of composition he was testing serial, dodecaphonic, aleatoric and timbre techniques in chamber compositions, sought inspiration in graphic scores and sculpture (Trasposizioni I, II, III). His liking for cybernetics and electro-acoustic instruments led him to electroacoustic studios of Czechoslovak Radio in Brno and Plzen, where he carried out a series of his electroacoustic and concrete music projects. At the turn of the sixties he participated, within a team of composers from Brno, in the creation of several experimental collective compositions. He has also co-operated with his colleague and friend M. Stedron, a composer and musicologist, in a number of original projects of non-traditional compositions. Distinct leaning towards musical folklore has been a new element in Parsch's creation since the mid-seventies. Moravian folk music intonations appeared already in third movement of Second String Quartet dedicated to the memory of P. Neruda, and in the subsequent composition called "The Bird Flew Up Above the Clouds" Parsch developed his own variation technique, making use of dozens variants of a Moravian-Slovak folk song in a very effective concertante style composition. Gradually he has been abandoning direct quotations of folk resources and, drawing from the oldest sources of Moravian folk song, he used modal techniques in his own way. This orientation continued to permeat Parsch's instrumental, orchestral and vocal creation until recently.


Bio from Musica.cz(Machine Translation)

Arnošt Parsch was the original economist and first studied composition privately with Jaromír Podešvy (1955-56) and Miloslava Ištvana (1956-1963). In the years 1963-69 he studied composition at the Janáček Academy of performing arts in the class of Ernesto Ištvana, and in the following years he also completed postgraduate studies in "experimental music". A year after graduating from the ACADEMY, left their original jobs, and in 1969 he joined the post of Secretary of the regional branch in Brno SČSKU. in 1977, he moved to the Secretary and the head of the secretariat function of the international rodního Music Festival in Brno (in 1993). Since 1990, the působíl at the music faculty of JAMU as internal teacher of composition and theory of music (Professor).

In his compositions he used a number of technical resources. "New music", inspired by the graphic partiturami and artistic objects (Trasposizioni I, II, III). In the early days was influenced by the leaders of the so-called. "Second Viennese School (Schoenberg, Berg, Webern) and their teachers, m. Ištvana, a. Piňos, and others. He also was intrigued by the works of the composers. "Polish school" of Witold Lutoslawski in particular. In his works from the 1960s. and 70. apply the principles of composition of the contemporary years (small, témbrová music, aleatoric music interval series, etc.) In radio studios in Pilsen and Brno created several electro-acoustic compositions, in which he applied his compositional method, "the transformation of specific audio events". This rational method later used in a number of their Chamber, orchestral and vocal works: Sonata for Chamber Orchestra, Symphony No. 2, mixed choir, brass sextet hold tight! aj.

In the mid-1970s. years in the Parschově formation are more to discover the folklore elements. The first notable composition neofolklorní stylish orientation is třívětá concertante composition fták hore Flew above the clouds. In addition to citing the three variants of the folk ballads (Vladimír Úlehla enlisted in the guard) in the hobojovém gang at the beginning of each sentence, and fragments of other variants of this song for the construction of the tonal and rhythmic "terrains". The use of natural modalities is characteristic for its creation to the present. His interest in the study and use of the various elements of ethnic music gradually expanded on folk and traditional music of cultural circuits of all continents. The capitalisation of that found in his song the most welcoming of spring. In the course of the 1990s. years, in his skladbávch also appear increasingly individually conceived elements. "new simplicity". This trend is evident especially in the compositions for Chamber Orchestra-the voice of the River, rose garden, quiet countryside and in Chamber vocal cycles and resurrection, Three Blue Poems, the river flows quietly, in the two-cycle As Mint in his hands even in songs for various Chamber groups-Narrowing for flute and violin, and "... ausufernd" for bass clarinet and piano, orchestral imagination of Una voce, etc.

On the international show of contemporary music Prague premieres 2006 was carried out with success the talented clarinetist Emil Drápelou and Chamber Philharmonic Orchestra Pardubice with Leoš Svárovský bee Parschova fantasy-Concerto for clarinet and Orchestra.



