jindřich feld - i

feld
16.9.2009
9:46
Str. 1
Programs CD II and CD III
CD II UP 0119
CD III UP 0120
Sonata for Flute and String Orchestra
Carlo Jans, flute, Prague Chamber Orchestra
Musique Concertante pour flûte, alto, harpe
et cordes
Carlo Jans, flute, Jitka Hosprová, viola,
Kateřina Englichová, harp,
Prague Chamber Orchestra
Flautoarchia
flute, string quartet
Carlo Jans, flute, Martinů String Quartet
Fantasia – Variazioni
on a theme by Leonardo de Lorenzo
for Solo Flute
Carlo Jans, flute
Sonatina
for Flute and Harp
Carlo Jans, flute and alto flute,
Kateřina Englichová, harp
Duo
for Flute and Bassoon
Carlo Jans, flute, Andris Arnicans, bassoon
Introduction, Toccata and Fugue
for Solo Flute
Carlo Jans, flute
Trio
for Flute, Violoncello and Piano
Carlo Jans, flute, Jitka Vlašánková, violoncello,
Daniel Blumenthal, piano
Fantasia concertante sul tema della Serenata
di Ricardo Drigo
flute, piccolo, bassflute and piano
Carlo Jans, flutes, Daniel Blumenthal, piano
Four pieces
for Solo Flute
Carlo Jans, flute
Two dances
for Flute and Guitar
Carlo Jans, flute, Cary Greisch, guitar
Duo concertant
for two flutes
Carlo Jans, Carine Forget, flutes
Contrasts
for Solo Flute
Carlo Jans, flute
Nocturne
for Flute, Violin, Viola and Violoncello
Carlo Jans, flute, Lubomír Havlák, violin,
Jan Jíša, viola, Jitka Vlašánková, cello
JINDŘICH FELD
Chamber Music for Flute I
CARLO JANS – flute
feld
16.9.2009
9:46
Str. 2
JIND¤ICH FELD
Sonatine américaine (1995)
flute and piano (Editions Leduc)
(1925–2007)
Quintetto capriccioso (1994/1995)
flute, violin, viola, violoncello and harp
19:33
(Editions Leduc)
1 I
Apertura seria e gioisa
Molto moderato – Allegro giocoso – Molto moderato
5:18
2 II
Scherzino
Allegro molto – Un poco meno mosso – Tempo I
Un poco meno mosso – Tempo I
4:46
3:25
4 IV Finale ritmico
Allegro vivace – Meno mosso – Tempo I – Meno mosso – Tempo I
6:04
5
6
7
8
I
II
III
IV
Toccata
Romanza
Scherzino
Finale
Allegro giocoso
Andante
Allegro vivo
Allegro energico
Erinnerung an Mozart
9 für Zauberflöte Solo (2001)
flute solo (Zimmermann Frankfurt)
19
20
21
22
I
II
III
IV
3:09
3:42
3:08
3:47
10:46
(Schott Music Panton)
Allegro
Andante
Scherzo. Allegro Vivo
Allegro con brio
2:20
2:34
2:50
3:22
Carlo Jans – flute
3:16
3:48
2:45
5:24
3:49
6:13
10
11
12
13
14
0:53
1:07
1:02
2:05
1:06
Prélude
Mouvement contraire
Canon
Passacaille
Fughette
Allegro giocoso
Andante tranquillo
Scherzino
Allegro giusto
15:22
Cinq inventions (1975)
two flutes (Editions Leduc)
I
II
III
IV
V
I
II
III
IV
Trio (1963)
flute, violin and violoncello
3 III Aria interrotta
Lento – Più mosso – Tempo I
Divertimento (1996)
flute and guitar (Tonger)
15
16
17
18
13:46
Martinů String Quartet (Lubomír Havlák – 1st violin, Petr Matěják – 2nd violin,
Jan Jíša – viola, Jitka Vlašánková – cello) (1–4)
Kateřina Englichová – harp (1–4)
Cary Greisch – guitar (5–8)
Carine Forget – flute (10–14)
Daniel Blumenthal – piano (15–18)
Lubomír Havlák – violin, Jitka Vlašánková – cello (19–22)
Recorded at
Domovina Studio Prague (Music director Jiří Gemrot, Sound engineers and editing Václav Roubal, Karel Soukeník): 1–4, 9, 15–22
Studio Cerise Luxembourg (Music director, Sound engineer and editing Cary Greisch): 5–8
Studio Conservatory of Luxembourg (Music director Pierre Kremer, Sound engineer,
editing and mastering Jean-Claude Ruppert): 10–14
Final mastering – Studio Cerise Luxembourg (Music director, Sound engineer and editing Carry Greisch, www.guitar.lu)
Thanks to Ministry of Culture Luxembourg, Fonds Culturel National Luxembourg,
Conservatoire de Luxembourg, Cary Greisch and to Geoff Piper
feld
16.9.2009
9:46
Str. 2
JIND¤ICH FELD
Sonatine américaine (1995)
flute and piano (Editions Leduc)
(1925–2007)
Quintetto capriccioso (1994/1995)
flute, violin, viola, violoncello and harp
19:33
(Editions Leduc)
1 I
Apertura seria e gioisa
Molto moderato – Allegro giocoso – Molto moderato
5:18
2 II
Scherzino
Allegro molto – Un poco meno mosso – Tempo I
Un poco meno mosso – Tempo I
4:46
3:25
4 IV Finale ritmico
Allegro vivace – Meno mosso – Tempo I – Meno mosso – Tempo I
6:04
5
6
7
8
I
II
III
IV
Toccata
Romanza
Scherzino
Finale
Allegro giocoso
Andante
Allegro vivo
Allegro energico
Erinnerung an Mozart
9 für Zauberflöte Solo (2001)
flute solo (Zimmermann Frankfurt)
19
20
21
22
I
II
III
IV
3:09
3:42
3:08
3:47
10:46
(Schott Music Panton)
Allegro
Andante
Scherzo. Allegro Vivo
Allegro con brio
2:20
2:34
2:50
3:22
Carlo Jans – flute
3:16
3:48
2:45
5:24
3:49
6:13
10
11
12
13
14
0:53
1:07
1:02
2:05
1:06
Prélude
Mouvement contraire
Canon
Passacaille
Fughette
Allegro giocoso
Andante tranquillo
Scherzino
Allegro giusto
15:22
Cinq inventions (1975)
two flutes (Editions Leduc)
I
II
III
IV
V
I
II
III
IV
Trio (1963)
flute, violin and violoncello
3 III Aria interrotta
Lento – Più mosso – Tempo I
Divertimento (1996)
flute and guitar (Tonger)
15
16
17
18
13:46
Martinů String Quartet (Lubomír Havlák – 1st violin, Petr Matěják – 2nd violin,
Jan Jíša – viola, Jitka Vlašánková – cello) (1–4)
Kateřina Englichová – harp (1–4)
Cary Greisch – guitar (5–8)
Carine Forget – flute (10–14)
Daniel Blumenthal – piano (15–18)
Lubomír Havlák – violin, Jitka Vlašánková – cello (19–22)
Recorded at
Domovina Studio Prague (Music director Jiří Gemrot, Sound engineers and editing Václav Roubal, Karel Soukeník): 1–4, 9, 15–22
Studio Cerise Luxembourg (Music director, Sound engineer and editing Cary Greisch): 5–8
Studio Conservatory of Luxembourg (Music director Pierre Kremer, Sound engineer,
editing and mastering Jean-Claude Ruppert): 10–14
Final mastering – Studio Cerise Luxembourg (Music director, Sound engineer and editing Carry Greisch, www.guitar.lu)
Thanks to Ministry of Culture Luxembourg, Fonds Culturel National Luxembourg,
Conservatoire de Luxembourg, Cary Greisch and to Geoff Piper
Photo: Carlo Jans
feld
16.9.2009
9:46
Str. 3
It was my friend Lutobor Hlavsa, flautist in the Czech Philharmonic, who
made me discover in the early fifties the beauty of the flute and its
technical possibilities. Lutobor asked me to compose a great concerto for
flute which would match the violin, cello or piano repertoire. It was
Jean-Pierre Rampal who recorded the concerto in 1956 and premièred it
in 1957. Thanks to Rampal, the flute had turned out to be an important
solo instrument. Rampal’s successors contributed to the incredible
development of the flute and I was always proud to be able to make
a contribution to this development with my music. I felt honoured by the
commissions by world-famous flautists like Rampal, Galway, Milan,
Fabbriciani, Adorján, Petrucci… Being inspired by their abilities, it was
a challenge for me to compose new pieces for them, solo pieces,
chamber music works and concertos.
One of the most prestigious contemporary flautists, Carlo Jans, decided, after having recorded
my complete work for flute and orchestra, to record my integral chamber music work for flute as
well. Surprised by this astonishing and ambitious idea, I was of course delighted and honoured.
Carlo’s admirable and infallible virtuosity made it possible to realize this ambitious project in
collaboration with his eminent Czech, Luxembourgian, American and Latvian friends.
My gratitude also to the technical crews of the studios for their excellent work. Thanks a lot, all
my admiration and gratefulness to all of you.
Sincerely
Jindfiich FELD
Prague, May 2006
Jindfiich Feld (1925–2007) was born in Prague on 19 February 1925. His father was a renowned
professor of violin at the Prague Conservatory and his mother was a violinist, so there were innumerable opportunities for him to hear music during his childhood. He studied violin and viola with his
father and enjoyed playing chamber music, but his life-long interest was focused on musical composition. His formal training in composition was at the Prague Conservatory and at the Academy of
Music, where he graduated in 1952. In the same year he earned a Ph.D. from the Charles University
in Prague with majors in musicology, aesthetics and philosophy. For a number of years he was a freelance composer. In the late 1950’s his compositions began to attract considerable international attention, and he received numerous commissions. As his music was gradually given performances in
many musical centres of the world, his contacts with Czech and foreign musicians often motivated
him to write new works for them. This was apparently what was behind his love for instrumental
music, both orchestral and chamber, which constituted the main focus of his compositional efforts.
Feld’s output may be divided into three periods. The first reflects the composer’s ties with the tradition of European and especially Czech music, and is exemplified by his graduation work, Concerto for
Orchestra. It already shows the author’s characteristic features: tonal basis to the harmony, formal
clarity, sense of instrumental virtuosity, rhythmic vitality etc. These were developed further, in particular, in his Concerto for Flute and Orchestra (1954), performed by Jean-Pierre Rampal, (recorded by
Carlo Jans and the Prague Radio Symphony Orchestra conducted by Vladimír Válek for Pavane
Records ASW 7469) and the Concerto for Violoncello and Orchestra (1958). In 1956 he also wrote
what was his only stage work, a children’s opera The Postman’s Tale. In the same year as the concerto, Feld wrote for his friend Hlavsa Four Pieces for Solo Flute (recorded by Carlo Jans Complete
Chamber Music Work for flute by Jindfiich Feld Vol III UP 0120). In this 1st period Feld also wrote his
most popular piece for flute: the Sonata for Flute and Piano (1957), commissioned by Rampal
immediately after the first performance of the concerto (recorded first by Carlo Jans and Daniel Blumenthal for Pavane Records ADW 7392, for the second time in the composer’s orchestration for flute
and string orchestra by Carlo Jans and the Prague Chamber Orchestra for the Czech label ArcoDiva
UP 0097 and for the third time on Vol II UP 0119 of the present collection).
The second period, which evolved in the sixties, can be characterized by a very individual amalgamation of his personal style with modern technical methods of composition (dodecaphony, serial
technique, aleatorics etc), which contributed to a stylistic crystallization of his creative output. The
two most important compositions of this period are the String Quartet No. 4 (1965), extensively performed by the Smetana and many other quartets, for which he was awarded the State Prize in 1968,
and the Symphony No. 1 (1967), which has been performed by the Czech Philharmonic Orchestra
under the direction of Antonio de Almeida. Other works of this period that exemplify Feld’s sense for
architectural proportions, effective instrumentation, rhythmical pulsation etc., are the Suite for String
Chamber Orchestra, or Three Frescoes for Orchestra performed by the Czech Philharmonic Orchestra, and also the Dramatic Fantasy The Days of August, composed in 1968–69 as a protest against
the Soviet invasion of Czechoslovakia in 1968. This work was premièred in Adelaide (South Australia)
by the Adelaide Symphony Orchestra conducted by Henry Krips in August 1969, on the first anniversary of this brutal act.
A very difficult work for flute and bass-clarinet (or bassoon) was created in this period, Duo (1962).
This appears in the version for flute and bassoon in our collection in Vol III. The dodecaphonic Trio
for Flute, Violin and Violoncello of 1963 is recorded in CD Nr. I of the collection.
Feld’s third period, comprising his output in the seventies and eighties, can be considered a synthesis of his creative activity characterized by further intensification of both content and expression.
