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Š PI LB E R K 20 0 4 - grafika
P r o g r a m ov ù ka t a l o g / C a t a l o g u e o f p r o g r a m m e s 5. M H F áPILBERK 2 0 0 4 5. mezin‡rodn’ hudebn’ festival 5th International Music Festival áPILBERK 2 0 0 4 Programovù katalog Catalogue of programmes 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S ZçáTITA Petr Pithart Ð pÞedseda Sen‡tu Parlamentu ‰R Petr DuchoË Ð prim‡tor Statut‡rn’ho mžsta Brna Pavel Rychetskù Ð pÞedseda òstavn’ho soudu ‰R OFICIçLNê PARTNEÛI Skanska DS, a.s. ‰eskomoravskù cement, a.s. Prvn’ brnžnsk‡ stroj’rna Velk‡ B’teä, a.s. Kooperativa pojiäéovna, a.s. Service On-line Dopravn’ stavby Brno, spol. s r.o. Jonat‡n, grafickŽ sdruìen’ SNIP&Co., reklamn’ spole‹nost, spol. s r.o. Premiera sweet POÛADATEL St‡tn’ filharmonie Brno SPOLUPOÛADATELƒ Muzeum mžsta Brna Kulturn’ a informa‹n’ centrum mžsta Brna GENERçLNê MEDIçLNê PARTNER EuroAWK, spol. s r.o. FESTIVAL FINAN‰N• PODPOÛILI Statut‡rn’ mžsto Brno Jihomoravskù kraj MEDIçLNê PARTNEÛI ‰eskù rozhlas Brno ‰eskù rozhlas 3 Ð Vltava Harmonie Kiss H‡dy 88,3 FM LidovŽ noviny Opus musicum Radio Proglas Rovnost MEDIçLN• PODPOÛILI Avi servis Design centrum ‰eskŽ republiky, Brno Mates e-shop Studio Blok rodní h ERK 2004 ná i z e DOPRAVU ZAJIáèUJê Brnocar, a.s. Dopravn’ podnik mžsta Brna m KV•TINOVç VøZDOBA Kvžtiny Gelnarov‡ no e fes tival Š í n b P Br ud ‰ESTNø VøBOR Dana Filipi Ð ‹lenka Rady mžsta Brna a pÞedsedkynž komise Rady mžsta Brna pro kulturu Ludžk Bogdan Ð pÞedseda pÞedstavenstva a.s. ‰eskomoravskù cement Pavel Ciprian Ð Þeditel Muzea mžsta Brna Rostislav Fianta Ð gener‡ln’ Þeditel a.s. ‰eskomoravskù cement Vlastimil Chl‡dek Ð Þeditel Dopravn’ch staveb Brno, spol. s r.o. Stanislav Jur‡nek Ð hejtman JihomoravskŽho kraje Martin Kutnohorskù Ð obchodn’ Þeditel agentury Brno, pojiäéovny Kooperativa, a.s. Milan Machol‡n Ð gener‡ln’ Þeditel a pÞedseda pÞedstavenstva PBS Velk‡ B’teä, a.s. JiÞ’ Mor‡vek Ð Þeditel reklamn’ spole‹nosti SNIP&Co., spol. s r.o. Jan Nov‡‹ek Ð povžÞenù veden’m Kulturn’ho a informa‹n’ho centra mžsta Brna Frantiäek Pol‡ch Ð 1. n‡mžstek hejtmana JihomoravskŽho kraje BedÞich Prokeä Ð gener‡ln’ Þeditel Dopravn’ho podniku mžsta Brna Rostislav Slavot’nek Ð 1. n‡mžstek prim‡tora mžsta Brna Richard Svoboda Ð n‡mžstek prim‡tora mžsta Brna Milan áimonovskù Ð ministr dopravy a spojó Miroslav Weber Ð poradce v oblasti managementu Michael Wolf Ð Þeditel z‡vodu 76, Skanska DS, a.s. Rudolf ë‡k Ð pÞedseda pÞedstavenstva Brnocar, a.s. ILB • 5. PartneÞi / Partners GENERçLNê INTENDANT Bohuä Zoubek Ð Þeditel St‡tn’ filharmonie Brno MANAGER FESTIVALU Martin Foretn’k Ð manager marketingu SFB a P.R. PRODUKCE Jana Alexov‡ Jana Bal‡‹ov‡ Lucie KovaÞ’kov‡ Vladim’ra Kubeäov‡-Vojt’äkov‡ Sylvie Posp’äilov‡ Ludmila Proch‡zkov‡ Be‡ta Sonderlichov‡ JiÞ’ Beneä JiÞ’ Brumovskù Jan Ûih‡k Petr Z‡klasn’k UM•LECKø VøBOR Jindra B‡rtov‡ Ð profesorka Hudebn’ fakulty JAMU Alena átžp‡nkov‡-Vesel‡ Ð pÞedsedkynž Mezin‡rodn’ interpreta‹n’ soutžìe MHFB Petr Altrichter Ð äŽfdirigent St‡tn’ filharmonie Brno Igor Ardaäev Ð klav’rn’ virtuos Arnoät Parsch Ð profesor Hudebn’ fakulty JAMU, prezident Direktoria MHFB Miloä átždroË Ð profesor FilozofickŽ fakulty Masarykovy univerzity, hudebn’ skladatel Bohuä Zoubek Ð Þeditel St‡tn’ filharmonie Brno PROJEKCE, AUDIO A VIDEO ZçZNAMY Karel ápalek TECHNICKƒ ZçZEMê Alena Hanouskov‡ V‡clav B‡tovskù Leonard Danzinger Martin Charv‡t Martin Sp‡lenka Jan Urban Stanislav Zahradn’k 4 Obsah Zdravice / Greetings 6 Mžsto Brno / The City of Brno 8 P 10 1. ‰tvrtek / Thursday 2. Nedžle / Sunday 3. òterù / Tuesday 4. ‰tvrtek / Thursday 5. Sobota / Saturday rodní h 13 17 21 25 29 Program 6. MHF ápilberk 2005 / Programme of 6th IMF ápilberk 2005 35 Vùstava fotografi’ Tom‡äe TichŽho / Exhibition Ð photo Tichù 36 m ná i z e ERK 2004 Vùstava JKC / Exhibition Ð JKC 37 SFB Ð program sezony 2004/2005 / Brno Philharmonic Orchestra Ð Programme of the Season 2004/2005 38 SFB na cest‡ch / Brno Philharmonic Orchestra on Tour 40 SFB Ð diskografie / Brno Philharmonic Orchestra Ð Discography 42 PartneÞi / Partners 44 no • 5 12. 8. 2004 15. 8. 2004 17. 8. 2004 19. 8. 2004 21. 8. 2004 5. MHF áPILBERK 2004 O b s a h / C o n te n t s PROGRAMY / PROGRAMMES Br eb ní fes tival Š ILB ud St‡tn’ filharmonie Brno / Brno Philharmonic Orchestra 5. 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 fes tival Š í n b P rodní h ná i z e m • 5. Pavel Rychetskù PÞedseda òstavn’ho soudu ‰eskŽ republiky Chairman of the Constitutional Court of the Czech Republic ERK 2004 Dear lovers of classical music, dear friends In the forthcoming August days we shall again have the marvellous opportunity not only to admire the beauties of Brno in summer, but also to take part in the 5th International Music Festival, ápilberk 2004. I would like to assure you all that I feel greatly honoured to be a patron of this momentous event that has acquired a formidable international reputation and ranks among the most respected meetings of classical music lovers in the Czech Republic as well as on the European stage. This year is the first time that the festival is held in the Czech Republic as a member-state of the European Union and I strongly believe that it will bring unique artistic experiences, not only to its faithful and regular audiences but also to all newcomers from abroad. Let us listen to the sublime tones of music by Anton’n DvoÞ‡k, Leoä Jan‡‹ek, Pyotr Ilyich Tchaikovsky, Antonio Vivaldi and other masters endowed with the precious gift of bestowing beauty and love upon us. Dear classical music lovers, This is not the first time I have been asked to act as a patron of the International Music Festival, ápilberk, now entering its fifth year. It has always be a great honour for me. This time I would like to point out that five years is a long enough time for us to start speaking about the birth of a new tradition. The ápilberk summer festival of symphony orchestras, held against the historic backdrop of the castle overlooking the Moravian metropolis, has become a prestigious event in the musical world and I have no doubt that its reputation will continue to grow. I wish most rewarding experiences both to the organizers of the festival and performers, and to the festival concert-goers. no e V‡ìen’ a mil’ pÞ‡telŽ kr‡snŽ hudby, nen’ to poprvŽ, kdy poskytuji z‡ätitu Mezin‡rodn’mu hudebn’mu festivalu ápilberk, kterù se v letoän’m roce kon‡ uì pop‡tŽ. Vìdy si tŽto cti nesm’rnž v‡ì’m. Chtžl bych tentokr‡t pÞipomenout, ìe pžt let je dost, abychom mohli za‹’t mluvit o zrodu tradice. ápilberskù letn’ festival symfonickùch orchestró poÞ‡danù v historickùch kulis‡ch hradu nad moravskou metropol’ je dnes uì v hudebn’m svžtž opravdu pojmem a nepochybuji o tom, ìe jeho povžst s kaìdùm pÞibùvaj’c’m ro‹n’kem poroste. PÞeji väem, kdo se pod’lej’ na pÞ’pravž festivalu a kdo na nžm œ‹inkuj’, stejnž jako n‡vätžvn’kóm väech festivalovùch