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« Reply #127 on: March 18, 2014, 04:24:23 pm »

Modr: Symphony 2

From the collection of Karl Miller

Symphony No. 2
Prague SO/Frantisek Belfin?

http://www.mediafire.com/download/m0evovagl801dl9/Modr.zip

Bio Machine-translated from Czech Wikipedia

Antonín Modr (May 17, 1898, Strašice-April 22, 1983, Prague) was a Czech musicologist and composer.

Life

Started as a worker and amateur musician in the Strašicích. He played in military bands in Rovereto in Italy and Slovakia Saturday schools. After the 1. After World War II, he studied at the Prague Conservatory in violin with Rudolf Reissiga and composition with Josef Suk. From 1923 to 1927 he was the Czech Philharmonic Orchestra played the Viola, he then played in the Orchestra of the National Theatre, and in the years 1934-1936 in the Symphonic Orchestra of the Prague radio. Radio Orchestra also occasionally drove. Led the folk art files, and was choirmaster of the choir Lukes. At the Conservatoire he taught theoretical subjects and play the guitar and the old tools. In 1949 he went into retirement and only externally, he taught at the higher musical pedagogic school.

His songwriting work on the public not to make too much. However, the great importance of his theoretical work. The book "musical instruments" was published in several editions, not only in the former Czechoslovakia, but also abroad.
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« Reply #128 on: March 18, 2014, 05:42:48 pm »

Music of Osvald Chlubna


From the collection of Karl Miller

Symphony "The Beskiels" Op. 40
Brno State Orchestra/Jan Styel?

Brněnské kašny a fontány, Op 86 (1963)
Brno State Philharmonic Orchestra/Otakar Trhlik
LP Source: Supraphon DM 5697


http://www.mediafire.com/download/javwbbx9pfe24e0/chlubna.zip

NOTE: The Op # for the Symphony does not agree with Kyjo's Work List for the composer.  Any of you scholars out there have insight?

Brněnské kašny a fontány is one of four symphonic poems from a cycle entitled: "To my country".
Wikipedia Bio:
Osvald Chlubna (July 22, 1893, Brno – October 30, 1971, Brno) was a prominent Czech composer. Intending originally to study engineering, Chlubna switched his major and from 1914 to 1924, he studied composition with Leoš Janáček. Until 1953, he worked as a clerk. Later, he taught at the Organ School in Brno for many years. He worked in many art organisations in Brno. Chlubna's works can be defined by three distinct periods: Romanticism, Impressionism, all the way to the Modern Constructivism. He delved into Symbolism as well. He used the texts of symbolic Czech poets, such as Otakar Březina, Jaroslav Vrchlický, Jaroslav Durych and others. He wrote several cycles of compositions for piano and organ, as well as instrumental concerts, symphonies, ouvertures and cantatas. He wrote many operas, often using his own librettos, such as The Revenge of Catullus based on the work of Vrchlický (1917), Alladina and Palomid (based on the work of Maeterlinck, 1925), Ňura (1932), How the Death came in the World (1936), Jiří from Kunštát and Poděbrady (based on the work of Alois Jirásek, 1941), Cradle (composed on the work of Jirásek, 1951), Eupyros (1960). He also wrote texts and articles primarily about Janáček.
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« Reply #129 on: March 18, 2014, 06:32:09 pm »

