česká hudba | czech music


personalities

pages: [1, 2, 3, 4, 5, 6, 7 ... 23]

270 records

anniversaries 2020


  • Beno BLACHUT

    (* 14.6.1913 Ostrava - † 10.1.1985 Praha)

    český operní pěvec - tenor

    Originally an ironworker, Beno Blachut studied singing at the Prague Conservatory with Louis Kadeřábek, anda drama with Ferdinand Pujman. From 1939 to 1941 he was engaged in Olomouc where he debuted as Jeník in Smetana's The Bartered Bride. Between 1941 and 1985, he worked in the National Theatre in Prague where he was the first tenor many years. He began in the roles of lyrical tenor, but his excellent technique and his voice's dark sound quality allowed him to sing dramatic roles. Blachut was a well-balanced actor. He was rarely a guest singer on foreign stages (such as Vienna, Amsterdam, Helsinki), he preferred Czech stages and Czech operas such as Prince in Dvořák's Rusalka, Lukáš in Smetana's The Kiss, Laco in Janáček's  Jenůfa, Boris in Janáček's Káťa Kabanová, Mánek in Foerster's Eva, Kozina in Kovařovic's The Dogheads [Psohlavci] or Ondrej in Suchoň's Krútňava. He was also an excellent Belmonte in Mozart's Abduction from the Seraglio, Lenskij in Tchaikovsky's  Eugen Onegin, Otello or Radames in Verdi's Otello and Aida, Walter Stolzing and Erik in Wagner's Mastersingers of Nuremberg and The Flying Dutchman. At the end of his career, he preferred character and comic roles such as Benda in Dvořák's The Jacobin, Skřivánek in Smetana's The Secret, Michálek in Smetana's The Devil Wall. Brouček in The Excursions of Mr. Brouček by Janáček as well as others.


  • Anton REJCHA

    (* 26.2.1770 Praha - † 28.5.1836 Paříž)

    český skladatel a teoretik, působící v cizině

    Czech composer and theorist living abroad

    At the age of 11, he was adopted by his uncle Josef Rejcha, a violoncellist in the band in Germany. He studied flute, violinist and piano. From 1785 to 1794, he worked with his uncle as flutist and violist in the Duke´s band in Bonn where he met Beethoven. He visited the University and studied the music theory of his time. He lived in Hamburg (1794-99), later in Paris (1799-1802) and Vienna (1802-08). He met with many famous musicians and he acquired favor of many musicians of the Court. He wrote more than 50 compositions. After a short stay in Leipzig, he returned to live in Paris (from 1808). From 1818, he became a teacher at the Conservatory and he blended into the French milieu. Hector Berlioz, Caesar Franck, Charles Gounod and privately Franz Liszt belonged to his pupils. He wrote many piano works i.e. important collection of 36 fugues, chamber compositions for different instruments (wind quintets are very known), several symphonies, concerts (also for the glass harmonica), songs, songs with orchestra and approximately 15 scenic works. Some of them were performed (i.e. L'Ouragan, about 1801 in Vienna, Argine, regina di Granata in Vienna (1802), Cagliostro in Paris (1810), Natalie, ou La Famille russe in Paris (1816), Sapho in Paris (1822). His theoretic works (about melodic, harmony, composing and drama) written between 1814-1833 have a great influence to the all generation of composers. They were edited in French and in German language; they were read also in Czech Lands.


  • František Antonín RÖSSLER-ROSETTI

    (* 1.1.1850 Litoměřice - † 30.6.1792 Ludwigslust)

    český skladatel, žijící v cizině

    Czech composer living abroad

    We don´t know the precise date of his birth (he was probably baptisted on 26. 10. 1745 in Mimoň) and he was confused with other persons of the same name. He should devote himself to the theology, but instead returned to an artistic career. From 1773, he worked as a contrabass player and later as a Kapellmeister of the Court Capella in Wallerstein where a large community of Czech musicians lived. At the end of 1770´s he ws one of the most famous musicians in Germany and his compositions were sold in many copies and prints. His music has been published in Amsterdam, Paris, Prague, Frankfurt and Mainz, Offenbach, Vienna and other countries. In 1781/82 he travelled to Paris, in 1786, he visitied Münich, 1788 and 1789, he visited Augsburg several times. In 1789, he received the prestigious position of Court Kappelmeister of the Duke of Mecklenburg-Schwerin, where he conducted a large Choir. He was cinnussuibed to compose symphonies and oratorios. He was invited to the perform his works (most notably in 1792 when he performed his oratorio Jesus in Gasemath and cantata Halleluja at the Court in erlin). On December 14th 1791, his Requiem to the Memory of death of W.A. Mozart was performed. He wrote approximately 35 symphonies, 50 concerts for many instruments especially for horn. The composer has contributed to the evolution of the performance technique. His later compositions included cantatas, oratorios, chamber compositions, music for piano and songs. He belonged among the must famous composers of symphonic music of the last third of 18th Century. His abundant melodic with signs of folklore wa a prerequisite of the Romantic style.


  • Jan Ladislav DUSSEK

    (* 12.2.1760 Čáslav - † 20.3.1812 Saint-Germain-en-Laye)

    český skladatel a klavírista

    Composer and pianist

    He came from the family of musicians. He studied at the Jesuit school in Kutná Hora and Prague, and studied philosophy at the Prague University (for only one year). He led a very adventurous life. He traveled as a virtuoso to Holland and Germany (here his tutor was Carl Philipp Emanuel Bach). He worked also at the Court in St. Petersbug and under Radzivill in Latvia. From the mid-1780´s , he traveled around the Europe, and also played the glass harmonica. After the French Revolution in 1789, he left London, where he was unsuccessful as an editor. Due to his debts, he fled to Germany and later to France. He wrote several piano works with charakcteristics stemming from the Romantic period. He is a precursor of Chopin, Schumann and Mendelssohn. Many of his compositions have programmatic titles, such as The Sufferings of the Queen of France (1793). He wrote piano sonatas, concerts, sonatas for violin and piano and chamber music and comic opera The Captive of Spilberg (1798 in London) that was recently staged in 1978 and 2000 in Brno.


  • Boleslav VOMÁČKA

    (* 28.6.1887 Mladá Boleslav - † 1.3.1965 Praha)

    český skladatel

    Czech composer

    He studied at the Prague University (he graduated in 1913) and at the same time the composition with Vítězslav Novák. At the beginning, he worked as a clerk and music reviewer, later as a composer in Prague. He wrote expressionist compositions similar to the style of Schönberg (i.e. song cycle Blowed Path, 1912, choir cycles Cries, 1918, 1914 in 1920, The Way from the Battlefield, 1923, piano cycle Searching, 1913, Sonata 1917). His operas Water Sprite (about Erben, 1937) and Boleslav I. (1957) have a traditional character.


  • Emmy DESTINN

    (* 26.2.1878 Praha - † 28.1.1930 České Budějovice)

    česká operní pěvkyně - dramatický soprán

    By his own name Emilie Paulina Věnceslava Kittlová.

    She was the dauther of the art subscriber Emanuel Kittl (1844-1911). From her childhood, she obtained very good musical education and played many instruments. From 1892 to 1896, she was educated by the couple of Thomas Löwe and Marie Destinn-Löwe (*1840 in Lvov, †1921 in Prague) and adopted her name as a pseudonym. She studied dramatic with Otilie Sklenářová-Malá. In 1897, she was refused at the Prague National Theatre, after in Dresden and Berlin (Theater des Westens). In 1898, she was engaged by Karl Muck to the Berlin Court Opera where she debuted in the role of Santuzza in Mascagni's Cavalleria rusticana. In 1908, she received the title of Prussian Chamber Singer [Preussische Kammersängerin]. She performed approximately 40 operas in Berlin. Between 1901-1902, she performed the role of Senta in Wagner's The Flying Dutchman in Bayreuth on the recommendation of Karl Muck. She was a guest singer at the Prague National Theatre and in 1913 sang Smetana's Libusse for first time.

    In 1908, she was pronounced an honorary member of the National Theatre. In 1904, she made her debut in Covent Garden in London as Donna Anna in Mozart's Don Giovanni. Here, she performed a total of 11 seasons, among others in the London's premiere of Puccini's Madame Butterfly. From 1908 to 1916 she worked at the Metropolitan Opera in New York where she debuted as Verdi's Aida. Here, she sang under the baton of Artur Toscanini with Enrico Caruso (1910).

    She strived to the staging of Czech operas in America, but was only successful in Smetana's The Bartered Bride in 1909 (conducted by G. Mahler). She was a guest vocalist in Chicago, Baltimore, Boston, Philadelphia and other cities. She has almost 70 roles in her repertoire. In 1916, after returning home, she was suspected of collaborating with the anti-Austrian revolt and was interned in the castle Stráž nad Nežárkou. After 1918, she succeeded in conducting three American tours. She later performed primarily concerts (in 1918–1925 in Pilsen, Brno, Ostrava, Bratislava, and Olomouc). She taught irregularly from 1913 and never acquired a permanent teaching position at the Prague Conservatory. She is one of the must famous vocalists of her time, not only due to the quality of her voice but also because of her personality. She was also active in the field of literature, and wrote several poems or novels.


  • Jakobus GALLUS (HANDL)

    (* 3.7.1550 Ribnica - † 18.7.1951 Praha)

    slovinský skladatel

    Composer

    He was educated in the Stična Monastery (in German Sittich). From 1568, he lived in monasteries in Austria. In 1574, he became a member of Court Chapel in Vienna, around 1578, he traveled throughout the Czech countries to the cities of Znojmo, Brno, Zábrdovice, Olomouc, Kroměříž, Prague, and Rakovník, and also in Silesian (Wroclaw, Breslau and other cities). From 1579 to July 1585, he was employed by Bishop Stanislav Pavlovsky, and later entered into the Jesuit Order in 1581. In 1585, he moved to Prague and was the director of the choir in the Church of St. Johannes in Vado until his death. He maintained a good social status and he met with Prague Court officials. He belonged to famous composers of vocal polyphony. He composed four books of masses (dedicated to her religious Superiors), four books of motets Opus musicum, passions, madrigals, odes and smaller ecclesiastical and profane compositions. His music continues in Venezian tradition. His compositions have a full sound, brave harmony and have an apt connection between music declamation of Latin text and their message. The compositions had edited in Prague by Nigrin from 1579 to the end of his life. They stayed partly in manuscripts and after they were edited in new editions.


  • Jiří JORAN

    (* 20.6.1920 Praha - † 5.8.2011 Praha)

    český operní pěvec - baryton


  • Karel BURIAN (Carl BURIAN)

    (* 12.1.1870 Rousínov u Rakovníka - † 25.9.1924 Senomaty)

    český operní pěvec - heroický tenor

    Brother of Emil Burian. He studied law in Prague, singing in Prague and in Münich with Moritz Wallerstein and Moritz Anger. In 1891, he had his debut in Brno with the tenor roles (Jeník in Smetana´s Bartered Bride or Dalibor in Dalibor). Following this, he was engaged in Reval (Tallin), Aachen, Kolin am Rhein, Hannover and Hamburg (1898-1900), and was also a guest singer in operas in Berlin, Bremen and Dresden. From 1900 to 1901, he performed the National Theatre in Prague, and was later a guest singer in Prague in operatic roles of Smetana and Wagner. He reached the height of his career at Dresden opera between 1902 and 1910, when he performed in the role of Herodes in Strauss´s Salome and Tristan in Wagner´s Tristan and Isolde. He was also a guest singer in Münich, Berlin, Leipzig, Zürich, Stuttgart, Covent Garden, Brussel, Vienna and Paris (in 1907, he performed with Emma Destinn in the Parisian premiere of Salome). He later performed roles of the operas of Wagner in Bayreuth and Metropolitan Opera i New York. From 1912 to 1913, he was engaged in Vienna. He had a strong tenor voice and was a famous actor. He primarily became famous for his performances of the Wagnerian roles. With his brother Emil, he also managed song-concerts. He devoted himself also to literary activities (poems, feuilletons), and also translated Czech songs into German language as well as German librettos into Czech (i.e. Tristan and Isolde, Salome). He wrote his biography My Memories (1913).