Photo: Carlo Jans
feld
16.9.2009
9:46
Str. 3
It was my friend Lutobor Hlavsa, flautist in the Czech Philharmonic, who
made me discover in the early fifties the beauty of the flute and its
technical possibilities. Lutobor asked me to compose a great concerto for
flute which would match the violin, cello or piano repertoire. It was
Jean-Pierre Rampal who recorded the concerto in 1956 and premièred it
in 1957. Thanks to Rampal, the flute had turned out to be an important
solo instrument. Rampal’s successors contributed to the incredible
development of the flute and I was always proud to be able to make
a contribution to this development with my music. I felt honoured by the
commissions by world-famous flautists like Rampal, Galway, Milan,
Fabbriciani, Adorján, Petrucci… Being inspired by their abilities, it was
a challenge for me to compose new pieces for them, solo pieces,
chamber music works and concertos.
One of the most prestigious contemporary flautists, Carlo Jans, decided, after having recorded
my complete work for flute and orchestra, to record my integral chamber music work for flute as
well. Surprised by this astonishing and ambitious idea, I was of course delighted and honoured.
Carlo’s admirable and infallible virtuosity made it possible to realize this ambitious project in
collaboration with his eminent Czech, Luxembourgian, American and Latvian friends.
My gratitude also to the technical crews of the studios for their excellent work. Thanks a lot, all
my admiration and gratefulness to all of you.
Sincerely
Jindfiich FELD
Prague, May 2006
Jindfiich Feld (1925–2007) was born in Prague on 19 February 1925. His father was a renowned
professor of violin at the Prague Conservatory and his mother was a violinist, so there were innumerable opportunities for him to hear music during his childhood. He studied violin and viola with his
father and enjoyed playing chamber music, but his life-long interest was focused on musical composition. His formal training in composition was at the Prague Conservatory and at the Academy of
Music, where he graduated in 1952. In the same year he earned a Ph.D. from the Charles University
in Prague with majors in musicology, aesthetics and philosophy. For a number of years he was a freelance composer. In the late 1950’s his compositions began to attract considerable international attention, and he received numerous commissions. As his music was gradually given performances in
many musical centres of the world, his contacts with Czech and foreign musicians often motivated
him to write new works for them. This was apparently what was behind his love for instrumental
music, both orchestral and chamber, which constituted the main focus of his compositional efforts.
Feld’s output may be divided into three periods. The first reflects the composer’s ties with the tradition of European and especially Czech music, and is exemplified by his graduation work, Concerto for
Orchestra. It already shows the author’s characteristic features: tonal basis to the harmony, formal
clarity, sense of instrumental virtuosity, rhythmic vitality etc. These were developed further, in particular, in his Concerto for Flute and Orchestra (1954), performed by Jean-Pierre Rampal, (recorded by
Carlo Jans and the Prague Radio Symphony Orchestra conducted by Vladimír Válek for Pavane
Records ASW 7469) and the Concerto for Violoncello and Orchestra (1958). In 1956 he also wrote
what was his only stage work, a children’s opera The Postman’s Tale. In the same year as the concerto, Feld wrote for his friend Hlavsa Four Pieces for Solo Flute (recorded by Carlo Jans Complete
Chamber Music Work for flute by Jindfiich Feld Vol III UP 0120). In this 1st period Feld also wrote his
most popular piece for flute: the Sonata for Flute and Piano (1957), commissioned by Rampal
immediately after the first performance of the concerto (recorded first by Carlo Jans and Daniel Blumenthal for Pavane Records ADW 7392, for the second time in the composer’s orchestration for flute
and string orchestra by Carlo Jans and the Prague Chamber Orchestra for the Czech label ArcoDiva
UP 0097 and for the third time on Vol II UP 0119 of the present collection).
The second period, which evolved in the sixties, can be characterized by a very individual amalgamation of his personal style with modern technical methods of composition (dodecaphony, serial
technique, aleatorics etc), which contributed to a stylistic crystallization of his creative output. The
two most important compositions of this period are the String Quartet No. 4 (1965), extensively performed by the Smetana and many other quartets, for which he was awarded the State Prize in 1968,
and the Symphony No. 1 (1967), which has been performed by the Czech Philharmonic Orchestra
under the direction of Antonio de Almeida. Other works of this period that exemplify Feld’s sense for
architectural proportions, effective instrumentation, rhythmical pulsation etc., are the Suite for String
Chamber Orchestra, or Three Frescoes for Orchestra performed by the Czech Philharmonic Orchestra, and also the Dramatic Fantasy The Days of August, composed in 1968–69 as a protest against
the Soviet invasion of Czechoslovakia in 1968. This work was premièred in Adelaide (South Australia)
by the Adelaide Symphony Orchestra conducted by Henry Krips in August 1969, on the first anniversary of this brutal act.
A very difficult work for flute and bass-clarinet (or bassoon) was created in this period, Duo (1962).
This appears in the version for flute and bassoon in our collection in Vol III. The dodecaphonic Trio
for Flute, Violin and Violoncello of 1963 is recorded in CD Nr. I of the collection.
Feld’s third period, comprising his output in the seventies and eighties, can be considered a synthesis of his creative activity characterized by further intensification of both content and expression.
feld
16.9.2009
9:46
Str. 4
The most important works of this period are Concertos for Piano, Violin, Saxophone, Harp and others, String Quartet No. 5, Saxophone Quartet, Symphony No. 2 or Laus Cantus for Soprano Voice
and String Quartet, dedicated to the memory of Johann Sebastian Bach (1985). His largest and most
important work is the oratorio-cantata Cosmae chronica Boemorum, composed on a medieval
Latin text by the first Czech chronicler Cosmas (+1125), and based on Czech history.
In 1968 and 1969, Jindfiich Feld accepted an invitation to be Guest Professor of Composition at the
Adelaide University in Australia. He continued his interest in teaching at the Prague Conservatory,
where he was Professor of composition from 1972 until 1986. In 1972, Feld wrote a Trio for Violin,
Violoncello and Piano, reproduced in the version Trio for Flute, Violoncello and Piano on CD Nr. II.
During his professorship at the conservatory, he wrote for the German flautist Lucchesi Contrasts for
Solo Flute (1973) reproduced on CD Nr. III. The French publisher Leduc commissioned several
pieces, like Two Dances for Flute and Guitar (1975), recorded on CD Nr. III, or Five Inventions
for Two Flutes (1975) recorded by Carlo Jans and Carine Forget on CD Nr. I of the collection.
Jindfiich Feld was also guest lecturer at Indiana University (Bloomington, USA) in 1981 and 1984. In
addition, he lectured at several other American universities as well as in Denmark, Norway, Germany,
France, Great Britain and in 1991 in Japan. He was the recipient of numerous prizes in various competitions in Czechoslovakia and other countries. Jindfiich Feld then continued to add to his catalogue
many varied works. Among these were several pieces for flute (e.g. Concert Fantasy for Flute and
String Orchestra, written for the “International Competition Jean-Pierre Rampal, Paris 1980”
(recorded by Carlo Jans and the Prague Radio Orchestra with Vladimír Válek for Pavane Records
ASW 7469) In 1981, another virtuoso composition was written for the German flautist Immanuel Lucchesi, the piece Concert Duo for Two Flutes (1981) full of many difficult passages and requiring
much ensemble rehearsal, is here recorded by Carlo and his wife on CD Nr. III of the collection. A jubilant, concertant piece for a brilliant player is the Sonatina for Flute and Harp (1986) (CD Nr. II).
During a stay in Prague in 1989, the famous flautist James Galway ordered a concerto for flute,
piano and orchestra. Feld, impressed by the virtuosity of Galway and his pianist Phillip Moll, wrote
a cheerfull, virtuoso piece Concertino pour flûte, piano et orchestre (recorded by Carlo Jans,
Daniel Blumenthal, piano and the Prague Radio Orchestra with Vadimír Válek for Pavane Records
ASW 7469). Since the Czechoslovak democratic revolution in November 1989, he was active as a key
member of several committees and organizations in his country (e.g. “Association of Czech Musicians
and Musicologists”). In 1990, he accepted the position of Head of the Music Department of the Czechoslovak Radio until 1992. We also find in his catalogue works for wind band. In 1998, he completed his most important work of the last period, Symphony No. 3 “Fin de siècle”, followed in 2001 by
the Sinfonietta with the subtitle “Pour les temps d’harmonie”, commissioned by Radio France.
The nineties were very fertile for the flute: For Roberto Fabbriciani, Jindfiich Feld wrote the demanding virtuoso piece Introduction, Toccata and Fugue for Solo Flute (1991), CD Nr. II. For Susan
Milan, Feld created his formidable, virtuoso work Quintetto Capriccioso (1994–1995). Beside his
String Quartet No. 6, dedicated to the PraÏák Quartet, this is one of Feld’s most important works. We
find the recording of Quintetto Capriccioso for Flute, Violin, Viola, Violoncello and Harp
(1994/1995) with the Czech harpist Katefiina Englichová and members of the MartinÛ Quartet as the
opening piece on CD Nr. I of the collection. In the same period, Feld wrote for his American friends
Lana Johns and Joel Harrison the American Sonatina for Flute and Piano (1995) recorded by
Carlo Jans and Daniel Blumenthal on CD Nr. I. The duo Jans – Greisch presents on CD Nr. I the
Divertimento for Flute and Guitar (1996).
The work for flute and string quartet Flautarchia (2000), full of musical contrasts, was recorded in
collaboration with the MartinÛ Quartet and opens CD Nr. II of the Complete recording of Feld’s chamber music for flute. The years 2001/2002 bring us three impressive, humorous, satirical pieces: in
2001 the German Publisher Zimmermann asked all the current composers represented by the house
to compose variations on the well known Serenata by Ricardo Drigo. Feld wrote Fantasia Concertante sul tema della Serenata di Riccardo Drigo (2001) an humorous piece for piccolo/bass flute
and piano, originally for soprano/bass ocarina, an instrument played by Feld himself, recorded here by
Jans and Blumenthal to close CD Nr. II of the collection. In the same year, the Hungarian-German
flautist András Adorján requested a solo flute piece suitable for an encore, based on the famous flute
solo in the last act of Mozart’s Magic Flute. Adorjáns’ former student Carlo Jans presents the “sorcery” Erinnerung an Mozart für Zauberflöte Solo on CD Nr. I. As a test piece for a competition,
Feld wrote for the Italian flautist Gian-Luca Petrucci the difficult solo piece Fantaisie – Variations sur
un thème de Leonardo de Lorenzo (2002), CD Nr. II. The Nocturne (2002) for Flute and String
Trio, written and dedicated to the memory of Feld’s friend, the great French flautist Jean-Pierre Rampal, closes the 3-CD collection, but does not conclude the composer’s fruitful output. The Musique
Concertante pour flûte, alto, harpe et orchestre à cordes was written in 2005 at the request of
the Luxembourgish Ambassador Pierre-Louis Lorenz for the Bohemia-Luxembourg Trio (Carlo Jans,
flute, Jitka Hosprová, viola, Katefiina Englichová, harp). The piece is written for a combination of instruments revealed by the famous Sonata for flute, viola and harp by Claude Debussy. However it is
unique in combining this trio of instruments with string orchestra. The piece was first performed at the
Rudolfinum Hall in Prague in March 2007. This piece is the last piece, Jindfiich Feld wrote for his
favourite instrument, the flute (recorded by the Bohemia – Luxembourg Trio and the Prague Chamber
Orchestra for the Czech label ArcoDiva UP 0097 and published as the final work on Vol III of the present collection).
Carlo Jans – flute
He began his first flute lessons at the age of seven, violin lessons at twelve. On the completion of
his training in Luxembourg and Nancy (class of Jacques Mule), he continued his studies at the Con-
feld
16.9.2009
9:46
Str. 4
The most important works of this period are Concertos for Piano, Violin, Saxophone, Harp and others, String Quartet No. 5, Saxophone Quartet, Symphony No. 2 or Laus Cantus for Soprano Voice
and String Quartet, dedicated to the memory of Johann Sebastian Bach (1985). His largest and most
important work is the oratorio-cantata Cosmae chronica Boemorum, composed on a medieval
Latin text by the first Czech chronicler Cosmas (+1125), and based on Czech history.
In 1968 and 1969, Jindfiich Feld accepted an invitation to be Guest Professor of Composition at the
Adelaide University in Australia. He continued his interest in teaching at the Prague Conservatory,
where he was Professor of composition from 1972 until 1986. In 1972, Feld wrote a Trio for Violin,
Violoncello and Piano, reproduced in the version Trio for Flute, Violoncello and Piano on CD Nr. II.
During his professorship at the conservatory, he wrote for the German flautist Lucchesi Contrasts for
Solo Flute (1973) reproduced on CD Nr. III. The French publisher Leduc commissioned several
pieces, like Two Dances for Flute and Guitar (1975), recorded on CD Nr. III, or Five Inventions
for Two Flutes (1975) recorded by Carlo Jans and Carine Forget on CD Nr. I of the collection.
