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Viktor Kalabis: Symphonies and Concertos

Viktor Kalabis: Symphonies and Concertos


Kalabis:

Symphony No. 2 'Sinfonia pacis' for Large Orchestra, Op. 18

Czech Philharmonic Orchestra, Zdeněk Košler

Concerto No. 1 for Violin and Orchestra, Op. 17

Petr Škvor (violin)

Prague Symphony Orchestra, Viktor Kalabis

Symphonic Variations for Large Orchestra, Op. 24

Czech Philharmonic Orchestra, Václav Neumann

Concerto for Large Orchestra (Concerto per grande orchestra), Op. 25

Czech Philharmonic Orchestra, Ladislav Slovák

Symphony No. 3 for Large Orchestra, Op. 33

Czech Philharmonic Orchestra, Jiří Bělohlávek

Concerto for Trumpet and Orchestra 'Le tambour de villevieille', Op. 36

Miroslav Kejmar (trumpet)

Prague Radio Symphony Orchestra, Miloš Konvalinka

Concerto for Harpsichord and Strings, Op. 42

Zuzana Růžičková (harpsichord)

Prague Chamber Orchestra, Viktor Kalabis

Concerto No. 2 for Violin and Orchestra, Op. 49

Josef Suk (violin)

Czech Philharmonic Orchestra, Wolfgang Sawallisch

Concerto for Piano and Wind Instruments, Op. 64

Milan Langer (piano)

Prague Radio Symphony Orchestra, Tomáš Koutník

Concertino for Bassoon and Wind Instruments, Op. 61

Jiří Formáček (bassoon)

Czech Philharmonic Wind Ensemble, Miloš Formáček


To mark the 90th anniversary of the birth of Viktor Kalabis, one of the most distinguished 20th-century Czech composers, Supraphon is releasing this special selection of his symphonies and concertos. The life of Kalabis and his wife, the renowned harpsichordist Zuzana Růžičková, was first afflicted by war and subsequently by the straitjacket of the Communist regime. The two forms of lack of freedom would have a marked impact on Kalabis’s work.

His Sinfonia pacis, one of the most frequently performed contemporary Czech pieces abroad, reflects the escalating tensions of the Cold War, without the composer succumbing to the clichés of the Communist “peace” proclamations. In connection with Symphony No. 3 (1970-71), its creator talked about the anxiety prevailing during the post-occupation years, defiance, as well as the final resignation beneath the unceasing suppression of truth. Kalabis’s works duly enjoyed the attention of renowned orchestras, conductors and soloists (the Berliner Philharmoniker, Matačić, Casadesus, Blomstedt, Rilling, Ančerl, etc.). This new selection of recordings bears witness to a superlative composer, as well as the dark atmosphere of the time during which this music came to life. Viktor Kalabis’s symphonies and concertos – the legacy of a distinct composer and a fraught era.

“there is no doubting the quality of all these musicians, Supraphon's original engineering or Kalabis's profound, stirring music” MusicWeb International, 13th May 2013

“this excellent collection, despite the variable age and quality of some recordings, will do very nicely in bringing [Kalabis's] name before a wider audience” Gramophone Magazine, July 2013

GGramophone Magazine

Re-issue of the Month - July 2013

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Mozart: Piano Concertos Nos. 12 & 20

Mozart: Piano Concertos Nos. 12 & 20


Mozart:

Piano Concerto No. 20 in D minor, K466

Czech Philharmonic, Jiří Bělohlávek

Piano Concerto No. 12 in A major, K414

version for string quartet

Doležal Quartet


Jan Bartos (piano)

Recorded in Prague at the Dvořák Hall of the Rudolfinum on 1 May 2013 (1-3) and at the Martinů Hall of the Music and Dance Faculty of Academy of Performing Arts on 21 May 2016.

“Jan Bartoš is one of my most impressive and most exciting young colleagues. In Jan Bartoš, virtuosity is coupled with deeply serious musicianship.” When such appreciation is voiced by the legendary pianist Alfred Brendel, we should prick up our ears. In addition to Brendel, Bartoš has been most markedly influenced by his friend and teacher, the phenomenal Czech pianist Ivan Moravec.

Numerous accolades from international competitions, acclaimed performances at major concert venues all over the world (including Carnegie Hall) and collaboration with renowned orchestras and conductors have been further milestones on Bartoš’s journey through the musical landscape.

