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Miloslav Kabelac (1908-79)

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Ivo Kahánek plays Martinu, Janácek & Kabelác

Ivo Kahánek plays Martinu, Janácek & Kabelác


Janacek:

Piano Sonata 1.X.1905 in E flat minor, JW VIII/19 'From the Street'

Three Fugues

world premiere

Kabelac:

8 Preludes

Martinu:

Piano Sonata No. 1


Ivo Kahánek (piano)

Ivo Kahánek, winner of the Prague Spring international competition and one of the most outstanding young Czech pianists, has chosen for his solo debut with Supraphon – and not by chance – works by Janácek, Martinu and Kabelác.

The sonatas of the first two composers form one of the pillars of 20th-century Czech sonata creation, while Miloslav Kabelác’s unjustly overlooked preludes originated at about the same time as Bohuslav Martinu’s Sonata.

In addition, we have previously encountered the mentioned trio of composers on Kahánek’s joint recording with the cellist Tomáš Jamník (SU 3928-2), which has met with great acclaim.

The selected repertoire affords the pianist great scope for his own interpretational input, play with timbre, articulation and wide dynamic range. Ivo Kahánek makes use of this space to the full, in his own individual manner yet with a sense of the work’s integrity.

As a bonus, the listener has the very first opportunity to hear early Janácek works: three fugues until recently considered lost. Following his well-received debut last year at the BBC Proms with the BBC Symphony Orchestra under the baton of Jirí Belohlávek, Ivo Kahánek introduces himself on this CD as an extraordinary talent on the threshold of greatness.

“Perceptive playing essential Czech piano music and some early curiosities” Gramophone Magazine, March 2009

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Supraphon - SU39452

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Janacek, Kabelac, Martinu: Works for Cello & Piano

Janacek, Kabelac, Martinu: Works for Cello & Piano


Janacek:

Pohádka (Fairy Tale) for Cello and Piano

Kabelac:

Sonata for Cello and Piano, Op. 9

Martinu:

Sonata for Cello & Piano No. 2, H. 286

Variations on a Theme of Rossini


Tomáš Jamník (cello) & Ivo Kahánek (piano)

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Supraphon - SU39282

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Miloslav Kabelac & Jan Hanus: Orchestral Works

Miloslav Kabelac & Jan Hanus: Orchestral Works


Hanus:

Sinfonia concertante for Organ, Harp, Timpani and Strings, Op. 31

Jiri Reinberger (organ), Bedrich Dobrodinsky (harp), Robert Mach (timpani)

Kabelac:

Mystery of Time. Passacaglia for Large Orchestra, Op. 31

Hamlet Improvisation for Large Orchestra, Op. 46


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Miloslav Kabeláč: Complete Symphonies

Miloslav Kabeláč: Complete Symphonies


Kabelac:

Symphony No. 1 in D for Strings and Percussions, Op. 11

Symphony No. 2 in C for Large Orchestra, Op. 15

Symphony No. 3 in F for Organ, Brasses and Timpani, Op. 33

Symphony No. 4 in A major, Op. 36, 'Camerata'

Symphony No. 5 in B flat minor "Drammatica" for Soprano without text, and Orchestra, Op. 41

Symphony No. 6 "Concertante", for Clarinet and Orchestra, Op. 44

Symphony No. 7 for Orchestra and Reciter, Op. 52

Symphony No. 8 "Antiphons", for Soprano, Mixed Choir, Percussions and Organ, on theWords from the Bible, Op. 54


Miloslav Kabeláč completed the first of his eight symphonies in Prague in early 1942, just a few months before Bohuslav Martinů, in the USA, would plunge into his Symphony No. 1, for Serge Koussevitzky and the Boston Symphony Orchestra. Kabeláč was afflicted badly by the consequences of the Nazi occupation: owing to his refusal to divorce his Jewish wife, he lost his job at the radio, his music was banned, and his life was in permanent danger. This atmosphere of gloom is duly reflected in his Symphony No. 1. The euphoria following the end of World War II was very short---lived, as two and a half years later a similarly oppressive dictatorship, this time Communist, commenced. Kabeláč composed each of his symphonies for different instrumentation, repeatedly drawing inspiration from Biblical themes. Most of the pieces were premiered by the Czech Philharmonic, conducted by Karel Ančerl, an enthusiastic champion of Kabeláč’s music worldwide.

The final symphony, “Antiphones”, was written specially for a concert at the Saint Paul’s Church in Strasbourg, and the superlative ensemble Les Percussions de Strasbourg, for whom Kabeláč created the famous cycle Eight Inventions, yet its premiere in June 1971 within a “Hommage à Miloslav Kabeláč” concert featuring his music exclusively, took place without the composer’s presence, as he had not received a permit to travel to the West ... Alongside Bohuslav Martinů, Miloslav Kabeláč was unquestionably the greatest Czech symphonist of the 20th century. The first complete recording of his symphonies, made by the Prague Radio Symphony Orchestra, conducted by Marko Ivanović, affords the listener the opportunity to revel in the sheer depth of Kabeláč’s symphonic oeuvre. The first complete recording of Miloslav Kabeláč’s symphonies. A gateway to new musical landscapes.

“Conductor Marko Ivanovič deserves special plaudits for bringing this fascinating music to our attention. He secures strong and committed playing from the Prague Radio Symphony Orchestra, and Supraphon’s recordings are vivid” BBC Music Magazine, September 2017 ****

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Supraphon - SU42022

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Musica Per Arpa: Kateřina Englichová

Musica Per Arpa: Kateřina Englichová


Britten:

Suite for harp in C major, Op. 83

Gemrot:

Trio pro hoboj, harfu a klavír

Kabelac:

Slzy a úsměvy

Slavicky:

Musica per arpa

Sluka:

Suite in modo classico per arpa sola


Kateřina Englichová (harp)

Recorded in the Church of Evangelical Church of Czech Brethren, Prague – Vinohrady, May 15-16 and June 16-17, 2015, and at the Martínek Studio, Prague, on June 8, 2015.

Courage – one of the loveliest characteristics of the noteworthy harpist Kateřina Englichová. Her quest led her to the composers of the latter half of the twentieth century; she has given the premieres of a number of their works, some of which were dedicated to her. You can forget all about the romantic image of a beautiful woman gently strumming the harp strings with empty virtuosity that quickly becomes tiresome.

Slavický, Hurník, and Kabeláč present the harp as a dynamic, assertive instrument of expressive versatility, challenging us to search the depths. They have taken their inspiration from the French suite (Sluka), Mozart’s catchy tunes (Hurník), and the coloristic possibilities of the flute and harp (Kabeláč). To many, it may come as a surprise that the small Czech nation was producing so much innovative yet beautiful music for harp at the same time that Britten composed his Suite.

In two works, the harpist partners with Carol Wincenc, the highly regarded American professor of flute at the Juilliard School, and in Gemrot’s trio she is joined by the oboist Vilém Veverka and the pianist Martin Kasík. For those who are not afraid of the unknown, Kateřina Englichová discovers previously unknown beauty. And this discovery is worth hearing.

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Supraphon - SU41852

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