Jindfiich Feld was also guest lecturer at Indiana University (Bloomington, USA) in 1981 and 1984. In
addition, he lectured at several other American universities as well as in Denmark, Norway, Germany,
France, Great Britain and in 1991 in Japan. He was the recipient of numerous prizes in various competitions in Czechoslovakia and other countries. Jindfiich Feld then continued to add to his catalogue
many varied works. Among these were several pieces for flute (e.g. Concert Fantasy for Flute and
String Orchestra, written for the “International Competition Jean-Pierre Rampal, Paris 1980”
(recorded by Carlo Jans and the Prague Radio Orchestra with Vladimír Válek for Pavane Records
ASW 7469) In 1981, another virtuoso composition was written for the German flautist Immanuel Lucchesi, the piece Concert Duo for Two Flutes (1981) full of many difficult passages and requiring
much ensemble rehearsal, is here recorded by Carlo and his wife on CD Nr. III of the collection. A jubilant, concertant piece for a brilliant player is the Sonatina for Flute and Harp (1986) (CD Nr. II).
During a stay in Prague in 1989, the famous flautist James Galway ordered a concerto for flute,
piano and orchestra. Feld, impressed by the virtuosity of Galway and his pianist Phillip Moll, wrote
a cheerfull, virtuoso piece Concertino pour flûte, piano et orchestre (recorded by Carlo Jans,
Daniel Blumenthal, piano and the Prague Radio Orchestra with Vadimír Válek for Pavane Records
ASW 7469). Since the Czechoslovak democratic revolution in November 1989, he was active as a key
member of several committees and organizations in his country (e.g. “Association of Czech Musicians
and Musicologists”). In 1990, he accepted the position of Head of the Music Department of the Czechoslovak Radio until 1992. We also find in his catalogue works for wind band. In 1998, he completed his most important work of the last period, Symphony No. 3 “Fin de siècle”, followed in 2001 by
the Sinfonietta with the subtitle “Pour les temps d’harmonie”, commissioned by Radio France.
The nineties were very fertile for the flute: For Roberto Fabbriciani, Jindfiich Feld wrote the demanding virtuoso piece Introduction, Toccata and Fugue for Solo Flute (1991), CD Nr. II. For Susan
Milan, Feld created his formidable, virtuoso work Quintetto Capriccioso (1994–1995). Beside his
String Quartet No. 6, dedicated to the PraÏák Quartet, this is one of Feld’s most important works. We
find the recording of Quintetto Capriccioso for Flute, Violin, Viola, Violoncello and Harp
(1994/1995) with the Czech harpist Katefiina Englichová and members of the MartinÛ Quartet as the
opening piece on CD Nr. I of the collection. In the same period, Feld wrote for his American friends
Lana Johns and Joel Harrison the American Sonatina for Flute and Piano (1995) recorded by
Carlo Jans and Daniel Blumenthal on CD Nr. I. The duo Jans – Greisch presents on CD Nr. I the
Divertimento for Flute and Guitar (1996).
The work for flute and string quartet Flautarchia (2000), full of musical contrasts, was recorded in
collaboration with the MartinÛ Quartet and opens CD Nr. II of the Complete recording of Feld’s chamber music for flute. The years 2001/2002 bring us three impressive, humorous, satirical pieces: in
2001 the German Publisher Zimmermann asked all the current composers represented by the house
to compose variations on the well known Serenata by Ricardo Drigo. Feld wrote Fantasia Concertante sul tema della Serenata di Riccardo Drigo (2001) an humorous piece for piccolo/bass flute
and piano, originally for soprano/bass ocarina, an instrument played by Feld himself, recorded here by
Jans and Blumenthal to close CD Nr. II of the collection. In the same year, the Hungarian-German
flautist András Adorján requested a solo flute piece suitable for an encore, based on the famous flute
solo in the last act of Mozart’s Magic Flute. Adorjáns’ former student Carlo Jans presents the “sorcery” Erinnerung an Mozart für Zauberflöte Solo on CD Nr. I. As a test piece for a competition,
Feld wrote for the Italian flautist Gian-Luca Petrucci the difficult solo piece Fantaisie – Variations sur
un thème de Leonardo de Lorenzo (2002), CD Nr. II. The Nocturne (2002) for Flute and String
Trio, written and dedicated to the memory of Feld’s friend, the great French flautist Jean-Pierre Rampal, closes the 3-CD collection, but does not conclude the composer’s fruitful output. The Musique
Concertante pour flûte, alto, harpe et orchestre à cordes was written in 2005 at the request of
the Luxembourgish Ambassador Pierre-Louis Lorenz for the Bohemia-Luxembourg Trio (Carlo Jans,
flute, Jitka Hosprová, viola, Katefiina Englichová, harp). The piece is written for a combination of instruments revealed by the famous Sonata for flute, viola and harp by Claude Debussy. However it is
unique in combining this trio of instruments with string orchestra. The piece was first performed at the
Rudolfinum Hall in Prague in March 2007. This piece is the last piece, Jindfiich Feld wrote for his
favourite instrument, the flute (recorded by the Bohemia – Luxembourg Trio and the Prague Chamber
Orchestra for the Czech label ArcoDiva UP 0097 and published as the final work on Vol III of the present collection).
Carlo Jans – flute
He began his first flute lessons at the age of seven, violin lessons at twelve. On the completion of
his training in Luxembourg and Nancy (class of Jacques Mule), he continued his studies at the Con-
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servatoire Royal de Liège, (Diplôme Supérieur de flûte) and at the Royal Conservatory of Maastricht
(Soloist’s Diploma). Being a student of Raymond Guiot, former soloist at Paris Opera, he was honoured with the “1. Prix Supérieur de la Ville de Paris”. He completed a two years’ postgraduate programme at the Cologne Academy of Music in the masterclass of András Adorján. As a private student, Carlo Jans worked with the famous flautist Aurèle Nicolet and followed masterclasses with Alain
Marion and Peter-Lukas Graf. Open to new musical horizons, Jans studied conducting under Jan
Stulen and Jean-Philippe Rieu at the Royal Music Academy of Music in Maastricht (Conducting Diploma with honours), followed by a Postgraduate Diploma at the «Zuid Nederlandse Hogeschool voor
Muziek» and further conducting studies with Maestro Jorma Panula in St. Petersbourg. Since 1984,
Carlo Jans has taught flute and chamber music at the Conservatory of Luxembourg.
In 1999, he was awarded a professorship for flute and conducting and took over leadership of the
Conservatory orchestras. From 1997 on, he has been guest professor at the Academy of Music in Riga,
Latvia and he is often invited for masterclasses in the Netherlands, Czech Republic and in France.
Since September 2002, Carlo Jans has taught at the Musikhochschule Saarbrücken in Germany.
In 1988 he founded the «Forum International pour flûte et piano Diekirch/Luxembourg», a summer
course attended during the last 20 years by over 600 students of 28 different nationalities. Beside his
professional life as teacher, he also pursues an active career as a flautist and conductor. He has been
invited to perform as soloist with RTL Symphony Orchestra, Sonderjyland Symphony Orchestra,
Orchestre de Chambre d’Auvergne, Prague Radio Symphony Orchestra, Brno State Philharmonic
Orchestra, Porto Symphony Orchestra, Switzerland Chamber Orchestra, Orchestre de Chambre
Jean-François Paillard, Moravian Chamber Orchestra Olomouc and the Latvian Philharmonic Chamber Orchestra; of which he has been a guest conductor since 1997.
He has played concerts as the partner of flautists like András Adorján, Maxence Larrieu, Janos
Balint, Jean-Claude Gérard, with pianists like Daniel Blumenthal, Gabriel Tacchino, Thomas Duis, jazz
pianist Claude Bolling, violonist Jean-Jacques Kantorow, cellist Mirel Lancovici, or chamber music
groups like the Zürcher Streichtrio, Danel String Quartet, MartinÛ String Quartet and many others.
As a conductor, he has accompanied soloists like Cyprien Katsaris, Daniel Blumenthal, Marta
Sudraba, Janos Balint, Steven Meat.
Numerous composers have written solo pieces, chamber music and concertos for him, e.g.
François Glorieux, Jean-Louis Petit, Marcel Wengler, Jindfiich Feld (Alphonse Leduc Publisher) and
Victor Fenigstein (Boosey and Hawkes).
His discography (over 30 CDs) for labels like Pavane Records, Calliope Bella Musica, Arco Diva and
others, have earned him outstanding reviews in the international press and awards such as the
«Grand Prix du Disque» for his recording of the chamber music of Manuel Rosenthal.
www. carlojans.com
Carine Forget – flute
Following initial flute and violin lessons in Luxembourg, she completed her studies in the flute class
of her future husband Carlo Jans at Luxembourg Conservatory (Diplôme Supérieur and 1. Prix
Supérieur Interrégional). She continued her studies at the Conservatoire Royal de Liège, at the Royal
Conservatory of Maastricht (Soloist’s Diploma) and with András Adorján and Marianne Henkel at the
Royal Dutch Conservatory of Den Haag. There followed summerclasses with András Adorján, JeanClaude Gérard, Jean-Michel Tanguy, Janos Balint, Konrad Hünteler, Eric and Patrice Kirchhoff. Carine
Forget teaches the flute at the Music school of the City of Grevenmacher/Luxembourg. Together with
Carlo Jans, she has recorded several CDs; one, released by Radio-Television Luxembourg, comprises the whole work for two flutes and piano by the Doppler brothers.
Cary Greisch – guitar
He started with playing pop music, rock and jazz. In 1977 he enrolled at the Conservatory in Luxembourg to study classical guitar and double bass, and was honoured with the “Premier Prix” in both
instruments.
During the next years he deepened his musical education at the “Conservatoire National de
Région” in Strasbourg (France), where he studied classical guitar with Bernard Fieschi and was
rewarded with the “Diplôme Supérieur Instrumental” in 1985.
He went on to attend postgraduate courses offered by internationally renowned soloists and teachers, e.g. the late Alexandre Lagoya.
Cary Greisch was appointed Professor of Guitar and Chamber Music at the Conservatory of Luxembourg in 1986. His activities attest to his great musical versatility: classical solo guitar, in duo and
trio; flute and guitar, voice and guitar, guitar with other instruments and with orchestra; electric guitar
in various jazz and rock groups; combining of literature and music; theatre music; electronic music.
His first CD – the first solo guitar CD ever recorded by a guitarist from Luxembourg – was released in
1994. This recording has recently been re-issued by the German label Bella Musica, the same label
which published “Flores del Sur” with Latin-American music for flute and guitar, recorded by Cary
Greisch together with Luxembourg flautist Carlo Jans.
www.guitar.lu
Katefiina Englichová – harp
One of the most sought-after harpists of her generation, Katefiina Englichová performs all over
Europe, North America, Japan, Hong Kong and New Zealand. She has collaborated with artists such
as Mstislav Rostropovitch, Josef Suk, Gérard Caussé, Cynthia Phelps, Michel Lethiec, Eugenia Zukerman and with many ensembles, including the PraÏák Quartet, the Wihan Quartet, the MartinÛ Quartet and the Haas Quartet. She has performed at numerous international festivals such as Tanglewood
feld
16.9.2009
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Str. 5
servatoire Royal de Liège, (Diplôme Supérieur de flûte) and at the Royal Conservatory of Maastricht
(Soloist’s Diploma). Being a student of Raymond Guiot, former soloist at Paris Opera, he was honoured with the “1. Prix Supérieur de la Ville de Paris”. He completed a two years’ postgraduate programme at the Cologne Academy of Music in the masterclass of András Adorján. As a private student, Carlo Jans worked with the famous flautist Aurèle Nicolet and followed masterclasses with Alain
Marion and Peter-Lukas Graf. Open to new musical horizons, Jans studied conducting under Jan
Stulen and Jean-Philippe Rieu at the Royal Music Academy of Music in Maastricht (Conducting Diploma with honours), followed by a Postgraduate Diploma at the «Zuid Nederlandse Hogeschool voor
Muziek» and further conducting studies with Maestro Jorma Panula in St. Petersbourg. Since 1984,
Carlo Jans has taught flute and chamber music at the Conservatory of Luxembourg.
In 1999, he was awarded a professorship for flute and conducting and took over leadership of the
Conservatory orchestras. From 1997 on, he has been guest professor at the Academy of Music in Riga,
Latvia and he is often invited for masterclasses in the Netherlands, Czech Republic and in France.
Since September 2002, Carlo Jans has taught at the Musikhochschule Saarbrücken in Germany.
In 1988 he founded the «Forum International pour flûte et piano Diekirch/Luxembourg», a summer
course attended during the last 20 years by over 600 students of 28 different nationalities. Beside his
professional life as teacher, he also pursues an active career as a flautist and conductor. He has been
invited to perform as soloist with RTL Symphony Orchestra, Sonderjyland Symphony Orchestra,
Orchestre de Chambre d’Auvergne, Prague Radio Symphony Orchestra, Brno State Philharmonic
Orchestra, Porto Symphony Orchestra, Switzerland Chamber Orchestra, Orchestre de Chambre
Jean-François Paillard, Moravian Chamber Orchestra Olomouc and the Latvian Philharmonic Chamber Orchestra; of which he has been a guest conductor since 1997.