With regard to the two mentors, his having opted for Mozart’s music for his Supraphon debut album comes as no surprise. Although referred to by some as “naïve” and “overly simple”, Jan Bartoš uncovers the deepest layers of the architecture of and the emotions encoded in Mozart’s works. Together with the conductor, the late Jiří Bělohlávek, the pianist guides the listener through the ominous, demonic even, Concerto in D minor like through a mystery story. The more joyous nature of the Concerto in A major is further highlighted by the transparent texture of its chamber version for string quartet. The two concertos unveil the nooks and crannies of Mozart’s multi-layered music, in a topnotch performance quality.

“The late Belohlavek and his superb orchestra revel in Mozart’s dark, dramatic harmonies, recalling Don Giovanni, while the soloist’s crisp articulation and singing legato are never far from the spirit of the composer’s sunnier comedies.” Sunday Times, 20th August 2017

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Dvorak: Sacred Works & Cantatas

Dvorak: Sacred Works & Cantatas


Dvorak:

Ave Maria, Op. 19b

Ave maris stella

Biblical Songs (10), Op. 99

Hymnus ad laudes in festo SS. Trinitatis

Mass in D major, Op.86 (B175)

O sanctissima, Op. 19a

Psalm 149 Op. 79 (B.154)

Requiem, Op. 89

Saint Ludmila

Stabat Mater, Op. 58

Te Deum, Op.103, B.176

The Heirs of the White Mountain, Op. 30, B134

Svatební Kosile, Op. 69


Eva Urbanova (soprano), Vera Soukupova (alto), Beno Blachut (tenor), Jindrich Jindrak, Ivan Kusnjer (baritone), Peter Mikulas, Richard Novak (bass), Ivan Moravec (piano)

Prague Philharmonic Choir, Czech Philharmonic Orchestra & Prague Symphony Orchestra, Wolfgang Sawallisch, Vaclav Neumann, Jiri Belohlavek, Vaclav Smetacek, Zdenek Kosler

“Dad’s God was not the God of Vengeance but the Creator, who sanctifies the journey through the ‘valley of death’ through his infinite love”, is how Antonín Dvořák’s sincere piety was recalled by his son Otakar. Faith in God was for Dvořák the cornerstone on which he built his own life and work, hence it comes as no surprise that a number of his seminal pieces are within the domain of sacred music, and frequently linked with a strong personal story.

The first version of the oratorio Stabat Mater came into being after the death of his first-born daughter. In the wake of the triumph of its London premiere, Dvořák received more commissions from the UK, which gave rise to other paramount compositions: The Spectre’s Bride, Requiem and Saint Ludmila.

The instigation for the Te Deum came from New York, where following the premiere of the 'New World Symphony' Dvořák wrote the Biblical Songs, the apex of his oeuvre of this genre. The set also contains pieces that have been seldom performed (the cantata The Heirs of the White Mountain, Psalm 149 in the previously unreleased recording made by the conductor Václav Neumann, etc.).

At the same time, this new collection within the Dvořák series showcases superlative artists, and the listeners will undoubtedly also be pleased by the sensitively remastered sound of the recordings.

These are gems from the Supraphon archive.

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Dvořák, Suk, Janáček: Violin Concertos

Dvořák, Suk, Janáček: Violin Concertos


Dvorak:

Violin Concerto in A minor, Op. 53

Janacek:

Violin Concerto 'Pilgrimage of the Soul'

Suk:

Fantasy for Violin & Orchestra, Op. 24


Dvořák – Suk – Janáček. Three very different composers with three different stories, and yet there is a great closeness and spiritual kinship between them.

Dvořák’s op. 53 is now part of the repertoire of all the world’s great violinists, however even that greatest of virtuosi, Joseph Joachim – the man to whom Dvořák dedicated the work – helped search for and was closely involved in shaping the concerto's final form.

Suk’s Fantasy in G minor is, internally, a highly diverse work, a kind of virtuoso, rhapsodic symphonic poem for violin that stands on the threshold of a new and momentous creative period in the composer’s work.

And what of Janáček: he already had a name for his intended violin concerto, "The Wandering of a Little Soul", but in the end he used the material he had collected in his final opera "From the House of the Dead". The material from which the concerto was later reconstructed is typical Janáček: sharply defined, with great energy and urgency.

