Download Program booklet

56. dubrovačke ljetne igre
56th Dubrovnik Summer Festival
2005
Hrvatska Croatia
GUDAČKI KVARTET JANÁČEK
JANÁČEK STRING QUARTET
Miloš Vacek
violina violin
Vitezslav Zavadilík
violina violin
Ladislav Kyselák
viola
Bretislav Vybíral
violončelo cello
Atrij Kneževa dvora
Rector's Palace Atrium
13. kolovoza 13 August
21.30 9.30 pm
Bedřich Smetana:
2. gudački kvartet u d-molu
String Quartet No. 2 in D minor
Allegro
Allegro moderato (Andante cantabile)
Allegro non più moderato, ma agitato e con fuoco
Finale (Presto)
Antonín Dvořák:
14. gudački kvartet u As-duru, op. 105
String Quartet No. 14 in A flat major, Op. 105
Adagio ma non troppo-Allegro appassionato
Molto vivace
Lento e molto cantabile
Allegro non tanto
***
Leoš Janáček:
2.gudački kvartet, Intimna pisma
String Quartet No. 2, Intimate letters
Andante
Adagio
Moderato
Allegro
In 1947 the best students of the Brno Conservatory Brnu Jiří Trávníček, Adolf
Sýkora, Jiří Kratochvíl and Karel Krafka, founded the Janáček String Quartet, the
name rightfully deserved for their unparalleled interpretations of music by this great
composer. Their numerous concerts and festival appearances both at home and abroad
(since 1955) were a real discovery for music critics and audiences alike. The Quartet
has become one of the best European chamber ensembles, and a true follower of the
great Czech and Moravian music tradition. It is marked by surprising freshness of
musical ideas, brilliant tone and absolute technical perfection. Brought up on the postromantic aesthetic typical of the early 20th century composers, the Quartet has become
a meritorious interpreter of the music of that, as well as of the following periods,
adopting new music tendencies, but not forgetting the past. The long history of the
Quartet logically reflected in the change of its members. However, the criteria and the
artistic aims set from the very beginnings have remained unchanged, and the present
Quartet members continue the tradition with dignity. The huge discography of the
Quartet includes music of various styles released by most prestigious labels
worldwide. Their recent acclaimed CD includes Janáček’s String Quartet No. 1
(Kreutzer Sonata) and Dvořák’s String Quartet No. 12 in F major, Op. 96, American.
The present time Quartet leader (since 1996), violinist Milosh Vacek studied violin in
Brno at the Conservatory and at the Janáček Music Academy. In 1982 he won 4th
Prize at the Beethoven Competition in Hradec, and four years later a Diploma at the
Pisek Competition and at the Prague Spring. In 1987 he became a member and soloist
of the Slovakian Chamber Orchestra, from 1995 a lecturer at the Brno Conservatory,
and from 2003 Professor at the Janáček Music Academy in Brno.
Violinist Vítezslav Zavadilík graduated from the Kromeriz Conservatory and from
the Janáček Academy of Music in Brno. A long time member of the Trávníček
Quartet, he holds numerous awards from the string quartet competitions. In 1979 he
won the Premio Vittorio Gui Competition in Florence, and two years later the
Liebstoeckel Award in Kolmar. In 1994 he replaced his teacher Adolf Sýkora in the
Janáček String Quartet.
Violist Ladislav Kyselák graduated from the Brno Conservatory and from the Prague
Academy of Music. In 1979 he won the National Viola Competition, in 1980 excelled
at the Island of Man Competition, and was laureate of the Portsmouth String Quartet
Competition in 1981. From 1986 – 1989 he lectured at the Pardubice Conservatory,
and was leader the viola section in the Slovakian Philharmonic. In 1989 he became a
member of the Janáček String Quartet, having succeeded his teacher Jiří Kratochvíl.
He extensively records for the radio, and teaches at the Janáček Academy of Music in
Brno.