He has played concerts as the partner of flautists like András Adorján, Maxence Larrieu, Janos
Balint, Jean-Claude Gérard, with pianists like Daniel Blumenthal, Gabriel Tacchino, Thomas Duis, jazz
pianist Claude Bolling, violonist Jean-Jacques Kantorow, cellist Mirel Lancovici, or chamber music
groups like the Zürcher Streichtrio, Danel String Quartet, MartinÛ String Quartet and many others.
As a conductor, he has accompanied soloists like Cyprien Katsaris, Daniel Blumenthal, Marta
Sudraba, Janos Balint, Steven Meat.
Numerous composers have written solo pieces, chamber music and concertos for him, e.g.
François Glorieux, Jean-Louis Petit, Marcel Wengler, Jindfiich Feld (Alphonse Leduc Publisher) and
Victor Fenigstein (Boosey and Hawkes).
His discography (over 30 CDs) for labels like Pavane Records, Calliope Bella Musica, Arco Diva and
others, have earned him outstanding reviews in the international press and awards such as the
«Grand Prix du Disque» for his recording of the chamber music of Manuel Rosenthal.
www. carlojans.com
Carine Forget – flute
Following initial flute and violin lessons in Luxembourg, she completed her studies in the flute class
of her future husband Carlo Jans at Luxembourg Conservatory (Diplôme Supérieur and 1. Prix
Supérieur Interrégional). She continued her studies at the Conservatoire Royal de Liège, at the Royal
Conservatory of Maastricht (Soloist’s Diploma) and with András Adorján and Marianne Henkel at the
Royal Dutch Conservatory of Den Haag. There followed summerclasses with András Adorján, JeanClaude Gérard, Jean-Michel Tanguy, Janos Balint, Konrad Hünteler, Eric and Patrice Kirchhoff. Carine
Forget teaches the flute at the Music school of the City of Grevenmacher/Luxembourg. Together with
Carlo Jans, she has recorded several CDs; one, released by Radio-Television Luxembourg, comprises the whole work for two flutes and piano by the Doppler brothers.
Cary Greisch – guitar
He started with playing pop music, rock and jazz. In 1977 he enrolled at the Conservatory in Luxembourg to study classical guitar and double bass, and was honoured with the “Premier Prix” in both
instruments.
During the next years he deepened his musical education at the “Conservatoire National de
Région” in Strasbourg (France), where he studied classical guitar with Bernard Fieschi and was
rewarded with the “Diplôme Supérieur Instrumental” in 1985.
He went on to attend postgraduate courses offered by internationally renowned soloists and teachers, e.g. the late Alexandre Lagoya.
Cary Greisch was appointed Professor of Guitar and Chamber Music at the Conservatory of Luxembourg in 1986. His activities attest to his great musical versatility: classical solo guitar, in duo and
trio; flute and guitar, voice and guitar, guitar with other instruments and with orchestra; electric guitar
in various jazz and rock groups; combining of literature and music; theatre music; electronic music.
His first CD – the first solo guitar CD ever recorded by a guitarist from Luxembourg – was released in
1994. This recording has recently been re-issued by the German label Bella Musica, the same label
which published “Flores del Sur” with Latin-American music for flute and guitar, recorded by Cary
Greisch together with Luxembourg flautist Carlo Jans.
www.guitar.lu
Katefiina Englichová – harp
One of the most sought-after harpists of her generation, Katefiina Englichová performs all over
Europe, North America, Japan, Hong Kong and New Zealand. She has collaborated with artists such
as Mstislav Rostropovitch, Josef Suk, Gérard Caussé, Cynthia Phelps, Michel Lethiec, Eugenia Zukerman and with many ensembles, including the PraÏák Quartet, the Wihan Quartet, the MartinÛ Quartet and the Haas Quartet. She has performed at numerous international festivals such as Tanglewood
feld
16.9.2009
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Str. 6
and the Tucson Music Festival in the USA, Music by the Red Sea in Israel, Pacific Music Festival in
Japan, Rencontres Musicales d’Evian and Festival d’Ile de France, and in the Czech Republic at
Prague Spring Festival, Prague Autumn and Bohuslav MartinÛ Festival.
Katefiina Englichová made her American recital debut in the Weill Hall at Carnegie Hall, New York in
1998. Other distinguished venues where she has played include the Beethoven Saal in Bonn, Chamber
Music Hall of the Berlin Philharmonic, Auditorio Nacional de Musica de Madrid, and the Rudolfinum in
Prague. She has appeared with the Philadelphia Orchestra, the San Francisco Chamber Orchestra, the
Prague Chamber Philharmonia, the Czech National Symphony, the Brno State Philharmonic, the Moravian
Philharmonic of Olomouc, the Talich Chamber Orchestra, the Suk Chamber Orchestra and others. She
can be heard as a soloist or chamber musician on more than 25 discs under labels such as Supraphon,
Harmonia Mundi, Discover International, New World, the Japanese label Exton and ArcoDiva.
Katefiina Englichová won the Pro Musicis International Award in 1995, 1st prize in the Torneo International Competition in Italy in 2000, Prague Radio Broadcast Competition 1997, Concerto Soloists
1994, Vienna Music Competition 1998, Elizabeth Herbert-Hobin Harp Competition in 1992 and 1993,
the Laureate Prize of the Chamber Music Society of the Czech Philharmonic in 2001. She studied at
the Prague Conservatoire and the Curtis Institute of Music in Philadelphia, (she is a Fulbright recipient), and has given masterclasses in the USA, Hong Kong, Italy and the Czech Republic. Since 2005
she has been Professor of Harp at the New York University Prague.
www.englichova.cz.
Daniel Blumenthal – piano
The American pianist began his musical studies in Paris at the age of 5. He pursued his studies at
the University of Michigan and the Juilliard School, where he earned his doctorate. He furthered his
musical education thereafter with Benjamin Kaplan in London.
Between 1981 and 1983 he won prizes in many international competitions: Sydney and Leeds in
1981, Geneva and Busoni 1982, and the Queen Elisabeth in 1983. He was a member of the jury of
the Queen Elisabeth in 1995.
His multifaceted career is devoted to the varied genres of the solo recital, concerto, chamber music
and song literatures. His vast repertoire is literally encyclopaedic, comprising the great classics as well
as unjustly neglected works. In the latter context he has premièred many works in recent years such
as the Debussy Trio.
His abundant discography extends now to over 70 CDs.
He appears regularly in recitals with internationally recognized artists such as Barry Tuckwell, Peter
Zazofsky, Pierre Amoyal, José Van Dam, Dale Duesing, John Aler, Dinah Bryant, the string quartets
Orlando, Enesco and Colorado.
He is currently Professor of piano at the Royal Flemish Conservatory in Brussels.
MartinÛ Quartet
(Lubomír Havlák – 1st violin, Irena Herajnová – 2nd violin (from 2006), Jan Jí‰a – viola,
Jitka Vla‰ánková – cello)
The MartinÛ Quartet was founded in 1976 at the Prague Conservatory in the class of Viktor Mouãka, a member of the Vlach Quartet. During the study at The Academy of Performing Arts under the
leadership of Antonín Kohout, a member of the Smetana Quartet, they started a successful activity
under the name of Havlák Quartet and received many awards. Among them was the special prize of
1990 of the Czech Chamber Music Society as well the prize of Bohuslav MartinÛ with special emphasis of MartinÛ’s chamber music. At the same time they gained valuable experience from active workshops with renowned quartet ensembles (Tel Aviv Quartet, Amadeus Quartet, Guarneri Quartet, Julliard Quartet and others). They participated in eight international competitions with the result of eight
awards with seven laureate titles, the most notable being in Portsmouth (Great Britain), ARD (Munich),
Evian (France) and The Prague Spring Festival. In 1985 the ensemble, with the approval of the
Bohuslav MartinÛ Society, took the name of MartinÛ Quartet, while pledging to promote MartinÛ’s
chamber music. They have appeared all over Europe and have made regular tours of the USA, Canada, Spain, Japan and England. The MartinÛ Quartet is a regular guest at The Prague Spring Festival.
They have recorded complete seven MartinÛ’s string quartets for the NAXOS label. In 2003 they
released the works of Bodorová (Terezín Ghetto Requiem) and Stevenson which received an award
of the Recording of the Month (MusicWeb International). In 2004 they received a MIDEM award in
Cannes as the best CD of the year in the solo/ensemble repertoire of the 20th Century.
The MartinÛ Quartet boasts a broad repertoire, with special emphasis on Czech chamber music.
Apart from many recordings for Czech Radio, Radio France, BBC, ARD, ORF, the MartinÛ Quartet
appears on the recording labels Naxos. Harmonia Mundi, Panton, Romantic Robot, ArcoDiva, Studio
Matou‰ and others.
www.martinuquartet.eu
feld
16.9.2009
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Str. 6
and the Tucson Music Festival in the USA, Music by the Red Sea in Israel, Pacific Music Festival in
Japan, Rencontres Musicales d’Evian and Festival d’Ile de France, and in the Czech Republic at
Prague Spring Festival, Prague Autumn and Bohuslav MartinÛ Festival.
Katefiina Englichová made her American recital debut in the Weill Hall at Carnegie Hall, New York in
1998. Other distinguished venues where she has played include the Beethoven Saal in Bonn, Chamber
Music Hall of the Berlin Philharmonic, Auditorio Nacional de Musica de Madrid, and the Rudolfinum in
Prague. She has appeared with the Philadelphia Orchestra, the San Francisco Chamber Orchestra, the
Prague Chamber Philharmonia, the Czech National Symphony, the Brno State Philharmonic, the Moravian
Philharmonic of Olomouc, the Talich Chamber Orchestra, the Suk Chamber Orchestra and others. She
can be heard as a soloist or chamber musician on more than 25 discs under labels such as Supraphon,
Harmonia Mundi, Discover International, New World, the Japanese label Exton and ArcoDiva.
Katefiina Englichová won the Pro Musicis International Award in 1995, 1st prize in the Torneo International Competition in Italy in 2000, Prague Radio Broadcast Competition 1997, Concerto Soloists
1994, Vienna Music Competition 1998, Elizabeth Herbert-Hobin Harp Competition in 1992 and 1993,
the Laureate Prize of the Chamber Music Society of the Czech Philharmonic in 2001. She studied at
the Prague Conservatoire and the Curtis Institute of Music in Philadelphia, (she is a Fulbright recipient), and has given masterclasses in the USA, Hong Kong, Italy and the Czech Republic. Since 2005
she has been Professor of Harp at the New York University Prague.
www.englichova.cz.
Daniel Blumenthal – piano
The American pianist began his musical studies in Paris at the age of 5. He pursued his studies at
the University of Michigan and the Juilliard School, where he earned his doctorate. He furthered his
musical education thereafter with Benjamin Kaplan in London.
Between 1981 and 1983 he won prizes in many international competitions: Sydney and Leeds in
1981, Geneva and Busoni 1982, and the Queen Elisabeth in 1983. He was a member of the jury of
the Queen Elisabeth in 1995.
His multifaceted career is devoted to the varied genres of the solo recital, concerto, chamber music
and song literatures. His vast repertoire is literally encyclopaedic, comprising the great classics as well
as unjustly neglected works. In the latter context he has premièred many works in recent years such
as the Debussy Trio.
His abundant discography extends now to over 70 CDs.
He appears regularly in recitals with internationally recognized artists such as Barry Tuckwell, Peter
Zazofsky, Pierre Amoyal, José Van Dam, Dale Duesing, John Aler, Dinah Bryant, the string quartets
Orlando, Enesco and Colorado.
He is currently Professor of piano at the Royal Flemish Conservatory in Brussels.
MartinÛ Quartet
(Lubomír Havlák – 1st violin, Irena Herajnová – 2nd violin (from 2006), Jan Jí‰a – viola,
Jitka Vla‰ánková – cello)
The MartinÛ Quartet was founded in 1976 at the Prague Conservatory in the class of Viktor Mouãka, a member of the Vlach Quartet. During the study at The Academy of Performing Arts under the
leadership of Antonín Kohout, a member of the Smetana Quartet, they started a successful activity
under the name of Havlák Quartet and received many awards. Among them was the special prize of
1990 of the Czech Chamber Music Society as well the prize of Bohuslav MartinÛ with special emphasis of MartinÛ’s chamber music. At the same time they gained valuable experience from active workshops with renowned quartet ensembles (Tel Aviv Quartet, Amadeus Quartet, Guarneri Quartet, Julliard Quartet and others). They participated in eight international competitions with the result of eight
awards with seven laureate titles, the most notable being in Portsmouth (Great Britain), ARD (Munich),
Evian (France) and The Prague Spring Festival. In 1985 the ensemble, with the approval of the
Bohuslav MartinÛ Society, took the name of MartinÛ Quartet, while pledging to promote MartinÛ’s
chamber music. They have appeared all over Europe and have made regular tours of the USA, Canada, Spain, Japan and England. The MartinÛ Quartet is a regular guest at The Prague Spring Festival.
They have recorded complete seven MartinÛ’s string quartets for the NAXOS label. In 2003 they
released the works of Bodorová (Terezín Ghetto Requiem) and Stevenson which received an award
of the Recording of the Month (MusicWeb International). In 2004 they received a MIDEM award in
Cannes as the best CD of the year in the solo/ensemble repertoire of the 20th Century.
