Prague Symphiony Orchestra - Dvorak, Smetana, Suk & Ostrcil: Music for Prague - COMPACT DISCS [CD]

Karel Husa - a Czech-born composer whose name resonates more on an international scale than in his native country. The winner of the Pulitzer Prize and the Grawemeyer Award, he was commissioned to write music for the New York Philharmonic, and other distinguished orchestras and artists. The centenary of Karel Husa's birth is a unique opportunity to recall his remarkable fate and oeuvre. During World War II, he lived in Nazi-occupied Prague. Following his graduation from the Prague Conservatory, with a concert performed with the Prague Symphony Orchestra (1944), Husa left for Paris to study composition with Arthur Honegger and Nadia Boulanger. The performance in Prague of his Three Frescoes with the Prague Symphony Orchestra in 1949 made it evident that Husa's music no longer fitted the Communist ideologues' pigeonholes. Yet Husa did not return to his homeland, opting instead to continue his studies abroad. Later on, he settled in the USA. When it comes to the Warsaw Pact armies' invasion of Czechoslovakia in August 1968, he got to hear about it on Detroit Radio. Husa expressed his dismay in Music for Prague 1968. The piece contains a quotation of the 15th-century Hussite war song Ktož jsú Boží bojovníci, by which the composer also referenced Václav Talich's emotional performance of Bedrich Smetana's My Country in Nazi-occupied Prague. Husa could only begin freely visiting his beloved Prague in the wake of the November 1989 Revolution, yet he pointed out that he kept strolling the city streets in his dreams and works. The present album maps Husa's creative periods between 1947 and 1983, and it features the very first studio recording of his Three Frescoes.

Highly impressed by the Moravian Duets, even though the set had yet to be issued, the Berlin-based Fritz Simrock wrote to the young Antonín Dvorák, commissioning from him another work and outlining his idea of it's being in the fashion of Brahms's Hungarian Dances. The composer duly sketched the first series of Slavonic Dances within a few hours, and completed the version for piano four hands in three weeks. At the same time, he worked on the orchestration. In an extensive essay in the National- Zeitung in Berlin, the influential critic Louis Ehlert lauded Dvorák so keenly that he brought the then unknown Czech artist overnight fame InchI consider the Slavonic Dances a piece that will circle the world just as Brahms's Hungarian Dances have... Divine naturalness circulates in this music... Dvorák writes such cheerful and singular basslines that the heart of a true musician jumps for joy... I think how wonderful it would be to see once again emerging a musician about whom we would need to argue as little as about spring.Inch During the first year after it's publication, selected Slavonic Dances were performed in Prague, New York, Boston, London, Berlin, Dresden, Hamburg, Cologne, Bonn, Nice, Graz, Lucerne, and other cities... Dvorák's music is deeply engraved in the DNA of the Prague Symphony Orchestra, who have performed it under conductors of such renown as Jirí Belohlávek, Charles Mackerras, Václav Neumann, Tomáš Netopil, etc. The new recording, made with Tomáš Brauner, the orchestra's current music director, draws upon an illustrious interpretation tradition, with it's rounded and transparent sound capturing the best qualities of the exquisite Art Nouveau Smetana Hall of the Municipal House in Prague. / Slavonic Dances with the Prague Symphony Orchestra - Dvorák in good hands

Within a mere few years, Petr Popelka has established himself as one of the world's most exciting young conductors. Serving as principal conductor of the Prague Radio Symphony Orchestra and the Wiener Symphoniker, he has also appeared as a guest with prominent European and American orchestras, as well as at opera houses worldwide. Popelka does not view Bedrich Smetana's legacy as an obligatory Czech national classic, but rather as an object of love and vital artistic quest. InchHis ultimate masterpiece, My Country, should be approached a bit like an opera, as a great story... As a cycle of tone poems based on the theme of the homeland, it is absolutely unique in the history of music. Most significantly, there is not a work written with greater love.Inch Popelka's recording is not just yet another addition to the immense number of recordings of My Country. Bringing to bear his great musicality and acute sense of detail, the conductor and the orchestra have modelled a truly exceptional form. Popelka's album features other germs too. String Quartet No. 1 in E minor, InchFrom My LifeInch, hailing from Smetana's mature period, when the composer was completely deaf, in George Szell's brilliant orchestration. In contrast, Smetana's early music is represented by the Triumphal Symphony, dedicated to the wedding of the 24-year-old Emperor Franz Joseph I to Princess Elisabeth of Bavaria, and three InchSwedishInch Liszt-inspired symphonic poems, based on dramas as immense as Shakespeare's Richard III and Schiller's Wallenstein. The extraordinary album marks the 200th anniversary of Smetana's birth. Lovers of spatial sound will certainly relish streaming My Country in the Dolby Atmos . Petr Popelka conducts Smetana - with love, deep feeling and sense for detail