Cellist Bretislav Vybíral won the Ústi nad Orlici Cello Competition at the age of
nine, and won the same competition two years later. In 1967 he won the International
Concertino Praga Competition in the chamber music category. Having studied at the
Brno Conservatory, he graduated from the Janáček Academy of Music in Brno. Still a
student, he won the Beethoven Competition in Hradec. From 1980 he is concertmaster
of the Janáček Opera in Brno, and member of the Janáček String Quartet.
Founder of the Czech modern music Bedřich Smetana composed his String Quartet
No. 2 in D minor in 1882. Together with opera The Devil’s Wall, Carnival in Prague
and the unfinished opera Viola, the piece belongs to Smetana’s last composing period,
in which he faced insurmountable obstacles. In spite of his deafness and severe
illness, he foresaw all major tendencies of European music in those pieces, revealing
an interesting blend of the Czech classicism and romanticism. In an exciting way the
String Quartet No. 2 continues precisely where the anthological Quartet No. 1 in E
minor, called From My Life, stopped. In his diary entry on 14th June 1882, Smetana,
who always explained and announced his works that way, writes: “I have completed
the first movement of the Quartet, yet I still hesitate to publish it. The movement has
an unusual form and is not easy to understand. I fear that, being filled with inner
dissatisfaction, the movement will be earnestly difficult to perform. These are the
consequences of my wretched life.”
Commenting the four movements, he adds: “The first movement: depression and
mental disorder upon the loss of hearing. The second and third movement:
continuation of work in the Czech manner, and inner satisfaction that it offers. The
fourth movement: an attempt to fight destiny.” The first movement (Allegro),
composed in 9/8 measure, is marked by tragedy. The cello theme seems to encourage
the artist’s new endeavours in life and work, with the remaining instruments joining
in. Then life acquires a new tempo, con fuoco, fervently. The music seems to wish to
propitiate destiny, persuading it to make some exceptions, which the composer
rightfully deserves. The music dances in circles around destiny, and the master seems
to grow stronger for his fight. Yet, that is the last bit of hope in the creative will that
used to be uncontrollable. The movement ends by a tragic theme filled with
melancholy and longing. The second movement (Allegro moderato) is a miniature
polka imbued with Smetana’s genuine humour and delicate irony. The central Trio
(Andante cantabile) resounds with a subtle melody in folk spirit. The contentment
resulting from the creative work and sincere artistic inspiration are reflected in the
third movement (Allegro non più moderato, ma agitato e con fuoco). The theme of its
impressive and skilfully composed fugato is initially carried by the cello, and later
gradually accepted by other instruments. The movement reveals the modern
atmosphere of future quartets of Novák And Suk. The Quartet ends by a powerful and
tense Presto, dominated by a fierce and restless triumphant dance.
Great Czech composer Antonín Dvořák (1841 - 1904) wrote down in the scores of
his String Quartet No. 14 in A flat major, Op. 105: “Began to compose the first
movement on 26th March 1895 in New York, but have not completed it. Continued
with composing on 12th November 1895 in Prague.” There were several reasons for
such a long break. Firstly, the hard work in completing his American stay, and later
the excitement upon returning to his homeland. Furthermore, Dvořák had to face a
special creative compulsion: he simply plunged into composing another string quartet
in G major, now Opus 106. Having completing it, Dvořák went back to composing
tonight’s piece; the two quartets should therefore swap their opus numbers. In view of
the immense homesickness overflowing Dvořák’s American pieces – particularly his
Symphony No. 9, From the New World, and B minor Cello Concerto -, it will be
easier to understand the immense joy filling both string quartets. That will also
explain why both pieces reveal no trace of exotics, being certain kinds of hymns to the
clear Czech atmosphere. The first movement begins with a brief slow introduction
(Adagio ma non troppo). Typical of Dvořák, it is a mysterious announcement of the
forthcoming main theme performed by the four instruments. A few energetic chords
intensify the sublimity of the introduction, which ends by the beautiful melodic line
and lyrical relief blending into Allegro appassionato, the main part of the movement.