koncertó ty nejkr‡snžjä’ z‡ìitky. Br ud V‡ìen’ a mil’ milovn’ci kr‡snŽ hudby, mil’ pÞ‡telŽ! V nast‡vaj’c’ch srpnovùch dnech budeme m’t znovu velkolepou moìnost obdivovat nejen kr‡su letn’ho Brna, ale œ‹astnit se i V. ro‹n’ku Mezin‡rodn’ho hudebn’ho festivalu ápilberk 2004. Chtžl bych väechny ujistit, ìe pro mne je velikou ct’ pÞevz’t z‡ätitu nad tak vùznamnou ud‡lost’, kter‡ si jiì z’skala mezin‡rodn’ povžst a Þad’ se v naä’ zemi i v evropskŽm prostoru mezi nejkvalitnžjä’ setk‡n’ milovn’kó v‡ìnŽ hudby. PoprvŽ se tento festival kon‡ v ‰eskŽ republice jako ‹lenskŽ zemi EvropskŽ unie a jsem hluboce pÞesvžd‹en, ìe pÞinese neopakovatelnŽ a neväedn’ umžleckŽ z‡ìitky nejen vžrnùm a pravidelnùm n‡vätžvn’kóm väech koncertn’ch festivalovùch prostor, ale i väem novùm a zahrani‹n’m hostóm. Zaposlouchejme se do kr‡snùch t—nó džl Anton’na DvoÞ‡ka, Leoäe Jan‡‹ka, Petra Ilji‹e ‰ajkovskŽho, Antonia Vivaldiho a dalä’ch mistró, kteÞ’ mžli ten vz‡cnù dar ä’Þit mezi n‡s kr‡su a l‡sku. ILB Z d r av i c e / G r e e t i n g s P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S Petr Pithart PÞedseda Sen‡tu Parlamentu ‰eskŽ republiky Chairman of the Senate of the Czech Parliament 6 ud m • 5. Petr DuchoË Prim‡tor Statut‡rn’ho mžsta Brna Mayor of the Statutory City of Brno no ná i z e Welcome to this yearÕs International Music Festival, ápilberk 2004. I hope that the weather will smile kindly on our little jubilee as we celebrate the festivalÕs fifth year. And I trust that you will spend five evenings enjoying music that will bring you much pleasure and great experiences enhanced by the grandeur that is ápilberk Castle. I would like to extend my gratitude to all who have participated in the preparations of this musical feast, the Statutory City of Brno, the Region of South Moravia, the City of Brno Museum, the Cultural and Information Centre, and to all partners of the festival as well as the team of organizers. Let me wish you a wonderful festival. Br Dear citizens and visitors, In the midst of August when the summer culminates, the Great Courtyard of ápilberk Castle hosts the concerts of the international music festival of the same name Ð ápilberk. Entering its fifth year, the festival has already established its tradition and firm place in the cultural calendar of the city and has earned an excellent reputation not only in this region, but abroad. Being a Brno patriot, I take great pride in this because the festival makes the city all the more attractive. This yearÕs programme includes a wide selection of music, compositions different both as to the time of their origin Ð from the 17th to 20th centuries Ð and their themes, so each evening will have its own particular atmosphere. I trust you will be able to make your choice. ERK 2004 rodní h ILB e fes tival Š í n b P Bohuä Zoubek Ûeditel St‡tn’ filharmonie Brno Director of the Brno Philharmonic Orchestra 7 5. MHF áPILBERK 2004 Z d r av i c e / G r e e t i n g s V’t‡m V‡s, v‡ìen’ poslucha‹i, na letoän’m 5. ro‹n’ku Mezin‡rodn’ho hudebn’ho festivalu ápilberk 2004. VžÞ’m, ìe i pÞi tomto malŽm jubileu Ð p‡tŽm ro‹n’ku Ð n‡m bude pÞ‡t po‹as’ a v pžti ve‹erech vyslechnete hudbu, kter‡ V‡s potžä’ a spolu s prostÞed’m hradu ápilberk umocn’ Vaäe z‡ìitky. R‡d vyjadÞuji podžkov‡n’ väem, kdoì se na pÞ’prav‡ch hudebn’ho setk‡n’ pod’leli a pod’l’: Statut‡rn’mu mžstu Brno, JihomoravskŽmu kraji, Muzeu mžsta Brna, Kulturn’mu a informa‹n’mu centru, väem partneróm festivalu a takŽ tùmu organiz‡toró. PÞeji V‡m kr‡snŽ z‡ìitky. V‡ìen’ BrËanŽ a n‡vätžvn’ci mžsta, v polovinž srpna, v dobž vrchol’c’ho lŽta, patÞ’ VelkŽ n‡dvoÞ’ brnžnskŽho hradu ápilberku pravidelnž koncertóm mezin‡rodn’ho hudebn’ho festivalu stejnŽho n‡zvu Ð ápilberk. Letos se festival odehraje pop‡tŽ, m‡ tedy uì svoji tradici, pevnŽ m’sto v kulturn’m kalend‡Þi mžsta a dobrŽ renomŽ pÞesahuj’c’ hranice regionu aì do zahrani‹’. To mž jako brnžnskŽho patriota velice tžä’, protoìe Brno tak z’sk‡v‡ na pÞitaìlivosti. Letoän’ program zahrnuje äirokou hudebn’ nab’dku Ð skladby vzniklŽ od 17. aì po 20. stolet’ a pomžrnž rozd’lnŽ i svùm tŽmatem, takìe kaìdù ve‹er navod’ trochu jinou n‡ladu. VžÞ’m, ìe si tedy z róznorodŽho reperto‡ru vyberete. 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 s’dlem Muzea mžsta Brna a proch‡z’ n‡ro‹nou rekonstrukc’. V jiì zpÞ’stupnžnùch prostor‡ch mohou n‡vätžvn’ci obdivovat expozice o äpilberskŽm vžzeËstv’ 18. a 19. stolet’, historickùch mezn’c’ch z džjin Brna, jeho umžn’ a architektuÞe. Na hradn’ch n‡dvoÞ’ch se konaj’ v letn’ch mžs’c’ch divadeln’ pÞedstaven’, koncerty a dalä’ kulturn’ a spole‹ensk‡ setk‡n’. Na protilehlŽm kamennŽm ostrohu se ty‹’ druh‡ brnžnsk‡ dominanta, katedr‡la sv. Petra a Pavla, typick‡ siluetou dvou ät’hlùch vžì’. Póvodn’ rom‡nsk‡ trojlodn’ bazilika byla postupnž pÞestavžna v gotickŽm slohu a vùraznou zmžnu znamenaly i œpravy z konce 19. stolet’. VeÞejnosti je dnes pÞ’stupn‡ takŽ chr‡mov‡ krypta a z vžìe se naskùt‡ kr‡snù pohled na mžsto i äirokŽ okol’. K pozoruhodnùm svžtskùm stavb‡m vnitÞn’ho mžsta patÞ’ Star‡ radnice, tŽmžÞ äest stolet’ s’dlo mžstskŽ spr‡vy. Zaujme port‡l Antona Pilgrama z roku 1511, v prójezdu n‡s pozdrav’ drak a kolo, symboly mžsta, ochoz radni‹n’ vžìe nab’dne dalä’ ze zaj’mavùch pohledó na mžsto. V brnžnskùch ulic’ch a na brnžnskùch n‡mžst’ch se setk‡me s pam‡tkami väech stavebn’ch slohó, s pÞipom’nkami vùzna‹nùch ud‡lost’ i osobnost’, kterŽ v Brnž ìily a pracovaly, ‹i Brno navät’vily. JmŽna hudebn’ho skladatele Leoäe Jan‡‹ka, pÞ’rodovždce ÛehoÞe Mendla, vyn‡lezce Viktora Kaplana, architekta Adolfa Loose, matematika Kurta Gšdela, stavitele mostó Gustava Lindenthala ‹i pÞ’rodovždce a filozofa Ernsta Macha symbolizuj’ pÞ’nos BrËanó ke svžtovŽmu kulturn’mu dždictv’. PhDr. Miroslava Menä’kov‡ rodní h m ná i z e ERK 2004 • 8 no e fes tival Š í n b P Br ud Brno vzniklo na kÞiìovatce obchodn’ch cest z Podunaj’ jako trhov‡ ves s hradem, kterù je p’semnž poprvŽ zm’nžn k roku 1091. Vznikaj’c’ stÞedovžk‡ osada leìela v próse‹’ku starùch kulturn’ch spojnic mezi Berl’nem, Prahou, V’dn’ a Budapeät’ a Krakovem, V’dn’, átùrskùm Hradcem a Terstem v pomyslnŽm stÞedu Evropy, coì vùznamnž ovlivËovalo jej’ rozvoj. DosaìenŽ spr‡vn’, pr‡vn’, hospod‡ÞskŽ i politickŽ postaven’ Brna potvrdil kr‡l V‡clav I. v lednu 1243 vyd‡n’m mžstskŽho privilegia, kterŽ bylo pro mžsto z‡rukou dalä’ho pÞ’znivŽho vùvoje. K ochranž mžsta pak na kopci nad Brnem vyrostl po polovinž 13. stolet’ zemžpanskù hrad ápilberk, jehoì vojenskù vùznam nad‡le ovlivËoval džjinnù vùvoj mžsta: ud‡losti tÞicetiletŽ v‡lky, kdy spolu s n’m odolal dvakr‡t ävŽdskŽmu oblŽh‡n’, u‹inily Brno jedinùm hlavn’m mžstem Moravy. SoustÞedžn’ dóleìitùch st‡tn’ch a hospod‡Þskùch œÞadó v 18. stolet’ pÞineslo mžstu pozoruhodnù rozvoj vùroby a obchodu. Rozv’jej’c’ se textiln’ a stroj’renskù prómysl v 18. a 19. stolet’ znamenal vznik modern’ho velkomžsta ozna‹ovanŽho jako ãrakouskù ManchesterÒ. Tento rozkvžt podpoÞilo i