The MartinÛ Quartet boasts a broad repertoire, with special emphasis on Czech chamber music.
Apart from many recordings for Czech Radio, Radio France, BBC, ARD, ORF, the MartinÛ Quartet
appears on the recording labels Naxos. Harmonia Mundi, Panton, Romantic Robot, ArcoDiva, Studio
Matou‰ and others.
www.martinuquartet.eu
feld
16.9.2009
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Str. 7
S technick˘mi a v˘razov˘mi moÏnostmi flétny mne seznámil na poãátku padesát˘ch let mÛj pfiítel
a flétnista âeské filharmonie Lutobor Hlavsa. PoÏádal mne tehdy také o napsání velkého flétnového
koncertu, kter˘ by snesl srovnání s repertoárem nástrojÛ jako jsou housle, violoncello nebo klavír.
A nebyl to nikdo jin˘ neÏ Jean-Pierre Rampal, kdo tento koncert v roce 1956 natoãil a pak ho
vefiejnû provedl v premiéfie v roce 1957. Díky Rampalovi zaãala b˘t flétna velmi dÛleÏit˘m sólov˘m
nástrojem. Jeho následovníci pak pfiispûli k tomu, Ïe tento nástroj pro‰el neuvûfiiteln˘m v˘vojem a já
jsem velmi hrd˘ na to, Ïe jsem mohl psát pro takové interpretaãní zjevy jako byli Rampal, Galway,
Milan, Fabbriciani, Adorján, Petrucci a dal‰í. KdyÏ jsem psal své nové skladby pro flétnu (sólové,
komorní nebo koncertantní), byl jsem inspirován pfiedev‰ím jejich umûním.
Jeden z nejrenomovanûj‰ích flétnistÛ souãasnosti – Carlo Jans – se rozhodl po tom, co nahrál
komplet m˘ch skladeb pro flétnu a orchestr, natoãit komplet m˘ch komorních skladeb pro tento
nástroj. Byl jsem nesmírnû pfiekvapen tímto ambiciózním a udivujícím projektem a samozfiejmû to pro
mne byla velká pocta a potû‰ení. Bez obdivuhodné a neselhávající virtuozity Carlo Janse ve
spolupráci s jeho skvûl˘mi hudebními pfiáteli z âeské republiky, Lucemburska, Ameriky a Loty‰ska by
tento projekt nebyl vÛbec moÏn˘. Jsem rovnûÏ velmi vdûãn˘ v‰em pracovníkÛm ve studiích, ktefií se
na pfiípravû nahrávek podíleli, za jejich skvûlou práci.
Vám v‰em patfií mÛj obdiv a velké podûkování
Vá‰
Jindfiich Feld
Praha, kvûten 2006
Jindfiich Feld (1925–2007) se narodil v Praze v hudební rodinû, kde získal základy svého vzdûlání. Po studiu na PraÏské konzervatofii studoval na Hudební fakultû AMU a ve stejném roce 1952, kdy
svá studia zakonãil, získal i doktorát na Filozofické fakultû Univerzity Karlovy – muzikologie, estetika
a filozofie. ProtoÏe jeho tvorba nacházela hned od poãátku ‰irokou interpretaãní a posluchaãskou
odezvu, mohl pÛsobit dlouhé období ve svobodném povolání a vûnovat se pouze kompozici.
AutorÛv v˘voj lze ãlenit do tfií vût‰ích období. První je spojeno s autorov˘m navázáním na tradice
evropské a zejména ãeské hudby, jak je zfiejmé i v jeho absloventské práci – Koncert pro orchestr.
Tato kompozice jiÏ ukazuje autorovy charakteristické rysy: tonální základy jeho harmonie, jasnost
formy, smysl pro nástrojovou virtuozitu, metrorytmickou invenci atd. Tyto rysy jsou pak dále rozvíjené
pfiedev‰ím v Koncertu pro flétnu a orchestr (1954), uveden˘m Jeanem-Pierrem Rampalem (nahrávka:
Carlo Jans a Symfonick˘ orchestr âeského rozhlasu, dirigent Vladimír Válek, Pavane Records ASW
7469) a v Koncertu pro violoncello a orchestr (1958). V roce 1956 napsal své jediné scénické dílo,
dûtskou operu Po‰Èácká pohádka. V tomto období napsal Jindfiich Feld pro svého pfiítele Lutobora
Hlavsu Čtyři kusy pro sólovou flétnu (nahrávka: Carlo Jans a Daniel Blumenthal, Pavane Records
ADW 732, stejní interpreti rovnûÏ v pfiedkladaném kompletu Vol III, ArcoDiva UP 0120, ve verzi pro
flétnu a smyãcov˘ orchestr: Carlo Jans, PraÏsk˘ komorní orchestr, ArcoDiva UP 0097).
Druhé období spadá do ‰edesát˘ch let a je pro autora charakteristické tím, Ïe jeho osobní styl
vstfiebával svébytn˘m zpÛsobem moderní kompoziãnû technické metody tehdej‰í doby (dodekafonii,
seriální techniku, aleatoriku atd), coÏ pfiispûlo k v˘raznûj‰ímu stylovému vyhranûní jeho tvorby. NejdÛleÏitûj‰ími skladbami tohoto období jsou Smyãcov˘ kvartet ã. 4 (1965), ãasto hran˘ Smetanov˘m kvartetem i mnoha jin˘mi kvartety a v roce 1968 poctûn˘ Státní cenou, dále pak Symfonie ã. 1 (1967),
provedená âeskou filharmonií za fiízení Antonia de Almeidy. Dal‰í díla tohoto období, která dosvûdãují
FeldÛv smysl pro architektonickou proporãnost, efektní instrumentaci, v˘raznou rytmickou pulzaci jeho
hudby apod., jsou kupfiíkladu Suita pro smyãcov˘ komorní orchestr, uvedená také jako abstraktní
balet roku 1963 v Hanoveru v choreografii Yvonne Georgi, nebo Tfii fresky pro orchestr, provedené
âeskou filharmonií, ale také Dramatická fantasie pro symfonick˘ orchestr „Srpnové dny“, vytvofiená na
pfielomu let 1968–69 jako protest proti sovûtské invazi do âeskoslovenska v roce 1968. Premiéra
tohoto díla se konala v jihoaustralské Adelaide v provedení adelaidského symfonického orchestru za
fiízení dirigenta Henryho Kripse v srpnu 1969 k prvému v˘roãí tohoto brutálního ãinu. Velmi obtíÏnou
skladbu pro flétnu a basklarinet (pfiípadnû fagot) Duo napsal Jindfiich Feld v roce 1962. Je vydávána
v rámci tohoto kompletu v tfietí ãásti, zatímco Trio pro flétnu, housle a violoncello z roku 1963
vychází na tomto pfiedkládaném disku.
Tfietí období, obsahující tvorbu z let sedmdesát˘ch a osmdesát˘ch, lze povaÏovat za syntézu autorovy tvÛrãí ãinnosti, charakterizovanou v˘razov˘m i obsahov˘m prohloubením jeho osobního slohu.
Pfiineslo v˘znamná díla jako jsou koncerty pro sólov˘ nástroj a orchestr (klavírní, houslov˘, saxofonov˘, harfov˘ a dal‰í), Smyãcov˘ kvartet ã. 5, Saxofonov˘ kvartet, Symfonii ã. 2 nebo Laus Cantus pro
soprán a smyãcové kvarteto, vûnovan˘ památce J. S. Bacha (1985). NejzávaÏnûj‰ím a nejrozsáhlej‰ím dílem je v‰ak kantáta-oratorium Kosmova kronika česká (Cosmae Chronica Boemorum), na
stfiedovûk˘ latinsk˘ text prvého ãeského kronikáfie Kosmy (+1125), líãící nejstar‰í události rané ãeské
historie.
V roce 1968 a 1969 pÛsobil Jindfiich Feld jako hostující profesor kompozice v Austrálii na universitû v Adelaide. Jeho zájem o pedagogickou ãinnost se projevil i pozdûji v âeskoslovensku, kde
vyuãoval jako profesor skladby od roku 1972 aÏ do roku 1986 na praÏské konzervatofii. V roce
1972 napsal Feld Trio pro flétnu, violoncello a klavír (pÛvodnû pro housle, violoncello a klavír),
které je v kompletu na CD ã. II. Bûhem pÛsobení na konzervatofii napsal i Kontrasty pro flétnu
(1973), které vycházejí v kompletu na CD ã. III nebo Pět invencí pro dvě flétny (1975) – na pfiedkládaném disku.
feld
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9:46
Str. 7
S technick˘mi a v˘razov˘mi moÏnostmi flétny mne seznámil na poãátku padesát˘ch let mÛj pfiítel
a flétnista âeské filharmonie Lutobor Hlavsa. PoÏádal mne tehdy také o napsání velkého flétnového
koncertu, kter˘ by snesl srovnání s repertoárem nástrojÛ jako jsou housle, violoncello nebo klavír.
A nebyl to nikdo jin˘ neÏ Jean-Pierre Rampal, kdo tento koncert v roce 1956 natoãil a pak ho
vefiejnû provedl v premiéfie v roce 1957. Díky Rampalovi zaãala b˘t flétna velmi dÛleÏit˘m sólov˘m
nástrojem. Jeho následovníci pak pfiispûli k tomu, Ïe tento nástroj pro‰el neuvûfiiteln˘m v˘vojem a já
jsem velmi hrd˘ na to, Ïe jsem mohl psát pro takové interpretaãní zjevy jako byli Rampal, Galway,
Milan, Fabbriciani, Adorján, Petrucci a dal‰í. KdyÏ jsem psal své nové skladby pro flétnu (sólové,
komorní nebo koncertantní), byl jsem inspirován pfiedev‰ím jejich umûním.
Jeden z nejrenomovanûj‰ích flétnistÛ souãasnosti – Carlo Jans – se rozhodl po tom, co nahrál
komplet m˘ch skladeb pro flétnu a orchestr, natoãit komplet m˘ch komorních skladeb pro tento
nástroj. Byl jsem nesmírnû pfiekvapen tímto ambiciózním a udivujícím projektem a samozfiejmû to pro
mne byla velká pocta a potû‰ení. Bez obdivuhodné a neselhávající virtuozity Carlo Janse ve
spolupráci s jeho skvûl˘mi hudebními pfiáteli z âeské republiky, Lucemburska, Ameriky a Loty‰ska by
tento projekt nebyl vÛbec moÏn˘. Jsem rovnûÏ velmi vdûãn˘ v‰em pracovníkÛm ve studiích, ktefií se
na pfiípravû nahrávek podíleli, za jejich skvûlou práci.
Vám v‰em patfií mÛj obdiv a velké podûkování
Vá‰
Jindfiich Feld
Praha, kvûten 2006
Jindfiich Feld (1925–2007) se narodil v Praze v hudební rodinû, kde získal základy svého vzdûlání. Po studiu na PraÏské konzervatofii studoval na Hudební fakultû AMU a ve stejném roce 1952, kdy
svá studia zakonãil, získal i doktorát na Filozofické fakultû Univerzity Karlovy – muzikologie, estetika
a filozofie. ProtoÏe jeho tvorba nacházela hned od poãátku ‰irokou interpretaãní a posluchaãskou
odezvu, mohl pÛsobit dlouhé období ve svobodném povolání a vûnovat se pouze kompozici.
AutorÛv v˘voj lze ãlenit do tfií vût‰ích období. První je spojeno s autorov˘m navázáním na tradice
evropské a zejména ãeské hudby, jak je zfiejmé i v jeho absloventské práci – Koncert pro orchestr.
Tato kompozice jiÏ ukazuje autorovy charakteristické rysy: tonální základy jeho harmonie, jasnost
formy, smysl pro nástrojovou virtuozitu, metrorytmickou invenci atd. Tyto rysy jsou pak dále rozvíjené
pfiedev‰ím v Koncertu pro flétnu a orchestr (1954), uveden˘m Jeanem-Pierrem Rampalem (nahrávka:
Carlo Jans a Symfonick˘ orchestr âeského rozhlasu, dirigent Vladimír Válek, Pavane Records ASW
7469) a v Koncertu pro violoncello a orchestr (1958). V roce 1956 napsal své jediné scénické dílo,
dûtskou operu Po‰Èácká pohádka. V tomto období napsal Jindfiich Feld pro svého pfiítele Lutobora
Hlavsu Čtyři kusy pro sólovou flétnu (nahrávka: Carlo Jans a Daniel Blumenthal, Pavane Records
ADW 732, stejní interpreti rovnûÏ v pfiedkladaném kompletu Vol III, ArcoDiva UP 0120, ve verzi pro
flétnu a smyãcov˘ orchestr: Carlo Jans, PraÏsk˘ komorní orchestr, ArcoDiva UP 0097).