This fast section abounds in masterful motifs, the main one being briefly followed by
triumphant fanfares, the composer’s unmistakable salute to his homeland. The second
main theme includes “the harmony of horns”, the motif combination of the tonic
sixth, dominant fifth, and tonic third, which Smetana used to employ so often that it
become a trademark of Czech music. During the development Dvořák masterfully
transforms the main theme, which becomes so elaborated that it is impossible to
employ it at the beginning of the repetition. He therefore replaces it with the singing
fragment from the exposition, which has previously been present only temporarily.
Approaching the end, Dvořák cannot resist a little joke: the movement seems to
change its cheerful and playful nature suddenly, becoming serious and sad, and the
instruments in the deep register and reduced tempo begin to create a wistful dialogue
based on the two main preceding motifs. It seems that something very important and
dangerous has blocked the expected flow of events. Yet, everything was only a brief
weakness. Returning to its previous joyful path, the movement ends by taking away
the listeners’ worries and premonitions, and offers the expected outcome. The joy and
exaltation increase in the second movement (Molto vivace). Dvořák achieves that by
the exuberant scherzo, whose syncopated rhythm resembles the vigorous Czech dance
furiant. Following the main motif, an interesting melodic line in the same rhythm
appears along with indicatively descending harmonies. In the right place, it is joined
by the main motif, now in the role of its counterpoint accompaniment. The Trio has a
calmer rhythm, but exceptionally warm expression. According to the rules of form,
scherzo is repeated after the Trio. The third movement (Lento e molto cantabile) is a
kind of echo of the preceding hymn-like Trio. It sails smoothly and with restrain,
singing of love and happiness. Finding shelter in the minor key, the central episode
trembles threatened by the triplet ostinato accompaniment, like a person worrying
about losing his happiness. Having returned, the main melody resounds with the
increasing vigour. The joy manifested on various levels (from tenderness to ecstasy)
radiates from the Quartet’s second and third movement. It is not surprising, in view of
the fact that Dvořák composed them having returned to his homeland, in Christmas
time, surrounded by his loved ones. The vivacious fourth and final movement
(Allegro non tanto) is a logical culmination of the piece. Dvořák plays with a small
motif, which he gradually expands and develops, enriching it with new ideas, in order
to return to its little fragment again, and transform it in his irresistibly charming way.
His genuine sense of humour cannot be blocked by any addiction to the laws of
structure, manifested here as a strange combination of the rondo and sonata form. The
second theme of the movement (Molto cantabile) is again dependable on Smetana’s
“harmony of horns” from the first movement, which additionally contributes to the
national character of the piece. The movement increasingly accelerates, so that the
composer’s themes are at times more difficult to follow, while the piece unstoppably
rushes towards its playfully-carefree ending.
Founder of the Czech modern music Leoš Janáček (1854 - 1928) composed two
string quartets all together. The first, composed in 1923, was inspired by the famous
Tolstoy’s story the Kreutzer Sonata, and the second one, completed in the year of his
death, was result of his most intimate thoughts. Inspired by his love for the forty years
younger Kamíla Stöslová, Janáček originally called the Quartet Love Letters, and later
renamed it into Intimate Letters. According to its original title, each of the Quartet’s
movements was Janáček’s attempt to set one of his love letters into music. At the peak
of his composing maturity, he discovers and conquers new realms of his melodicharmonic-rhythmic inspiration. After a slow introduction, the first movement
(Andante) is carried by an exceptionally dynamic tonal stream; its varied parts are
skilfully united by the impressive ostinato accompaniment. In an atypical variation
procedure the slow movement (Adagio) treats the impressionable pentatonic theme,
which we already met in the first movement. This movement reveals the features
resembling those in the first movement through other forms of reminiscence as well.
The general cyclic character of the piece is also apparent in the third movement
(Moderato); it reveals thematic similarity with the first movement, and the pentatonic
theme from the second movement appears one more time. The final movement
(Allegro) is filled with tense rhythm. It is particularly interesting for its outstanding
solo cadenza freely improvised by the second violin player.
D. Detoni