Lucie Sedlakova Hulova, Martin Sedlák - Czech String Duo (2019)
BAND/ARTIST: Lucie Sedlakova Hulova, Martin Sedlák
- Title: Czech String Duo
- Year Of Release: 2019
- Label: Arta Music
- Genre: Classical
- Quality: flac lossless
- Total Time: 01:10:26
- Total Size: 344 mb
- WebSite: Album Preview
Tracklist
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01. Passacaglia
02. Duett in C Major, WV 4.17: I. Allegro moderato
03. Duett in C Major, WV 4.17: II. Menuetto
04. Duett in C Major, WV 4.17: III. Allegro
05. Eight pieces, Op. 39: I. Prelude
06. Eight pieces, Op. 39: II. Gavotte
07. Eight pieces, Op. 39: III. Berceuse
08. Eight pieces, Op. 39: IV. Canzonetta
09. Eight pieces, Op. 39: V. Intermezzo
10. Eight pieces, Op. 39: VI. Impromptu
11. Eight pieces, Op. 39: VII. Scherzo
12. Eight pieces, Op. 39: VIII. Etude
13. Duo for Violin and Viola in G Major, K. 423: I. Allegro
14. Duo for Violin and Viola in G Major, K. 423: II. Adagio
15. Duo for Violin and Viola in G Major, K. 423: III. Rondo. Allegro
16. Duetto concertante No. 3 in A Major: I. Allegro
17. Duetto concertante No. 3 in A Major: II. Polonese. Andantino con brio
18. Duo No. 1 in C Major, Op. 19: I. Maestoso
19. Duo No. 1 in C Major, Op. 19: II. Minuetto grazioso
20. Duo No. 1 in C Major, Op. 19: III. Rondo
21. 8 Humoresques, Op. 101, B. 187: No. 7, Poco Lento e grazioso, Op. 101 (Arr. for Violin and Viola)
22. Raindrops
You are now holding the second CD made by the Czech String Duo, which we recorded to celebrate the twenty-fifth anniversary of our shared artistic path and life’s journey. We began devoting ourselves to music for violin and cello while still studying at the Prague Conservatoire, and we are gradually expanding our repertoire to this day. The mainstays among the works originally composed for violin and cello are by composers of the Classical era and of the 20th century. There is something of a gap in our repertoire for the nineteenth century, when no important works were actually written for violin and cello, so we resort to arrangements when necessary. From the beginning, we were excited that our favourite composer Bohuslav Martinu wrote two beautiful duets for violin and cello. These two duets have accompanied us throughout our careers, and we have enjoyed success with them at concerts in our country and abroad. In 2002 we recorded them together with other works by great composers of the twentieth century, Ravel and Honegger, on our first CD. For our second CD, we have chosen a more classical programme. We selected compositions that we enjoy playing frequently at our concerts and that audiences applaud whether they are familiar or not. In the cases of the duets by Fiala, Stamitz, and Paganini, this may be their very first CD recordings.
Our conception of the Passacaglia by Georg Friedrich Hдndel (1685–1759) is as the ceremonial opening composition for our CD, although it is usually played at the end of concerts or even as an encore. It is one of the most frequently performed works for our instrumentation. The virtuosic arrangement by the Norwegian composer and violinist Johann Halvorsen (1864–1935) was written for violin and viola, but we have the feeling that our version for violin and cello sounds even better thanks to the cello’s greater range. The passacaglia was originally a dance that developed during the Baroque era into a dance-like instrumental composition. This is basically a set of variations on an eight-bar bass line, and each variation is different in character, mood, and technique. It also offers performers the opportunity to realise even more ideas of their own, whether involving technique, tempo modifications, or sound. Although the work is widely known, one seldom hears two interpretations that are the same.
