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Jirí Bárta

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Taneyev: The Complete Quintets

Taneyev: The Complete Quintets


Taneyev, S:

Piano Quintet in G minor, Op. 30

Olga Vinokur (piano)

String Quintet in G major, Op. 14

Jiri Barta (cello)

String Quintet in C major, Op. 16

Jitka Hosprova (viola)


Recorded in Prague at the Martinů Hall, Academy of Music, October 28-30, 2013 (CD1), and at the Domovina Studio, March 21-23 and May 16-18, 2014 (CD2).

“Taneyev is one of the few with genuine promise – he will be a magnificent pianist and splendid composer,” is how N. G. Rubinstein praised his pupil. When it comes to Taneyev’s compositions, there is still plenty to discover. Born in Imperial Russia, at the age of 10 Taneyev enrolled at the Moscow Conservatory to study the piano (with Rubinstein) and composition (with Tchaikovsky). While in Paris, he made the acquaintance of Turgenev, Gounod, Flaubert, Saint-Saëns and other great artists. At the tender age of 28, he assumed the post of director of the Moscow Conservatory, where his pupils included Rachmaninoff, Scriabin and Glière. The detailed elaborateness of Taneyev’s complex scores bears witness to his thorough exploration of Bach, Mozart and Beethoven works, and a sharp intellect that remarkably blends with bold emotionality in lyrical and dramatic areas. The wide colour spectrum has been rendered splendidly by the Martinů Quartet and their guests on a new recording of the complete Taneyev quintets – an album that serves as proof of the artist’s position among the most distinguished European composers.

“The string quintets emerge as near-orchestral giants, hard to categorise...The finest performance here is undoubtedly the perfectly-integrated sound of piano (Olga Vinokur, superlative) and string quintets I can imagine performances running a greater gamut of dynamics. But a thousand thanks to the Martinus and their colleagues for enlightenment.” BBC Music Magazine, June 2015 ****

“Taneyev’s chamber works are cast on a big scale, infused with a nostalgic late-romanticism that is both winning and slightly cloying. The Martinu Quartet, however, makes the strongest possible case for them” Classical Music, January 2016 ****

“the artists have an exceptional understanding of what Taneyev is doing…very appealing work, sensitively understood and played” Gramophone Magazine, May 2015

“[Taneyev] had a musical heart, often passionately expressed and with a dynamic, romantic impulse. Those are qualities that come across clearly in these performances: they have a strong backbone, but equally are alert to the lithe interplay between the five instruments to create substantial canvases in sound.” The Telegraph, 21st March 2015 ****

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Dialogues

Dialogues


anon.:

Alleluia Ostende nobis

Lectio Primo tempore

Graham, P:

Suite for Cello Solo

Gregorian Chant:

Graduale Universi

Litaniae Divinae pacis

Graduale Universi (reminiscence)

Cantio Ad honorem sempiterni

Antiphona Cum appropinquarent

Pärt:

Fratres for 4 male voices and 2 cellos

Smolka:

In The Gorge for Cello Solo

Szymanski:

Miserere

for male voices, vibraphone, harp and 4 cellos


Jirí Bárta (cello), Katerina Englichová (harp), Jitka Vlašánková (cello) & David Rehor (vibraphone)

Schola Gregoriana Pragensis, David Eben

The renowned ensemble Schola Gregoriana Pragensis and the leading Czech cellist Jirí Bárta have been pursuing dialogues on concert stages for a number of years. They share abundant experience of music both early and contemporary, improvisation and seeking. The fruit of their encounters is a recording that is a multilayered dialogue between the sonorous sound of the cello and the male voice, a dialogue between the chorale and medieval polyphony and the creation of the past few decades, music written and improvised.

The idea of “mirroring the past in the present” is the overarching theme connecting pieces by contemporary composers. Peter Graham’s Suite for Cello Solo reveals his having been inspired by Bach solo suites. The contemporary musical phraseology and the Gregorian tradition are originally interconnected in the meditative composition Miserere by the Polish creator Pawel Szymanski, while the structure of Arvo Pärt’s famous piece Fratres is a sort of reminiscence of medieval polyphony. The music, in places verging on silence, affords the listener scope for inner soothing and perception of fine nuances that often remain concealed to us in the turbulent world around.

“Very often, "crossover" means musicians talking (or singing, or playing) past each other. This is something rather different, and the tone is set by the appearance of the solo cello playing the chant with the excellent singers of Schola Cantorum Pragensis. It's intriguing and beautiful...Recording quality is excellent, and no vocal or instrumental subtlety is lost. Highly recommended.” Gramophone Magazine, December 2010

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Martinu, Foerster & Novak - Cello Concertos

Martinu, Foerster & Novak - Cello Concertos


Foerster, J:

Concerto for Cello and Orchestra, Op. 143

World Première Recording

Martinu:

Cello Concerto No. 1, H.196

Novák, J:

Capriccio for Cello and Small Orchestra


Jirí Bárta, who for a number of years has been considered one of the finest cellists both at home and abroad, has certainly not chosen the three concertos on this CD at random. Bohuslav Martinu’s first concerto, in the definitive 1955 version, is among the works Bárta most cherishes and performs most frequently. At the same time, this opus bridges the imaginary space between the other compositions. Its first version originated in 1930, at the time when J. B. Foerster was completing his one and only cello concerto. This work of a composer with a Czech soul and European experience has its world premiere on this recording.