otevÞen’ ìelezni‹n’ trati BÞeclav - Brno v roce 1839 jako prvn’ odbo‹ky z dóleìitŽ Severn’ Ferdinandovy dr‡hy spojuj’c’ V’deË s Hali‹’. Hospod‡Þskù rozvoj mžsta pÞinesl i jeho nebùvalù œzemn’ rozmach, kterù od poloviny 19. stolet’ vyvolal vùznamnŽ urbanistickŽ zmžny. Zbour‡n’ hradeb uvolnilo prostor pro Þeäen’ mžstskŽho okruhu, kam se soustÞedily novŽ reprezenta‹n’ stavby; ty patÞ’ dodnes k ozdob‡m mžsta: Besedn’ dóm se svou kr‡snou koncertn’ s’n’, kdysi centrum spole‹enskŽho a kulturn’ho ìivota ‹eskùch obyvatel Brna v 19. stolet’, je dnes s’dlem St‡tn’ filharmonie Brno; v Praì‡kovž pal‡ci prezentuje Moravsk‡ galerie svŽ sb’rky ‹eskŽho umžn’ 20. stolet’. Sou‹‡st’ brnžnskŽ okruìn’ tÞ’dy na opa‹nŽ stranž centra se stala (1882) budova mžstskŽho divadla, d’lo evropsky proslulŽho tandemu divadeln’ch architektó Fellner-Hellmer; toto divadlo bylo jako prvn’ na svžtž osvžtleno vùhradnž elektrickùm svžtlem podle projektu paÞ’ìskŽ pobo‹ky Edisonovy spole‹nosti. Roku 1928 se Brno stalo m’stem nejvžtä’ vùstavn’ akce meziv‡le‹nŽho obdob’, Vùstavy soudobŽ kultury v ‰eskoslovensku. Bylo vybr‡no nejen pro svŽ zemžpisnŽ postaven’ pobl’ì stÞedu republiky, ale i jako uzn‡vanŽ stÞedisko svŽbytnŽ modern’ architektury. CelŽ vùstaviätž se stalo pÞehl’dkou ‹eskŽho funkcionalismu a dodnes zóst‡v‡ jedn’m z nejkr‡snžjä’ch vùstavn’ch a veletrìn’ch are‡ló v Evropž. Tis’ce zahrani‹n’ch n‡vätžvn’kó pÞij’ìdžj’c’ch kaìdoro‹nž do Brna jiì z d‡lky upoutaj’ dvž brnžnskŽ dominanty. Starobylù ápilberk ve svŽ v’ce neì sedm stolet’ dlouhŽ historii plnil œlohu zemžpanskŽho hradu, nedobytnŽ pevnosti a poslŽze smutnž proslulŽho vžzen’ habsburskŽ monarchie - v povžstnŽm ãìal‡Þi n‡rodóÒ trpžli mimo jinŽ i Ma“aÞi, ItalovŽ a Pol‡ci, kteÞ’ v 19. stolet’ usilovali o osvobozen’ a sjednocen’ svùch zem’. Dnes je ápilberk ILB 5. M ž s to B r n o / T h e C i t y o f B r n o P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S no rodní h m ná i z e • 9 ERK 2004 5. The economic development of the city caused an unprecedented boom, which, from the mid 19th century brought about significant town planning changes. The demolition of the city walls freed up space to build the wide circular boulevards where a new concentration of grand buildings was built. They were designed by the same architects who were working on the buildings on ViennaÕs Ring. These buildings on the Brno ring continue to be among the architectural highlights of the modern city. The Besedn’ dóm (Meeting House) with its magnificent concert hall, was the centre of the social and cultural life of the Czech citizens of 19th century Brno: it is now the home of the Brno Philharmonic Orchestra. In the nearby Praì‡k Palace, the Moravian Gallery displays its collection of 20th century Czech art. On the other side 5. MHF áPILBERK 2004 M ž s to B r n o / T h e C i t y o f B r n o fes tival Š í n b P Br e of the Ring, there is the city theatre, which was designed by the famous pair of theatre architects, Fellner and Hellmer. It was the first theatre in the world to be lit solely by electricity Ð it was a project of the Paris branch of the Edison Company. In 1928 Brno was the venue for the greatest exhibition of the interwar period, the Contemporary Exhibition of Czechoslovak Culture. It was chosen not only for its geographical location, being in the centre of the country, but also for its reputation as a centre of modern architecture. The whole fair grounds became an exhibition of functionalist architecture and it remains one of the most beautiful exhibition and trade fair venues in Europe. Every year the thousands of foreign visitors who come to Brno are fascinated by its two commanding features. The old-world Spilberk Castle, in its more than seven century history, has served as a margraveÕs castle, an impregnable fortress and lastly as the lamentably infamous prison of the Habsburg monarchy. In the egregious ãGaol of NationsÓ, Hungarians, Italians, Poles, among others were condemned to suffer. In the 19th century they were striving for the emancipation and unification of their lands. In contrast, today sees Spilberk as the headquarters of the City Museum of Brno even while it is still undergoing extensive reconstruction. In the declassified spaces, visitors can admire the exhibition of Spilberk prison in the 18th and 19th centuries, milestones in the history of Brno, its art and architecture. Performances of theatre, concerts and other cultural events take place in the castleÕs central courtyard in summer. With its typical silhouette of two slender spires, the Cathedral of Saints Peter and Paul, the other dominant feature of Brno, stands on the opposite outcrop. The originally Romanesque triple aisle basilica was gradually converted into gothic style and there have been further major changes since the end of the 19th century. Nowadays there is public access to the crypt as well as to the spires which command sweeping views over Brno and its surroundings. One of the most remarkable secular buildings of the inner city Ð the Old Town Hall Ð has been the seat of city administration for almost six centuries. Also of interest is the Anton Pilgram Portal (1511), through which we are greeted by the dragon and the wheel, symbols of the city, while the gallery of the Town Hall tower offers another interesting view of the city. In the city streets and squares we find landmarks in all styles of construction, with memorials to significant events and personalities who have lived and worked in Brno Ð or just visited. Such names as the composer Leoä Jan‡‹ek, the natural scientist Gregor Mendel, the inventor Viktor Kaplan, the architect Adolf Loos, the mathematician Kurt Godel, the bridge builder Gustav Lindenthal and the natural scientist-philosopher, Ernst Mach, symbolize the contributions of some of BrnoÕs citizens to world cultural heritage. PhDr. Miroslava Menä’kov‡ ILB ud Brno arose as a market village with a castle at the crossroads of the trade routes from the Danube basin. Its first written mention dates from 1091. The developing mediaeval settlement lay at the intersection of the old cultural routes joining Berlin, Prague, Vienna, Budapest and Krakow, Vienna, Graz and Trieste, a fact which had a significant influence on the townÕs development. In January 1243, King Wenceslas I confirmed the administrative, legal, economic and political status of Brno through royal decree making it a city and thereby guaranteeing it further propitious progress. In the middle of the 13th century, the building of Spilberk Castle began. It was established on a hill above the city so as to guard it, and its military significance had longterm consequences. The events of the Thirty Years War, when Brno and the castle twice withstood Swedish sieges, made Brno the only capital centre in Moravia. In the 18th century, a concentration of important state and financial institutions brought the town remarkable manufacturing and economic development. The expansionary textile and engineering industries in the 18th and 19th centuries saw the establishment of the large modern city being labelled the Manchester of Austria. This growth was further supported when a new railway line from BÞeclav to Brno was opened in 1839; it was the first subsidiary line from the important Southern Ferdinand line joining Vienna with Galicia. 