Jan Kapr Symphony 8


From the collection of Karl Miller

Symphony 8 "Campanee Pragensis"
Marius Rinzler, Rosala Kossuth, soloists

Bavarian Radio Symphony Orchestra and Chorus
Zdenek Macal, Conductor

http://www.mediafire.com/download/7nhy051mv7c65j5/kapr.zip

Bio from musicbase.cz

Biography

The composer Jan Kapr had devoted himself to music from his early childhood. After a serious injury at the age of 16, he did so exclusively. He graduated at the Prague Conservatory and then in composition at its senior school under the professors Jaroslav Ridky and Jaroslav Kricka. After the graduation he was engaged as a music producer of Radio Prague for 7 years, in 1950-52 he was the chief editor of the publishing house Orbis. In 1961-72 he was employed as a teacher in composition at Janacek Academy of Music and Dramatic Arts, and he had educated a number of the foremost Czech composers, including Milan Slavicky and Evzen Zamecnik. Jan Kapr is also the author of several outstanding theoretical assays and of the book "Konstanty" (Constants), giving an individual synthesis of contemporary musical trends. The centre of his life-long activity, however, lies in his compositional work. In Jan Kapr's compositional output of the forties and the fifties the theme of patriotic love of the native country (The Hymn on the Native Country, The Home) was prevailing and the author' s attitude to subjects of sport is also showing up there (Marathon, The Olympic Symphony). In post-war years Kapr had also composed a great number of film music scores. His extensively tonal idiom, characteristic of this period, had changed substantially during the sixties, the composer began to be interested in modern compositional techniques, devoted an increased attention to the sonic colour. He investigated the articulatory possibilities of various instruments and of the human voice (Exercises for Gydli, Testimony, Rotation 9, Oscillation a.o.), he experimented with the then new sonic resources and their combinations together with the traditional ones (e.g. The Ciphers, with the share of electronic sounds). During this period many significant chamber works came into existence, and since the seventies also monumental works have been created, synthetizing the author' s life-long tendency towards new complexity. Besides extensive symphonic and vocal-symphonic works (7th symphony "The Scenery of Childhood", 8th symphony "Campanae Pragenses", 9th symphony "Josef Manes" and the 10th symphony "Lanzhotska"), also important vocal compositions came into existence, inspired by stimulations both from world (Guten Morgen, Stern, Vendenges) and Czech literatures (The Astronomical Clock of Manes), along with a number of remarkable chamber works (Chess Sonata for 2 pianos, 4th Piano Sonata, 8th String Quartet, Woodcuts, Colours of Silence etc.). Jan Kapr's structurally and sonically rich idiom in this later period was getting always more expressive emotional urgency. Some of Kapr's compositions from his mature period had become internationally known. Exercises for Gydli, Dialogues for flute and harp and a number of author's following chamber and vocal works have reached numerous repeats in many countries, his compositions were successful at the International Compositional Tribune UNESCO, having become the subject of interest with domestic and foreign publishers and interpreters. Kapr's compositions have also been included into radio broadcasts of many countries: one of the most significant successes of Kapr's production was in this respect in 1980 the Munich concert and simultaneously the radio world premiere of his 8th symphony "Campanae Pragenses" in the series of concerts of the Bavarian radio programme Musica viva.
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« Reply #130 on: March 18, 2014, 07:08:49 pm »

Music of Ivan Kurz

From the collection of Karl Miller

Symphony 1
Prague SO/Jiri Kout

Symphony 2
Prague SO/Adam Klemens


http://www.mediafire.com/download/ip2lc13oizdlxnw/kurz.zip



You may wish to view these rips from "Classical Music from Old Vinyls" on Youtube
Inclined Plane on YouTube



Parable for Symphony Orchestra



Bio from www.musicbase.cz:
BiographyThe composer Ivan Kurz represents the generation of composers who asserted themselves in the course of the seventies. He had a thorough preparation: in 1964-1966 he studied privately music theory with Karel Risinger, then he was a student of the Faculty of Music of the Prague Academy of Perfoming Arts (with Emil Hlobil, 1966-1971). After one-year military service at the Army School of Music, he completed his education as a postgraduate with Vaclav Dobias at the Academy of Performing Arts (1973-1976). Since 1977 he has been employed as a teacher of composition and orchestration at the Faculty of Music. In 1996 he was appointed professor, and became the head of the compositional department.

Ivan Kurz is a type of a versatile composer. He is also prolific and very succesful in the field of incidental and film music. His music to TV series The Waxworks of the City of Prague, and The Gendarme Humoresques in particular, were highly acclaimed and have become very popular with the wide public.