  • Zdeněk FIBICH

    (* 21.12.1850 Všebořice - † 5.10.1900 Praha)

    český skladatel

    Czech composer

    His family provided him with an excellent education. He studied with Zdeněk Kolešovský and Bedřich Smetana in Prague, from 1865 to 1867 in Leipzig at the Conservatory with Ignaz Moscheles. In 1868, he lived in Paris where he taught and gave concerts, from 1869 to 1870, he studied in Mannheim with Vincenz Lachner. From 1871, he worked as a teacher and composer in Prague with short interruption between 1873-74 when he lived in Vilnius. From 1876 to 1878, he worked as a Kapellmeister and choirmaster in the the Czech Provisional Theatre, and from 1878 to 1881, he worked as a choirmaster in the Eastern Church in Prague where he wrote many choral compositions. He taught privately for 18 years. He published The Introduction to Piano Playing, 30 volumes, 1883-99). From 1899 to 1900, he worked as the dramatic advisor in Opera of the National Theatre. Fibich represents a typical Romanticist in Czech music. He was inspired by Liszt, Schumann, Wagner and Romantic literature. In 1873, he wrote symphonic poems Othello, Zaboj, Slavoj and Ludek, and Toman and Wood Maid in 1875, balads for voice and piano and many Romantic piano pieces especially the cycle Moods, Impressions and Memories (4 volumes, 1892-98) inspired by his personal love experience (with Anežka Schulzová). He restored the form of concert melodrama after Jiří Antonín Benda (balads Christmas Day, 1874, Water Sprite, 1883 and Revenge of Flowers, 1877, and others) and he created a scenic melodrama in the original trilogy Hippodamia based on Vrchlický´s text. In 1893, the cycle was performed in the National Theatre in Prague. He also wrote scenic music and operas that were previously premiered in the National Theatre: Bukovin (arranged by O. Hostinský, 1874), Blaník (1881), The Bride of Messina (libretto by Hostinský based on the text of Vrchlický, 1884), Storm (libretto by Vrchlický on the drama of Shakespeare, 1895), Hedy (libretto by A. Schulzová about the episode of Byron´s Don Juan, 1896), Šárka (libretto by A. Schulzová, 1897), The Fall of Arkun (I–II, libretto by A. Schulzová, 1900).


  • Záviš of ZÁPY

    (* 1.1.1350 Praha - † 1.1.1411 Praha)

    český skladatel

    Bohemian composer

    He studied at the Prague University, where he completed his Master degree in the Liberal Arts in 1381. He lived in Rome, he was a canon in Olomouc between 1394 and 1396, in Prague from 1397 to 1402, and later again in Olomouc. Originally, he was follower of Jan Hus but turned agains him in 1410. In 1411, he was appointed Doctor of Theology. The evens of life after this time are not known. Many historians are doubtful about his identity. Five interesting written compositions under his name have been preserved: four ecclesiastic compositions in the Vyšehrad Manuscript, love song Jižť mne vše radost ostává in the Třeboň Manuscript, as well as others.


  • Zbyněk VOSTŘÁK

    (* 10.6.1920 Praha - † 4.8.1985 Strakonice)

    český dirigent a skladatel

    Czech composer and conductor

    He studied conducting at the Conservatory in Prague with Pavel Dědeček, composition privately with Rudolf Karel (after whose death in 1948, he finished his fairy opera The Three Golden Hairs of Grandfather Wiseacre). From 1943 to 1945 he was a member of the Prague Radio Orchestra, from 1945 to 1948 he was a pedagogue of the Prague Conservatory, from 1959 to 1960 he worked as a conductor in the Opera in Ústí nad Labem, from 1963 to 1973 he was the artistic chief of the ensemble Musica viva pragensis, which was specialised in the contemporary music. He wrote 4 ballets and successful operas The Four-Cornered Hat after Václav Kliment Klicpera (1949), The Miners of Kutná Hora on the work by J. K. Tyl (1955), Prague Nocturne (1960) and The Broken Jug (1963, awarded by UNESCO) for the radio on the work by Kleist for radio. In 1960´s he was inspired by New Music (Boulez, Stockhausen, Cage) and he became one of most famous representative of the Czech music avant-garde, primarily due to his original method and philosophical inspiration. He composed dodecaphony, serial and electronic music (Cantata with the text of Franz Kafka for choir, wind ensemble and percussion (1964), Birth of the Moon for an orchestra (1966), Affetti, Improvisazione per sette strumenti (1967), Gentle Belts which Bind for trumpet and magnetic tape (1977), Cathedrale for the orchestra (1979), Sinfonia per orchestra e coro (1983).


  • Luboš FIŠER

    (* 30.9.1935 Praha - † 23.6.1999 Praha)

    český skladatel

    Czech composer

    He studied at the Prague Conservatory and at the Academy of Performing Arts with Emil Hlobil. After his Romantic style episode, he began to experiment, making use of great invention. He worked as a freelance composer, and debuted with the opera Lancelot based on the Flemish legend (1961). His famous compositions appeared at the end of 1960´s most notably Fifteen Sheets about Dürer´s Apocalypse (1965), the cycle Caprichos (1966) based on the work of Francisco Goya, The Lament above the Devastation of the City of Ur (1970, revised in 1978). He wrote approximately 9 orchestral works, 9 concerts (also for the guitar and organ), chamber and solo compositions, 2 melodramas and almost 250 musical score for TV and 75 film scores. Some of them were awarded icluding. Golet in the Valley (1995), King Ubu (1996).


  • Karel KOVAŘOVIC

    (* 9.12.1862 Praha - † 6.12.1920 Praha)

    český dirigent a skladatel

    Czech conductor and composer

    He studied clarinet, harp, piano at the Prague Conservatory, as well as singing privately. He also later studied composition with Zdeněk Fibich from 1879 to 1882. From 1879 to 1885, he was a harpist in the Provisional Orchestra of the National Theatre in Prague. From 1885 to 1886, he was a conductor in Brno, and later in Pilsen from 1886 to 1887. From 1890, he worked as a répétitor of the Pivoda School of Singing, and later became director of this school from 1808-1900. In 1895, he founded and conducted the Orchestra of the Ethnographical Exposition in Prague. Here he attracted attention as a conductor and later became the chief of Opera of the National Theatre in Prague from 1900 to 1920, where he applied many modern interpretation methods and created an ensemble of outstanding qualities. As a conductor and composer he was orientated toward a French and Italian repertoire. He also interpreted Czech music including the works of Smetana, Dvořák, Fibich, Foerster, Ostrčil, Novák, Křička and others. In 1916, he premiered Janáček´s famous Jenůfa, but with his own corrections (with the consent of author). He performed the Czech premieres of Wagner´s operas such as Tristan and Isolde, Parsifal, The Rheingold, Walkyre, Strauss´s Electra and Rose Cavalier, Charpentier´s Louise and Julien, Musorgsky´s opera Boris Godunov and others. In 1919, he embarked on an important tour of the National Theatre´s Orchestra to London and Paris. As a composer he created orchestral works, scenic musics, ballets as well as several successful operas including Fiancés (1884), The Way throut the Window (Cesta oknem) (1886), The Night of Šimon and Juda (1892), The Dogheads/Psohlavci (1898), At the Old Bleach (1901) and others. His parody of opera Edip King (1894) was performed by many amateur ensembles.


  • František VAJNAR

    (* 15.9.1930 Strašice - † 9.12.2012 Praha)

    český dirigent

    Czech conductor

    He studied at the Prague Conservatory, and later conducting with Alois Klíma. In 1951 he became a violinist in the orchestra of the National Theatre in Prague, from 1953 to 1955, he worked as conductor of the Army Opera, from 1955 to 1960, he performed in the Music Theatre in Karlin, between 1960 and 1962 he worked in the opera in Ostrava, and from 1962 to 1973 he was a conductor and chief of Opera in Ústí nad Labem. Here, he prepared many operas including Vostřák´s The Borken Jug (premiere 1969), Leoncavallo´s Gypsies, Czech prem. in 1972, Wagner´s Tristan and Isolde, first performing after 1945. From 1974 to 1980 and in 1985 and 1992 he worked in the National Theatre in Prague. During the period between 1979 and 1985, he conducted the Orchestra of the Czech Radio, 1992-93 he was a chief conductor of the State Opera in Prague. He devoted himself also to the concert activities as an art leader of the ensemble Collegium musicum Pragense (1968–94) and chief conductor of the Philharmonic Orchestra Hradec Králové (1991–2001). He is a versatile opera´s and symphonic conductor with large repertoire. He performed in the Czech Philharmonic Orchestra and at the opera´s theatres in Germany, Austria, Italy, Suisse, Irland and Australia. Since 1974 he is teaching at the Prague Academy of Performing Arts.


  • Eduard HAKEN

    (* 22.3.1910 Šklíň - † 21.1.1996 Praha)

    český operní pěvec - bas

    He studied in Luck in Ukraine, where he performed in the children choirs. During his medical studies in Prague (1929–1932), he also studied singing with Dimitr Levytsky, Friedrich Plaschke and A. Granforte. From 1936, he sang basso roles in the National Theatre in Prague. From 1938, he performed in the Opera in Olomouc (he debuted as jailer Beneš in Smetana's Dalibor. From 1941 to 1991, he was a prominent bass vocalist in the National Theatre in Prague.

    His bass voice had a large register with a broad scale of abilities of expression. He created approximately 70 roles in the National Theatre in Prague. He shone in the comic roles (from 1943, he premiered as Kecal in Smetana's The Bartered Bride, later Mumlal in Smetana's Two Widows, Basilio in Rossini's  The Barber from Sevilla, Osmin in Mozart's The Abduction from Seraglio and others, later he sang more serious roles, such as Water Goblin in Dvořák's Rusalka, Grigoris in Martinů's Greek Passion, Paloucký in Smetana's The Kiss, Svätopluk in Suchoň's Svätopluk, Ivan Susanin in Glinka's Ivan Susanin, Don Quijote in Massenet's Don Quijote and Gremin in Tchaikovsky's Eugen Onegin, and the sarcastic Mephistopheles in Gounod's Faust and others). For almost forty years, he was one of the most attractive persons of the opera in the National Theatre in Prague.


  • Zdeněk KOŠLER

    (* 25.3.1928 Praha - † 2.7.1995 Praha)

    český dirigent

    Czech conductor

    He came from a musical family. From 1944 to 1945, he was imprisoned in the Theresinestadt Ghetto. From 1947, he studied music theory and composition with Otakar Jeremiáš, piano with Erna Grünfeldová, composition with Jaroslav Řídký, conducting with Pavel Dědeček and from 1948 tp 1952 with Metod Doležil, Karel Ančerl and Robert Brock at the Academy of Performing Arts From 1948 to 1958, he was engaged at the National Theatre, first as a répétiteur, later as a conductor. During this time, he conducted his first concerts in Prague with the Prague Symphony Orchestra FOK. In 1956, he was awarded in a conducting competition in Besançon. From 1958 to 1962, he worked as a chief of Opera in Olomouc, from 1962 to 1966 in Ostrava. As a result of his award in the competition of Dimitri Mitropoulos in New York in 1963, he worked for one season as Leonard Bernstein´s assistent in the New York Philharmonic. From 1965, he guested at the Komische Oper in Berlin and later bacame chief conductor from 1967 to 1968. From 1971 to 1976, he worked as a chief conductor of the Slovakian National Theatre in Bratislava. He was a conductor of the Czech Philharmonic Orchestra (from 1976), the head of the opera department of the National Theatre in Prague (1980-85), the chief conductor (1987-92) and later guest conductor of this theatre. He guested in many European, North American and Japan cultural centres. He became noticed due to his detailed work with orchestra, and with his attentive conducting of singers towards a realistic dramatic expression. He studied new works very quickly yet conscientiously (he performed many premiere of Czech contemporary music). He had an extraordinary memory, which helped him to retain a large repertoire, primarily the entire operatic work of Smetana, Dvořák, Fibich and Janáček). He belonged to the must famous conductors of his generation.


  • Jana BOUŠKOVÁ

    (* 27.9.1970 Praha)

    česká harfistka


  • Marta KRÁSOVÁ

    (* 6.3.1901 Protivín - † 20.2.1970 Vráž u Berouna)

    česká operní pěvkyně - soprán

    Czech soprano

    She studied in České Budějovice, singing with Bohuslav Jeremiáš. She continued her studies with Olga Valoušková, Růžena Maturová, Ludmila Neumannová, Konrad Wallerstein and in Vienna with M. Ullanowsky. From 1922, she worked at the Slovakian National Theatre in Bratislava as a mezzo-soprano. She sang Anežka in Smetana´s Two Widows, Foreign Ducheness in Dvořák´s Rusalka, Dalila in Saint-Saëns´s Samson and Dalila, Octavian in Strauss´s Rose Cavalier. From 1928 to 1966, she was a member of the National Theatre. Her voice had an extraordinary range from contra-alto to the dramatic soprano. She had perfect vocal technique and gift as a dramatic performer. She performed in Vienna, Berlin, Hamburg, Dresden, Madrid, Paris, Moskow, Warszawa, as well as in the USA and Canada. She was an ideal interpreter of mezzo-soprano roles from the Czech repertoire (Virgin Rosa in Smetana´s The Secret, Witch in Dvořák´s Rusalka, Donna Isabela in Fibich´s The Bride from Messina, Kostelnička in Janáček´s Jenůfa, Kabanicha in Janáček´s Káťa Kabanová) and she was also excellent in other roles such as Orfeus in Gluck´s Orfeus and Eurydice, Amneris in Verdi´s Aida, Eboli in Verdi´s Don Carlos, Carmen in Bizet´s Carmen, Ortruda in Wagner´s Lohengrin, Ariadna in Strauss´s Ariadne on Naxos, just to name a few.