Josef Fiala (1748–1816) was a typical versatile musician of the Classical period. He mastered the playing of several instruments, was active as a concert artist, and also composed. He was personally acquainted with Wolfgang Amadeus Mozart, who respected Fiala’s artistry and helped him get concert opportunities. The Duet in C Major is one of Fiala’s many chamber music compositions. The refreshingly virtuosic little work is filled with energy and optimism. Because Fiala was also a cellist, contrary to tradition, the cello plays the leading role throughout almost the entire composition.
Reinhold Gliиre (1875–1956), an Ukrainian composer of German-Polish origin, is not too well known even among musicians. Everyone is all the more pleasantly surprised by the witty Eight Pieces, Op. 39, for violin and cello. Dramaturgically, this may well be the most interesting work on our CD. Each of the eight pieces is different in character. Some are dance-like, others are dreamy; in some the melodic line of one voice is accompanied by the other, while in the others the two voices merge into a mutual dialogue. The individual pieces are not related to each other in any way, so they can be played individually. Interestingly, when Gliиre was learning to play violin at a music school in Kiev, he was a pupil of the Czech violinist Otakar Љevcнk.
The Duet in G Major, KV 423, by Wolfgang Amadeus Mozart (1756–1791) is a gem of our genre, although we are again playing it in an arrangement of our own, because the original was written for violin and viola. The viola part is far more independent and technically difficult than in Mozart’s other chamber music works. By using the entire range of the cello, the composition acquires yet another dimension and rises to the level of one of the greatest works of its genre. This duet has three movements like the duets by Fiala and Stamitz, but each is more thoroughly worked out with respect to both content and scope, making full use of the technical and expressive possibilities of both instruments. For this reason, the duet is one of our favourites.
The word “virtuoso” is automatically connected with Paganini’s name. All of the works on our CD are more or less virtuosic, so of course Paganini could not be omitted. The Three Concertante Duets (Tre duetti concertanti) by Niccolт Paganini (1782–1840) are a rather rarely-heard example of his chamber music creations. In our recording, we are presenting the third of these duets. Paganini was surrounded by many myths and legends. It is certain that had he himself not been a brilliant violinist, he could not have written music that is still a tough nut to crack for today’s violin virtuosos. One could not, however, assert that the violin parts of these duets are virtuosic while the cello parts are mere accompaniment. To the contrary, in most places where the cello plays the lead voice, it is written in the violin register, so the cellist must play in truly high positions. Unusually, the duet has only two movements.
The “Mannheim School” had a fundamental influence on the development of instrumental music during the Classical period and on the new manner of its interpretation. At the court in Mannheim, an outstanding orchestra was established, and a number of important Czech musicians worked there. The leading figure was Jan Vбclav Stamic. His elder son Karl Stamitz (1746–1801) was born in Mannheim and followed in his father’s footsteps. He gained Europe-wide fame as a violinist and composer. His works consist mainly of chamber music and concertante compositions for string and wind instruments. For our CD, we have chosen the first of his Six Duets, Op. 19, for violin and cello, which is a typical example of his music and of the newly established compositional style of the Classical period.
The Humoresque by Antonнn Dvorбk (1841–1904) perhaps needs no introduction. It is the seventh piece in G flat major from a cycle titled Humoresques, Op. 101, for piano solo. The original version is played far less frequently than the countless arrangements for a wide variety of instrumental combinations. Its characteristically “hopping” rhythm gave rise to the false legend that Dvorбk composed it in a train, being inspired by the rhythm of the rolling wheels. In any case, both audiences and we performers enjoy this Humoresque anytime and anywhere.
The works of the Finnish composer Jean Sibelius (1865–1957) encompass large-scale symphonic compositions that contain passages that may strike some listeners too long-winded. His Water Droplets (or Raindrops), however, cannot at all be characterised this way. This was Sibelius’s first work, a little composition that he wrote when he was nine years old. On our CD, it plays the role of an encore at the end of our concert.
