Gala concert Capella Istropolitana

When: 01.07.2017 19:30, Where: Masquerade Hall

CAPELLA ISTROPOLITANA

Jan Hudeček – bassoon

Antonio Vivaldi (1678–1741)

  • Koncert a moll pro fagot a orchestr, RV 497
  • Bassoon Concerto in A minor, RV 497
  • Allegro molto
  • Andante molto
  • Allegro

Giovanni Battista Sammartini (1700–1775)

  • Symfonie A dur, J-C 65
  • Symphony in A major, J-C 65
  • Vivace
  • Largo sempre piano
  • Allegro

Antonio Vivaldi

  • Koncert B dur „La Notte“ pro fagot a orchestr, RV 501
  • Bassoon Concerto in B flat major, RV 501
  • Largo Andante molto
  • Presto (Fantasmi)
  • Presto Adagio
  • Andante molto (Il Sonno)
  • Allegro (Sorge l'Aurora)

Ottorino Respighi (1879–1936)

  • Staré tance a árie, suita č. 3
  • Ancient Airs and Dances, Suite No. 3
  • Italiana (Andantino)
  • Arie di corte (Andante cantabile)
  • Siciliana (Andantino)
  • Passacaglia (Maestoso Vivace)

Ilja Zeljenka (1932–2007)

  • Musica Slovaca

Felix Mendelssohn - Bartholdy (1809–1847)

  • Symfonie č. 10 h moll pro smyčcový orchestr, MWV N 10
  • String Symphony No. 10 in B minor, MWV N 10
  • Adagio – Allegro – più presto

Although a virtuoso violinist himself, Antonio Vivaldi (1678–1741) also composed a number of superlative concertos for wind instruments, with the most renowned being those for the flute and bassoon. In total, he scored 39 concertos for the bassoon (alongside 230 for the violin), which comes across as somewhat mysterious. We have no idea of for whom Vivaldi wrote them, nor are we aware of how he got to know so well the instrument, which at the time was familiar to few in Venice and was made in Paris, Amsterdam and Nuremberg. One of the pieces is dedicated to the bassoonist Giuseppe Biancardi, yet we know precious few details as to his identity. The majority of the concertos date from between 1728 and 1737, and Vivaldi evidently composed them for an excellent player, making full use of both the upper and lower registers and means of expression. Similarly to Le quattro stagioni, some of the pieces are based on extra-musical inspirations. The Bassoon Concerto in B flat major has the alternative title “La Notte”, with its short and fast second movement, “Fantasmi”, evoking night-time phantoms, the third associating appeasement, the fourth, “I sonno”, the rising sun and the final, “Sorge l’Aurora” the dawn. 

The Italian composer Giuseppe Sammartini (1700–1775) is deemed to have been the forefather of Classicism and he even influenced Joseph Haydn. The most typical genre of his was the symphony, which took the form of a relatively short piece, mostly made up of three movements and with different tempo markings. By this very sequencing of sections in various tempos, previously only peculiar to opera overtures, he ushered in the Classicist symphony. His compositions are also characterised by the lucid leading of voices and treatment of themes. Sammartini lived in Milan and wrote about 70 symphonies, dozen or so concertos (he himself was an oboist), as well as operas and sacred music.   

Ottorino Resphighi (1879–1936) is best known for the tone poems Fontane di Roma and Pini di Roma, which reveal his penchant for Impressionism. He was also a distinguished musicologist, whose main focus of interest was the Italian Renaissance, Baroque and Classicism. His being inspired by early music is evident in all the three orchestral suites of the Antiche arie e danze (Ancient Airs and Dances), loose transcriptions of compositions by the old Italian masters. Suite No. 1 dates from 1917, No. 2 from 1923 and Suite No. 3 was completed in 1932. The latter’s first section, “Italiana”, and the third part, “Siciliana”, are based on 16th-century pieces by anonymous composers, while the second, “Arie di corte”, is derived from songs by Jean-Baptiste Besard, and the final, “Passacaglia”, was originally created by Lodovico Roncalli in 1692. Resphighi unified the pieces into a Neo-Classicist style and highlighted their charming, quintessentially Italian melodies.   

The Slovak composer Ilja Zeljenka (1932–2007) grew up in Bratislava. Initially, he taught himself how to compose, only later on did he study formally, with Ján Cikker. His style is highly singular, based on the avant-garde and Slovak folklore alike. From 1961 to 1968, he worked at Czechoslovak Radio in Bratislava, before assuming a teaching post at the local Academy of Performing Arts. He wrote two operas, five symphonies, a number of concertos and cantatas, film and incidental music, as well scores for folk ensembles. Musica Slovaca has been frequently performed by Slovak string orchestras and is cherished for its melodic qualities and singular compositional style.   

Felix Mendelssohn-Bartholdy (1809–1847) was a child prodigy, whose extraordinary talent was compared by contemporaries to that of Mozart. His bright and virtuoso music does indeed refer to Mozart, as does the originality of his early works – he created his 13 String Symphonies when he was between 12 and 14 years of age. Born into a prominent and cultured Jewish family, who went on to convert to Christianity, he grew up surrounded by music. Scored for a small orchestra, the String Symphonies were intended for home performance. The pieces manifest the virtuosity with which the young Mendelssohn was capable of writing for string instruments, as well as his interest in Baroque polyphony. Some of them are made up of four movements, others only contain a single movement, as is the case of the ten-minute Symphony No. 10 in B minor, with a slow melancholy opening and a brilliant fast ending.  

Jan Hudeček

The young Czech bassoonist Jan Hudeček was born in České Budějovice in 1990. At the age of 15, he was announced the overall winner of the international wind instruments competition Concorso Internazionale per Giovani Musicisti “Citta di Barletta” in Italy (for musicians up to the age of 30). In 2008, he received first prize and the title of laureate at the 42nd edition of the Concertino Praga radio competition, following which he recorded for Czech Radio Jan Nepomuk Hummel’s bassoon concerto. In 2014, he came first at the Prague Spring International Music Competition, and the Czech Music Fund awarded him the prize for the best performance of a work by a contemporary Czech composer, specially commissioned for this occasion (Jiří Teml’s Commedia for Bassoon and Piano). 

To date, Jan Hudeček has performed in Austria, Germany, Switzerland, Poland, Italy, France, Turkey, Spain, Japan and the USA. In June 2015, he graduated with a master’s degree from the Academy of Performing Arts, where he had studied in the classes of Profs. František Herman and Jiří Seidl. At the present time, he is mainly appearing at concerts as a soloist. He is an ardent promoter of 20th-century music, Czech in particular. Since 2011, he has been a solo bassoonist of the National Theatre Orchestra in Prague and has played first bassoon with the Solistes European Luxembourg.

Line-up

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Contacts

Hana Pelzová - director

phone: +420 721 470 558

e-mail: pelzova@komorni-festival.cz

Marek Tůma – production

phone: +420 777 243 992

e-mail: produkce@komorni-festival.cz

Alena Svobodová – PR

e-mail: ala.svobodova@seznam.cz