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 St‡tn’ filharmonie Brno rodní h m ná i z e • 10 ERK 2004 japonskŽ vl‡dy, kterù pÞispžl ke zkvalitnžn’ jej’ho n‡strojovŽho vybaven’. V letoän’m roce na podzim vyjede St‡tn’ filharmonie Brno na velkŽ asijskŽ turnŽ, kterŽ obs‡hne äest zem’ D‡lnŽho Vùchodu Ð Singapur, Tchaj-wan, Vietnam, Jiìn’ Koreu, Hongkong a Filip’ny. Diskografie orchestru je za pólstolet’ pr‡ce v nahr‡vac’ch studi’ch uì velmi obs‡hl‡; zrcadl’ väak jeho celkovŽ reperto‡rn’ zamžÞen’ na hudebn’ tvorbu dvac‡tŽho stolet’ a na ‹eskou hudbu vóbec. Pozoruhodnù je zejmŽna jan‡‹kovskù soubor s BÞetislavem Bakalou (posmrtnž ‹esk‡ GRAMY CLASSIC Õ93), opery Bohuslava Martinó s Charlesem Mackerrasem, kompakt ‹eskùch klasikó s Yehudi Menuhinem, tÞ’d’lnù komplet Jan‡‹kova symfonickŽho d’la s Frantiäkem J’lkem (GRAMY CLASSIC Õ93) nebo dva velmi œspžänŽ CD s titulem ãJan‡‹ek nezn‡mùÒ s Leoäem Sv‡rovskùm. Od po‹‡tku roku 2002 je äŽfdirigentem St‡tn’ filharmonie Petr Altrichter, kterù pÞevzal jej’ veden’ z m’sta äŽfdirigenta Kr‡lovskŽ filharmonie Liverpool. no e fes tival Š í n b P Br ud St‡tn’ filharmonie Brno, letos ve svŽ osma‹tyÞic‡tŽ sezonž, je nositelkou velkŽ orchestr‡ln’ tradice, zaloìenŽ kdysi œsil’m mladŽho Leoäe Jan‡‹ka. Ve druhŽ póli dvac‡tŽho stolet’ se stala hlavn’m centrem brnžnskŽho koncertn’ho ìivota, v novŽm tis’cilet’ nav’c zaloìila ve svŽm mžstž mezin‡rodn’ hudebn’ festival na n‡dvoÞ’ hradu ápilberka, jedinù vùlu‹nž symfonickù festival v ‰eskŽ republice. Filharmonie sama je se svùmi 115 hr‡‹i jedn’m z nejvžtä’ch stÞedoevropskùch orchestró; rozsahem a œrovn’ svŽho pósoben’ se Þad’ nejen k orchestróm praìskùm, ale takŽ k proslulùm tžlesóm z nedalekŽ V’dnž. Jej’ umžleckù profil modelovala cel‡ Þada vynikaj’c’ch dirigentskùch osobnost’; vedle trvalŽho pósoben’ st‡lùch dirigentó se na nžm pod’lelo opakovanŽ hostov‡n’ nžkolika des’tek nositeló nejzvu‹nžjä’ch dirigentskùch jmen od legend‡rn’ho Charlese Muncha aì po Yehudi Menuhina. V jubilejn’m roce ‰eskŽ hudby 2004 vystoupila filharmonie pod veden’m Sira Charlese Mackerrase; pÞi pÞ’leìitosti festivalu Jan‡‹kovo Brno provedla Glagolskou mäi. Do zahrani‹’ vyj’ìd’ od svŽho zaloìen’ prómžrnž sedmkr‡t ro‹nž; hr‡la tak opakovanž skoro ve väech evropskùch zem’ch, Spojenùch st‡tech, Japonsku, Jiìn’ Koreji, Argentinž a v Uruguayi. Vedle vùzna‹nùch dom‡c’ch festivaló (PraìskŽ jaro, Moravskù podzim) navätžvuje mezin‡rodn’ festivaly v Berl’nž, Innsbrucku, Bratislavž, Mnichovž, Antverp‡ch, Santiagu de Compostela a v Interlakenu, m‡me-li jmenovat aspoË nžkterŽ. K jej’m nejvùzna‹nžjä’m zahrani‹n’m akc’m patÞ’ koncert ve Vatik‡nu, kterù byl proveden v jubilejn’m roce 2000 jako dar SvatŽmu Otci. V n‡sleduj’c’m roce z’skala jako prvn’ ‹eskù orchestr velkorysù grant ILB 5. St‡tn’ filharmonie Brno / Brno Philharmonic Orchestra P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S 5. MHF áPILBERK 2004 rodní h m ná i z e St‡tn’ filharmonie Brno / Brno Philharmonic Orchestra no • 11 ERK 2004 Brno Philharmonic Orchestra, now in its 48th season, is the bearer of a great orchestral tradition established through the efforts of the young Leoä Jan‡‹ek. Since the second half of the 20th century it has been the local point of the BrnoÕs concert scene. In the new millenium it has initiated its own international music festival at the courtyard of the ápilberk castle, the only exclusively orchestral festival in the Czech Republic. Today the Brno Philharmonic Orchestra with its 115 musicians is one of the Central EuropeÕs largest orchestras. In the breadth and quality of its activities it rivals the Prague orchestras, as well as the famous orchestras in nearby Vienna. The artistic profile of the orchestra has been shaped by many excellent conductors; in addition to the work of resident conductors, the orchestra has also hosted some of the worldÕs greatest conductors, from the legendary Charles Munch to Yehudi Menuhin. In 2004, the year of Czech Music, the orchestra appeared at Br ud fes tival Š í n b P ILB e the Jan‡‹kovo Brno festival with the Glagolitic Mass under Sir Charles Mackerras. Abroad it travels approximately seven times a year. It has already toured almost all the European countries, the USA, Japan, South Korea, Argentina and Uruguay. Besides the festivals in the Czech Republic (Prague Spring, Moravian Autumn) it is a regular guest artist at international festivals in Berlin, Innsbruck, Bratislava, Munich, Antwerp, Santiago de Compostela and Interlaken, to name but a few. To the most important events belongs the concert in Vatican performed in the year 2000 as a present to the Holy Father. In the following year the Brno Philharmonic as the first Czech orchestra gained a generous grant of the Japanese government which enabled to improve the quality of the instrumental equipment. This autumn the Brno Philharmonic Orchestra is going to a great Asia tour round six countries of the Far East Ð Singapore, Tchai-wan, Vietnam, the South Korea, Hongkong and the Philippines. In the season 2001Ð02 we played three times in Germany (especially in the major cities), once in Spain and for the first time also in the Lichtenstein. In the last season we visited France, twice Switzerland and Austria. The discography of the orchestra after more than fifty years of studio work is very extensive: it reflects, however, a general concentration on 20th century production and on Czech music as a whole. Especially noteworthy are works by Jan‡‹ek recorded under BÞetislav Bakala (posthumously awarded the Czech GRAMY CLASSIC Õ93), the operas of Martinó with Sir Charles Mackerras, a CD ãMenuhin Conducting Czech MusicÒ, the three-part collection of Jan‡‹ekÕs complete symphonic works with Frantiäek J’lek (GRAMY CLASSIC Õ93) and a double set, ãUnknown Jan‡‹ekÒ, with Leoä Sv‡rovskù. Since the beginning of 2002, the Brno Philharmonic Orchestra appointed Petr Altrichter, the former chief conductor of the Royal Liverpool Philharmonic as the principal conductor. 5. 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 m ná i z e Br no • 12 ERK 2004 rodní h e fes tival Š í n b P ILB ud P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S 5. NIKOLAJ ANDREJEVI‰ RIMSKIJ-KORSAKOV áEHEREZçDA, symfonick‡ suita op. 35 40Õ pÞest‡vka 25Õ PETR ILJI‰ ‰AJKOVSKIJ LABUTê JEZERO, suita z baletu op. 20 30Õ òvod Ð MoÞe a Sindib‡dóv kor‡b (Largo e maestoso Ð Allegro non troppo) Poh‡dka o princi-kalenderovi (Lento) L‡ska kn’ìete a princezny (Andantino quasi allegretto) Sv‡tek v Bagd‡du Ð Ztroskot‡n’ Ð Z‡vžr (Allegro molto) 12 . 