The 28-‐year old violinist Josef Špaček, a laureate of the keenly watched Queen Elisabeth Music Competition, recorded these concerts live with "his" Czech Philharmonic Orchestra under it's principal conductor Jiří Bělohlávek.

“[The Janáček] is given a superb, heart-rending performance here by Josef Špaček backed by the deep understanding that Jiří Bělohlávek brings especially to the music of his native country. That is equally true of the Dvořák Concerto...Špaček is a compelling protagonist here, with a richness and piquancy of timbre that contributes to an interpretation not merely of virtuosity and flair but also of expressiveness.” The Telegraph, 26th April 2015 ****

“the violinist’s individual, deeply considered and virtuosic account of Dvorak’s solo part is the highlight of this keenly conceived programme. He is extrovert in the dancing rhythms of the outer Allegros and spellbindingly inward in the serene Adagio. In this repertoire, Spacek is second to none today.” Sunday Times, 26th April 2015

“the young Joseph Špaček reminded me more both of his great forebear Josef Suk and, at times of David Oistrakh. It's mostly to do with the firm cut of his bowing, the clarity of his articulation and the sureness of his rhythmic attack. His tone is sweetly expressive but he varies it according to the dictates of the passing musical phrase.” Gramophone Magazine, July 2015

“If anything Josef Špaček, the young concertmaster of the Czech Philharmonic, makes an even more powerful impression than his illustrious predecessor [Josef Suk]. His is a full-blooded performance with the Czech Philharmonic under its music director with him all the way…[this] young violinist has embarked on what is a very promising career.” MusicWeb International, June 2015

“This is a boldly imaginative gathering of Czech works for solo violin and orchestra…Josef Špaček, with Jiří Bělohlávek's wonderfully attentive orchestral accompaniment, produces a near-ideal interpretation [of the Suk]…many will warm to Špaček's soft-grained tone, especially in the slow movement [of the Dvorak].” BBC Music Magazine, September 2015

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Dreams: Dagmar Pecková

Dreams: Dagmar Pecková


Berio:

Folk Songs

Brahms:

Alto Rhapsody, Op. 53

Mahler:

Rückert-Lieder (5 songs, complete)

Lieder eines fahrenden Gesellen (4 songs, complete)

Das irdische Leben (Des Knaben Wunderhorn)

Rheinlegendchen (Des Knaben Wunderhorn)

Wer hat dies' Liedlein Erdacht? (Des Knaben Wunderhorn)

Wo die schönen Trompeten blasen (Des Knaben Wunderhorn)

Urlicht (Des Knaben Wunderhorn)

Kindertotenlieder

Ablösung im Sommer (Lieder und Gesänge aus der Jugendzeit)

Zu Strassburg auf der Schanz (Lieder und Gesänge aus der Jugendzeit)

Nicht wiedersehen (Lieder und Gesänge aus der Jugendzeit)

Um schlimme Kinder artig zu machen (Lieder und Gesänge aus der Jugendzeit)

Erinnerung (Lieder und Gesänge aus der Jugendzeit)

Wagner:

Wesendonck-Lieder (5)


A world renowned singer whose professional career could perhaps be best summed up by the sheer number of leading orchestras (Wiener Philharmoniker, Tonhalle Zürich, LPO, LSO, BBC Symphony, NHK Symphony, Cleveland and Pittsburgh SO, etc.) and conductors (Bělohlávek, Herreweghe, Järvi, Mackerras, Sawallisch, etc) she has worked with or by listing her appearances at the most prestigious festivals, concert halls and opera houses. A mezzo-soprano possessing a distinct voice and great charisma, a bold personality who owing to, among other things, her openness has also succeeded in addressing "nonclassical” audiences, even though she herself remains faithful to classical music. Pecková has confessed: Mahler and Wagner; two composers who have influenced my entire career. They were discovered for me by Jiří Bělohlávek. I can return to these songs – dreams at any time, and they will never cease to surprise me with their unutterable perfection. Supraphon is now returning to these recordings, which represented a significant milestone in Dagmar Pecková’s artistic career and introduced her to the world as a superlative performer of Mahler’s music.

The inner world of Mahler’s songs – a landscape to which Dagmar Pecková likes returning again and again.

