Thursday / August 26 / 8:30 p.m. / Church of St. John Nepomucene
Concert dedicated to Corinne Chapelle
Jan Klusák: Priápeia for Oboe Solo
Vilém Veverka – oboe
Samuel Barber: String Quartet in B minor, Op. 11
I. Molto allegro e appassionato
II. Molto adagio
III. Molto allegro (come prima)
Helena Jiříkovská, Petr Zdvihal – violin, Karel Untermüller – viola, Jiří Bárta – cello
Miloslav Kabeláč – Sonatina for Oboe and Piano, Op. 24
I. Grave. Rapsodico. Allegro non troppo
Vilém Veverka – oboe, Terezie Fialová – piano
Henryk Górecki: Concerto for Piano and Strings, Op. 40
I. Allegro molto
II. Vivace marcatissimo
Terezie Fialová – piano, Helena Jiříkovská, Petr Zdvihal – violin, Karel Untermüller – viola,
Jiří Bárta – cello, Tomáš Vybíral – double-bass
Peteris Vasks: The Fruit Of Silence
Terezie Fialová – piano, Helena Jiříkovská, Petr Zdvihal – violin, Karel Untermüller – viola, Jiří Bárta – violoncello
Priápeia for Oboe by the Czech composer (and in that capacity protagonist of the Czech New Wave in cinema), Jan Klusák (b. 1934), is – in the composer´s own words – “a work composed for a space propitious to the generation of a long delayed echo. Its purpose thus consists in the progressive induction of harmonies between tones performed in sequence and permeating. The satyric sound of the oboe strikes me as evoking something like the male desire for a female. Hence also the title, a term used in classical ancient poetry for a short versified form with lascivious content.”
Oboist Vilém Veverka focused on the compositional production of the 1970s and 80s in his revelatory album, Lost Generation. As for Miloslav Kabeláč (1908-1979), arguably the most distinctive member of this generation, he defintely belongs within these brackets, if only for his constant and consistent refusal to join the ranks of composers kowtowing to the communist regime, a resilience for which he had to pay. His oboe sonata dating from 1955 is characterized by distinctively modelled, urgently appealing themes, and is carried on the waves of a dim, tense atmosphere.
The String Quartet in B minor by the American composer Samuel Barber (1910-1981) happens to be the seminal impulse for a later work which became his most famous composition, the Adagio for Strings. This latter work is in fact an adaptation of the second movement of the quartet dating from 1936. Barber´s lyricism, coupled with an idiom whose aesthetic principle is rooted in the 19th century, were instrumental in the warm reception of his work by audiences.
It is now hard to believe that at one stage of his career, one of the commercially most successful 20th-century Polish composers, Henryk Mikolaj Górecki (1933-2010), did not even have enough money to buy staff paper. Blending his compositional talent with thorough knowledge of avant-garde approaches, he eventually embraced the tenets of “spiritual minimalism”. In the period which immediately followed his adoption of this new style, in the mid-1970s, in the neighbourhood of his Second Symphony and the psalmodic composition, Beatus Vir, he wrote the Concerto for Harpsichord/Piano. The repetitive pattern governing the work´s two movements betrays the influence of minimalism, but also references to the keyboard sonatas of Domenico Scarlatti – plus, added to all this, a readily distinguishable influence of Silesian musical folklore.
sleeve-note: Dita Hradecká / translation: Ivan Vomáčka