8 . 2 0 0 4 1. ScŽna 2. Val‹’k 3. Tanec labut’ 4. ScŽna 5. Uherskù tanec 6. ápanžlskù tanec 7. Neapolskù tanec 8. Fin‡le / ‰ t v r te k , 2 0 h o d . / T h u r s d ay, 8 p . m . 1 s—listŽ Pavel Wallinger Ð housle Pavel áabackù Ð violoncello hraje STçTNê FILHARMONIE BRNO dirigent PETR ALTRICHTER 13 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S 1 Nejzn‡mžjä’ skladba Nikolaje Andrejevi‹e RimskŽho-Korsakova (1844Ð1908) je z‡roveË perlou ruskŽho symfonickŽho reperto‡ru, pÞestoìe se charakteristicky zabùv‡ orient‡ln’ exotikou; ‹lenovŽ proslulŽ ãmocnŽ hrstkyÒ, k n’ì skladatel patÞil, dok‡zali ve druhŽ póli devaten‡ctŽho stolet’ oìivit evropskŽ hudebn’ myälen’ pr‡vž exotickùmi podnžty a pÞedpovždžt tak v mnohŽm francouzskù hudebn’ impresionismus. Mladù Rimskij nav’c poznal orient‡ln’ oblasti takÞ’kaj’c z autopsie: jako n‡moÞn’ kadet absolvoval na plachetnici cvi‹nou j’zdu kolem svžta; nen’ divu, ìe v nžm pak ‹etba pÞ’bžhó z Tis’ce a jednŽ noci vyvol‡vala vzpom’nky velmi inspiruj’c’ a nav’c propojenŽ pÞedstavou plavby, Sindib‡dova kor‡bu. Petr Altrichter diriguje St‡tn’ filharmonii Brno PETR ALTRICHTER (1951, Frenät‡t pod Radhoätžm) studoval na ostravskŽ konzervatoÞi hru na lesn’ roh a dirigov‡n’ a potŽ na Jan‡‹kovž akademii mœzickùch umžn’ v Brnž Þ’zen’ orchestru a sboru. V roce 1976 na sebe upozornil skvžlùm um’stžn’m v proslulŽ dirigentskŽ soutžìi v Besanc,onu. Po studi’ch nastoupil (1978) jako asistuj’c’ dirigent do St‡tn’ filharmonie Brno, v n‡sleduj’c’ch letech pósobil v ‰eskŽ filharmonii jako asistent V‡clava Neumanna, v gottwaldovskŽ Filharmonii Bohuslava Martinó, v Komorn’ filharmonii Pardubice a ‹tyÞi roky opžt v brnžnskŽ filharmonii, od roku 1987 v praìskŽm FOKu, v letech 1990Ð91 jako äŽfdirigent. V letech 1993Ð2004 byl umžleckùm Þeditelem Jihoz‡padn’ nžmeckŽ filharmonie v Kostnici, od roku 1997 do konce roku 2001 st‡l takŽ v ‹ele Kr‡lovskŽho liverpoolskŽho symfonickŽho orchestru. V lednu 2002 byl jmenov‡n äŽfdirigentem St‡tn’ filharmonie Brno. V sou‹asnŽ dobž je rovnžì hlavn’m dirigentem Praìskùch symfonikó (FOKu). Û’dil orchestry po celŽm svžtž, hostoval na velkùch festivalech v PaÞ’ìi, Madridu, Chicagu, Curychu, Salcburku, V’dni, Seville, St. Etienne, Avignonu, Palermu, Praze, Edinburku a v AtŽn‡ch. V britskùch äpi‹kovùch tžlesech se uplatËoval zejmŽna jako propag‡tor ‹eskŽ hudby. Spolupracuje s rozhlasovùmi a televizn’mi spole‹nostmi. dobrodruìstv’, jejichì hudebn’ reminiscence v’Þ’ kolem jeho stžìËó v rostouc’ bouÞi. Podlehne j’ oväem a velkolepž ztroskot‡; nad vlnami, jeì se nad n’m zavÞou, zjev’ se motiv áeherez‡din, symbol b‡snickŽ fikce Ð a motiv krutŽho sult‡na, jenì v próbžhu skladby postupnž jihnul, se s n’m te“ sm’Þen spojuje. Hudba œvodu se opakuje jakoby v opa‹nŽm poÞ‡dku a podivuhodnŽ akordy dÞev z œvodu se st‡vaj’ nejj’mavžjä’m rozlou‹en’m. Labut’ jezero, prvn’ ze svùch tÞ’ epoch‡ln’ch baletó, napsal Petr Ilji‹ ‰ajkovskij (1840Ð93) uì jako zralù tvórce, po Evìenu Onžginovi; a jako takovù zpracoval dramatickù pÞ’bžh, kterù se odehr‡v‡ pÞed div‡kem celù ve‹er, hudbou, kter‡ nen’ jen l’bivùm zvukovùm doprovodem, ud‡vaj’c’m takt baletn’m kreac’m, nùbrì jednot’c’ nositelkou dramatickŽho napžt’ a smyslu. V tehdejä’m Rusku (kterŽ si na balety potrpžlo) to byla novinka Ð a snad pr‡vž proto se premiŽra nejbaletnžjä’ho ze väech baletó nesetkala ani zdaleka s takovùm pÞijet’m, jakŽ bychom si pÞedstavovali. NicmŽnž pr‡vž Labut’m jezerem po‹’naj’c pÞestaly bùt väechny vùznamnžjä’ balety ruskùch mistró Nikolaj Andrejevi‹ Rimskij-Korsakov Skute‹nž jednot’c’m ìivlem ‹tyÞd’lnŽ suity je väak postava áeherez‡dy, nžìnŽ a moudrŽ vez’rovy dcery, j’ì jej’ tvór‹’ fantazie noc co noc tis’ckr‡t zachraËovala ìivot a postupnž z’skala l‡sku a obdiv nejmocnžjä’ho muìe zemž; jej’ tŽma z œvodn’ho houslovŽho s—la (je tu protikladem nepÞ‡telsky hrozivŽmu tŽmatu sult‡novu) se ve skladbž mnohokr‡t vr‡t’ jako ohnisko barvitŽho vznik‡n’. Hned v œvodu vyvol‡ tato hudba obraz Sindib‡dova kor‡bu; ten se bl’ì’ po vln‡ch arpeggiovŽho próvodu svùm majest‡tn’m tŽmatem, aì kone‹nž proj’ìd’ pÞ’mo pÞed o‹ima poslucha‹ovùma, un‡äeje jeho pÞedstavivost do svžta orient‡ln’ch dobrodruìstv’. JednotlivŽ scŽny dalä’ch ‹‡st’ skladatel sice póvodnž pojmenoval, ale pak od jejich ozna‹en’ ustoupil, aby snad jejich hudba nebyla vn’m‡na pÞ’liä popisnž; stejnž si väak móìeme pÞedstavit pÞ’bžhy kn’ìete pÞevle‹enŽho za ìebravŽho mnicha kalendera nebo milostnŽ kon‡n’ vzneäenŽho p‡ru. Z kaleidoskopickŽ zmžti posledn’ vžty (Sv‡tek v Bagd‡du) se vynoÞ’ zase Sindib‡dóv kor‡b, tentokr‡t jakoby pÞet’ìenù n‡kladem proìitùch 14 Petr Ilji‹ ‰ajkovskij v‡z‡ny na divadeln’ scŽnu a jejich hudba se stala sou‹‡st’ symfonickŽho reperto‡ru Ð v pÞ’padž StravinskŽho Svžcen’ jara nebo Prokofjevova Romea dokonce kl’‹ovž vùznamnou pro celù jeho dalä’ vùvoj. Suita z Labut’ho jezera zjevuje ve svŽ œvodn’ ScŽnž (v baletu jde o setk‡n’ zakletŽ labutž s princem na jezern’m bÞehu) osudovù œstÞedn’ motiv skladby; ten je pÞ’tomen takŽ v lehkonohŽm Val‹’ku, jinak zase v poetickŽm scherzu Labut’ho tance a v milostnŽ ScŽnž p‡tŽho ‹’sla. Po tÞech charakteristickùch tanc’ch, UherskŽm (‹ard‡äi), ápanžlskŽm a NeapolskŽm se zjev’ zase v dramatickŽm fin‡ln’m vùjevu spole‹nŽ smrti milencó v jezern’ch vod‡ch a zn’ pak nakonec jako baladickù doslov. 12. 8. 2004 Nikolai Andreyevich RimskyKorsakovÕs (1844Ð1908) most famous composition is considered the pearl of the Russian symphony repertoire despite its Oriental theme: RimskùKorsakov was one of RussiaÕs legendary ÒMighty FiveÓ who enlivened late-19thcentury European music with exotic 1. vyd‡n’ Sadka RimskŽho-Korsakova motifs, in many ways anticipating French Impressionism. The young Rimsky had taken in the Orient from up close: as a naval cadet he sailed on a tall ship around the world. Later, reading the Thousand and One Nights, his recollections inspired him to set to the rise and fall of SinbadÕs fabled cog to music. The unifying element of this suite in four movements is the persona of Scheherazade, a gentle and wise vizierÕs daughter, whose fertile imagination saved her life a thousand times, night after night, and earned her the love and admiration of the worldÕs most powerful man. Her theme in the initial violin solo (set against the threatening motif of the sultan) returns time and again in the composition like a bright flame of renewal. Right at the outset the music suggests a vision of SinbadÕs ship approaching through waves of arpeggio accompaniment with majestic ease until it sails up right before the eyes of the listener, sweeping you off to the land of Oriental adventure. The composer originally gave names to the movements, but later declined to apply them lest the music be interpreted too literally; even so, we can still make out a prince disguised as an itinerant monk, and the timeless endearments of two exalted lovers. Out of the kaleidoscopic gale of the final