Kurz considers expression of ideas (whether musical or ‘extra-musical‘) as the substance of his musical message, and the simplest means often as the most effective. He prefers simple motivic basis, trim concordant system and clean-cut formal division. There is an astonishingly wide range of Kurz's artistic inspirations including not only nature and literature, but also philosophy, theology and - especially in his more recent works - Christian mysticism. Symphonic picture "Inclined Plane" (1979) became a certain milestone in his creation: it strives for simplification and the achievement of a minimum of expressional elements used without reducing thereby the spectrum of his spiritual message. His long-term symphonic composition project culminated in the highly metaphorical symphonic picture I Come to Thee (1988). In the nineties he wrote a four-parts oratorio cycle At The End Of Time to the texts of Marian apparitions during the 20th century in Fatima, Lourdes and other places. For his compositions he was awarded several times: 1974 piano suite Five-leaf Clover won first prize at the Competition of Young Composers of Young Composers, organized by the then Czech Ministry of Culture; 1974 Concertino for Piano, Flute, Percussion and Strings won first prize "Generation" competition in Ostrava, 1976 Symphony No 2 - first prize at the Competition, and 1980 his song-cycle Flying Carpet won the prize of the Union of Czech Composers and Concert Artists.
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« Reply #131 on: March 24, 2014, 12:50:00 am »

Zdenek Lukas: Symphony No. 2


From the collection of Karl Miller


Symphony 2
Montgomery County Youth Orchestra/Chester Petranek

http://www.mediafire.com/download/ko91i3fzfy079it/Lukas.zip
 

From www.zdenek-lukas.cz

Zdeněk Lukáš (21. 8. 1928 - 13. 7. 2007)

After graduating from the Teachers Institute, he worked for several years as a teacher. It was at Pilsen radio station (1953-1964) where Z. Lukáš, a program staff, started developing his compositions, which he performed together with the Pilsen Radio Orchestra and its leading soloists, and also with a choir Česká píseň (Czech Song), which Z. Lukáš founded in 1954 and was its leader for nearly 20 years. His compositional self-education was completed between 1961 and 1970 by inspiring consultations with Miloslav Kabeláč. Since 1964 Z. Lukáš began to devote himself purely to composing (even though he taught at the Prague Conservatory for short periods of time and conducted the Czechoslovakian Ensemble of Songs and Dances for some years).

Compositional development of Z. Lukáš starts from simple styling of authentic folklore to the works, in which he applies his unique approach to folk art. His fascination with Czech folk constantly accompanies his work and is typical for him. Naturally, he went also through a period in which he tried to test modern compositional techniques. During this time he worked in the very well equipped electro-acoustic studio in Pilsen. His distinctive compositional synthesis, which is mature and its key feature includes the modal base composition and typical metro-rhythmic variability, resulted in tens of great compositions and many awards for number of them.

His extensive work includes 354 opus songs and countless arrangements of folk songs and dances. A significant part of his work is devoted to choral music, which - being very popular with amateur choirs -has earned Z. Lukáš a status of the most selling Czech author. His symphonic work contains more than twenty compositions and includes seven symphonies. The top work of his musical and dramatic stage production is opera Falkenštejn and Shakespeare's musical comedy Veta za vetu (Measure for Measure),  which was realised in Pilsen. Many compositions in his creative development are concert type works, e.g. concerts with an orchestra of almost all instruments, including a concert for string quartet and a symphony orchestra. Compositions for a chamber orchestra are extensively represented, along with tens of compositions for large brass band and nearly a hundred compositions of chamber music in various combinations (five string quartets, two piano quartets, two woodwind quintets, brass quintet, pieces for violin, viola, cello, harpsichord, clarinet, flute, oboe, bassoon, harp, etc.). More than two dozen songs are solo voice with orchestral or other accompaniment.