  • Zdenka KARENINOVÁ

    (* 1.3.1930 Praha)

    česká operní pěvkyně - soprán


  • Miroslav VENHODA

    (* 14.8.1915 Moravské Budějovice - † 10.5.1987 Praha)

    český sbormistr

    Czech choirmaster

    He studied musicology at Prague Charles University, and also studied music under the privateguidance of Josef Bohuslav Foerster. From 1938 to 1939, he lived in Italy. He worked in Prague as an organist, a choir-director, and a teacher. Between 1939 and 1950, he conducted the boys´ later mixed choir Schola cantorum and performed many works of the time of vocal polyphony or folk plays with them. He worked as a choirmaster of children choir Hlahol and editor of music journals. In 1956, he founded the New Madrigal-Singers (from 1965 the Prague Madrigalists), an ensemble specializing in old music. Many contemporary European composers dedicated their works to the ensemble. Venhoda also wrote the theoretical study Introduction to the Study of Gregorian Chant (1946) and edited some collections of old music (Monteverdi, Hand-Gallus, Harant). The ensemble recorded many compositions for various music labels and Radio.


  • Milan MALÝ

    (* 14.5.1930 Praha - † 28.11.2004 Praha)

    český sbormistr

    Czech choirmaster

    He studied at the Pedagogical Faculty at the Charles University in Prague and conducting at the Academy of Performing Arts where he was a pupil of Metod Doležil, Václav Smetáček and Alois Klíma. From 1953 to 1955, he was an assistant of the choirmaster Jan Kühn in the Czech Choir. From 1956 to the end of his life, he worked as a choirmaster and guest choirmaster in the National Theatre, from 1963 to 1985, he was also an artistic chief of Czechoslovak Radio Choir. From 1968 to 1999, he cooperated regularly with the Bayreuther Festspiele as an assistant of chief choirmaster. At the National Theatre, he prepared more that 200 opera premieres and choral performances. He studied music from all periods with special emphasis on Czech music.


  • Vlastimil LEJSEK

    (* 21.7.1927 Brno - † 12.10.2010 Brno)

    český klavírista, skladatel a pedagog


  • Tomáš NETOPIL

    (* 18.7.1975 Kroměříž)

    český dirigent


  • Ivana MIXOVÁ

    (* 2.12.1930 Vídeň - † 5.9.2002 Praha)

    česká operní pěvkyně - mezzosoprán

    Czech mezzo-soprano

    She studied privately in Brno with Marie Fialová and at the Conservatory with Bohumil Soběský, in Olomouc with Konstantin Karenin, and later in Prague with Renata Židová. From 1950, she was engaged in Olomouc, in 1953 in Ostrava, from 1956 to 1988 in the National Theatre in Prague. She studied approximately 50 roles of a diverse repertoire. She was able to utilize her attractive appearance in the roles as Orfeus in Gluck´s Orfeus and Eurydice, Dorabella in Mozart´s Cos? fan tutte, Cherubin in Mozart´s The Figaro´s Marriage, Eboli inVerdi´s Don Carlos, Witch in Dvořák´s Rusalka, Kate in Dvořák´s The Devil and Kate, Duchess in Tchaikovsky´s The Queen of Spides, Oktavian in Strauss´s The Rose Cavalier, Herodias in Salome, Klytaimnestra in Electra). She performed Volumnia in the premiere of opera Coriolan by Ján Cikker (1974). The role that was the highlight of her career was Bizet´s Carmen (for first time in 1966 at the National Theatre, directed by Václav Kašlík). She also performed at the State Opera in Berlin (1964–73), in Hannover (1965–70), at the festival in Wexford (1965), in Moskow, Frankfurt am M. and other places.


  • Zdeněk ŠESTÁK

    (* 10.12.1925 Cítoliby)

    český skladatel a muzikolog


  • Miloslav IŠTVAN

    (* 2.9.1928 Olomouc - † 26.1.1990 Brno)

    český skladatel a pedagog


  • Jiří Antonín BENDA

    (* 30.6.1722 Staré Benátky - † 6.11.1795 Bad Köstritz)

    skladatel a dirigent českého původu

    He studied at the School of Piarist Convent in Kosmonosy and Jesuit School in Jičín. In 1742 he settled in Postupim with his parents and brothers where they lived withe their two other brothers, František and Jan Jiří. They were the members of the Court Royal Band. In 1750 he became a Kapellmeister of Friedrich III., Duke of Saxe Gotha. There was a great milieu for the love of art at this Court. Benda composed spiritual cantatas, instrumental compositions and music for theatre. In 1774, he began to compose stage-melodramas, a new form that was inspired by the Seyler Theatre Society, which visited the Roayl Court. Melodramas such as Ariadne auf Naxos, Medea, Der Dorfjahrmarkt, Walder (1775), Romeo and Juliette (1776) and Der Holzhauer (1777) have brought him fame. In 1778 he resigned for the controversy at the Court and he returned to Saxe Gotha. He received the life-long pension from the Duke and was able to devote himself to composing new works. He lived in several small German villages during the last years of his life. His work includes approximately 30 symphonies, instrumental concerts, chamber compositions, Italian stage-compositions and melodramas.


  • Bohumír LIŠKA

    (* 2.10.1914 Čejetičky - † 8.9.1990 Karlovy Vary)

    český dirigent


    Czech conductor

    He studied at the Prague Conservatory with P. Dědeček, composition with O. Šín. From the year 1940 he worked as a répétiteur and conductor in many opera, choir or orchestral bodies. In 1940 he settled in Brno where he became a conductor of opera and Brno Orchestral Association. He was active in Radio, 1942-57 he taught conducting at the Brno Conservatory, in 1951-57 at Janáček Academy of Performing Arts. In 1955 he became an opera's chief of the J. K. Tyl Theatre in Pilsen. He worked here to the year 1967 and influenced its dramaturgical profile. In 1967 he was appointed as a conductor of Smetana Theatre in Prague and permanent guest conductor of Karlovy Vary Symphony Orchestra.


  • Vítězslav NOVÁK

    (* 5.12.1870 Kamenice nad Lipou - † 18.7.1949 Skuteč)

    český skladatel a pedagog

    Czech composer and pedagogue

    In 1872 his family moved to Počátky. His father was a physician but he was also active in the choral society, her mother played piano. In Počátky Novák went to primary school and learnt violin and piano. His father died when Novák was eleven and the family moved to Jindřichův Hradec where Novák attended grammar school. He received a schooling in music there but Vilém Pojman, the conductor of the local fire brigade band, was the first to recognize his talent, developed his player ability and encouraged his early efforts in composition. Novák gave his first public performance as pianist in Jindřichův Hradec and composed first songs and piano pieces. In 1889 the family moved to Prague where Novák began to study law and philosophy at Charles University. At the same time he studied at the Prague Conservatory. Here he studied music with Josef Jiránek (piano), Karel Knittl (harmony), and Karel Stecker (counterpoint). In fact first he wanted to become a piano virtuoso. In 1891-92 Novák studied in Antonín Dvořák´s composition master-class. There he was a fellow-student of Josef Suk. In 1894-5 he studied composition under Karel Bendl. During that time he also persuaded his mother that he had to pursue a career in music rather than in law. His first compositions brought him some financial help and he was recommended by Brahms to his Berlin publisher Simrock. In 1896 Novák visited the regions of south-eastern Moravia, Slovácko, Lašsko and Valašsko, later Slovakia as well, and started returning there regularly (mainly to Velké Karlovice). His was strongly influenced by the folk music of those areas. He also met his lifelong love Josefína Javůrková there. He studied the Czech and Moravian folksongs collections (Erben, Sušil, Bartoš) and made his own observations and notations. There was a starting point of his strong personal synthesis of eroticism, nature and folklore of all his works. In 1912 he married, at the age of forty, his former pupil Marie Prášková who gave him a stable family background. They had one son, Jaroslav Novák, who became a painter. Novák was one of the most influential music teachers in Czechoslovakia. In 1909 he succeeded Dvořák as professor of composition at the Prague Conservatory teaching over 100 composers until his retirement in 1939, including many Czechs, Slovaks and southern and eastern Slavs. He also educated many private students. Among his pupils were Ladislav Vycpálek, Jaroslav Křička, Jaroslav Novotný, Boleslav Vomáčka, Václav Štěpán, the brothers Jeremiáš, K.B.Jirák, Alois Hába, one of his last pupils was Ilja Hurník. In the 1920´s Novák was elected rector of Prague Conservatory three times. Vítězslav Novák is considered one of the best Czech classical music composers at the early 20th century. He enjoyed maximal official recognition in that period. His works were performed in Vienna, in Germany and in other foreign countries, and his premieres in Prague and Brno were major social and musical events. He was strongly attached to Brno, his friend Rudolf Reissig was choirmaster of the Beseda Brněnská (succeeding Janáček) where he performed Novák´s works from 1899 to 1920. Novák visited almost every European country apart from Russia, his knowledge of foreign languages - German, English, French, Spanish and Russian - literature, philosophy, fine arts and a vast repertory of European and Czech music, made him one of the leading figures of Czech culture. Novák´s early works are written in a Romantic or late Romantic style, and are influenced by Dvořák, Brahms or Grieg. Through his emphasis on color, he approached impressionism. He became more nationalist under the influence of Janáček. He made use of modern harmony as well. He drew his melodic and harmonic inspiration of Moravian and Slovak folk songs. He composed orchestral works: the dramatic orchestral overture Maryša (1898) after V.a A. Mrštík, the symphonic poem V Tatrách (In the Tatras, 1902, rev.1905,1907),which shows his fascination of nature, here of the Tatra mountains of Slovakia seen in a variety of moods and weathers, the Slovácká suita (Moravian-Slovak Suite, also Slovacko Suite, 1903) for small orchestra, his most popular work which evokes folk rituals of Slovácko, the symphonic poem O věčné touze (Eternal Longing, 1903-5) based on Hans Christian Andersen, the Serenade in D for small orchestra (1905), the symphonic poem Toman a lesní panna (Toman and the Wood Nymph, 1906-7) and the cantata Bouře (The Storm, 1908-10) on words by Svatopluk Čech. In the 1930´s his works are written in more reflective style as the Podzimní symfonie (Autumn Symphony, 1931-4), followed by a turn towards objective patriotism related to political events of the time. He wrote the Jihočeská suita (South Bohemian Suite, 1936-7) for orchestra and the Third String Quartet (1938). In the protests against the Munich events and the establishment of the Protectorate, Novák remained silent for three years. In 1941 he wrote his symphonic poem for large orchestra and organ De profundis, the Svatováclavský triptych (St Wenceslas Triptych) for organ and orchestra and a one-movement Cello Sonata. During the German occupation of Czechoslovakia he showed great personal courage and put in his music patriotic signs. Novák spent most of that period in Skuteč, writing his memoirs (Vítězslav Novák o sobě a o jiných), some small compositions and the Májová symfonie (May Symphony, 1943), a herald of liberation. Novák died in Skuteč, on.7.18th 1949.
    Notable among his other orchestral compositions are the overture Lady Godiva (1907), a musical reworking of the Coventry legend, and the cantata Svatební košile (The Wedding Shift, 1912-13) written after Erben. Novák also wrote several operas, mostly based on Czech classic 19th-century plays , but none of them was a big success. His best-known opera is Lucerna (The Lantern, 1919-22) after Alois Jirásek. He wrote the comique opera Zvíkovský rarášek (The Zvíkov imp, 1913-14), the opera Karlštejn (1914-15) after Vrchlický and Dědův odkaz (The Grandfather´s Legacy, 1922-5). His other stage works are the ballet-pantomimes Signorina Gioventu (1926-28) and Nikotina (1929). Notable from his piano music are Variace na Schumannovo tema (Variations on a Theme of Schumann, 1893), Za soumraku (At Dusk, 1896), Písně zimních nocí (Songs on Winter Night, 1903), Exotikon (1911) and mainly the Sonata Eroica (1900) and Pan (1910, orchestrated 1912), the "symphonic poem for piano". He wrote several string quartets (the First String Quartet, 1899), the Piano Trio (1902) etc. His vocal music (songs, choruses, also with orchestra) is represented by Jarní nálady (Spring Moods, 1900), Melancholie (Melancholy, 1901), Údolí nového království (New Kingdom Valley, 1903), Melancholické písně o lásce (Melancholic Songs about Love, 1906), Erotikon (1912), Síla a vzdor (Strenght and Defiance, 1916-17), 12 ukolébavek na slova lidové poesie moravské (12 Lullabies on Moravian Folk Texts, 1931-2), Domov (Home, 1941), 2 legendy na slova lidové poesie moravské (2 Legends on Moravian Folk Poetry, 1944), Jihočeské motivy (South-Bohemian Motives, 1947).