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Dvořák: Orchestral Works & Concertos

Dvořák: Orchestral Works & Concertos


Dvorak:

Slavonic Dances Nos. 1-8, Op. 46 Nos. 1-8

Czech Philharmonic Orchestra, Václav Neumann

Three Slavonic Dances, Op. 72

Czech Philharmonic Orchestra, Václav Neumann

Slavonic Rhapsodies (3), Op. 45

Czech Philharmonic Orchestra, Bohumil Gregor

The Hero's Song, Op. 111

Czech Philharmonic Orchestra, Bohumil Gregor

Legends, Op. 59

Czech Philharmonic Orchestra, Sir Charles Mackerras

Scherzo capriccioso, Op. 66

Czech Philharmonic Orchestra, Sir Charles Mackerras

My Home Overture, Op. 62

Czech Philharmonic Orchestra, Václav Neumann

Hussite Overture, Op. 67

Czech Philharmonic Orchestra, Václav Neumann

Czech Suite, Op. 39

Prague Philharmonia, Jakub Hruša

Festival March in C major, Op. 54

Prague Symphony Orchestra, Jirí Belohlávek

Prague Waltzes, B99

Prague Symphony Orchestra, Jirí Belohlávek

Polka in B flat major, Op. 53a/1 'For Prague Students'

Prague Symphony Orchestra, Jirí Belohlávek

Polonaise in E flat major for orchestra, B100

Prague Philharmonia, Jakub Hruša

American Suite in A major, Op. 98a(b)

Prague Philharmonia, Jakub Hruša

Serenade for Winds in D minor, Op. 44

Prague Philharmonia, Jakub Hruša

Serenade for Strings in E major, Op. 22

Prague Philharmonia, Jakub Hruša

Nocturne in B major for strings, Op.40 (B47)

Czech Philharmonic Orchestra, Václav Neumann

Cello Concerto in A major, B10

Instrumentation Jarmil Burghauser, revision of the cello part Miloš Sádlo

Miloš Sádlo (cello)

Czech Philharmonic Orchestra, Václav Neumann

Piano Concerto in G minor, Op. 33

Ivan Moravec (piano)

Czech Philharmonic Orchestra, Jirí Belohlávek

Romance in F minor, Op. 11

Václav Hudecek (violin)

Czech Philharmonic Orchestra, Jirí Belohlávek

Mazurek for violin and orchestra, Op. 49 (B89)

Václav Hudecek (violin)

Czech Philharmonic Orchestra, Jirí Belohlávek

Violin Concerto in A minor, Op. 53

Josef Suk (violin)

Czech Philharmonic Orchestra, Václav Neumann

Waldesruhe (Silent woods) for cello and orchestra, Op. 68 No. 5

Miloš Sádlo (cello)

Czech Philharmonic Orchestra, Václav Neumann

Rondo in G minor for cello & orchestra, Op. 94, B. 181

Miloš Sádlo (cello)

Czech Philharmonic Orchestra, Václav Neumann

Cello Concerto in B minor, Op. 104

Miloš Sádlo (cello)

Czech Philharmonic Orchestra, Václav Neumann


Collectors and admirers of Dvořák’s music bearing the hallmark of the Czech performance tradition can now add another comprehensive album to put alongside the previous complete Supraphon CDs mapping his chamber (SU38152, SU39212), piano (SU40182) and symphonic works (SU40902). The acclaimed recording of the symphonies, conducted by Václav Neumann, is now followed by Supraphon’s 8-CD box set featuring Dvořák’s orchestral pieces and concertos. In addition to the celebrated Slavonic Dances, it contains a number of rarely recorded symphonic works (the Hussite Overture, My Home, A Hero’s Song), as well as splendid compositions for chamber and string orchestras. Besides recordings made under the baton of Neumann, it provides scope to other great Dvořák conductors – Mackerras, Bělohlávek and the rising star Jakub Hrůša. The set of orchestral works is rounded off by recordings of concertos, ranging from the virtually unknown Cello Concerto in A major, written by the young Dvořák, to the most frequently performed, the Cello Concerto in B minor. Supraphon has again carefully put together top-quality and time-honoured recordings of works performed by world-renowned soloists.

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Jiří Bělohlávek conducts Josef Suk & Britten

Jiří Bělohlávek conducts Josef Suk & Britten


Britten:

Sinfonia da Requiem, Op. 20

Suk:

Asrael Symphony, Op. 27


Recorded live for the Czech Radio at the concert of the 63rd Prague Spring International Music Festival in the Smetana Hall of the Municipal House, Prague, on June 1st, 2008 A unique and symbolic encounter: the most distinguished Czech conductor of the present time and a fabulous British orchestra communicate the profound messages in the works of great national composers. Jiří Bělohlávek has mediated Czech music to orchestras and audiences worldwide, yet in 2006 – as chief conductor of the BBC Symphony Orchestra – he became above all a Londoner.