Druhé období spadá do ‰edesát˘ch let a je pro autora charakteristické tím, Ïe jeho osobní styl
vstfiebával svébytn˘m zpÛsobem moderní kompoziãnû technické metody tehdej‰í doby (dodekafonii,
seriální techniku, aleatoriku atd), coÏ pfiispûlo k v˘raznûj‰ímu stylovému vyhranûní jeho tvorby. NejdÛleÏitûj‰ími skladbami tohoto období jsou Smyãcov˘ kvartet ã. 4 (1965), ãasto hran˘ Smetanov˘m kvartetem i mnoha jin˘mi kvartety a v roce 1968 poctûn˘ Státní cenou, dále pak Symfonie ã. 1 (1967),
provedená âeskou filharmonií za fiízení Antonia de Almeidy. Dal‰í díla tohoto období, která dosvûdãují
FeldÛv smysl pro architektonickou proporãnost, efektní instrumentaci, v˘raznou rytmickou pulzaci jeho
hudby apod., jsou kupfiíkladu Suita pro smyãcov˘ komorní orchestr, uvedená také jako abstraktní
balet roku 1963 v Hanoveru v choreografii Yvonne Georgi, nebo Tfii fresky pro orchestr, provedené
âeskou filharmonií, ale také Dramatická fantasie pro symfonick˘ orchestr „Srpnové dny“, vytvofiená na
pfielomu let 1968–69 jako protest proti sovûtské invazi do âeskoslovenska v roce 1968. Premiéra
tohoto díla se konala v jihoaustralské Adelaide v provedení adelaidského symfonického orchestru za
fiízení dirigenta Henryho Kripse v srpnu 1969 k prvému v˘roãí tohoto brutálního ãinu. Velmi obtíÏnou
skladbu pro flétnu a basklarinet (pfiípadnû fagot) Duo napsal Jindfiich Feld v roce 1962. Je vydávána
v rámci tohoto kompletu v tfietí ãásti, zatímco Trio pro flétnu, housle a violoncello z roku 1963
vychází na tomto pfiedkládaném disku.
Tfietí období, obsahující tvorbu z let sedmdesát˘ch a osmdesát˘ch, lze povaÏovat za syntézu autorovy tvÛrãí ãinnosti, charakterizovanou v˘razov˘m i obsahov˘m prohloubením jeho osobního slohu.
Pfiineslo v˘znamná díla jako jsou koncerty pro sólov˘ nástroj a orchestr (klavírní, houslov˘, saxofonov˘, harfov˘ a dal‰í), Smyãcov˘ kvartet ã. 5, Saxofonov˘ kvartet, Symfonii ã. 2 nebo Laus Cantus pro
soprán a smyãcové kvarteto, vûnovan˘ památce J. S. Bacha (1985). NejzávaÏnûj‰ím a nejrozsáhlej‰ím dílem je v‰ak kantáta-oratorium Kosmova kronika česká (Cosmae Chronica Boemorum), na
stfiedovûk˘ latinsk˘ text prvého ãeského kronikáfie Kosmy (+1125), líãící nejstar‰í události rané ãeské
historie.
V roce 1968 a 1969 pÛsobil Jindfiich Feld jako hostující profesor kompozice v Austrálii na universitû v Adelaide. Jeho zájem o pedagogickou ãinnost se projevil i pozdûji v âeskoslovensku, kde
vyuãoval jako profesor skladby od roku 1972 aÏ do roku 1986 na praÏské konzervatofii. V roce
1972 napsal Feld Trio pro flétnu, violoncello a klavír (pÛvodnû pro housle, violoncello a klavír),
které je v kompletu na CD ã. II. Bûhem pÛsobení na konzervatofii napsal i Kontrasty pro flétnu
(1973), které vycházejí v kompletu na CD ã. III nebo Pět invencí pro dvě flétny (1975) – na pfiedkládaném disku.
feld
16.9.2009
9:46
Str. 8
Jako host pÛsobil Jindfiich Feld v roce 1981 a 1984 na Indiana University v Bloomingtonu v USA,
pfiedná‰el i na dal‰ích americk˘ch univerzitách, jakoÏ i v Dánsku, Norsku, Nûmecké spolkové republice, Francii, Anglii ãi v r. 1991 v Japonsku. Jindfiich Feld obdrÏel za své skladby fiadu cen v rÛzn˘ch
skladatelsk˘ch soutûÏích v âeskoslovensku i v zahraniãí. Po roce 1989 byl ãinn˘ jako ãeln˘ funkcionáfi v rÛzn˘ch v˘borech a organizacích (napfi. v Asociaci hudebních umûlcÛ a vûdcÛ). V létech
1990–1992 pfievzal funkci ‰éfredaktora hudebního vysílání âeskoslovenského rozhlasu.
V osmdesát˘ch letech pí‰e i fiadu skladeb pro flétnu: Koncertantní fantazie pro flétnu a smyčcový orchestr, napsaná pro „Mezinárodní soutûÏ Jean-Pierre Rampala“ v PafiíÏi 1980 (nahrávka: Carlo
Jans, Symfonick˘ orchestr âeského rozhlasu, dirigent Vladimír Válek, Pavane Records ASW 7469),
Koncertantní duo pro dvě flétny z roku 1981 (Carlo Jans, Carine Forget v kompletu na CD ã. III),
Sonatina pro flétnu a harfu z roku 1986 (Carlo Jans, Katefiina Englichová v kompletu na CD ã. II).
Bûhem svého pobytu v Praze v roce 1989 objednal od Jindfiicha Felda proslul˘ flétnista James Galway
koncert pro flétnu, klavír a orchestr. Skladatel napsal, inspirován virtuozitou Jamese Galwaye a jeho klavíristy Phillipa Molla, Concertino pro flétnu, klavír a orchestr (nahrávka: Carlo Jans, Daniel Blumenthal, Symfonick˘ orchestr âeského rozhlasu, dirigent Vladimír Válek, Pavane Records ASW 7469).
K nejv˘znamnûj‰ím Feldov˘m skladbám devadesát˘ch let patfií: Symfonie ã. 3 „Fin de siecle“ pro
symfonick˘ orchestr, po níÏ pak následovala v roce 2001 Sinfonietta „Pour les temps d’harmonie“,
vytvofiená na objednávku Radio France. V devadesát˘ch letech rovnûÏ Jindfiich Feld pokraãoval v komponování sv˘ch „flétnov˘ch“ skladeb. Pro Roberta Fabbricianiho napsal nároãnou virtuózní skladbu
Introdukce, Toccata a Fuga pro flétnu sólo (1991), která vychází v rámci kompletu na CD ã. II.
Dal‰í v˘znamnou skladbou, která vychází na pfiedkládaném disku, je Quintetto capriccioso pro flétnu, housle, violu, violoncello a harfu (1994/1995).
Ve stejném období napsal Jindfiich Feld pro své americké pfiátele Lana Johns a Joel Harrison skladbu Americká sonatina pro flétnu a klavír (1995), která je nahrána na tomto CD, a skladbu Flautarchia pro flétnu a smyčcové kvarteto (2000) – v rámci kompletu CD ã. II.
V letech 2001/2002 napsal Jindfiich Feld je‰tû tfii dal‰í zajímavé kompozice pro flétnu. V roce 2001
Fantasii concertante sul tema della Serenata di Riccardo Drigo pro piccolu, flétnu, basovou
flétnu a klavír (v rámci na‰eho kompletu CD ã. II, pÛvodnû napsáno pro sopranovou a basovou okarinu). Ve stejném roce objednal maìarsko-nûmeck˘ flétnista András Adorján skladbu vycházející ze
známého flétnového sóla z posledního jednání Mozartovy opery Kouzelná flétna. Carlo Jans, kdysi
AdorjánÛv student, hraje tuto kompozici Erinnerung an Mozart für Zauberflöte Solo na tomto
pfiedkládaném disku. Pro dal‰ího skvûlého flétnistu – Gian-Luca Petrucciho – napsal Feld v roce 2002
jako soutûÏní skladbu Fantasii – Variations sur un theme de Leonardo de Lorenzo (v rámci kompletu na CD ã. II).
Nocturno pro flétnu, housle, violu a violoncello napsal v roce 2003 Jindfiich Feld na památku
Jeana-Pierre Rampala (v rámci kompletu na CD ã. III). Posledním koncertantním Ïánrem, v nûmÏ Jind-
fiich Feld pracoval s flétnou jako sólov˘m nástrojem, je Musique concertante pour flute, alto,
harpe et cordes. Tuto skladbu napsal Feld v roce 2005 pro mezinárodní trio Bohemia-Luxembourg
(Carlo Jans, Jitka Hosprová, Katefiina Englichová). Byla poprvé nahrána pro spoleãnost ArcoDiva
(UP 0097 – Bohemia-Luxembourg Trio a PraÏsk˘ komorní orchestr) a na CD ã. III uzavfie tato skladba cel˘ komplet.
Carlo Jans – flétna
Flétnista Jans studoval nejprve v Luxembourgu a Nancy (Jacques Mule) a pak pokraãoval na Královské konzervatofii v Liège (Diplôme Supérieur de flûte) a Královské konzervatofii v Maastrichtu
(Soloist’s Diploma). Jeho uãitelem byl i András Adorján. Od roku 1984 je profesorem flétny a komorní hudby na Lucemburské konzervatofii. Od roku 1997 je hostujícím pedagogem Hudební akademie
v Rize (Loty‰sko) a je také ãasto zván k vedení mistrovsk˘ch kurzÛ v Holandsku, âeské republice a ve
Francii. Od roku 2002 je rovnûÏ uãitelem hudební ‰koly v nûmeckém Saarbrückenu.
V roce 1998 zaloÏil „Forum International pour flûte et piano Diekirch/Luxembourg“ – letní kursy,
které bûhem dvacetileté existence nav‰tívilo více neÏ 600 studentÛ nejrÛznûj‰ích národností. Vedle
své pedagogické ãinnosti se vûnuje i dráze úspû‰ného sólisty a vystupoval s takov˘mi tûlesy jako RTL
Symphony Orchestra, Sonderjyland Symphony Orchestra, Orchestre de Chambre d’Auvergne, Symfonick˘ orchestr âeského rozhlasu, Filharmonie Brno, Porto Symphony Orchestra, Switzerland Chamber Orchestra, Orchestre de Chambre Jean–François Paillard, Moravská filharmonie Olomouc a Latvian Philharmonic Chamber Orchestra. Od roku 1997 se vûnuje i dirigování a doprovázel fiadu sólistÛ,
mj. Cyprien Katsaris, Daniel Blumenthal, Marta Sudraba, Janos Balint, Steven Meat a dal‰í.
Jako sólista vystupoval s fiadou vynikajících flétnistÛ (András Adorján, Maxence Larrieu, Janos
Balint, Jean-Claude Gérard), klavíristÛ (Daniel Blumenthal, Gabriel Tacchino, Thomas Duis, jazzov˘
klavírista Claude Bolling), violoncellistÛ (Jean-Jacques Kantorow, Mirel Lancovici) i s v˘znamn˘mi
komorními soubory (Zürcher Streichtrio, Danel String Quartet, Kvarteto MartinÛ aj.). ZaloÏil spolu s violistkou Jitkou Hosprovou a harfistkou Katefiinou Englichovou mezinárodní soubor Bohemia-Luxembourg Trio. Inicioval vznik mnoÏství kompozic, které jsou mu vûnovány. Kromû Jindfiicha Felda jsou to
autofii jako François Glorieux, Jean-Louis Petit, Marcel Wengler a Victor Fenigstein.
Jeho diskografie zahrnuje více neÏ 30 CD pro spoleãnosti Pavane Records, Calliope, ArcoDiva ãi
Bella Musica. Za nahrávku komorního díla Manuela Rosenthala získal ocenûní „Grand Prix du Disque“.
www.carlojans.com
Carine Forget – flétna
Studovala nejprve flétnu u svého budoucího manÏela Carlo Janse na Konzervatofii v Lucemburku
(Diplôme Supérieur and 1. Prix Supérieur Interrégional). Pozdûji pokraãovala ve studiích na Conservatoire Royal de Liège a na Conservatory of Den Haag (András Adorján a Marianne Henkel). Úãastnila
feld
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Str. 8
Jako host pÛsobil Jindfiich Feld v roce 1981 a 1984 na Indiana University v Bloomingtonu v USA,
pfiedná‰el i na dal‰ích americk˘ch univerzitách, jakoÏ i v Dánsku, Norsku, Nûmecké spolkové republice, Francii, Anglii ãi v r. 1991 v Japonsku. Jindfiich Feld obdrÏel za své skladby fiadu cen v rÛzn˘ch
skladatelsk˘ch soutûÏích v âeskoslovensku i v zahraniãí. Po roce 1989 byl ãinn˘ jako ãeln˘ funkcionáfi v rÛzn˘ch v˘borech a organizacích (napfi. v Asociaci hudebních umûlcÛ a vûdcÛ). V létech
1990–1992 pfievzal funkci ‰éfredaktora hudebního vysílání âeskoslovenského rozhlasu.