    Links www.kapralova.org/NOVAK.htm


    Biblography
    Schnierer, Milos: Vítězslav Novák: Tematicky a bibliograficky katalog (Bibliographical Catalogue) (Prague 1999)
    V.Lébl: Vítězslav Novák (Prague 1967, Engl.transl.1968)

    Discography

    Stage works

    Lucerna / The Lantern
    Eva Depoltova, Rene Tucek, Karel Berman, Vaclav Zitek, Anna Barova, Jana Jonasova, Vladimir Dolezal, Vojtech Kocian, Karel Petr, Miroslav Kopp, Dalibor Jedlicka, Drahomira Drobkova, Josef Mixa, Josef Kemr, Bohuslav Cap, Josef Pehr, Ljuba Skorepova
    Prague Radio Chorus, Milan Maly
    Prague Radio Symphony Orchestra, Frantisek Vajnar

    2 CD Supraphon

    Signoria Gioventu Ballet - pantomime, Op. 58
    Eternal Longing [O vecne touze], Symphonic Poem, Op. 33
    Brno State Philharmonic Orchestra, Frantisek Jilek

    CD Supraphon

    Nikotina Ballet - pantomime, Op. 59
    Toman and the Wood Nymph [Toman a lesni panna], Symphonic Poem, Op. 40
    Brno State Philharmonic Orchestra, Frantisek Jilek

    CD Supraphon

    The Storm
    Drahomira Tikalova, Maria Tauberova, Beno Blachut, Ladislav Mraz, Vladimir Jedenactik, Jaroslav Veverka
    Czech Philharmonic Chorus, Jan Kuhn
    Czech Philharmonic Orchestra, Jaroslav Krombholc

    2 CD Supraphon

    The Storm [Boure]
    Jarmila Zilkova, Jarmila Smyckova, Frantisek Livora, Nadezda Kniplova, Richard Novak, Kvetoslava Nemeckova, Karel Petr, Jaromir Vavruska
    Czech Philharmonic Chorus and Orchestra, Zdenek Kosler

    CD Supraphon


    Orchestral

    Moravian-Slovak Suite
    Czech Philharmonic Orchestra, Vaclav Talich
    Recorded between 1949 and 1956.

    13 CD Supraphon

    Moravian-Slovak Suite [Slovacka suita] for Small Orchestra, Op. 32
    Czech Philharmonic Orchestra, Vaclav Talich
    CD Supraphon

    Serenade in D, Slovacko Suite [Slovacka suita], Melancholy Songs about Love
    Jana Tetourova - soprano
    Prague Chamber Orchestra, Jiri Belohlavek

    CD Supraphon

    South Bohemian Suite [Jihoceska suita], Op. 64, Lady Godiva, Overture, Op. 41, De profundis, Symphonic Poem, Op. 67
    Brno State Philharmonic Orchestra, Jaroslav Vogel
    CD Supraphon

    South Bohemian Suite for Large Orchestra, Op. 64 (1936-37)
    Czech Philharmonic Orchestra, Rafael Kubelik
    CD Supraphon

    The Valley of the New Kingdom [Udoli noveho kralovstvi], Op. 31
    Zdenek Otava - barytone
    Prague Radio Symphony Orchestra, Rudolf Vasata

    CD Radioservis

    In the Tatras (V Tatrách), Op. 26, Moravian-Slovak Suite (Slovacka suita), Op. 32, Eternal Longing (O věčné touze), Op. 33
    Royal Liverpool Philharmonic Orchestra, Libor Pesek
    CD Virgin Classics

    Toman and the Wood Nymph (Toman a lesni panna), Op. 40, Lady Godiva, Op. 41, De Profundis, Op. 67
    BBC Philharmonic Orchestra, Libor Pesek
    CD Chandos


    Choral

    Erotikon, Op. 46
    Zdena Kloubova - soprano, Vera Mullerova - piano
    CD Panton

    Chamber

    Muj maj / My May, 4 Piano Pieces, Op. 20
    Igor Ardasev - piano
    CD Supraphon

    Pan - A Poem in Tones (1910)
    Frantisek Maxian - piano
    CD Panton

    Sonata eroica, Op. 24, Barcarolles, Op. 10, At Dusk [Za soumraku], Op. 13, Serenades, Op. 9, Bagatelles, Op. 5
    Martin Vojtisek - piano
    CD Supraphon

    Songs on Winter Nights, Op. 30, Reminiscences, Op. 6, Youth [Mladi], Op. 55
    Martin Vojtisek - piano
    CD Panton

    Songs of Winter Nights [Pisne zimnich noci], Op. 30
    Marian Lapsansky - piano
    CD Supraphon

    Songs of Winter Nights, Op. 30, Pan, Op. 43
    Margaret Fingurhut - piano
    CD Chandos

    St Wenceslas triptych [Svatovaclavsky triptych], Prelude on the Love Song from Valassko
    Jaroslav Tuma - organ
    CD Supraphon

    String Quartet No. 2 in D major, Op. 35
    Janacek Quartet (historical recordings of the Czech Radio, Brno)
    CD Multisonic

    Twelve Lullabies on the words of a Moravian folk lullaby for female chorus, Op. 61
    Kuhn Mixed Choir, Pavel Kuhn
    CD Supraphon

    Trio quasi una ballata, Op. 27
    The ArteMiss Piano Trio (Veronika Jiru - violin, Alzbeta Michalova - cello, Jana Vychodilova - piano)
    CD Ultraphon


  • Jaroslav DOUBRAVA

    (* 25.4.1909 Chrudim - † 2.10.1960 Praha)

    český skladatel

    He studied in Prague with Otakar Jeremiáš. He started to compose in the style of Romanticism. Characteristic is his work with harmony and timbre and dramatic character of music. Somber ton-colors are typical for his music (especially in his Third Symphony, 1957-58, or ballet Don Quijote, 1955). He was also influenced by Czech and Moravian folklore (opera Balada o lásce/Ballad on Love, 1960). He used also satire (in his ballet Král Lávra/King Lávra, 1951, Líný Honza/Lazy Honza or Křest sv. Vladimíra/Christening of St. Vladimir). After the war, he wasn't an author favored by state.

    Links:
    www.musica.cz


  • Otakar OSTRČIL

    (* 25.2.1879 Praha - † 20.8.1935 Praha)

    český skladatel, dirigent a pedagog

    Czech composer and conductor

    He studied modern languages at Prague University with Jan Gebauer, Otakar Hostinský and Tomáš Garigue Masaryk. From 1903 to 1919 he worked as a teacher of Czech and German at the Prague Czech-Slavonic Commercial Academy. He studied music privately, piano with Mikeš, later with Fibich. With Fibich he also studied composition and worked as his amanuensis. Together with teaching activity of Novák, Foerster and Suk, Ostrčil was the most influential personality of Czech musical life of that period continuing the tradition of great Czech Romantics of the 19th century. He worked as a conductor of the Academy Choir and Orchestral Association in Prague, later became guest conductor at the National Theatre. In 1920 Ostrčil became Chief of the Opera of the National Theatre. He remained in this function until his death in 1935. In the history of the National Theatre his progressive programme conception and high level of all theatre professions represent one of its most important eras. As a composer he came out of Fibich, he was admirer of Smetana and Mahler. He could use all means of expression of the Romantic composers. He is renowned for his erosion of traditional tonality and tonally free polyphony. His notable orchestral compositions are Pohádka o Šemíku (Tale of Šemík, 1899), symphonic poem after J. Vrchlický, Symphony in A (1905), Impromptu (1911), Suite in c (1912), Symfonietta (1921), symphonic poem Léto (Summer, 1925-6) and the 14 symphonic programatic variations on composer´s own theme Křížová cesta (Calvary or Stations of the Cross, 1928) which are one of the greatest works of Czech music of the 20th century. Ostrčil also composed operas: Kunálovy oči (Kunal´s Eyes, 1908), the one-act singspiel Poupě (The Bud, 1910), Legenda z Erinu (Legend from Erin, 1913-19) after Julius Zeyer, or Honzovo království (Johnny´s Kingdom, 1933), written on the motifs of a tale by L. N. Tolstoy. He wrote two melodramas - Balada o mrtvém ševci a mladé tanečnici (Ballad of the Dead Cobbler and the Young Dancer, 1904) and Balada česká (Czech Ballad, 1905) to the words of Jan Neruda. He composed ballads, e.g. Osiřelo dítě (The Orphaned Child, 1906), ballad for mezzo-soprano and orchestra to the text of a folk-song. Ostrčil´s other outstanding vocal compositions are the male chorus after J. Vrchlický Česká legenda vánoční (Czech Christmas Legend, 1912), the cantata Legenda o svaté Zitě (The Legend of St. Zita, 1913) for tenor solo, mixed choir, orchestra and organ, and Prosté motivy (Simple Motifs, 1922) to the words of Jan Neruda. Sonatina for viola, violin and piano (1925) and String Quartet in B (1899) represent his chamber music.

    Links
    www.musica.cz
    www.klassika.info


    Biblography
    J. Bartoš: Otakar Ostrčil (Prague, 1936)
    F. Pala, V. Pospíšil: Opera Národního divadla v období Otakara Ostrčila (The National Theatre opera in Ostrčil´s time) (Prague, 1962-89)
    J. Tyrrell: Czech Opera (Cambridge, 1988)


    Discography


    Variations for Large Orchestra, Op. 24 "Calvary"
    Czech Philharmonic Orchestra, Vaclav Neumann
    CD Supraphon


  • Jan Dismas ZELENKA

    (* 16.10.1679 Louňovice pod Blaníkem - † 23.12.1745 Drážďany)

    český barokní skladatel

    Bohemian Baroque composer

    His father was the local cantor and an organist and provided him early musical education. Later he studied at the Prague Jesuit College at the Clementimum. The Clementinum was a renowned centre for music and Zelenka maintained the lifelong contact with it. From 1709 he lived in the house of a member of the von Hartig family. Dresden was one of the most significant musical centres of the first half of the 18th century. The Elector of Saxony Friedrich August I converted to Catholicism when he became the King of Poland. As the Dresden population was predominantly Lutheran and no tradition of Catholic church music existed many choristers and instrumentalists were recruited from Bohemia to serve the liturgical requirements of the chapel. Zelenka arrived to Dresden in 1710 or 1711 and became principal double-bass player of the Dresden court orchestra. The years 1716-19 represent a period of study and travel for Zelenka, although details remain unclear. He studied briefly with Lotti in Italy. He accompanied the Electoral Prince to Vienna and during this time he received instruction from the Imperial Kapellmeister Johann Joseph Fux. In Vienna Zelenka was not only expected to improve his compositional skills and absorb the latest musical styles but also to acquire copies of liturgical music to be incorporated into the repertoire of the Dresden Catholic court church. Zelenka made the sizable collection of copies and transcriptions of works written in strict contrapuntal style and he also wrote many compositions himself. When he returned to Dresden he created a collection of vocal compositions a capella for five voices, 18 Cantiones sacrae based upon his study of Palestrina's works. From 1717 J.D.Heinichen was a Kapellmeister in Dresden and after the closure of the Dresden opera in 1720, he concentrated upon liturgical music for the Catholic court church. Throughout the 1720's the music provided for the Catholic court church by Heinichen and Zelenka, who was his assistant and also composed and arranged music for its use, was actively supported by the Electoral Prince and Princess. Zelenka and Heinichen also made alterations to 'imported' sacred music. In 1721-2 Zelenka visited Prague, and in 1723 the Jesuits commissioned Zelenka to compose and direct a music for the Prague celebrations of the coronation of the Emperor Charles VI as King of Bohemia. This performance of a Melodrama De Sancto Wenceslao entitled Sub olea pacis et palma virtutis was a great success. Zelenka assisted Kapellmeister Heinichen to provide the Royal church music for many years, upon Heinechen´s death in 1729 Zelenka assumed his responsibilities for the repertoire of the Catholic court church in full, he composed and directed most of the music himself. It was expected that Zelenka would succeed Heinichen as court Kapellmeister, but Augustus the Strong appointed J.A.Hasse to this position. This event led Zelenka to feel disillusioned by the lack of recognition he had received for his acheivements. In 1733 he addressed to the King a petition which clearly shows his frustration and bitterness. In this letter Zelenka asked for enough money to both eat and to publish his works because he also consistently received a lower salary than other composers at Dresden. In 1733 Friedrich August I died and Zelenka provided the Requiem and 7 Responsoria pro omnibus tribus Nocturnis at very short notice. In 1735 he was appointed as Court church composer. Much of Zelenka's surviving work is in the form of sacred vocal music. He composed over 20 masses - among them his first composition for Dresden Missa Sanctae Caeciliae (1711, rev.about 1712-28), another Mass setting Missa Judica me (1714, rev.about 1720-23), and Missa sanctissimae trinitatis (1736). In 1739 he composed a votive mass upon his recovery from illness Missa Votiva. He wrote Lamentationes Jeremiae prophetae pro hebdomara sancta (1722), three Requiems, two Te Deums, three oratorios, I penitenti al sepolcro (1736), Il serpente di bronzo (1730), Giesu al Calvario (1735), three cantatas, Immisit Dominus (1709), Deus Dux (1716), Attendite et videte (1712), music for a Melodrama de S.Wenceslao, psalms, motets etc. Notable composition is his Miserere (1722/38). Zelenka´s secular works include a set of five Capriccios, composed in Vienna 1717-18, and his celebrated set of six sonatas, 6 Trio Sonatas for two Oboes, Bassoon, and basso continuo (1721-2), Hypocondrie á 7 (1723) or Concerto á 8 concertanti (1723). Zelenka won the admiration of his contemporaries J.S.Bach and G.P.Telemann. Among his composition students were J.J.Quantz, J.G.Harrer and J.G.Röllig Zelenka died of dropsy on the night 22/23 of December 1745. His music exhibits contrapuntal mastery and harmonic imagination. He often used shifts of harmony, or chromaticisms. His music, both instrumental and sacred, is always original and creative. His liturgical works show a concern for the rich musical expression of texts, the last masses and litanies, powerfully expressed his spirituality. His choral works is not similar to those of Bach, they were writing for different religious traditions and idioms. He also made some use of Bohemian folk elements. His compositional output, contrapuntal mastery, extraordinary rhytmic invention, imaginative orchestration, is the real treasure of baroque music.