We wish to thank everyone without whom this CD could not have been made: the recording director Jaroslav Krcek for his kind, inspirational collaboration, the recording engineer Karel Soukenнk for perfectly handling the technical aspects of the whole recording process, Ondrej Meleckэ for taking the photos, and last but not least, the publisher Vнtezslav Janda for bringing this CD into the world.
---------
01. Passacaglia
02. Duett in C Major, WV 4.17: I. Allegro moderato
03. Duett in C Major, WV 4.17: II. Menuetto
04. Duett in C Major, WV 4.17: III. Allegro
05. Eight pieces, Op. 39: I. Prelude
06. Eight pieces, Op. 39: II. Gavotte
07. Eight pieces, Op. 39: III. Berceuse
08. Eight pieces, Op. 39: IV. Canzonetta
09. Eight pieces, Op. 39: V. Intermezzo
10. Eight pieces, Op. 39: VI. Impromptu
11. Eight pieces, Op. 39: VII. Scherzo
12. Eight pieces, Op. 39: VIII. Etude
13. Duo for Violin and Viola in G Major, K. 423: I. Allegro
14. Duo for Violin and Viola in G Major, K. 423: II. Adagio
15. Duo for Violin and Viola in G Major, K. 423: III. Rondo. Allegro
16. Duetto concertante No. 3 in A Major: I. Allegro
17. Duetto concertante No. 3 in A Major: II. Polonese. Andantino con brio
18. Duo No. 1 in C Major, Op. 19: I. Maestoso
19. Duo No. 1 in C Major, Op. 19: II. Minuetto grazioso
20. Duo No. 1 in C Major, Op. 19: III. Rondo
21. 8 Humoresques, Op. 101, B. 187: No. 7, Poco Lento e grazioso, Op. 101 (Arr. for Violin and Viola)
22. Raindrops
You are now holding the second CD made by the Czech String Duo, which we recorded to celebrate the twenty-fifth anniversary of our shared artistic path and life’s journey. We began devoting ourselves to music for violin and cello while still studying at the Prague Conservatoire, and we are gradually expanding our repertoire to this day. The mainstays among the works originally composed for violin and cello are by composers of the Classical era and of the 20th century. There is something of a gap in our repertoire for the nineteenth century, when no important works were actually written for violin and cello, so we resort to arrangements when necessary. From the beginning, we were excited that our favourite composer Bohuslav Martinu wrote two beautiful duets for violin and cello. These two duets have accompanied us throughout our careers, and we have enjoyed success with them at concerts in our country and abroad. In 2002 we recorded them together with other works by great composers of the twentieth century, Ravel and Honegger, on our first CD. For our second CD, we have chosen a more classical programme. We selected compositions that we enjoy playing frequently at our concerts and that audiences applaud whether they are familiar or not. In the cases of the duets by Fiala, Stamitz, and Paganini, this may be their very first CD recordings.
Our conception of the Passacaglia by Georg Friedrich Hдndel (1685–1759) is as the ceremonial opening composition for our CD, although it is usually played at the end of concerts or even as an encore. It is one of the most frequently performed works for our instrumentation. The virtuosic arrangement by the Norwegian composer and violinist Johann Halvorsen (1864–1935) was written for violin and viola, but we have the feeling that our version for violin and cello sounds even better thanks to the cello’s greater range. The passacaglia was originally a dance that developed during the Baroque era into a dance-like instrumental composition. This is basically a set of variations on an eight-bar bass line, and each variation is different in character, mood, and technique. It also offers performers the opportunity to realise even more ideas of their own, whether involving technique, tempo modifications, or sound. Although the work is widely known, one seldom hears two interpretations that are the same.
Josef Fiala (1748–1816) was a typical versatile musician of the Classical period. He mastered the playing of several instruments, was active as a concert artist, and also composed. He was personally acquainted with Wolfgang Amadeus Mozart, who respected Fiala’s artistry and helped him get concert opportunities. The Duet in C Major is one of Fiala’s many chamber music compositions. The refreshingly virtuosic little work is filled with energy and optimism. Because Fiala was also a cellist, contrary to tradition, the cello plays the leading role throughout almost the entire composition.