V osmdesát˘ch letech pí‰e i fiadu skladeb pro flétnu: Koncertantní fantazie pro flétnu a smyčcový orchestr, napsaná pro „Mezinárodní soutûÏ Jean-Pierre Rampala“ v PafiíÏi 1980 (nahrávka: Carlo
Jans, Symfonick˘ orchestr âeského rozhlasu, dirigent Vladimír Válek, Pavane Records ASW 7469),
Koncertantní duo pro dvě flétny z roku 1981 (Carlo Jans, Carine Forget v kompletu na CD ã. III),
Sonatina pro flétnu a harfu z roku 1986 (Carlo Jans, Katefiina Englichová v kompletu na CD ã. II).
Bûhem svého pobytu v Praze v roce 1989 objednal od Jindfiicha Felda proslul˘ flétnista James Galway
koncert pro flétnu, klavír a orchestr. Skladatel napsal, inspirován virtuozitou Jamese Galwaye a jeho klavíristy Phillipa Molla, Concertino pro flétnu, klavír a orchestr (nahrávka: Carlo Jans, Daniel Blumenthal, Symfonick˘ orchestr âeského rozhlasu, dirigent Vladimír Válek, Pavane Records ASW 7469).
K nejv˘znamnûj‰ím Feldov˘m skladbám devadesát˘ch let patfií: Symfonie ã. 3 „Fin de siecle“ pro
symfonick˘ orchestr, po níÏ pak následovala v roce 2001 Sinfonietta „Pour les temps d’harmonie“,
vytvofiená na objednávku Radio France. V devadesát˘ch letech rovnûÏ Jindfiich Feld pokraãoval v komponování sv˘ch „flétnov˘ch“ skladeb. Pro Roberta Fabbricianiho napsal nároãnou virtuózní skladbu
Introdukce, Toccata a Fuga pro flétnu sólo (1991), která vychází v rámci kompletu na CD ã. II.
Dal‰í v˘znamnou skladbou, která vychází na pfiedkládaném disku, je Quintetto capriccioso pro flétnu, housle, violu, violoncello a harfu (1994/1995).
Ve stejném období napsal Jindfiich Feld pro své americké pfiátele Lana Johns a Joel Harrison skladbu Americká sonatina pro flétnu a klavír (1995), která je nahrána na tomto CD, a skladbu Flautarchia pro flétnu a smyčcové kvarteto (2000) – v rámci kompletu CD ã. II.
V letech 2001/2002 napsal Jindfiich Feld je‰tû tfii dal‰í zajímavé kompozice pro flétnu. V roce 2001
Fantasii concertante sul tema della Serenata di Riccardo Drigo pro piccolu, flétnu, basovou
flétnu a klavír (v rámci na‰eho kompletu CD ã. II, pÛvodnû napsáno pro sopranovou a basovou okarinu). Ve stejném roce objednal maìarsko-nûmeck˘ flétnista András Adorján skladbu vycházející ze
známého flétnového sóla z posledního jednání Mozartovy opery Kouzelná flétna. Carlo Jans, kdysi
AdorjánÛv student, hraje tuto kompozici Erinnerung an Mozart für Zauberflöte Solo na tomto
pfiedkládaném disku. Pro dal‰ího skvûlého flétnistu – Gian-Luca Petrucciho – napsal Feld v roce 2002
jako soutûÏní skladbu Fantasii – Variations sur un theme de Leonardo de Lorenzo (v rámci kompletu na CD ã. II).
Nocturno pro flétnu, housle, violu a violoncello napsal v roce 2003 Jindfiich Feld na památku
Jeana-Pierre Rampala (v rámci kompletu na CD ã. III). Posledním koncertantním Ïánrem, v nûmÏ Jind-
fiich Feld pracoval s flétnou jako sólov˘m nástrojem, je Musique concertante pour flute, alto,
harpe et cordes. Tuto skladbu napsal Feld v roce 2005 pro mezinárodní trio Bohemia-Luxembourg
(Carlo Jans, Jitka Hosprová, Katefiina Englichová). Byla poprvé nahrána pro spoleãnost ArcoDiva
(UP 0097 – Bohemia-Luxembourg Trio a PraÏsk˘ komorní orchestr) a na CD ã. III uzavfie tato skladba cel˘ komplet.
Carlo Jans – flétna
Flétnista Jans studoval nejprve v Luxembourgu a Nancy (Jacques Mule) a pak pokraãoval na Královské konzervatofii v Liège (Diplôme Supérieur de flûte) a Královské konzervatofii v Maastrichtu
(Soloist’s Diploma). Jeho uãitelem byl i András Adorján. Od roku 1984 je profesorem flétny a komorní hudby na Lucemburské konzervatofii. Od roku 1997 je hostujícím pedagogem Hudební akademie
v Rize (Loty‰sko) a je také ãasto zván k vedení mistrovsk˘ch kurzÛ v Holandsku, âeské republice a ve
Francii. Od roku 2002 je rovnûÏ uãitelem hudební ‰koly v nûmeckém Saarbrückenu.
V roce 1998 zaloÏil „Forum International pour flûte et piano Diekirch/Luxembourg“ – letní kursy,
které bûhem dvacetileté existence nav‰tívilo více neÏ 600 studentÛ nejrÛznûj‰ích národností. Vedle
své pedagogické ãinnosti se vûnuje i dráze úspû‰ného sólisty a vystupoval s takov˘mi tûlesy jako RTL
Symphony Orchestra, Sonderjyland Symphony Orchestra, Orchestre de Chambre d’Auvergne, Symfonick˘ orchestr âeského rozhlasu, Filharmonie Brno, Porto Symphony Orchestra, Switzerland Chamber Orchestra, Orchestre de Chambre Jean–François Paillard, Moravská filharmonie Olomouc a Latvian Philharmonic Chamber Orchestra. Od roku 1997 se vûnuje i dirigování a doprovázel fiadu sólistÛ,
mj. Cyprien Katsaris, Daniel Blumenthal, Marta Sudraba, Janos Balint, Steven Meat a dal‰í.
Jako sólista vystupoval s fiadou vynikajících flétnistÛ (András Adorján, Maxence Larrieu, Janos
Balint, Jean-Claude Gérard), klavíristÛ (Daniel Blumenthal, Gabriel Tacchino, Thomas Duis, jazzov˘
klavírista Claude Bolling), violoncellistÛ (Jean-Jacques Kantorow, Mirel Lancovici) i s v˘znamn˘mi
komorními soubory (Zürcher Streichtrio, Danel String Quartet, Kvarteto MartinÛ aj.). ZaloÏil spolu s violistkou Jitkou Hosprovou a harfistkou Katefiinou Englichovou mezinárodní soubor Bohemia-Luxembourg Trio. Inicioval vznik mnoÏství kompozic, které jsou mu vûnovány. Kromû Jindfiicha Felda jsou to
autofii jako François Glorieux, Jean-Louis Petit, Marcel Wengler a Victor Fenigstein.
Jeho diskografie zahrnuje více neÏ 30 CD pro spoleãnosti Pavane Records, Calliope, ArcoDiva ãi
Bella Musica. Za nahrávku komorního díla Manuela Rosenthala získal ocenûní „Grand Prix du Disque“.
www.carlojans.com
Carine Forget – flétna
Studovala nejprve flétnu u svého budoucího manÏela Carlo Janse na Konzervatofii v Lucemburku
(Diplôme Supérieur and 1. Prix Supérieur Interrégional). Pozdûji pokraãovala ve studiích na Conservatoire Royal de Liège a na Conservatory of Den Haag (András Adorján a Marianne Henkel). Úãastnila
feld
16.9.2009
9:46
Str. 9
se fiady letních kursÛ u takov˘ch osobností jako András Adorján, Jean-Claude Gérard, Jean-Michel
Tanguy, Janos Balint, Konrad Hünteler, Eric a Patrice Kirchhof. Carine Forget vyuãuje na Hudební
‰kole v Grevenmacher (Lucembursko). Spoleãnû se sv˘m partnerem Carlo Jansem natoãila fiadu
kompaktních diskÛ, jeden z nich – pro Lucemburskou televizi a rozhlas – obsahuje kompletní dílo pro
dvû flétny bratfií DopplerÛ.
Cary Greisch – kytara
Cary Greisch se nejprve vûnoval pop music, rocku a jazzu, pozdûji zaãala studoval na Konzervatofii v Lucemburku klasickou kytaru a kontrabas a získal v obou oborech ocenûní „Premier Prix“. Od
roku 1986 pÛsobí Cary Greisch jako profesor kytyry a komorní hudby na Konzervatofii v Lucemburku. Rozvíjí mnoho rÛznorod˘ch aktivit – sólová kytara, duo, trio, kombinace kytary a flétny, zpûv
s kytarou nebo kytara s orchestrem. Hraje i na elektrickou kytaru v rÛzn˘ch jazzov˘ch a rockov˘ch
formacích, je univerzálním interpretem. Jeho kompaktní disk se sólovou kytarou byl v roce 1994 prvním poãinem tohoto druhu v Lucembursku. Nahrávka byla znovu vydána spoleãností Bella Musica
v Nûmecku. Pro stejnou spoleãnost natoãil s flétnistou Carlo Jansem projekt latinskoamerické hudby
„Flores del Sur“
www.guitar.lu
Katefiina Englichová – harfa
Harfistka Katefiina Englichová patfií k na‰í interpretaãní elitû, spolupracovala s v˘znamn˘mi umûlci a soubory, aÈ jiÏ u nás – Josef Suk, ·tefan Margita, Ivan Îenat˘, PraÏákovo kvarteto, Wihanovo
kvarteto, Haas Quartet atd., tak v zahraniãí – Mstislav Rostropoviã, Eugenie Zuckerman, Gerard
Caussé, Cynthia Phelps. atd.
Vystudovala Konzervatofi v Praze a Fulbrightovo stipendium jí umoÏnilo studovat na Curtisovû Institutu ve Filadelfii, USA. Je drÏitelkou prvních cen ze soutûÏí v USA (Pro Musicis Award, Concerto
Soloists) a Itálii (TIM Int. Competition) a dal‰ích ocenûní v soutûÏích (Elizabeth Herbert-Hobin Harp
Competition, Vienna Music Competition atd.). Od podzimu 2005 vyuãuje na New York University Prague.
Podílela se jiÏ na více neÏ 30 CD nahrávkách – napfi. pro firmy Supraphon, Harmonia Mundi, ArcoDiva, New World Records USA, KochInternational, Exton Japan aj. Jedny z posledních jsou CD z díla
Jindfiicha Felda s flétnistou Carlo Jansem (2007), MozartÛv Koncert pro flétnu a harfu s americk˘m
flétnistou Robertem Stallmanem, âesk˘m komorním orchestrem s dirigentem O. Kukalem (2009), dále
vy‰el první komorní kompaktní disk Lucemburg Trio (Jans, Englichová, Hosprová) – Beethoven,
Mozart, Debussy, Jolivet – díla pro flétnu, harfu a violu (ArcoDiva) a CD s koncerty ZdeÀka Luká‰e
a Jindfiicha Felda, na podzim 2009 vychází profilov˘ CD „Tanec ohnû“ s Wihanov˘m kvartetem.
www.englichova.cz
Daniel Blumenthal – klavír
Americk˘ klavírista Daniel Blumenthal zaãal studovat v PafiíÏi ve vûku 5 let a pokraãoval dále na Univerzitû v Michiganu a na Juilliard School, kde získal doktorát. Pokraãoval pak ve studiu v Lond˘nû
u Benjamina Kaplana. V letech 1981–1983 získal fiadu cen v mezinárodních soutûÏích: Sydney, Leeds
(1981), Îeneva, Busoni (1982), a také Queen Elisabeth v roce 1983. Vûnuje se nejrÛznûj‰ím ÏánrÛm –
sólov˘m recitalÛm, komorní hudbû a písÀové literatufie. Jeho repertoár je takfika encyklopedicky rozsáhl˘ – od skladeb uznávan˘ch klasikÛ aÏ k dílÛm témûfi neznám˘m nebo neprovádûn˘m. Premiéroval fiadu skladeb a jeho diskografie obsahuje více neÏ 70 titulÛ. Na koncertech vystupuje s umûlci jako
Barry Tuckwell, Peter Zazofsky, Pierre Amoyal, José Van Dam, Dale Duesing, John Aler, Dinah Bryant, smyãcová kvarteta Orlando, Enesco a Colorado. V souãasnosti pÛsobí jako profesor klavírní hry
na Royal Flemish Conservatory v Bruselu.