From an entirely different world is Jan Novák’s syncopated Capriccio, a piece with distinct jazz elements in which the solo instrument is accompanied by a big band. Novák, sharing with his teacher Martinu the fate of an émigré who would never again see his homeland, completed Capriccio a short time after Martinu, in the twilight of his life, gave his first concerto its definitive form. Capriccio too is released here for the first time on CD and features Jirí Bárta accompanied by the best Czech chamber orchestra under its chief conductor, the rising star Jakub Hruša.

“…Jirí Bárta… plays with a warm, unselfconscious expressiveness that connects with all three works, and the Prague Philharmonia is with him every step of the way.” Gramophone Magazine, Awards Issue 2009

GGramophone Magazine

Editor's Choice - Awards Issue 2009

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Suk & Dvorak: Violin Chamber Works

Suk & Dvorak: Violin Chamber Works


Dvorak:

Miniatures Op. 75a

Miroslav Ambros (violin), Karel Untermüller (viola)

Terzetto in C major for two Violins and Viola, Op. 74

Miroslav Ambros (violin), Karel Untermüller (viola)

Bagatelles, Op. 47

Miroslav Ambros (violin), Jiri Barta (cello), Jan Simon (harmonium)

Suk:

Piano Quartet in A minor, Op. 1

Karel Untermüller (viola), Jiri Barta (cello), Jan Simon (piano)


Josef Suk (violin)

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Martinu - Chamber Music for Viola

Martinu - Chamber Music for Viola


Martinu:

Three Madrigals for Violin and Viola (Duo No. 1), H. 313

Duo for Violin and Viola No. 2, H. 331

Sonata for Viola & Piano, H. 355

Musique de Chambre No. 1


Alexander Besa (viola), Bohuslav Matoušek (violin), Petra Besa (piano), Ludmila Peterková (clarinet), Jan Talich (violin), Jirí Bárta (violoncello), Jana Boušková (harp) & Karel Košárek (piano)

While Bohuslav Martinu dedicated himself to the violin and its brilliant tone from the very beginning of his oeuvre, the viola doesn’t appear until his later years, (all of the pieces on this album dating from the period 1947–59). It is as if he found in the viola, with its dark timbres, its ability to be harsh and rhythmic as well as sweet and lyrical, an instrument to express his feelings and sufferings in the last part of his life.

A Mozartian joy and temperament flash through the lyrical moods, nostalgia and “Czech” fervor of the folk-music motives, like reminders of his unbridled youth through memories of the homeland to which he was no longer able to return. The transparent structure of the Three Madrigals and Duet No. 2 gives way to the ardent song of the Sonata for Viola, while in the Chamber Music the viola is just a gossamer strand in the broad color palette of the combinations of all the instruments in the sextet.

Violist Alexander Besa is an excellent soloist, chamber player and orchestral musician (Camerata Bern et al.) with a number of recordings and awards to his name. The album features, without exaggeration, the best Czech musicians of the younger generation.

The lyrical viola, dark and brilliant, joyful and mournful in the later works of Bohuslav Martinu.

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Chopin - Complete Works for Cello

Chopin - Complete Works for Cello


Chopin:

Cello Sonata in G minor, Op. 65

Grand Duo concertant

Introduction and Polonaise Brillante in C, Op. 3

Piano Trio in G minor Op. 8

Jan Talich, Jr. (violin)


Jirí Bárta (cello), Martin Kasík (piano)

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Dvorak: Piano & Cello Concertos

Dvorak: Piano & Cello Concertos


Dvorak:

Piano Concerto in G minor, Op. 33

Cello Concerto in B minor, Op. 104


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Dvorak - Works for Cello and Piano

Dvorak - Works for Cello and Piano


Dvorak:

Cello Concerto in A major, B10

Polonaise in A major for cello & piano or cello & orchestra, B94

Rondo in G minor for cello & piano, Op. 94, B. 171

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

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


Jan Cech (piano) and Jirí Bárta (cello)

As the latest instalment in its long-term project of complete works by Dvorák, Supraphon is now presenting the world premiere recording of the original version of the composer´s Cello Concerto No. 1 in A major, for the combination of cello and piano. The work dates from the fruitful year of 1865 which likewise saw the production of Dvorák´s first two symphonies and the song cycle, Cypresses.

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