    Links
    www.baroquemusic.org/bqxzelenka.html
    www.classical.net/music/comp.lst/zelenka.html
    www.musicabona.com


    Biblography
    J.Stockigt: Jan Dismas Zelenka (1679-1745): a Bohemian Musician at the Court of Dresden (Oxford, 2000)

    Discography

    Allegro, Sanctus, Allegro
    Allegro, Gloria, Cum sancto Spiritu
    Et unam sanctam, Allegro

    Anna Hlavenkova - soprano, Magdalena Kozena - mezzosoprano, Lubomir Moravec - counter-tenor, Stanislav Predota, Richard Sporka - tenor, Michael Pospisil - bass
    Jana Brozkova, Vojtech Jouza - oboe, Jan Jouza - violin, Jaroslav Kubita - bassoon, Vaclav Hoskovec - double bass, Frantisek Xaver Thuri - harpsichord
    Musica Florea, Marek Stryncl

    CD Studio Matous

    Concerto in Sol a otto concertanti, ZWV 186
    Capriccios Nos. 1-5, ZWV 182-185, ZWV 190

    Suk Chamber Orchestra, Frantisek Vajnar
    2 CD Panton

    Hipocondria
    Czech Philharmonic Orchestra, Rafael Kubelik
    CD Supraphon

    Litaniae de Venerabili Sacramento, Z147
    Regina coeli laetare, Z134
    Salve Regina, mater misericordiae, Z135
    Lactiones (Officium Defunctorum, Z47)
    Invitatorium (Officium Defunctorum, Z47)

    Carolyn Sampson - soprano, Rebecca Outram - soprano, Robin Blaze - countertenor, James Gilchrist - tenor, Michael George - bass, Peter Harvey - bass
    Choir of the King's Consort, Robert King

    CD Hyperion

    Magnificat
    Soloists, Kuhn Mixed Choir, Prague Philharmonic Choir, Prague Chamber Orchestra, Pavel Kuhn
    Czech Philharmonic Orchestra, Lubomir Matl

    CD Supraphon

    Missa Sanctissimae Trinitatis in A minor, ZWV 17
    Anna Hlavenkova - soprano, Magdalena Kozena, Lubomir Moravec - alto, Richard Sporka, Stanislav Predota - tenor, Michael Pospisil - bass
    Musica Florea, Marek Stryncl

    CD Studio Matous

    Missa in D, ZWV 13
    Responsoria pro Hebdomada Sancta, ZWV 55 (selection)
    Sub tuum praesidium, ZWV 157 No. 3

    Missa in D - Jana Jonasova - soprano, Marie Mrazova - alto, Vladimir Dolezal - tenor, Petr Mikulas - bass, Frantisek Xaver Thuri - harpsichord continuo, Jaroslav Tvrzsky - organ continuo, Czech Philharmonic Chorus and Orchestra, Jiri Belohlavek
    Responsoria, Sub tuum - Jaroslav Tvrzsky - organ, Czech Philharmonic Chorus and Orchestra, Lubomir Matl

    CD Supraphon

    Requiem in D minor, ZWV 48
    Miserere in C minor, ZWV 57

    Soloists, Czech chamber Choir
    Ensemble Baroque 1994, Roman Valek

    CD Supraphon

    Sonata II in G minor
    Ars instrumentalis pragensis (Ivan Sequardt, Libena Sequardtova - oboes, Lubos Hucek - bassoon, Josef Ksica - harpsichord, positive organ)
    and guests (Petr Hejny - viola da gamba, Petr Nejtek - double-bass)

    CD Multisonic

    Sonata No. 1 in F major for two oboes, bassoon and basso continuo
    Sonata No. 2 in G minor for two oboes, bassoon and basso continuo
    Sonata No. 3 in B flat major for violin, oboe, bassoon and basso continuo
    Sonata No. 4 in G minor for two oboes, bassoon and basso continuo
    Sonata No. 5 in F major for two oboes, bassoon and basso continuo
    Sonata No. 6 in C minor for two oboes, bassoon and basso continuo

    Heinz Holliger - oboe, Maurice Bourgue - oboe, Thomas Zehetmair - violin, Klaus Thunemann - bassoon, Klaus Stoll - double bass, Jonathan Rubin - lute, Christiane Jaccottet - harpsichord
    2 CD ECM

    Trio Sonatas 1 - 3, ZWV 181
    Jana Brozkova, Vojtech Jouza - oboe, Jan Jouza - violin, Jaroslav Kubita - bassoon, Vaclav Hoskovec - double bass, F. X. Thuri - harpsichord
    CD Studio Matous

    Sonata No. 4 in G minor
    Sonata No. 5 in F major
    Sonata No. 6 in C minor

    Jana Brozkova, Vojtech Jouza - oboe, Jaroslav Kubita - bassoon, Vaclav Hoskovec - double bass, F. X. Thuri - harpsichord
    CD Studio Matous

    Sonata for Violin, Oboe, Bassoon and Harpsichord No. 3
    Recordare, Domine, testamenti tui
    Kyrie eleison in A minor from the "Litaniae omnium sanctorum"
    Ipocondria - Overture for Orchestra
    Exurge, providentia - Aria for the Widsom from the festive play "Sub olea pacis et palma virtutis"
    In exitu Israel - Motet for Solo Voices, Choir and Orchestra

    Soloists, Kuhn Mixed Chorus
    Musici de Praga, Frantisek Vajnar / Ivan Parik

    CD Panton

    Sub olea pacis et palma virtutis conspicua orbi regia Bohemiae Corona
    Noemi Kiss, Anna Hlavenkova - sopranos, Markus Forster - countertenor, Jaroslav Brezina - tenor, Adam Zdunikowski - tenor, Ales Prochazka - bass
    Musica Florea, Marek Stryncl
    Musica Aetrna, Peter Zajicek
    Ensemble Philidor, Eric Baude-Delhommais
    Boni Pueri - Czech Boy's Choir, Pavel Horak
    conductor - Marek Stryncl
    World premiere recording

    2 CD Supraphon


  • Eva SCHÄFFEROVÁ

    (* 6.8.1995 Liberec)

    česká houslistka


  • Oskar NEDBAL

    (* 26.3.1874 Tábor - † 24.12.1930 Záhřeb)

    zakladatel české baletní pantomimy a české operety, první český dirigent světového významu


    Czech composer, conductor and violist

    He studied the violin with Endler in Tábor, from 1885-92 with Bennewitz at the Prague Conservatory. There he also studied the trumpet and the percussion with Bláha and the composition with Antonín Dvořák. He played the viola in the famous Czech Quartet from 1891 to 1906 in which other excellent Dvořák´s pupil composer Josef Suk was the second violinist. Oskar Nedbal was very successful as a conductor. In 1896-1906 he conducted newly founded Czech Philharmonic Orchestra. He worked as a guest conductor all over Europe. He founded and conducted the Tonkünstlerorchester (1907-18) in Vienna. He returned to Prague after the formation of Czechoslovakia, from 1920-21 he conducted Šak Philharmonic Orchestra. He escaped from nationalistic atmosphere unfriendly towards himself to Bratislava. He worked as a head of opera at the newly established Slovak National Theatre, as a director of the Bratislava radio station and as a reader at the university and the music academy. Nedbal was one of the most talented pupils of Antonín Dvořák but as a composer he focused on the "lighter muse". He rather understood composing as entertainment and relaxation from his intensive conducting activity. He composed many famous ballet-pantomimes and operettas which are written to Viennese librettos and in the fashion of Vienna and Berlin. They are works of fresh melody, musical invention, and colourful instrumentation. He made use fresh rhythms of Czech, Polish and Yugoslav folkdance. His well-known ballets are Pohádka o Honzovi (Tale of Honza, 1902), Z pohádky do pohádky (From Fairy Tale to Fairy Tale, 1908), Princezna Hyacinta (Princess Hyacinth, 1911), and Des Teufels Grossmutter (Devil´s Grandmother, 1912). From his operettas are Die keusche Barbara (Chaste Barbara, Vienna, 1911), Polenblut (Polish Blood, Polská krev in Czech, Vienna 1913), Die Winzerbraut (The Vineyard Bride, Vinobraní in Czech, Vienna, 1916), Die schöne Saskia (Vienna, 1917), Eriwan (Vienna, 1918) or Donna Gloria (Vienna, 1925). He wrote one opera Sedlák Jakub (Peasant Jacob, Brno 1922), Scherzo caprice (1892) for orchestra, and few piano works - Lettres intimes, 4 Pieces, Pohádka o smutku a štěstí (Fairy Tale about Grief and Joy, 1906). He died in Zagreb where he committed suicide by jumping from a window of the Opera House on December 24th 1930.

    Links http://www.divadlotabor.cz


    Biblography
    A. Buchner: Oskar Nedbal: život a dílo (Life and works) (Prague, 1976)
    J.M.Květ: Oskar Nedbal (Prague, 1947)
    A. Bauer: Opern und Operetten in Wien (Graz and Cologne, 1955)
    K.Junk: Handbuch des Tanzes (Stuttgart, 1930)
    V. Reittererová: O. Nedbal a Vídeň (Prague, 2005)


    Discography

    Polenblut (Polská krev)
    Iveta Dufkova - singing (1-15), Robert Sicho (3, 7, 11, 14)
    Vaclav Hybs and his orchestra

    1 CD Multisonic

    Valse Triste
    Czech Philharmonic Orchestra, Vaclav Neumann
    1 CD Supraphon

    Valse triste
    Prague Symphony Orchestra, Zdenek Macal
    1 CD MusicVars

    Valse triste from the ballet "The Tale of Simple Johnny"
    (Famous Czech Miniatures)

    Prague Symphony Orchestra, Vaclav Smetacek
    Recorded in 1973

    1 CD Supraphon


  • Josef SUK starší

    (* 4.1.1874 Křečovice - † 29.5.1935 Benešov)

    český hudební skladatel a pedagog, člen Českého kvarteta

    (Prague, 1956, 2/1962, Engl., Ger., Fr. and Russ. transl. 1968)
    J. Doubravová: Sound and Structure in Josef Suk's Zrání - International Review of the Aesthetics and Sociology of Music (1977, 73-87)

    Discography:

    Orchestral

    A Fairy Tale (No. 1 from Raduz a Mahulena, Op. 16)
    Czech Philharmonic Orchestra, Libor Pešek
    CD Supraphon

    A Fairy Tale (from "Raduz and Mahulena") | Four Pieces for Violin and Piano, Op. 17
    Ivana Tomaskova - violin, Renata Ardasevova - piano
    CD Multisonic

    A Fairy Tale No. 1 from Raduz and Mahulena | Towards a New Life (Festival March)
    Ivan Zenaty - violin (A Fairy Tale)
    Prague Philharmonic Orchestra, Bohumil Kulinsky / Vaclav Smetacek (Humoresque)

    CD Multisonic

    A Fairy Tale, Op. 16 | Suite from Raduz and Mahulena
    Prague Philharmonic Orchestra, Bohumil Kulinsky
    CD Multisonic

    A Fairy-tale | Suite, Op. 16 | Praga, Symphonic Poem for Large Orchestra, Op. 26
    Petr Skvor - violin (in Fairy-tale)  
    Czech Philharmonic Orchestra, Libor Pesek
    CD Supraphon

    A Summer Tale, Tone Poem for Large Orchestra, Op. 29  
    Meditation on the Old Czech Chorale "St. Wenceslas" for String Orchestra, Op. 35a
    Czech Philharmonic Orchestra, Karel Sejna
    CD Supraphon

    Asrael
    Czech Philharmonic Orchestra, Vaclav Neumann
    CD Supraphon

    Asrael
    Czech Philharmonic Orchestra, Vaclav Talich
    2 CD Supraphon

    Asrael (Symphony for Orchestra), Op. 27
    Bavarian Radio Symphony Orchestra, Rafael Kubelik
    CD Panton

    Fantasia in G minor for Violin and Orchestra, Op. 24 (1902)
    Josef Suk - violin  
    Czech Philharmonic Orchestra, Karel Ancerl  
    Golden Harmony Award 2002

    CD Supraphon

    Fantasic Scherzo for Orchestra, Op. 25
    Prague Symphony Orchestra, Jiri Belohlavek
    CD Supraphon

    Fantasy in G minor for Violin and Orchestra, Op. 24
    Ivan Zenaty - violin  
    Prague Philharmonic Orchestra, Bohumil Kulinsky
    CD Multisonic

    Fantasy in G minor for Violin and Orchestra, Op. 24
    Gabriela Demeterova - violin  
    Prague Symphony Orchestra, Libor Pesek
    CD Supraphon

    Jaro / Springtime, Op. 22a (1902), Pohádka léta / Summertime Tale, Op. 29 (1907-1909)
    Czechoslovak Radio Prague Orchestra, Josef Hrncir
    CD Český rozhlas