movement (The Festival of Baghdad) SinbadÕs carvel reappears, now overloaded with the burdens of the long adventure, musical recollections / ‰tvrtek, 20 hod. / Thursday, 8 p.m. of his voyages swirling around the little craft in a gathering storm. Finally he goes down, dashed to pieces on the rocks in a glorious shipwreck. As the waves close over him, the theme of Scheherazade reappears Ð together with the song of a cruel sultan who has given his heart during the course of the story. Reconciled, the two unite. The music of the introduction is repeated as it were in reverse, and the stirring opening chords of the woodwinds return to bid the lovers farewell. Swan Lake was the first of three epochal ballets composed by Pyotr Ilyich Tchaikovsky (1840Ð93); he wrote it as a mature artist, after Eugene Onegin. The dramatic story unfolds before the viewer all evening; the music is not just a pleasant accompaniment giving rhythm to the dancerÕs movements, but a unifying conveyor of dramatic tension and meaning. In the Russia of the day, which cared deeply for ballet, this was a new thing Ð which is perhaps the reason why the premier of this most classic of classical ballets did not get the positive reception we might imagine. Even so, beginning with Swan Lake, ballets by the great Russian masters ceased to be bound to the theatre stage, and their music became part of the symphonic repertoire Ð even, as in the case of StravinskyÕs Rite of Spring or ProfkofievÕs Romeo, themselves becoming milestone symphonic works. Karikatura Petra Ilji‹e 1 Petr Altrichter PETR ALTRICHTER (1951, Frenät‡t pod Radhoätžm) studied the horn and conducting at conservatory in Ostrava, then orchestra and choir conducting at the Jan‡‹ek Academy of the Performing Arts in Brno. He drew attention in 1976 with an excellent showing at the famous conducting workshop in Besanc,on. After his studies he became assistant conductor at the Brno Philharmonic Orchestra (1978), then served at the Czech Philharmonic Orchestra as understudy to V‡clav Neumann, and afterwards at the Bohuslav Martinó Philharmonic in Gottwaldov, the Pardubice Chamber Philharmonic, and another four years at the Brno Philharmonic Orchestra. From 1987 he was conductor at the Prague Symphony Orchestra FOK, serving as chief conductor there in 1990Ð91. In 1993Ð2004 he was the artistic director of the Southwest German Philharmonic in Konstanz; from 1997 to 2001 he headed the Royal Liverpool Philharmonic Orchestra. In January 2002 he was named chief conductor at the Brno Philharmonic Orchestra. At present he is also chief conductor of the Prague Symphony Orchestra FOK. He has worked all over the world, the guest of leading festivals in Paris, Madrid, Chicago, Zurich, Salzburg, Vienna, Seville, St. Etienne, Avignon, Palermo, Prague, Edinburgh, and Athens. As an orchestra conductor in Great Britain, he has been a leading proponent of Czech music. He appears often on radio and television. The Suite from Swan Lake in the first scene presents the compositionÕs central motif, which occurs again in the sprightly Waltz, as well as the poetic scherzo Swan Dance, and the love scene. After three dances, the Hungarian, Spanish, and Neapolitan, the motif appears again as a balladic epilogue in the final scene. 15 5. MHF áPILBERK 2004 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S MalŽ ohlŽ dnut ’ z a a t m o s f Žr o u 1. MHF á P I L B E R K 2 0 0 0 GENERçLNê INTENDANT: BOHUá ZOUBEK ¥ MANAGER FESTIVALU: LUKçá HERINK Mezin‡rodn’ hudebn’ festival ápilberk vznikl z popudu Þeditele St‡tn’ filharmonie Brno Bohuäe Zoubka, ‹estnŽho dirigenta SFB Caspara Richtera a tehdejä’ho äŽfdirigenta SFB Alda Ceccata. Hlavn’ myälenkou bylo obohatit letn’ kulturn’ džn’ moravskŽ metropole v kr‡snŽm historickŽm prostÞed’ velkŽho n‡dvoÞ’ hradu, a tak vznikl ojedinžlù festival, nab’zej’c’ svùm poslucha‹óm pouze velkŽ symfonickŽ kusy pod ve‹ern’ letn’ oblohou. Ve ‹tyÞech z pžti ve‹eró prvn’ho ro‹n’ku se pÞedstavila St‡tn’ filharmonie Brno, jednou to byl Gustav Mahler Jugendorchester; vystoupilo jeden‡ct s—listó a ‹tyÞi dirigenti. Prvn’ ve‹er byl vžnov‡n ‹eskŽ hudbž Ð Jan‡‹kovùm Laäskùm tancóm a Putov‡n’ duäi‹ky s houslovùm s—lem Ivana ëenatŽho a DvoÞ‡kovž dev‡tŽ symfonii Z NovŽho svžta. St‡tn’ filharmonii Þ’dil Vladim’r V‡lek. Ve druhŽm ve‹eru si poslucha‹i vyslechli d’la Mahlera, Wagnera, Bart—ka a Skrjabina v proveden’ Ml‡deìnickŽho orchestru Gustava Mahlera pod taktovkou dirigenta Stefana Antona Recka. S—listou ve‹era byl basbarytonista Albert Dohmen. Verdiho Rekviem znžlo hradn’m n‡dvoÞ’ pÞi tÞet’m ve‹eru. St‡tn’ filharmonii Brno a äŽfdirigenta Alda Ceccata podpoÞil ‰eskù filharmonickù sbor Brno a s—listŽ Francesca Scaini, Hana átolfov‡-Bandov‡, Donald Litaker a Peter Mikul‡ä. Beethoven, Mahler, Strauss Ð nab’dka ‹tvrtŽho ve‹era festivalu, to väe pod veden’m Ralfa Weikerta. S—lovù mezzosopr‡n si zazp’vala Iris Vermillion. Z‡vžr prvn’ho ro‹n’ku ohromil väechny Beethovenovou Symfoni’ ‹. 9 s îdou na radost. Brnžnskou filharmonii dirigoval opžt Aldo Ceccato, s—listy Zdenu Kloubovou, Doubravku áeparovi•, Vladim’ra Doleìala a JiÞ’ho Sluìenka doplnil Brnžnskù akademickù sbor. Barevnou te‹kou za prvn’m ro‹n’kem novŽho brnžnskŽho letn’ho festivalu byl ohËostroj. 16 (vùbžr) Overture Ð Menuetto II. HENRY PURCELL ABDELAZER ANEB POMSTA MOUÛENêNOVA 9Õ (vùbžr ze suity) Ouverture Ð Air Ð Rondeau BENJAMIN BRITTEN PRñVODCE ORCHESTREM PRO MLçDEë variace na tŽma Henryho Purcella 18Õ pÞest‡vka 25Õ ROBERT HENDERSON 11Õ EINSTEINOVY HOUSLE OTTORINO RESPIGHI ÛêMSKƒ PINIE Pinie u Villy Borghese (Allegretto vivace) Pinie u katakomby (Lento) Pinie na Janikulu (Lento) Pinie na Via Appia (Tempo di marcia) hraje STçTNê FILHARMONIE BRNO dirigent MISCHA DAMEV 17 26Õ P r o g r a m ov ù ka t a l o g / C a t a l o g u e o f p r o g r a m m e s HUDBA KE KRçLOVSKøM OHÅOSTROJñM 9Õ / N e d ž l e , 2 0 h o d . / S u n d a y, 8 p . m . GEORG FRIEDRICH H€NDEL 15 . 8 . 