Sunday, June 4 / 8:00 p.m. / Church of St. Barbara
Mozart / Slavický / Schubert
Wolfgang Amadeus Mozart: Quintet in E flat major for Piano, Oboe, Clarinet, French horn and Bassoon, K 452
Konstantin Lifschitz – piano, Vilém Veverka – oboe, Michel Raison – clarinet, Kateřina Javůrková – French horn, Jan Hudeček – bassoon
I. Largo – Allegro moderato
Klement Slavický: Trio for Oboe, Clarinet and Bassoon
Vilém Veverka – oboe, Michel Raison – clarinet, Jan Hudeček – bassoon
Franz Schubert: Octet in F major for Two Violins, Viola, Cello, Double-bass, Clarinet, French horn and Bassoon, D.803
Milan Pala, Roman Patočka – violins, Karel Untermüller – viola, Jiří Bárta – cello, Tomáš Vybíral – double-bass, Michel Raison – clarinet, Kateřina Javůrková – French horn, Jan Hudeček – bassoon
I. Adagio – Allegro – Più allegro
III. Allegro vivace – Trio – Allegro vivace
IV. Andante – variace. Un poco più mosso – Più lento
V. Menuetto. Allegretto – Trio – Menuetto – Coda
VI. Andante molto – Allegro – Andante molto – Allegro molto
The Quintet in E flat major by Wolfgang Amadeus Mozart (1756-1791) propels us far beyond the concept of chamber music as merely an insouciant form of entertainment. What we have here is a composition clearly betraying its maker´s genius embedded in every single bar: while perfect equilibrium between the sound of the keyboard instrument and the wind component reigns supreme, at the same time each of the two gets its due opportunity to bring into light its own unique qualities. The composition as a whole is embued by tender sonic poetry and the spirit of uninterrupted amicable dialogue. The concertant element gets the upper hand most notably in the bravura final movement.
The Trio for Oboe, Clarinet and Bassoon was one of the first pieces composed by Klement Slavický (1910-1999) after graduating from the master school of Josef Suk. Already clearly present in this early work from this member of a noted musical family hailing from Tovačov in central Moravia, is his highly individual idiom marked by features typical for the region´s folk music (a source to which he would turn with an even stronger affinity during the Second World War). This composition is notable for its vivacious rhythmic element, and its virtuoso treatment of the individual parts. First publicly performed in 1937, ten years later it scored major success at a festival in Copenhagen. Ever since then it has ranked among the best-loved Czech compositions for this combination.
Franz Schubert (1797-1828) composed his Octet in 1824, in the neighbourhood of another two important chamber works – the “Rosamunde” and “Death and the Maiden” Quartets. It was commissioned from the composer by the Austrian clarinetist, Ferdinand Troyer, who also premiered it along with two colleagues. This widely popular composition offers an accomplished coupling of elements of the chamber serenade format with symphonic aspirations.
sleeve-note: Dita Hradecká / translation: Ivan Vomáčka