Kvarteto MartinÛ
(Lubomír Havlák – 1. housle, Irena Herajnová – 2. housle (od roku 2006), Jan Jí‰a – viola,
Jitka Vla‰ánková – violoncello)
Kvarteto MartinÛ vzniklo v roce 1976 na praÏské konzervatofii ve tfiídû prof. Viktora Mouãky, ãlena Vlachova kvarteta. Bûhem dal‰ího studia na HAMU pfie‰li ãlenové kvarteta pod vedení prof. Antonína
Kohouta, ãlena Smetanova kvarteta, a pod názvem Havlákovo kvarteto zahájili úspû‰nou koncertní ãinnost. ZároveÀ sbírali zku‰enosti na interpretaãních kursech u renomovan˘ch kvartetních souborÛ (Tel
Aviv kvarteto, Amadeus kvarteto, Guarneri kvarteto, Julliard kvarteto ad.). Kvarteto se zúãastnilo osmi
mezinárodních soutûÏí, odkud si pfiivezlo 8 cen a 7 laureátsk˘ch titulÛ. Mezi nejv˘znamnûj‰í patfiily soutûÏe v Portsmouth (V. Británie), ARD (Mnichov), Evian (Francie), PraÏské jaro a dal‰í. V roce 1985 pfiijalo
kvarteto do svého názvu jméno ãeského skladatele Bohuslava MartinÛ a zavázalo se tak k propagaci
jeho komorní hudby. Kvarteto vystupovalo ve vût‰inû evropsk˘ch zemí a pravidelnû absolvuje turné po
USA a Kanadû, ·panûlsku, Japonsku, Anglii aj. Kvarteto MartinÛ je pravideln˘m hostem festivalu PraÏské jaro. Pro vydavatelství NAXOS uskuteãnili ãlenové kvarteta kompletní nahrávku sedmi smyãcov˘ch
kvartetÛ Bohuslava MartinÛ. Za druh˘ disk z tohoto 3CD kompletu získalo kvarteto v roce 2004 v˘znamné ocenûní MIDEM v Cannes za nejlep‰í CD roku v oblasti sólové a komorní hudby 20. století. V roce
2003 vy‰el téÏ CD se skladbami Bodorové (Terezín Ghetto Requiem) a Stevensona, kter˘ získal v˘znamné ocenûní („Nahrávka mûsíce“ – MusicWeb International). Repertoár Kvarteta MartinÛ je velmi ‰irok˘
a jeho tûÏi‰tû leÏí v oblasti ãeské komorní hudby. Kromû ãetn˘ch nahrávek pro âesk˘ rozhlas, Radio
France, BBC, ARD, ORF jsou v˘kony kvarteta zaznamenány na discích firem Panton, Naxos, Harmonia
Mundi, Studia Matou‰, Romantic Robot, ArcoDiva, Tonus aj.
www.martinuquartet.eu
feld
16.9.2009
9:46
Str. 9
se fiady letních kursÛ u takov˘ch osobností jako András Adorján, Jean-Claude Gérard, Jean-Michel
Tanguy, Janos Balint, Konrad Hünteler, Eric a Patrice Kirchhof. Carine Forget vyuãuje na Hudební
‰kole v Grevenmacher (Lucembursko). Spoleãnû se sv˘m partnerem Carlo Jansem natoãila fiadu
kompaktních diskÛ, jeden z nich – pro Lucemburskou televizi a rozhlas – obsahuje kompletní dílo pro
dvû flétny bratfií DopplerÛ.
Cary Greisch – kytara
Cary Greisch se nejprve vûnoval pop music, rocku a jazzu, pozdûji zaãala studoval na Konzervatofii v Lucemburku klasickou kytaru a kontrabas a získal v obou oborech ocenûní „Premier Prix“. Od
roku 1986 pÛsobí Cary Greisch jako profesor kytyry a komorní hudby na Konzervatofii v Lucemburku. Rozvíjí mnoho rÛznorod˘ch aktivit – sólová kytara, duo, trio, kombinace kytary a flétny, zpûv
s kytarou nebo kytara s orchestrem. Hraje i na elektrickou kytaru v rÛzn˘ch jazzov˘ch a rockov˘ch
formacích, je univerzálním interpretem. Jeho kompaktní disk se sólovou kytarou byl v roce 1994 prvním poãinem tohoto druhu v Lucembursku. Nahrávka byla znovu vydána spoleãností Bella Musica
v Nûmecku. Pro stejnou spoleãnost natoãil s flétnistou Carlo Jansem projekt latinskoamerické hudby
„Flores del Sur“
www.guitar.lu
Katefiina Englichová – harfa
Harfistka Katefiina Englichová patfií k na‰í interpretaãní elitû, spolupracovala s v˘znamn˘mi umûlci a soubory, aÈ jiÏ u nás – Josef Suk, ·tefan Margita, Ivan Îenat˘, PraÏákovo kvarteto, Wihanovo
kvarteto, Haas Quartet atd., tak v zahraniãí – Mstislav Rostropoviã, Eugenie Zuckerman, Gerard
Caussé, Cynthia Phelps. atd.
Vystudovala Konzervatofi v Praze a Fulbrightovo stipendium jí umoÏnilo studovat na Curtisovû Institutu ve Filadelfii, USA. Je drÏitelkou prvních cen ze soutûÏí v USA (Pro Musicis Award, Concerto
Soloists) a Itálii (TIM Int. Competition) a dal‰ích ocenûní v soutûÏích (Elizabeth Herbert-Hobin Harp
Competition, Vienna Music Competition atd.). Od podzimu 2005 vyuãuje na New York University Prague.
Podílela se jiÏ na více neÏ 30 CD nahrávkách – napfi. pro firmy Supraphon, Harmonia Mundi, ArcoDiva, New World Records USA, KochInternational, Exton Japan aj. Jedny z posledních jsou CD z díla
Jindfiicha Felda s flétnistou Carlo Jansem (2007), MozartÛv Koncert pro flétnu a harfu s americk˘m
flétnistou Robertem Stallmanem, âesk˘m komorním orchestrem s dirigentem O. Kukalem (2009), dále
vy‰el první komorní kompaktní disk Lucemburg Trio (Jans, Englichová, Hosprová) – Beethoven,
Mozart, Debussy, Jolivet – díla pro flétnu, harfu a violu (ArcoDiva) a CD s koncerty ZdeÀka Luká‰e
a Jindfiicha Felda, na podzim 2009 vychází profilov˘ CD „Tanec ohnû“ s Wihanov˘m kvartetem.
www.englichova.cz
Daniel Blumenthal – klavír
Americk˘ klavírista Daniel Blumenthal zaãal studovat v PafiíÏi ve vûku 5 let a pokraãoval dále na Univerzitû v Michiganu a na Juilliard School, kde získal doktorát. Pokraãoval pak ve studiu v Lond˘nû
u Benjamina Kaplana. V letech 1981–1983 získal fiadu cen v mezinárodních soutûÏích: Sydney, Leeds
(1981), Îeneva, Busoni (1982), a také Queen Elisabeth v roce 1983. Vûnuje se nejrÛznûj‰ím ÏánrÛm –
sólov˘m recitalÛm, komorní hudbû a písÀové literatufie. Jeho repertoár je takfika encyklopedicky rozsáhl˘ – od skladeb uznávan˘ch klasikÛ aÏ k dílÛm témûfi neznám˘m nebo neprovádûn˘m. Premiéroval fiadu skladeb a jeho diskografie obsahuje více neÏ 70 titulÛ. Na koncertech vystupuje s umûlci jako
Barry Tuckwell, Peter Zazofsky, Pierre Amoyal, José Van Dam, Dale Duesing, John Aler, Dinah Bryant, smyãcová kvarteta Orlando, Enesco a Colorado. V souãasnosti pÛsobí jako profesor klavírní hry
na Royal Flemish Conservatory v Bruselu.
Kvarteto MartinÛ
(Lubomír Havlák – 1. housle, Irena Herajnová – 2. housle (od roku 2006), Jan Jí‰a – viola,
Jitka Vla‰ánková – violoncello)
Kvarteto MartinÛ vzniklo v roce 1976 na praÏské konzervatofii ve tfiídû prof. Viktora Mouãky, ãlena Vlachova kvarteta. Bûhem dal‰ího studia na HAMU pfie‰li ãlenové kvarteta pod vedení prof. Antonína
Kohouta, ãlena Smetanova kvarteta, a pod názvem Havlákovo kvarteto zahájili úspû‰nou koncertní ãinnost. ZároveÀ sbírali zku‰enosti na interpretaãních kursech u renomovan˘ch kvartetních souborÛ (Tel
Aviv kvarteto, Amadeus kvarteto, Guarneri kvarteto, Julliard kvarteto ad.). Kvarteto se zúãastnilo osmi
mezinárodních soutûÏí, odkud si pfiivezlo 8 cen a 7 laureátsk˘ch titulÛ. Mezi nejv˘znamnûj‰í patfiily soutûÏe v Portsmouth (V. Británie), ARD (Mnichov), Evian (Francie), PraÏské jaro a dal‰í. V roce 1985 pfiijalo
kvarteto do svého názvu jméno ãeského skladatele Bohuslava MartinÛ a zavázalo se tak k propagaci
jeho komorní hudby. Kvarteto vystupovalo ve vût‰inû evropsk˘ch zemí a pravidelnû absolvuje turné po
USA a Kanadû, ·panûlsku, Japonsku, Anglii aj. Kvarteto MartinÛ je pravideln˘m hostem festivalu PraÏské jaro. Pro vydavatelství NAXOS uskuteãnili ãlenové kvarteta kompletní nahrávku sedmi smyãcov˘ch
kvartetÛ Bohuslava MartinÛ. Za druh˘ disk z tohoto 3CD kompletu získalo kvarteto v roce 2004 v˘znamné ocenûní MIDEM v Cannes za nejlep‰í CD roku v oblasti sólové a komorní hudby 20. století. V roce
2003 vy‰el téÏ CD se skladbami Bodorové (Terezín Ghetto Requiem) a Stevensona, kter˘ získal v˘znamné ocenûní („Nahrávka mûsíce“ – MusicWeb International). Repertoár Kvarteta MartinÛ je velmi ‰irok˘
a jeho tûÏi‰tû leÏí v oblasti ãeské komorní hudby. Kromû ãetn˘ch nahrávek pro âesk˘ rozhlas, Radio
France, BBC, ARD, ORF jsou v˘kony kvarteta zaznamenány na discích firem Panton, Naxos, Harmonia
Mundi, Studia Matou‰, Romantic Robot, ArcoDiva, Tonus aj.
www.martinuquartet.eu
9:46
Str. 10
Photo: Wolfgang Osterheld
Photo: Luxembourg Emmbasy in Prague
16.9.2009
Carlo Jans, Daniel Blumenthal and Jindřich Feld
Carlo Jans and Cary Greisch
Carlo Jans and Martinů Quartet
Front cover photo © 2009 ArcoDiva archives
Sleevenote © 2009 Carlo Jans (English) and ArcoDiva (čeština)
Design © 2009 Luděk Turek
Photo: ArcoDiva archives
Photo: Carlo Rinnen
feld
Photo: Luxembourg Emmbasy in Prague
Carlo Jans and Carine Forget
Carlo Jans and Kateřina Englichová
9:46
Str. 10
Photo: Wolfgang Osterheld
Photo: Luxembourg Emmbasy in Prague
16.9.2009
Carlo Jans, Daniel Blumenthal and Jindřich Feld
Carlo Jans and Cary Greisch
Carlo Jans and Martinů Quartet
Front cover photo © 2009 ArcoDiva archives
Sleevenote © 2009 Carlo Jans (English) and ArcoDiva (čeština)
Design © 2009 Luděk Turek
Photo: ArcoDiva archives
Photo: Carlo Rinnen
feld
Photo: Luxembourg Emmbasy in Prague
Carlo Jans and Carine Forget
Carlo Jans and Kateřina Englichová
feld
16.9.2009
9:46
Str. 1
Programs CD II and CD III
CD II UP 0119
CD III UP 0120
Sonata for Flute and String Orchestra
Carlo Jans, flute, Prague Chamber Orchestra
Musique Concertante pour flûte, alto, harpe
et cordes
Carlo Jans, flute, Jitka Hosprová, viola,
Kateřina Englichová, harp,
Prague Chamber Orchestra
Flautoarchia
flute, string quartet
Carlo Jans, flute, Martinů String Quartet
Fantasia – Variazioni
on a theme by Leonardo de Lorenzo
for Solo Flute
Carlo Jans, flute
Sonatina
for Flute and Harp
Carlo Jans, flute and alto flute,
Kateřina Englichová, harp
Duo
for Flute and Bassoon
Carlo Jans, flute, Andris Arnicans, bassoon
Introduction, Toccata and Fugue
for Solo Flute
Carlo Jans, flute
Trio
for Flute, Violoncello and Piano
Carlo Jans, flute, Jitka Vlašánková, violoncello,
Daniel Blumenthal, piano
Fantasia concertante sul tema della Serenata
di Ricardo Drigo
flute, piccolo, bassflute and piano
Carlo Jans, flutes, Daniel Blumenthal, piano
Four pieces
for Solo Flute
Carlo Jans, flute
Two dances
for Flute and Guitar
Carlo Jans, flute, Cary Greisch, guitar
Duo concertant
for two flutes
Carlo Jans, Carine Forget, flutes
Contrasts
for Solo Flute
Carlo Jans, flute
Nocturne
for Flute, Violin, Viola and Violoncello
Carlo Jans, flute, Lubomír Havlák, violin,
Jan Jíša, viola, Jitka Vlašánková, cello
JINDŘICH FELD
Chamber Music for Flute I
CARLO JANS – flute