2 0 0 4 2 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S 2 Mischa Damev Jako pravù barokn’ umžlec snaìil se Georg Friedrich HŠndel (1685Ð1759) stupËovat œ‹in svŽ hudby spojen’m s dalä’mi smyslovùmi z‡ìitky Ð pokud moìno senza‹n’mi Ð nebo naopak napom‡hat svou hudbou jejich pósoben’. Vrcholn‡ pÞ’leìitost se mu naskytla pÞi oslavž c‡äskŽho m’ru v roce 1749: anglickù kr‡l JiÞ’ pro ni naÞ’dil velkolepù ohËostroj v londùnskŽm Green Parku a HŠndla povžÞil hudebn’m doprovodem. Skladatel se œkolu podjal s velkùm osobn’m nasazen’m: neälo ani tak o novou velkolepou Hudbu ke kr‡lovskùm ohËostrojóm, jako o skute‹nost, ìe k jej’mu proveden’ se mu podaÞilo soustÞedit a zvl‡dnout neuvžÞitelnŽ mnoìstv’ hudebn’kó (24 hobojistó, 12 fagotistó, po dev’ti kornistech a truba‹’ch Ð a tÞi tymp‡nisty). Dalä’ nezamùälenŽ ud‡losti pak moìn‡ poruäily hladkù próbžh slavnosti, ale zcela zapadaj’ do stylu hŠndlovskùch historickùch senzac’: gener‡ln’ zkouäka byla prov‡zena veÞejnùmi vùtrìnostmi, pÞi nichì zasahovala policie, vlastn’ pÞedstaven’ pak prudkou bouÞ’ s lijavcem a nav’c jeätž poì‡rem pavilonu, kterù byl postaven pro tuto pÞ’leìitost. MISCHA DAMEV (1963 v Sofii) z’skal prvn’ hudebn’ vzdžl‡n’ u svŽho džde‹ka, zn‡mŽho bulharskŽho dirigenta. Studoval pak hru na klav’r na konzervatoÞ’ch v Curychu a v Basileji (abs. 1986), potŽ u Alexise Weissenberga v PaÞ’ìi a u Nikity Magaloffa v ëenevž. V roce 1993 za‹al studovat dirigov‡n’ u Karla …sterreichera ve V’dni a v n‡sleduj’c’ch letech œzce spolupracoval s Marissem Jansonsem, äŽfdirigentem PittsburskŽho symfonickŽho orchestru. Û’dil moskevskù Symfonickù orchestr ‰ajkovskŽho, jehoì je nyn’ st‡lùm hostuj’c’m dirigentem, Slovinskou filharmonii v Lublani, Z‡hÞebskou filharmonii, Rozhlasovù orchestr v Sofii, sofijskou St‡tn’ operu a v posledn’ dobž dirigoval ve velkùch italskùch mžstech. MISCHA DAMEV (born 1963 in Sofia) received his first musical education from his grandfather, the well-known Bulgarian conductor. He then studied piano at conservatories in Zurich and Basel (graduating in 1986), then under Alexis Weissenberg in Paris, and Nikita Magaloff in Geneva. In 1993 he began to study conducting under Karel …sterreicher in Vienna, and in subsequent years under Mariss Jansons, chief conductor of the Pittsburgh Symphony Orchestra. He has conducted the Tchaikovsky Symphony Orchestra in Moscow, where he is a regular guest conductor, as well as the Slovenian Philharmonic in Ljubljana, the Zagreb Philharmonic, and the Radio Orchestra and the State Orchestra in Sofia. He has recently conducted in several of the great cities of Italy. D’k velkolepŽmu zpósobu, j’mì se HŠndel zapsal do anglickŽho hudebn’ho ìivota, jej pÞijala za svŽho takŽ anglick‡ hudebn’ historie. Ta m‡ väak v œdob’ baroka Ð jeätž pÞed HŠndlem Ð takŽ svou vlastn’ osobnost evropskŽho vùznamu, anglickou nejen póvodem a pósoben’m, nùbrì takŽ charakterem hudby, zahrnuj’c’m Þadu vlastnost’ typicky anglickùch: Henry Purcell (1659Ð95) ji zanechal v des’tk‡ch skladeb prov‡zej’c’ch dobovŽ divadeln’ kusy. Jedna z nich, k dramatu Abdelazer aneb pomsta mouÞen’nova, vstoupila do anglickŽ hudby znovu ve dvac‡tŽm stolet’ jako hlavn’ myälenka snad nejzn‡mžjä’ symfonickŽ skladby Benjamina Brittena (1913Ð76) Próvodce orchestrem pro ml‡deì. Jde o variace a fugu na Purcellovo tŽma, velmi n‡zornž pÞedv‡džj’c’ jednotlivŽ n‡stroje a jejich skupiny v modern’m velkŽm symfonickŽm orchestru: Purcellóv monument‡ln’ n‡pad je svžÞov‡n postupnž nejprve celùm n‡strojovùm skupin‡m (smy‹có, dÞev, ìeséó a bic’ch) a potŽ Ð uì v podstatnùch promžn‡ch Ð jednotlivùm n‡strojóm podle partitury; ty pak v z‡vžre‹nŽ 18 ponžkud vùtrìnickŽ fuze defiluj’ pÞed poslucha‹em jeätž jednou, zahuäéuj’ce hudebn’ proud k nepÞehlednosti. Nad znžj’c’ zmatek se pak v z‡vžru velebnž vznese zase Purcellovo tŽma ve svŽ póvodn’ podobž. Robert Henderson (1948) z Los Angeles za‹al svou profesion‡ln’ kariŽru jako hr‡‹ na lesn’ roh v hollywoodskùch studi’ch (nat‡‹el takŽ s Igorem Stravinskùm), ale pak dal pÞednost dirigov‡n’ (od 1979 v Utah Symphony, od 1981 hudebn’m Þeditelem Arkansas Symphony); komponuje od studentskùch let sb’raje za svŽ skladby nejróznžjä’ ceny. Mezi äesti finalisty londùnskŽ Masterprize, snad nejproslulejä’ skladatelskŽ soutžìe dneän’ho svžta, se vloni ocitl d’k svŽ skladbž Einsteinovy housle, symfonickŽmu scherzu inspirovanŽmu amatŽrskùm z‡jmem geni‡ln’ho fyzika o houslovou hru (Martinó pro nžj napsal nžkolik skladeb). Minimalisticky pojat‡ brilantn’ skladba pracuje s dvoj’m motivickùm ìivlem: energickù ãtvór‹’Ò prvek, nesenù ostin‡tn’m sextolovùm pohybem, œst’ ve svŽm rozvoji pokaìdŽ do nekontrolovatelnùch erupc’; v okamìiku nejvžtä’ho chaosu zas‡hne vìdy prostinkù a nevinnù motivek ãhousl’Ò a d‡ vzedmutŽ tvór‹’ energii ì‡douc’ smžr. Û’mskŽ pinie jsou druhou ze tÞ’ symfonickùch b‡sn’-suit, jimiì Ottorino Respighi (1879Ð1936) oslavil velkou minulost i sou‹asnù barvitù póvab Vž‹nŽho mžsta. Italskù souputn’k francouzskùch impresionistó, äkolenù nav’c v orchestraci u RimskŽhoKorsakova, pÞispžl nejv’c pr‡vž tžmito tÞemi skladbami k dosaìen’ c’le svŽ skladatelskŽ generace Ð vr‡tit italskŽ n‡strojovŽ hudbž vùznam potla‹enù stalet’mi opern’ho kultu. Ve ‹tyÞech ‹‡stech Pini’ (1924) vsazuje pÞedstavu stromu, jehoì charakteristick‡ ãdeätn’kov‡Ò silueta prov‡z’ džjiny Û’ma po tis’cilet’, do m’stn’ch n‡ladovùch nebo historickùch situac’: zahrada u Villy Borghese je dnes proslulùm mžstskùm parkem, jehoì pinie st’n’ m’sta rozpustilùch džtskùch her; melancholick‡ pinie u vchodu do katakomb vnuk‡ pÞedstavu zpžvu starovžkùch kÞeséanó skrùvaj’c’ch se v podzem’ pÞed pron‡sledov‡n’m, piniov‡ alej na Janikulu nad sp’c’m mžstem je džjiätžm poetickŽ no‹n’ scŽny se slavi‹’m zpžvem a v posledn’ ‹‡sti lemuj’ pinie historickou Appijskou silnici, po n’ì kdysi t‡hla vojska svžtovl‡dnŽho Û’ma. 15 . 8 . 2 0 0 4 Like a true Baroque artist, Georg Friedrich HŠndel (1685Ð1759) sought to heighten the impact of his music by accompanying it with sensory Ð or sensational Ð sideshows; other times it was the music that was accessory to the main event. His great opportunity came with the celebration of the Peace of Aix-la-Chapelle in 1749: King George of England ordered a giant fireworks show in Green Park, and HŠndel was engaged to provide the music. The composer went Òall outÓ: not only did he compose a new, magnificent Music for the Royal Fireworks, but he also managed / N e d ž l e , 2 0 h o d . / S u n d a y, 8 p . m . nationality, but in the character of his music as found in the dozens of pieces he wrote to accompany theatre performances. One of these works, written for the drama Abdelazer or the MoorÕs Revenge, found its way back into English music in the twentieth century as the main motif of Benjamin BrittenÕs (1913Ð76) best-known Benjamin Britten Georg Friedrich HŠndel to assemble and conduct an oddly large numbers of musicians: 24 oboes, 12 bassoons, 9 cornets, 9 trumpets Ð and 3 tympanums. A series of unanticipated events disrupted the festivities, but in a manner somehow quite in keeping with HŠndelÕs characteristic sensationalisms: the dress rehearsal was accompanied by public rowdiness which required police intervention; the actual performance was marred by a storm and torrential downpour; and finally, the pavilion that had been built for the occasion caught fire. symphonic work, The Young PersonÕs Guide to the Orchestra. As variations and fugue on PurcellÕs theme it introduces the individual instruments and their grouping within a large, modern symphony orchestra. PurcellÕs monumental theme is given first to entire sections of instruments (strings, woodwinds, brass, and percussion), and is then passed on Ð now going through significant changes Ð to the individual instruments; in the final, raucous conclusion, they file past the listener one more time, gradually fusing into an raging torrent of music. At the very end, PurcellÕs theme is heard again, rising above the chaos once more in its original form. he found himself among the six finalists for LondonÕs Masterprize, perhaps todayÕs most prestigious composersÕ competition, with his work EinsteinÕs Violin, a symphonic scherzo inspired by the great physicistÕs amateur interest in the instrument (Martinó wrote several pieces for him). This brilliant, minimalistically-concieved composition works with two basic motifs: an energetic, ÒcreativeÓ element, carried by an insistent, repeated sextola that develops over and over into an uncontrollable eruption; and a sweet, innocent ÒviolinÓ motif that always intervenes at the most chaotic moment to give the conjured energy a welcome direction. 