    Love Song, Op. 7 No. 1, Serenade in E flat Major
    Prague Symphony Orchestra, Vaclav Smetacek - 1973 (Love Song)  
    Czech Philharmonic Orchestra, Josef Vlach - 1962 (Serenade)

    CD Supraphon

    Meditation on the Old Bohemian Chorale "St. Wenceslas", Op. 35a
    Suk Chamber Orchestra, Josef Suk
    CD SKO

    Meditation on the Old Czech Choral "St. Wenceslas", Op. 35
    Czech Chamber Orchestra, Ondrej Kukal
    CD Waldmann

    Meditation on the Old Czech Chorale "St. Wenceslas" for String Orchestra, Op. 35a
    Legend of the Dead Victors, Commemoration for Large Orchestra, Op. 35b
    Towards a New Life, Festive Sokol March, Op. 35c

    Czech Philharmonic Orchestra, Rafael Kubelik
    CD Supraphon

    Praga, Dramatic Overture, Meditation on the Old Czech Chorale Saint Wenceslas  
    Legend of Dead Victors, Towards a New Life
    Prague Symphony Orchestra, Petr Altrichter
    CD Supraphon

    Praga, Op. 26, Symphonic Poem, A Fairy Tale [Pohadka], Op. 16, Suite for Orchestra
    Nordwestdeutsche Philharmonie, Alun Francis
    CD CPO

    Ripening, Symphonic Poem
    Czech Philharmonic Chorus and Orchestra, Karel Ancerl  
    Live recording (1963, 1964)
    CD Multisonic

    Serenade for String Orchestra, Asrael, Ripening, A Fairy-tale
    Czech Philharmonic Orchestra, Vaclav Talich
    13 CD Supraphon

    Serenade for String Orchestra in E flat major, Op. 6
    Suk Chamber Orchestra, Josef Suk
    CD Supraphon

    Serenade for String Orchestra in E flat major, Op. 6
    Prague Chamber Philharmonic Orchestra, Jiri Belohlavek
    CD Supraphon

    Serenade in E flat major for String Orchestra, Op. 6,  Love Song [Píseň lásky], Op. 7 No. 1
    Czech Philharmonic Orchestra, Libor Pesek (Serenade)  
    Gabriela Demeterova - violin, Collegium of Czech Philharmonic, Jan Chalupecky (Love Song)

    CD Supraphon

    Symphony in E major, Op. 14
    Czech Philharmonic Orchestra, Vaclav Neumann
    CD Supraphon

    Towards a New Life
    Czech Philharmonic Orchestra, Vaclav Neumann
    CD Supraphon

    Towards a New Life, Op. 35c (ceremonial march)
    Prague Symphony Orchestra, Zdenek Macal
    CD MusicVars

    Chamber

    Bagatelle, Village Serenade, Love Song
    Josef Suk - violin, Josef Hala - piano
    CD Lotos

    Elegy (under the impression of Zeyer's Vysehrad), Op. 23
    Academia Trio (Jaroslav Matejka - cello, Pavel Safarik - violin, Petr Jirikovsky - piano)
    CD MusicVars

    Evening Mood from Summer Moods for piano, Lullaby [Ukolébavka]
    Josef Suk - violin, Josef Hala - piano
    CD Supraphon

    Fantasy-Polonaise op. 5 [Fantazie-Poloneza], Humoresque in C major [Humoreska C dur], Moods op. 10 [Nalady], Piano Pieces op. 12 [Klavirni skladby], Village Serenade [Vesnicka serenada]
    Pavel Stepan - piano
    CD Supraphon

    Four Pieces for Violin and Piano
    Ballad for Violin and Piano, for Cello and Piano, for String Quartet a. o.

    Josef Suk - violin, Marek Jarie - cello, Josef Hala - piano, Jan Panenka - piano, Ivan Klansky - piano etc.  
    Suk Quartet

    CD Supraphon

    Four Pieces for Violin and Piano, Op. 17
    J. Novakova - violin, J. Hala - piano
    CD Panton

    Four Pieces for Violin and Piano, Op. 17
    Pavel Sporcl - violin, Michal Rezek - piano
    CD Clarton

    Four Pieces, Op. 17 for violin & piano
    Louis Persinger - piano, Ruggiero Ricci - violin, Ernest Lush - piano
    2 CD Decca

    Jaro/Spring, Op. 22a, Píseň lásky/Love Song, Op. 7, No. 1, Idylky/Small Idylls, Op. 7, No. 4
    Igor Ardasev - piano
    CD Supraphon

    Life and Dream, Op. 30, Lullabies, Op. 33, Episodes
    Pavel Stepan - piano
    CD Supraphon

    Love Song, Op. 7 No. 1, Humoresque, Op. 7 No. 2, Mother, Op. 28
    Ivan Moravec - piano
    CD Supraphon

    Love Song, Op. 7, No. 1
    Josef Suk - violin, Josef Hala - piano, Ales Barta - organ
    CD Lotos

    Love Song, Op. 7, No. 1
    Prague Symphony Orchestra, Vaclav Smetacek
    CD Supraphon

    Love Song, Op. 7, No. 1, Village Serenade, An Album Leaf, Bagatelle, Violin solo from the fairy-tale Raduz a Mahulena, Melody, Evening Mood
    Josef Suk - violin, Josef Hala - piano
    CD Lotos

    Meditation on the Ancient, Czech Chorale, "St. Venceslaw" Op. 35a
    New Vlach Quartet (Jana Vlachova - 1st violin, Ondrej Kukal - 2nd violin, Petr Verner - viola, Mikael Ericsson - violoncello)
    CD MusicVars

    Meditation on the Old Czech Chorale "Saint Wenceslas", Op. 35
    Janacek String Quartet (Jiri Novotny - violin, Vitezslav Zavadilik - violin, Ladislav Kyselak - viola, Bretislav Vybiral - cello)
    CD Amabile Melody

    Raduz and Mahulena
    Josef Suk - violin, Josef Hala - piano
    CD Lotos

    Piano Quartet in A minor, Op. 1
    Bohemia Quartet
    CD Panton

    Piano Quartet in A minor, Op. 1
    Kubelik Trio (Shizuka Ishikawa - violin, Karel Fiala - cello, Kvita Bilynska - piano)  
    Josef Suk - violin
    CD GZ

    Piano Quartet in A minor, Op. 1, Piano Quintet in G minor, Op. 8
    Jan Simon - piano, Josef Suk, Pavel Sporcl - violins, Karel Untermuller - viola, Jiri Barta - cello
    CD Lotos

    Piano Trio in C minor, Op. 2
    New Prague Trio (Arnost Strizek - piano, Jiri Klika - violin, Jan Zvolanek - cello)
    CD Panton

    String Quartets
    Suk Quartet
    CD Supraphon

    Trio for Piano, Violin and Cello in C minor, Op. 2; Elegy for Piano, Violin and Cello, Op. 23; Quartet for Piano, Violin, Viola and Cello in A minor, Op. 1; Quintet for Piano, 2 Violins, Viola and Cello in G minor, Op. 8
    Suk Trio (Trio, Elegy), Jan Panenka - piano (Quartet), Josef Suk - violin (Quartet), Suk Quartet (Quintet)
    CD Supraphon

    Vocal

    Mass in B flat major
    Marie Matejkova - soprano, Ilona Satylova - alto, Jiri Vinklarek - tenor, Michael Mergl - bass  
    Miluska Kvechova - organ  
    Prague Radio Chorus  
    Plzen Radio Orchestra, Stanislav Bogunia

    2 CD Radioservis

    Ten Songs, Op. 15
    Bambini di Praga  
    L. Cermakova, J. Saroun - piano accompaniment  
    Bohumil Kulinsky

    CD Multisonic


  • Rudolf PISKÁČEK

    (* 15.3.1884 Praha - † 24.10.1940 Praha)

    zakladatel české lidové operety

    Czech composer and conductor

    He studied composition and the organ et the Prague Conservatory 1903-06. His Violin Sonata A minor was awarded first prize of the Czech Academy of Arts and Sciences. His main job was the composing of operetta and conducting (in Aréna, Vinohrady Theatre, Akropolis in Prague, in 1925-26 also in České Budějovice. Of his 40 operettas those that have been most performed are Slovácká princezka (1917), Tulák (The Tramp, 1924) and Perly panny Serafínky (Miss Serafinka´s Pearls, 1928). Many of his compositions are inspired by Czech and Moravian folksongs (Fantasia for piano, Slovácká princezka, many male chorus). Piskáček´s brother Adolf was a composer and choirmaster.


  • Jan Václav TOMÁŠEK

    (* 17.4.1774 Skuteč - † 3.4.1850 Praha)

    český skladatel, klavírista a pedagog

    Bohemian pianist, composer and teacher

    V. J. K. Tomášek was an influential teacher and pianist, and in 1824 he opened his own music institute in Prague. He educated a number of outstanding pianists and composers, such as J. Voříšek, A. Dreyschock, and E. Hanslick. He soon became a leading personality on the Prague music scene. As a composer, he left behind a great number of valuable symphonic (Symphony in D major) and concerto works (Piano concerto in C major), as well as remarkable religious music (Missa solemnis in C major, Requiem in C minor, Te deum). He also tried his hand at composing musical plays and operas, but he mainly concentrated on piano pieces and solos. It is the songs with German lyrics by J. W. Goethe that represent his independent path towards romantic chamber airs. The ideas behind Tomášek's style are rooted in Classicism, but in many ways they presaged the birth of romanticism. In this regard, his short piano compositions are of great importance, as in them he preceded the greatest masters of this genre, Voříšek, Schubert, and Chopin.

    Text: Musica Bona


  • Vlastimil HÁLA

    (* 7.7.1924 Souš (Most) - † 29.7.1985 Vysoký Újezd)

    český skladatel a aranžér, autor taneční, filmové a scénické hudby

    He studied business academy, composition privately with J. Rychlík and J. Feld. Shortly, he absolved composition and arrangement of pop music in London. After WWII, he became a member of the group Swing Stars, from the year 1947 to 1964 he was a trumpeter and an arranger of popular Karel Vlach's Orchestra.

    During the year 1964-84 he worked as a music director in Radio. He wrote many theatre and stage musics: My chceme gól (We Want to Score), Sheheresade, Tři pomeranče (Three Oranges), Charleyova teta (Charlie's Aunt) a.o. He became a pioneer of the Czechoslovakian musical: Starci na chmelu (Gray bards Picking the Hops), Čtyři vraždy stačí, drahoušku (Four Murders Are Sufficient, Darling), Šest medvědů s Cibulkou (Six Bears with Cibulka), Zabil jsem Einsteina, pánové (I killed Einstein, Gentlemen), with J. Rychlík he composed the music to Limonádový Joe (Lemonade Joe), with J. Bažant and J. Malásek to the film Dáma na kolejích (Lady on the Rails), with M. Štědroň to the film Balada pro banditu (Ballad for Bandit) or Blues pro E.F.B. (Blues for E.F.B.).

    He composed also many popular songs or orchestral jazz music. He is an author of the book Základy aranžování moderní populární hudby (Basics of Arrangement of Modern Popular Music, 1980).


  • Bohuslav MARTINŮ

    (* 8.12.1890 Polička - † 28.8.1959 Liestal)