The recording at the 2008 Prague Spring festival of Suk’s Asrael and Britten’s Sinfonia da Requiem will for ever serve as evidence of the extraordinary understanding between Bělohlávek and the orchestra.

The common denominator of the two works is the figure of the Angel of Death. A sad and immensely powerful inspiration for Suk was the passing away of his beloved wife Otilie and his dear teacher Antonín Dvořák.

Britten’s Sinfonia da Requiem, dedicated to the memory of his parents, is one of the composer’s early masterpieces. The recording marks a symbolic leave-taking on the part of Bělohlávek, who after six intense years as chief conductor of the BBC Symphony Orchestra is returning “home” to the Czech Philharmonic. Suk and Britten, Bělohlávek and the BBC Symphony Orchestra – a meeting of the powerful traditions of English and Czech classical music.

“There's a real lowering intensity to the first movement [of the Sinfonia da Requiem], and a manic desperation to the second, so that the consolation offered by the finale really seems to have been earned.” The Guardian, 2nd August 2012 ***

“Here are two fine memories of a fruitful tenure...The BBC players respond to fevered yet cogent direction with a rare but palpable intensity.” Sunday Times, 5th August 2012

“there's absolutely no denying the impressive rigour and shrewdly calibrated dynamic control of Belohlavek's meticulously prepared conception...All told, a memorably nourishing and, by the close, profoundly moving display, which is rightly afforded an enthusiastic reception...No doubt about it, this is a release that reflects enormous credit on all concerned.” Gramophone Magazine, October 2012

“here's a timely reminder of the profundity Jiri Bělohlávek could achieve during his impressive years as the BBC Symphony Orchestra's chief conductor...Bělohlávek caps Vaclav Neumann's earlier recording on Supraphon and matches the luminosity of Rafael Kubelik's interpretation on Panton” BBC Music Magazine *****

“The Britten receives a fine performance. The doom-laden opening, with its pounding drums, augurs well and you can tell that Bělohlávek has established a firm grip on the music from the outset...Though the performance of Sinfonia da Requiem is a fine one, Bělohlávek’s account of Asrael is finer still...From the outset the BBCSO projects the music strongly and eloquently.” MusicWeb International, August 2012

BBC Music Magazine

Orchestral Choice - November 2012

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Bohemian Impressions

Bohemian Impressions


Dvorak:

Czech Suite, Op. 39: Preludium & Romance

In Nature's Realm Overture, Op. 91

Fibich:

At Twilight, Symphonic Poem for Orchestra, Op. 39

Janacek:

Pilky (No. 6 from Lachian Dances)

The Cunning Little Vixen: Introduction

Martinu:

Bouquet of Flowers. A cycle of Compositions to Folk Texts for Mixed (Children´s) Choirs, Soloists and Small Orchestra, H. 260

Novák, V:

Slovácká svita, Op. 32: The Amorous Couple

Slovácká svita, Op. 32: The Country Musicians

Smetana:

Má Vlast: Z ceských luhu a háju

Suk:

A Summer's Tale, Op. 29: Intermezzo – Blind Musicians


The names of Bedřich Smetana, Antonín Dvořák, Leoš Janáček and Bohuslav Martinů are rightly synonymous with the global fame of Czech music. And it was frequently the compositions inspired by the beauty of the beloved homeland (and its folk music) that brought its creators to the attention of listeners worldwide.

A case in point is Smetana’s My Country, yet other composers too reflected the land of their heart, its natural and folk motifs in their works (Janáček’s Lachian Dances, Novák’s Moravian-Slovak Suite, Dvořák’s Czech Suite, Martinů’s Bouquet of Flowers, etc.). Bohemian Impressions is a selection of the most beautiful melodies that grew out of this inspiration – a gallery of images and reminiscences from the places where one feels most alive and keeps returning to.

Amid the wide harmonies – how wide are the horizons seen from the Vysočina hills? – flash the sparks of lively colours with which a composer let himself be carried away by the rhythms of folk dances at a village ball. This is a musical landscape singing of love, colours, scents and tranquillity; a landscape in which you will feel alive. The most beautiful music from Bohemian fields and groves – a landscape of the heart to which we keep returning.