History of the Montgomery County Youth Orchestra from myco.org:

The Maryland Classic Youth Orchestras (MCYO), formerly the Montgomery County Youth Orchestras, has a long and eventful history. Founded in 1946, MCYO has continued a vibrant orchestral program for talented youth.The mission of the Maryland Classic Youth Orchestras is to nurture, develop and advance young talented musicians in a quality orchestral program. The MCYO program creates a seamless connection between the artistic and the educational experience. MCYO now enjoys its first permanent home in the grand Music Center at Strathmore.Over the years, MCYO has added several ensembles to expand its outreach to talented youth. With the help and support of public school music teachers, private school music teachers, and private studio music teachers, the caliber and number of musicians has increased dramatically. The Symphony was formed in 1964, the Young Artists in 1972, the Chamber Strings in 1995, the Harp Ensemble in 2001, and the Sinfonia in 2004. Currently there are over 400 young musicians involved in MCYO selected from over 1200 aspiring musicians.Many honors have been bestowed upon MCYO. In 1964, in Philadelphia, the Philharmonic performed at the Music Educators National Conference (MENC) Bicentennial Conference. In 1969, the Philharmonic was the first American orchestra to perform at the International Festival of Youth in Switzerland. In 1981, the Philharmonic was the first youth orchestra to be showcased at the Kennedy Center. Hundreds of thousands of listeners, live and on the radio, heard the Philharmonic on the WMAL Christmas Eve day concert, “Live from the Kennedy Center.” This was a longstanding tradition through 2003. In 1987, the Symphony was selected to perform at the MENC Eastern Division Conference in Baltimore. In 1995, the Philharmonic and Symphony toured England and Wales. Later that year, the Philharmonic was invited to and performed at the prestigious Mid-West International Band and Orchestra Clinic in Chicago. Two years later, the Philharmonic again performed at the MENC Eastern Division Conference in Baltimore. In 1999, the Philharmonic traveled to Austria, touring four cities as part of the Johann Strauss Centennial Celebration. In 2000, the Philharmonic was one of twenty music ensembles from across the USA selected from over two hundred applicants to perform at the MENC National Conference in Washington, DC. In June 2002, the Philharmonic made its Carnegie Hall debut in New York City. Also, in 2002, MCYO changed its name from Montgomery County Youth Orchestras to Maryland Classic Youth Orchestras keeping the acronym MCYO.

Philharmonic members annually perform with the National Symphony on the NSO Youth Orchestra Day. Select MCYO musicians participate in the NSO Fellowship program, and participate in master classes with renowned soloists and teachers. From 1996, various MCYO musicians have performed with the National Symphony Summer Music Institute. Since 1997, select MCYO musicians have augmented the National Festival Orchestra in New York City, performing with college, conservatory and select high school musicians from across the US and Canada in Carnegie Hall.

Many MCYO alumni have continued their music studies at preeminent institutions. Some have performed with prestigious American and European Orchestras and some have become music teachers. MCYO has made its mark on the music world!
- See more at: http://mcyo.org/?page_id=25#sthash.htVNgs2a.dpuf
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« Reply #132 on: April 08, 2014, 02:12:09 am »

Jaroslav Krček [born 1939]. His second symphony. It was written for tenor, chorus and orchestra in 1983, and comprises a setting of texts from Coptic manuscripts.

    https://www.mediafire.com/?bbmbmb28d13syzv

Duration twenty-nine minutes; taken from a wireless broadcast.
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« Reply #133 on: April 08, 2014, 09:42:09 am »

Robert Hejnar [born in 1969]. His Stabat Mater for soprano, alto, chorus, organ and symphony orchestra. It was written in 1997.

    https://www.mediafire.com/?c3ib5j071cbdaz2

Duration twenty-nine minutes; taken from a wireless broadcast of a concert.
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Legius
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« Reply #134 on: April 26, 2014, 05:08:21 pm »

ALEŠ PAVLOREK (b.1971)



Echoes for Organ and Clarinet Quartet

Martin Kovařík, Organ
Stadler Clarinet Quartet


http://www.mediafire.com/download/79z09cbacwk5lvt/APE.zip

from wireless broadcast
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