    český skladatel


    Czech composer

    B. Martinů was born in the tower of St James' church in Polička as the son of cobbler and sentinel Ferdinand Martinů and his wife Karolina. In 1906 he began studying violin at the Prague Conservatoire, from which he is "expelled for irreparable negligence" on 4 June 1910. In 1912 he started writing the piano cycle Loutky (Puppets,1912-23), his first "proper" work. In 1920 in the autumn became permanent member of the Czech Philharmonic, placed on the 3rd desk of the 2nd violins. In 1923 he goes to Paris in October to study composition with Albert Roussel and he lives in Paris until 1940 as a free-lance composer, usually spending the summer months in Polička. In the summer 1924 Martinů wrote the orchestral rondo Half-Time in Polička, his first mature work. One year later he wrote his String Quartet No. 2, a work, which gave him international recognition. In 1926 he was introduced to Charlotte Quennehen, who would become his wife. He writes La Bagarre for large orchestra. In 1927 among others, he completed his first opera Voják a tanečnice (The Soldier and the Dancer) and the jazz ballet Kuchyňská revue (Kitchen Revue). He made the acquaintance of Dr Miloš Šafránek, later the composer's assistant and biographer founding of Ecole de Paris, whose members included Martinů, Mihalovici, Beck and Harsányi, later also Tansman and Cherepnin. In1931 he married Charlotte Quennehen. In 1932 Martinů completed his evening ballet Špalíček and also his String Sextet, which wins 1st Prize from the Elisabeth Sprague-Coolidge Foundation in Washington. During 1934-36 among others, he wrote the opera cycle Hry o Marii (The Miracles of Mary, 1934), the radio operas Hlas lesa (Voice of the Woods) and Komedie na mostě (Comedy on the Bridge,1935), and especially the opera Julietta aneb snář (Julietta or the Dream Book, completed in January 1937). In 1937 he met the composer Vítězslava Kaprálová, later to become his pupil and lover. He writes the cantata Kytice (Bouquet) and Concerto grosso for chamber orchestra. One year later Julietta was premiered in March in the National Theatre in Prague. It was a year of a series of supreme works, among them Tre ricercari for chamber orchestra, Concertino for piano and orchestra, String Quartet No. 5. On the day of the Munich Agreement (29. 9.) he finished a commission for Paul Sacher - Double Concerto for Two String Orchestras, Piano and Timpani. In 1939 Martinů is also working on his cantata Field Mass for Czech volunteers in France. In 1940-41 he emigrated to the USA via the South of France, Spain and Portugal. Most of his manuscripts remain in France; he takes only 4 scores with him. While on the move he writes Sinfonietta giocosa for piano and small orchestra. He settles in New York and works written this year include Concerto da camera for violin and chamber orchestra: On December 14th was premiered his Concerto grosso, performed by Sergei Kussevitzky and the Boston Symphony Orchestra and he enjoys tremendous success. In 1942-43 he writes Symphony No. 1 and he adds a new symphony to his repertoire with each year (until 1946). In the summer teaches composition at a summer course in the Berkshire Music Centre he later teaches at the Mannes School of Music in New York and at Princeton University (from 1948). In 1943 he wrote his Concerto for Two Pianos and Orchestra, Concerto No. 2 for violin and orchestra for Misha Elman, and the orchestral work Památník Lidicím (Memorial to Lidice). In 1944 he began an affair with Rosalie Barstow, which lasts until 1954. From 1946 he teaches again at the Berkshire Music School. On 17 July suffers a serious injury, the consequences of which (severe hearing difficulties, giddiness and headaches) would plague him for the rest of his life. He writes Toccata e due canzoni for Paul Sacher and his Basle Chamber Orchestra. In 1948 he completes his Piano Concerto No. 3 and abandons the idea to return to Czechoslovakia. During the summer he visited Europe (France and Switzerland). He was appointed professor of composition at Princeton University (New Jersey) in September where he stays until 1951. In this year he began work on his Fantaisies symphoniques (Symphony No. 6), completed in 1953. He received the prize for the production of Comedy on the Bridge (1935) at the Mannes School of Music. In 1952 he acquired American citizenship but leaves the USA the following year and settles with Charlotte in Nice, from this time lives primarily in France, Italy and Switzerland. In 1954 he meets Nikos Kazantzakis, begins work on the opera Řecké pašije (Greek Passion). In 1955 he creates a number of exquisite works: the oratorio Epos o Gilgamešovi (The Epic of Gilgamesh), Concerto for oboe and small orchestra, the orchestral frescoes Piero della Francesca. Charles Munch premiered the Fantaisies symphoniques in Boston and New York with the Boston Symphony Orchestra; for this work Martinů received the annual prize awarded by the New York Music Critics' Circle. In this year he returned to the USA for the last time for a few months at the end of the year In 1956 he wrote Inkantace (Incantations - Piano Concerto No. 4), he was awarded another grant from the Guggenheim Foundation for the opera the Greek Passion, the first version of which is completed in January of the following year. In 1957-58 - Paul and Maya Sacher invited Martinů once more to Schönenberg near Basle; he and Charlotte settled there permanently from September onwards. Martinů wrote his Piano Concerto No. 5. In 1958 he wrote the orchestral work Paraboly (Parables), the opera Ariadne and began the second version of the Greek Passion. In 1959 perhaps sensing his approaching death, he frantically produced one work after another: he finished the second version of the Greek Passion, particularly the Nonet, Czech Madrigals for five solo voices, Chamber Music No. 1 and the cantatas Mikeš of the Mountains and Prorok Izaiáš (the Prophecy of Isaiah). He died on 28 August in a cantonal hospital in Liestal near Basle and was buried in Schönenberg. His remains were transferred to his native Polička in 1979

    Links
    www.martinu.cz


  • Karel REINER

    (* 27.6.1910 Žatec - † 17.10.1979 Praha)

    český skladatel

    Czech pianist and composer

    He received his basic music education with his father, cantor in Žatec. After, he studied law at the German University in Prague and musicology at Charles University. He also absolved Suk´s master class (in 1931) and Hába´s micro-interval department (1935). 1934-38 he worked as a pianist and composer in Burian´s D 34 Theatre, he recorded for the Esta gramophone company. During the war, he was interned in the concentration camps. After the war in 1945 he returned to Prague and prepared the performance of Hába´s opera the Mother for the Theatre of the 5th of May. He was interested in the performing of contemporary piano music, he worked as a music organiser, wrote to music journals (especially Rytmus). His composing style is close to Hába´s methodology, after he included also new post-war techniques. He is especially author of chamber music (over 250 compositions).


  • Jan HUDEČEK

    (* 13.8.1990 České Budějovice)

    český fagotista


  • Jakub FIŠER

    (* 1.1.1980 Praha)

    český houslista


  • Karel BERMAN

    (* 14.4.1919 Jindřichův Hradec - † 11.8.1995 Praha)

    český operní pěvec - bas, ředitel opery, pedagog, překladatel libret

    Czech bass singer, opera director, pedagogue, translater of liberttos. He studied singing at the Prague Conservatory with Egon Fuchs and Hilbert Vávra, direction with Ferdinand Pujman, conducting with Pavel Dědeček, and composition with Rudolf Karel and Viktor Ullmann. In 1943/44, he was deported to the Theresiendstadt Ghetto for the racial reasons. He survived the concentration camps in Osvetim, Kaufering and Allach near Dachau (1944–45). In 1946, graduated from the Conservatory and became a soloist and the director of the Opera in Opava. From 1948, he was engaged in Pilsen, and between 1953 and 1991 at the National Theatre in Prague. From 1961 to 1971 he taught at the Conservatory and from 1964 to 1987 at the Academy of Performing Arts in Prague. He had a sonour and agile bass voice and oustanding dramatic talent. His repertoire was based on the roles of Czech operas composed by B. Smetana (Kecal from The Bartered Bride, Bonifác from The Secret, Paloucký from The Kiss), by A. Dvořák (Water Sprite in Rusalka, Burgrave in Jakobin), by L. Janáček (Game Warden in The Cunning Little Vixen, Dikoj in Káťa Kabanová) and by B. Martinů (The Greek Passion). The role of Leporello from Mozart´s Don Giovanni was his must famous role. His other important roles included i.e. Filip II. in Verdi´s Don Carlos, Bartolo in Rossini´s Barber of Seville, Mefisto in Gounod´s Faust, Rocco in Beethoven´s Fidelio, Boris Godunov in Musorgski ´s Boris Godunov as well as other roles in opera composed by R. Wagner. He performed approximately 3500 stages. He became known also as a concert singer. He arranged several operatic librettos, in 1978 he wrote a libretto to Ivo Jirásek´s opera The Bear (1978) based on the short play by Chekhov.


  • František Vincenc KRAMÁŘ-KROMMER

    (* 27.11.1795 Kamenice - † 8.1.1831 Vídeň)

    český skladatel, dirigent, představitel českého hudebního klasicismu


    Bohemian composer, conductor and concert master

    F. Kramar (also known as Krommer) after he completed his studies went, like many others, to Vienna and the Hungarian Lands, where he gained his expirience. He made use of these experiences as a concert master in the Bratislava group of Count Grassalkovic and, after the death of L. Koželuh, as a composer and conductor in the Prince's court in Vienna. Kramař's style developed from the Vienna classics and popular Czech folk elements of the time. He composed 5 symphonies, 10 concertos (notable are the oboe and clarinet), much chamber music, and masses. His compositions for wind instruments and ensembles are especially original.

    Text: Musica Bona


  • Leo Marian VODIČKA

    (* 8.4.1950 Brno)

    český operní pěvec - tenor

    Czech tenor

    He studied at the Janáček Academy of Performing Arts. During 1971/72 season, he was engaged in České Budějovice (he debuted as Lukáš in Smetana´s The Kiss), from 1972 to 1979, he worked in Olomouc, from 1979 to 1982 again in Brno, from 1982 in the National Theatre in Prague, where he guested yet in 1973, and from 1987 to 1992 for third time in Brno. Since 1992, he has been singing without permanent engagement on Czech and foreign stages. He performed the Prince in Dvořák´s Rusalka (1990) at the State Opera in Vienna and Dalibor in Smetana´s Dalibor (1998) in Zürich, Sofia and at the festival. He has a dark coloured tenor voice. His repertoire includes i.e. Jeník in The Bartered Bride, Šťáhlav in Libusse, Manrico in Verdi´s Trubadur, Radames in Aida, Otello, Don Carlos, Rudolf in Puccini´s Bohema, Dick Johnson in the Puccini´s The Girl from the Golden Western, Kalaf in Turandot, Dimitrij in Dvořák´s Dimitrij, Laca in Janáček´s Jenůfa, Mánek in Foerster´s Eva, Don José in Bizet´s Carmen, Turiddu in Mascagni´s Cavalleria rusticana, Walter Stolzing in Wagner´s Master Singers from Norimberg. He is currently performing also as a concert singer i.e. in Janáček´s A Diary of One who disappeared.


  • Václav NEUMANN

    (* 29.9.1920 Praha - † 2.9.1995 Vídeň)

    český dirigent

    Czech conductor

    He studied violin at the Prague Conservatory with Josef Micka, conducting with Pavel Dědeček and Metod Doležil. He was a cofounder and violist of the Smetana´s Quartet. From 1945, he was a violist, from 1948 to 1950, conductor of Czech Philharmonic Orchestra. Later, he worked as the artistic director of the Karlovy Vary Symphony Orchestra and Symphony Orchestra of Brno´s Region. From 1955 to 1960, he was the chief conductor (later guest conductor) of the Komische Oper in Berlin where he studied Janáček´s Cunning Little Vixen under the direction by Walter Felsenstein among other pieces. This stage has a European reputation. He toured throughout Europe with the Berlin Opera. From 1964 to 1968, he was the general director of the Opera in Leipzig and the chief conductor of the Gewandhausorchester. In 1968, after emigration of Karla Ančerl, he took over his position of head conductor in Czech Philharmonic Orchestra. Between 1970 and 1973, he also worked as the general director of the Stuttgart Opera where studied many Czech works such as Janáček´s The Cas Macropulos and Káťa Kabanová and Smetana´s The Bartered Bride. He devoted himself also to conducting concerts of the Czech Philharmonic Orchestra. He recorded with them several compositions such as the complete of Mahler´s symphonies and works by Miloslav Kabeláč. The recording of the work by Bohuslava Martinů received an award. He made several tours abroad with Czech Philharmonic Orchestra including Japan. He performed on foreign opera´s stages such as the State Opera in Vienna, the Deutsche Oper in Berlin, the State Opera in Münich, the Metropolitan Opera in New York (in 1985 with Janáček´s Jenufa). In 1987, he prepared Martinů´s Ariadne and Stravinsky´s scenic oratorio Oedipus Rex on the stage of the National Theatre in Prague.


  • Jan HANUŠ

    (* 2.5.1915 Praha - † 30.7.2004 Praha)

    český skladatel


  • Marek ŠTILEC

    (* 1.1.1985 Praha)

    český houslista a dirigent


  • Václav VONÁŠEK

    (* 1.1.1985 Blatná)

    český fagotista


  • Miron ŠMIDÁK

    (* 1.1.1980 Ostrov)

    český klavírista


  • Roman HOZA

    (* 4.4.1990 Zlín)

    český operní pěvec - baryton

    Biography:
    He works in Düsseldorf/Duisburg, Opernstudio Deutsche Oper am Rhein. Cooperation - Le Studio de L'opéra national de Lyon, National Theatre Brno, Silesian Theatre Opava, Opera on the Road, Ensemble Inégal, Collegium 1704, Musica Florea, Capella Mariana, Research Centre of Music and Opera Theatre (VCHOD) and others.

    Studies:
    Janáček Academy of Performing Arts in Brno (Zdeněk Šmukař); Universität für Musik und darstellende Kunst Wien (Margit Klaushofer); master courses: Helmut Deutsch, Jean-Paul Fouchecourt, Tom Krause, Christa Ludwig, Adam Plachetka, Evelyn Tubb and others.

    Repertoire (selection):
    J. S. Bach, G. Donizetti, A. Dvořák, G. F. Händel, B. Martinů, W. A. Mozart, G. Rossini, F. Schubert, R. Schumann, B. Smetana.

    Competitions:
    Ad honorem Mozart (2013, 1st prize); International Competition of Chamber and Sacred Music (2011, 1st prize).

    Festivals:
    Prague Spring (2015), Opera music theatre festival (2015, 2014), Salzburger Festspiele (2014), De Bijloke Gent (2014), Festival Contrepoints 62 (2014) and others.

    Agency:
    Agency Camerata (Martina Straková) - for the Czech Republic, Theateragentur Kühnly (Michael Kühnly) - foreign countries

    Contact:
    e-mail: hoza.roman@gmail.com


  • Jiří PŘIBYL

    (* 1.1.1975 Tábor)

    český operní pěvec - bas

    Biography: He works in Moravian Theatre Olomouc.
    Guest performances - F. X. Šalda Theatre in Liberec, J. K Tyl Theatre in Pilsen.

    Studies: private lessons with Václav Zítek.