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Dvorak in America

Dvorak in America


Dvorak:

Symphony No. 9 in E minor, Op. 95 'From the New World'

Te Deum, Op.103, B.176

String Quartet No. 12 in F major, Op. 96 'American'

Sonatina for violin and piano in G major, Op. 100

String Quintet No. 3 in E flat major, Op. 97 'American'

Waldesruhe (Silent woods) for cello and orchestra, Op. 68 No. 5

Rondo in G minor for cello & orchestra, Op. 94, B. 181

Humoresque in G flat major, Op. 101 No. 7

American Suite in A major, Op. 98a(b)

Cello Concerto in B minor, Op. 104


Gabriela Benackova (soprano), Jaroslav Soucek (baritone), Josef Suk (violin, viola), Josef Hala (piano), Milos Sadlo (cello) & Josef Chuchro (cello)

Panocha Quartet and Smetana Quartet, Czech Philharmonic Orchestra & Philharmonia, Jakub Hruša, Václav Neumann & Jiří Bělohlávek

The “From the New World” symphony, Cello Concerto in B minor, the “American” quartet... A title with such a selection could without the slightest exaggeration bear the designation “The Best of Dvorák”. It almost defies belief that all these compositions, which brought Dvorák world fame, were written within a mere three years (1892-95) during his sojourn in America.

The music is extremely inspired and profound, perfectly built and immensely amiable for the listener – simply beautiful. It reflects the powerful new sources of inspiration Dvorák discovered in America, yet also echoes homesickness, missing the family and familiar landscape. Josef Suk, the Panocha Quartet, the Czech Philharmonic under Václav Neumann and Jirí Belohlávek – such names are a guarantee of a profound tradition of performing Dvorák’s music. Accordingly, these 3 CDs comprise the gems of the most international of Czech composers as interpreted by artists who further spread and are still spreading the fame of Dvorák’s music worldwide, from America to Japan.

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Martinu: Symphonies Nos. 5 & 6

Martinu: Symphonies Nos. 5 & 6


Martinu:

Symphony No. 5

Symphony No. 6 'Fantaises symphoniques'


Jirí Belohlávek and the Czech Philharmonic follow up their critically acclaimed 2005 album of Martinu’s Symphonies Nos 3 and 4 (SU36312), which was nominated for a Grammy award and hailed by critics as a recording par excellence of these works.

This eagerly awaited CD, the second in a planned complete set, presents the composer’s last two symphonies, both written during his post-war sojourn in America.

Symphony No. 5 was finished in 1946 and reflects Martinu’s doubt and disenchantment over developments in Czechoslovakia, the homeland to which he would never return.

His last symphony, dedicated to his friend Charles Munch, then conductor of the Boston Symphony, was written during the years 1951–53. The wide-ranging and colourful orchestration of the “Symphonic Fantasies,”as Martinu himself titled it, marked a return to the symphonism and traditions of the late-Romantic music of the late 19th/early 20th centuries.

On this album, Jirí Belohlávek leads the Czech Philharmonic in a tribute to a composer on whose works he has been focusing for decades.

“The Czech Philharmonic Orchestra is brilliantly precise yet thoughtful.” Sunday Times, 10th January 2010 ****

“the complex textures of the first movement [of the Fifth] are superbly delineated and the finale has thrilling immediacy... Belohlávek responds to [the Sixth's] disparate moods magnificently in a performance of, at times, breathtaking intensity.” BBC Music Magazine, April 2010 ****

“Both works are splendidly rendered with No. 5 best of all, a vivid interpretation benefiting from the buzz of a live performance. Belohlávek gets the balace in the tricky finale just right, letting the mood-progression of sadness-joy-determination flow organically and logically...A richly rewarding disc.” Gramophone Magazine, June 2010

“There's an easy mastery about his approach, which belies the difficulty of making this deceptively straightforward music appear as naturally expressive as it does here, and which he was clearly able to transmit to the BBCSO players as well. The busiest textures are beautifully transparent, ensuring the piquancy of the harmonies is never blunted, and no details are overlooked” The Guardian, 21st July 2011 ****

“The Czech Philharmonic cycle under Belohlavek on Chandos has real authenticity of feeling and very good recording quality to commend it.” Penguin Guide, 2011 edition

GGramophone Awards 2010

Finalist - Orchestral

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