IMF Kutná Hora 2017

12th IMF KH programme – 7th concert

Thursday / June 6 / 7:30 p.m. / Church of St. Barbara


Dvořák / Piazzolla

Antonín Dvořák: Piano trio op. 90 “Dumky”

1. Lento maestoso, E minor
2. Poco adagio, C sharp minor
3. Andante, A major
4. Andante moderato, D minor
5. Allegro, E flat major
6. Lento maestoso, C minor

Terezie Fialová – piano, Roman Patočka – violin, Jiří Bárta – cello


——— interval ———

Astor Piazzolla: The Four Seasons in Buenos Aires (Estaciones Porteñas) for Piano, Violin and Cello
  • Verano Porteño (Léto v Buenos Aires)
  • Invierno Porteño (Zima v Buenos Aires)
  • Primavera Porteña (Jaro v Buenos Aires)
  • Otoño Porteño (Podzim v Buenos Aires)

Terezie Fialová – piano, Roman Patočka – violin, Jiří Bárta – cello

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Only exceptionally can a single concert programme encompass a scope similar to that drawn up for tonight. It is indeed quite unique in its juxtaposition of works by the same composer, in a sequence of compositions in the chamber format, close to each other in terms of genre, linked up in tight chronological succession, and bearing a magical sequence of opus numbers.

It may seem hard to find a common denominator for a programme comprised of musical miniatures inspired by Czech folklore, destined for performance in 19th-century urban middle-class salons, coupled with compositions evoking the ambience of the Argentinian capital city. In other words, something that would harmonize the Czech gallop dance with tango. And yet, there does exist a connecting line: namely, the fact that in our time, as we grow increasingly aware and indeed fond of everything “authentically traditional”, we are being offered this chance to savour products of powerful folk and dance inspiration forged into great art by two genuine masters.

For its part, the Estaciones porteñas (The Four Seasons of Buenos Aires) has been sometimes compared with Antonio Vivaldi´s cycle of concertos Le quattro stagioni. While its composer, Astor Piazzolla, bandoneon player and the creator of tango nuevo, “new tango”, did occasionally draw inspiration from early music´s classics, it was not so in this particular case. His four compositions in tango form which make up the cycle were written separately in the course of five years (1965 – 1970), and Piazzolla subsequently performed them with his own bandoneon quintet.   

Dita Hradecká / translation: Ivan Vomáčka