    Repertoire (selection): W. A. Mozart, G. Rossini, G. Donizetti, C. M. von Weber, B. Smetana, A. Dvořák, G. Verdi, G. Bizet, J. Massenet, P. I. Tchaikovsky, G. Puccini,  A. P. Borodin, V. Ullmann, P. Haas, Z. Pololáník.

    Festivals: 59th Wexford Opera Festival, Ireland (2010).

    Awards: Thalia Award 2013 for the main role in Falstaff (opera).

    Recordings:
    YouTube: G. Verdi: Falstaff - the edited version of the performance in the Moravian Theatre Olomouc (2014).

    Reviews, articles:
    "The way he coped with such a difficult role as a singer and actor is worth admiring." (Opera plus - Operní panorama Heleny Havlíkové 135).
    "The cast of young soloist Jiří Přibyl, who has sung mostly bass roles, as Falstaff, the big bass-baritone role, was daring. However, he created the character of an aging bon vivant as a fat and boastful gasbag, who is not afraid to do bad things. His Falstaff is an incorrigible self-indulgent drunkard and distinctive philosopher, who does not take himself too seriously." (Thalia Awards magazine 2013).

    Contact:
    e-mail: jirka.pribyl@centrum.cz


  • Barbora PERNÁ

    (* 1.1.1990 Hradec Králové)

    česká operní pěvkyně - soprán

    Agency: Monika Boušková, Bohemian Artists concert agency

    Contact:
    e-mail: pernaba@seznam.cz


  • Adam PLACHETKA

    (* 4.5.1985 Praha)

    český operní pěvec - basbaryton

    Biography: Workplace - Wiener Staatsoper. Guest performances – National Theatre Prague, Seoul Arts Center, Bayerische Staatsoper Munich, Théâtre Royal de la Monnaie Brussels, Royal Opera House Covent Garden London, Opéra de Nice, Opéra Comédie Montpellier, Deutsche Oper Berlin, Deutsche Staatsoper Berlin, Teatro alla Scala Milano, Metropolian Opera New York.
    Cooperation - Wiener Philharmoniker, Chicago Symphony Orchestra, Scottish Chambre Orchestra, Orchestre Philharmonique de Radio France, Czech Philharmonic, PKF – Prague Philharmonia, State Philharmonic Brno, Prague Symphony Orchestra, Bohuslav Martinů Philharmonic Orchestra Zlín, Collegium Marianum, Ensemble Baroque, Children’s Opera Prague.

    Studies: Prague Conservatory (Luděk Lȍbl); Academy of Performing Arts in Prague (Martin Bárta).

    Repertoire (selection): W. A. Mozart, G. Donizetti, G. Rossini, A. Dvořák, B. Smetana, G. Verdi, G. F. Händel, G. Puccini, R. Strauss, J. S. Bach, J. Brahms, J. J. Ryba.

    Competitions: Antonín Dvořák International Singing Competition in Karlovy Vary (2004, 1st prize Junior), Eiditio Bärenreiter Award, Vilém Zítek Award.

    Festivals: Music Festival Znojmo (2005, 2006, 2012), Salzburger Festspiele (2007—2011), Prague Spring (2009, 2010, 2012, 2014), Festpielhaus Baden Baden (2012), Glyndebourne Festival (2013), Dvořák Prague (2013).

    Recordings: H. Berlioz: Benvenuto Cellini (Naxos, 2009); A. Dvořák: Rusalka (Orfeo, 2011); G. F. Händel: Alcina (Arthaus Musik, 2011); Händel Oratorio Arias (Supraphon, 2012); W. A. Mozart: Così fan tutte (Deutsche Grammophon 2013); Adam Plachetka Live (Radioservis, 2014); Adam Plachetka Songs (Radioservis, 2014).

    YouTube: W. A. Mozart- Arie des Grafen / Hochzeit des Figaro, 2013; Adam Plachetka recital - Music Festival Znojmo, 2012.

    Reviews, articles: "The biggest cheers were saved for Adam Plachetka and Michele Pertusi who were magnificent in their respective roles... Plachetka's Guglielmo possessed a burnished voice which was balanced from top to bottom. Also impressive was the baritone's recitative, which displayed emotive intensity through razor-sharp Italian." (Bachtrack, 23 June 2014).
    "Adam Plachetka and Laura Tatulescu are excellently matched as Figaro and Susannah, technically assured and confidently acted – and with such consistent performances across the cast, Mozart’s glorious ensemble arias are a real highlight of the evening." (Financial Times, 10 June 2013).
    "The original Don Giovanni, Bo Skovhus, has had to withdraw, but at the Vienna State Opera they have the very young Adam Plachetka in the ensemble, who was able to take over. Adam’s house debut was last season as Masetto, and now he is making his successful and promising role debut in a title role. He convinced with his well-run, dark bass-baritone timbre which will only get more sparkling over time, the champagne aria and his squeaky clean yet mastered serenade also enchanted. Visually and dramatically, he is certainly now an ideal Giovanni." (Die Presse, September 2011).

    Links:
    www.adamplachetka.com; www.camerata.cz; www.askonasholt.co.uk

    Agency: Agentura Camerata, for the Czech Republic and Slovakia;
    Askonas Holt Ltd, the world except for the Czech Republic and Slovakia

    Contact: 
    e-mail: adam@adamplachetka.com


  • Hana BLAŽÍKOVÁ

    (* 2.12.1980 Praha)

    česká pěvkyně - soprán

    Biography: Cooperation - Collegium Vocale Gent, Bach Collegium Japan, Amsterdam Baroque Orchestra, L´Arpeggiata, Tafelmusik, Gli Angeli Geneve, La Fenice, Collegium 1704, Nederlandse Bachvereniging, Boston Symphony Orchestra, Collegium Marianum, Sette Voci, Tiburtina Ensemble, Ensemble Masques, Orchestr Berg, L´Armonia Sonora, Ensemble Inégal, Ensemble Toubillon, Schola Gregoriana Pragensis, CordArte, Gesualdo Consort, Capella Regia Praha, Ritornello, Musica Florea

    Studies: Jan Neruda Grammar School (Jarina Smoláková-Svolinská), Prague Conservatory (Jiří Kotouč); master courses: Peter Kooij, Monika Mauch, Poppy Holden, Howard Crook.

    Repertoire (selection): from the Middle Ages: chorale, anonymous pieces, troubadours, trouveres, minnesingers, Spanish area (Cantigas de Santa Maria), Czech lands, G. de Machaut, H. von Bingen and others), Renaissance (P. de Monte, G. Dufay, J. Regnart, K. Harant, T. Tallis, O. Lassus, C. Gesualdo da Venosa, N. Gombert, G. P. da Palestrina and others), Baroque (G. Bononcini, J. J. Fux, A. Ariosti, B. Strozzi, G. Carissimi, J. S. Bach, G. F. Händel, A. Caldara, A. Stradella, H. Purcell, W. Byrd, C. Monteverdi, H. Schütz, J. H. Schein, J. D. Zelenka, F. Cavalli, A. Scarlatti, F. I. A. Tůma, M.-A. Charpentier, F. Couperin, A. Vivaldi, J. Rosenmüller, F. B. Conti, J. A. Sehling, A. V. Michna and others) to W. A. Mozart, F. Chopin, R. Schumann, F. Mendelssohn, V. J. K. Tomášek, A. Dvořák, G. Fauré, M. Nejtek and others.

    Festivals: Prague Spring (2005, 2008), Edinburgh International Festival (2014), Oude Muziek Utrecht (2005, 2010, 2013, 2014), Resonanzen (2006), Tage Alter Musik Regensburg (2005, 2014), Festival de Sablé (2007), Festival de la Chaise - Dieu (2010, 2012), Festival de Saintes (2008, 2009, 2011), Bach Academie Brugge (2013, 2014), Arts festival Hong Kong (2011), Chopin i jego Europa (2012, 2014), Concentus Moraviae (2012, 2013, 2014), Akademia Bachowska (2014), Lípa Musica (2012), Summer Festivities of Early Music (2012, 2013), Bachfest Leipzig (2012, 2013), Accademia delle Crete Senesi (2010, 2011, 2013) and others.

    Recordings: Vienna 1709: Opera Arias, Ariosti, Bononcini, Fux (Accent, 2014); J. S. Bach: Mass in B minor BWV 232 (Accent, 2013); J. S. Bach: Ach süßer Trost! Leipzig cantatas (PHI, 2012); J. D. Zelenka: Il Serpente di bronzo (Adam Viktora, 2005); J. D. Zelenka: Officium defunctorum & Requiem (Accent 2011); Laudate Pueri Dominum, Piarists Music in Baroque Bohemia (Supraphon, 2008); Rorate Coeli, works of V. K. H. Rovenský, A. Reichenauer, J. D. Zelenka, J. F. Fasch, A. Caldara (Supraphon, 2009); Bach, Buxtehude, Telemann, German Baroque Cantatas vol. 2, (Sony Vivarte, 2009); Heinrich Schütz: Italienische Madrigale op. 1 (CPO, 2013); J. S. Bach: Jesu, meine Freude - Die Motetten (Ramée, 2009); Jan Josef Ignác Brentner: Concertos & Arias (Supraphon, 2009); Harmoniae Sacrae, works of Tunder, Meder, Weckmann, H. I. F. Biber, Christoph Bernhard, Buns, with Peter Kooy (Ramée, 2010); J. S. Bach: Complete Cantatas Vol. 42–55 (BIS Recordings, 2006–2014); German Baroque Cantatas: Schop, Förtsch, Pachelbel, Krieger, Biber, Capricornus, Ebart, Buxtehude (Pan Classics, 2013); Praga Magna, The Music in Prague during the Reign of Rudolf II (Supraphon, 2013); J. S. Bach: Missa in B minor BWV 232 (PHI, 2011); V. G. Jacob: Missa Dei Filii (Supraphon, 2009); K. V. H. Rovenský: Čas jako hlas (Arta, 2004); J. A. Sehling: Christmas in Prague Cathedral  (Supraphon, 2014); Flos inter spinas (Supraphon, 2011); J. I. F. Vojta: Musicius salutaris (Arta, 2006); A. Vivaldi: Dixit Dominus RV 595 ad.(Nibiru Records, 2009); Václav II., Schola Benedicta (Arta, 2008), J. D. Zelenka: Il Diamante ZWV 177 (Nibiru Records, 2009); J. D. Zelenka: Musica ad Sepulchrum Domini: Immisit Dominus pestilentiam ZWV 58, 1709 ad. (Supraphon, 2011); J. D. Zelenka: Missa Sancti Josephi ZWW 14, Litaniae Xaverianae ZWV 155 (Nibiru Records 2011).

    YouTube: A. Caldara: Maddalena ai piedi di Cristo (2011) https://www.youtube.com/watch?v=mA6bCPPNYFU;
    J. S. Bach: Blute nur, du liebes Herz /Matthäus-Passion BWV 244 (2011) https://www.youtube.com/watch?v=he95Y0WkGQU;
    Beatriz de Dia: A chantar m'èr de çò (2012) https://www.youtube.com/watch?v=A1JAPAjd3V0;
    G. F. Händel: Disserratevi porte d'averno / La Resurrezione HWV 47 (2010) https://www.youtube.com/watch?v=NDd57KOxGfc&list=PLIZ_cyfYqlLRLV__E-3Y0qSH5Nr7OC7de;
    J. S. Bach: Cantata for 9th Sunday after Trinity Philippe BWV 105 (2013) https://www.youtube.com/watch?v=daSc5x4rtAc,  https://www.youtube.com/watch?v=DUWGCNF8NY0

    Reviews, articles: Collegium 1704, Václav Luks - J. S. Bach- Mass in B minor BWV 232: "Blaziková is one of the brightest stars in the early music scene right now, and it is easy to understand why that is the case. She has a very beautiful voice, with a bright timbre and great flexibility. Her articulation and phrasing and her treatment of dynamics are outstanding and very appropriate for this kind of music. She is the main asset of this recording." (MusicWeb International, 11th December 2013); 
    Collegium Vocale Gent, Philippe Herreweghe - J. S. Bach- Ach süsser Trost, Leipzig Cantatas: "...Perfect balance is found here and Hana Blažiková's sparkling singing contributes to a memorable account... I defy anyone to find a more deploring and anguished reading of 'Wie zittern', with oboist Marcelle Ponseele performing the obbligato oboe even more exquisitely than before ... a reading of experience and great beauty: quite simply a 'must-have' for Bach lovers." (Gramophone Magazine, February 2013).

    Agency: for Germany - SONUS, Agentur für Alte Musik

    Contact:
    e-mail: hanablazikova@centrum.cz


  • Luisa ALBRECHTOVÁ

    (* 1.1.1980 Praha)

    česká operní pěvkyně - soprán

    Links: www.luisaalbrechtova.com

    Contact: Künstleragentur Tobias Kade, Dresden, DE, www.kuenstleragentur-kade.de

    e-mail: luisa.albrechtova@centrum.cz


  • Pavel ŠVINGR

    (* 1.1.1985 Litoměřice)

    český operní pěvec - bas

    Agency: ArcoDiva Management agency

    Contact:
    e-mail: p.svingr@seznam.cz



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