Reinhold Gliиre (1875–1956), an Ukrainian composer of German-Polish origin, is not too well known even among musicians. Everyone is all the more pleasantly surprised by the witty Eight Pieces, Op. 39, for violin and cello. Dramaturgically, this may well be the most interesting work on our CD. Each of the eight pieces is different in character. Some are dance-like, others are dreamy; in some the melodic line of one voice is accompanied by the other, while in the others the two voices merge into a mutual dialogue. The individual pieces are not related to each other in any way, so they can be played individually. Interestingly, when Gliиre was learning to play violin at a music school in Kiev, he was a pupil of the Czech violinist Otakar Љevcнk.
The Duet in G Major, KV 423, by Wolfgang Amadeus Mozart (1756–1791) is a gem of our genre, although we are again playing it in an arrangement of our own, because the original was written for violin and viola. The viola part is far more independent and technically difficult than in Mozart’s other chamber music works. By using the entire range of the cello, the composition acquires yet another dimension and rises to the level of one of the greatest works of its genre. This duet has three movements like the duets by Fiala and Stamitz, but each is more thoroughly worked out with respect to both content and scope, making full use of the technical and expressive possibilities of both instruments. For this reason, the duet is one of our favourites.
The word “virtuoso” is automatically connected with Paganini’s name. All of the works on our CD are more or less virtuosic, so of course Paganini could not be omitted. The Three Concertante Duets (Tre duetti concertanti) by Niccolт Paganini (1782–1840) are a rather rarely-heard example of his chamber music creations. In our recording, we are presenting the third of these duets. Paganini was surrounded by many myths and legends. It is certain that had he himself not been a brilliant violinist, he could not have written music that is still a tough nut to crack for today’s violin virtuosos. One could not, however, assert that the violin parts of these duets are virtuosic while the cello parts are mere accompaniment. To the contrary, in most places where the cello plays the lead voice, it is written in the violin register, so the cellist must play in truly high positions. Unusually, the duet has only two movements.
The “Mannheim School” had a fundamental influence on the development of instrumental music during the Classical period and on the new manner of its interpretation. At the court in Mannheim, an outstanding orchestra was established, and a number of important Czech musicians worked there. The leading figure was Jan Vбclav Stamic. His elder son Karl Stamitz (1746–1801) was born in Mannheim and followed in his father’s footsteps. He gained Europe-wide fame as a violinist and composer. His works consist mainly of chamber music and concertante compositions for string and wind instruments. For our CD, we have chosen the first of his Six Duets, Op. 19, for violin and cello, which is a typical example of his music and of the newly established compositional style of the Classical period.
The Humoresque by Antonнn Dvorбk (1841–1904) perhaps needs no introduction. It is the seventh piece in G flat major from a cycle titled Humoresques, Op. 101, for piano solo. The original version is played far less frequently than the countless arrangements for a wide variety of instrumental combinations. Its characteristically “hopping” rhythm gave rise to the false legend that Dvorбk composed it in a train, being inspired by the rhythm of the rolling wheels. In any case, both audiences and we performers enjoy this Humoresque anytime and anywhere.
The works of the Finnish composer Jean Sibelius (1865–1957) encompass large-scale symphonic compositions that contain passages that may strike some listeners too long-winded. His Water Droplets (or Raindrops), however, cannot at all be characterised this way. This was Sibelius’s first work, a little composition that he wrote when he was nine years old. On our CD, it plays the role of an encore at the end of our concert.
We wish to thank everyone without whom this CD could not have been made: the recording director Jaroslav Krcek for his kind, inspirational collaboration, the recording engineer Karel Soukenнk for perfectly handling the technical aspects of the whole recording process, Ondrej Meleckэ for taking the photos, and last but not least, the publisher Vнtezslav Janda for bringing this CD into the world.
Year 2019 | Classical | FLAC / APE
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