2 The Pines of Rome is the second of three poetic suites written by Ottorino Respighi (1879Ð1936) to celebrate the glorious past and colourful present of the Eternal City. An Italian fellowtraveller of the French Impressionists, schooled in orchestration by RimskyKorsakov, with these three works Respighi succeeded in achieving the great ambition of his generation of composers: to restore lustre to Italian instrumental music, stifled for centuries by the cult of opera. In the four movements of the Pines (1924), he employs the idea of a tree whose characteristic ÒumbrellaÓ silhouette is a witness to Roman history through the centuries, expressed in suggestive or historical situations: in the garden at the Villa Borghese, shading the places where children play their wild games; the melancholy Pines at the entrance to the catacombs listening to the song of the first Christians taking refuge from persecution; the alee of pines on the Janiculus above the sleeping city, listening to the song of the nightingale; and finally, the pines along the historic Appian Way that recall the passing armies of Imperial Rome. Robert Henderson Henry Purcell English music history has long devoted much attention to HŠndel and his flamboyant mannerisms, and adopted him as its own. But England also has its own outstanding Baroque composer, Henry Purcell (1659-95). He was English not only in Robert Henderson (1948), a native of Los Angeles, began his professional career playing the French horn at Hollywood studios (he also recorded with Igor Stravinsky), but later switched to conducting (from 1979 at the Utah Symphony, and from 1981 as director of the Arkansas Symphony). Since his student days he has been winning awards for his compositions. Last year 19 Ottorino Respighi 5. MHF áPILBERK 2004 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S MalŽ ohlŽ dnut ’ z a a t m o s f Žr o u 2. MHF á P I L B E R K 2 0 01 GENERçLNê INTENDANT: BOHUá ZOUBEK ¥ MANAGER FESTIVALU: LUKçá HERINK Zahajovac’ koncert Mezin‡rodn’ho hudebn’ho festivalu áPILBERK patÞil dom‡c’ St‡tn’ filharmonii Brno a ‹eskŽ hudbž. Symfonickou b‡seË Z ‹eskùch luhó a h‡jó ze Smetanova cyklu M‡ vlast vystÞ’dal DvoÞ‡kóv Violoncellovù koncert v pod‡n’ brnžnskŽ roda‹ky Michaely Fuka‹ovŽ. Ve druhŽ polovinž ve‹era zaznžla Jan‡‹kova Sinfonietta. Koncert Þ’dil Petr Altrichter. Na druhŽm koncertž jako host vystoupil Symfonickù orchestr ‰eskŽho rozhlasu se svùm äŽfdirigentem Vladim’rem V‡lkem. Pro letn’ ve‹er na n‡dvoÞ’ brnžnskŽho hradu si pÞipravil program impresionismu a romantismu. Û’mskŽ slavnosti Itala Ottorina Respighiho zobrazuj’ lidovŽ sv‡tky, jeì oìivovaly Û’m v róznùch dob‡ch jeho historie a v róznùch ro‹n’ch obdob’ch. V Klav’rn’m koncertu Maurice Ravela se pÞedstavil tÞicetiletù Paul Gulda, syn i ì‡k legend‡rn’ho rakouskŽho pianisty. Druh‡ polovina ve‹era patÞila P‡tŽ symfonii Petra Ilji‹e ‰ajkovskŽho. TÞet’ z koncertó rovnžì patÞil hostóm. Uì podruhŽ se v r‡mci tŽto akce pÞedstavil svžtovž proslulù Ml‡deìnickù orchestr Gustava Mahlera. S dirigentem ma“arskŽho póvodu Iv‡nem Fischerem si pÞipravil na brnžnskŽ vystoupen’ n‡ro‹nŽ skladby svùch reperto‡rovùch patronó Ð Richarda Strausse a Gustava Mahlera, v jehoì 4. symfonii se jako s—listka pÞedstavila vynikaj’c’ anglick‡ sopranistka Amanda Roocroft, zn‡m‡ takŽ z tituln’ch rol’ oper Leoäe Jan‡‹ka. ‰tvrtù ve‹er se zcela soustÞedil na italskŽho skladatele Giuseppe Verdiho, od jehoì œmrt’ uplynulo 100 let. Program nejzn‡mžjä’ch sboró, pÞedeher a baletn’ hudby z jeho oper, v‹etnž sboru zajatùch ëidó z Nabucca a jinùch obl’benùch melodi’ z Macbetha, S’ly osudu, Aidy a dalä’ch, zaznžly v pod‡n’ dom‡c’ St‡tn’ filharmonie Brno za Þ’zen’ mladŽho rakouskŽho dirigenta Roberta Paternostra. Spoluœ‹inkoval ‰eskù filharmonickù sbor Brno, jehoì sbormistrem je Petr Fiala. Z‡vžre‹nùm ve‹erem zaznžla dvž d’la 20. stolet’. Krati‹kou Fanf‡ru pro oby‹ejnŽho ‹lovžka od Ameri‹ana Aarona Coplanda vystÞ’dala rozs‡hl‡ kant‡ta Carmina burana od nžmeckŽho skladatele Carla Orffa. PÞedstavili se v nžm pžve‹t’ s—listŽ sopranistka Yvetta Tannenbergerov‡, kontratenorista Gunther Schmid a barytonista Ivan Kusnjer, d‡le Praìskù filharmonickù sbor (sbormistr Jaroslav Brych) a džtskù sbor KantilŽna (sbormistr Ivan Sedl‡‹ek); St‡tn’ filharmonii Brno Þ’dil hostuj’c’ rakouskù dirigent Martin Sieghart. 20 LEOá JANç‰EK TARAS BULBA, slovansk‡ rapsodie 23Õ pÞest‡vka 25Õ Smrt Andrijova Smrt Ostapova Proroctv’ a smrt Tarase Bulby ANTONêN DVOÛçK SYMFONIE ‰. 9 E-MOLL op. 95 ãZ NovŽho svžtaÒ Adagio Ð Allegro molto Largo Molto vivo Allegro con fuoco 42Õ hraje JANç‰KOVA FILHARMONIE OSTRAVA 17. 8 . 2 0 0 4 dirigent / ò t e r ù, 2 0 h o d . / Tu e s d a y, 8 p . m . 3 PETR VRONSKø 21 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S 3 Jan‡‹kova filharmonie Ostrava JANç‰KOVA FILHARMONIE OSTRAVA vznikla v roce 1954 z rozhlasovŽho orchestru, kterù mžl za sebou dlouhù vùvoj, a dos‡hla tud’ì v kr‡tkŽ dobž vysokŽ profesion‡ln’ œrovnž. Jej’ umžleckù profil formovali pÞedevä’m jej’ äŽfdirigenti (prvnimi byli Otakar PaÞ’k a JiÞ’ Waldhans, ale takŽ vùzna‹n’ dirigentät’ hostŽ Ð V‡clav Neumann, V‡clav Smet‡‹ek, JiÞ’ Bžlohl‡vek, Zdenžk M‡cal, Charles Mackerras, Arvid Jansons, Vladimir Fedosejev, Serge Baudo, Roberto Benzi nebo Helmut Rilling. S komorn’mi soubory, kterŽ se kolem n’ seskupily, a jako poÞadatelka Jan‡‹kova hudebn’ho m‡je je nejdóleìitžjä’m ohniskem hudebn’ho ìivota v severomoravskŽm regionu. Jeho hranice pÞekra‹uje œ‹ast’ na nejvùznamnžjä’ch ‹eskùch festivalech a z‡jezdy do zahrani‹’: od roku 1958 navät’vila opakovanž skoro väechny evropskŽ zemž, SpojenŽ st‡ty, Japonsko, Jihokorejskou republiku a Tchajwan. Jej’ reperto‡r zrcadl’ des’tky kompaktn’ch desek vydanùch firmami Panton, Rosa, Direkt, Centaur, Naxos a Palatina. THE JANç‰EK PHILHARMONIC ORCHESTRA, OSTRAVA was established in 1954. Having started as a radio orchestra with a long tradition, it reached professional heights in a very short time. Its artistic profile was formed above all by its chief conductors (the first two being Otakar PaÞ’k and JiÞ’ Waldhans) as well as distinguished guest conductors Ð V‡clav Neumann, V‡clav Smet‡‹ek, JiÞ’ Bžlohl‡vek, Zdenžk M‡cal, Charles Mackerras, Arvid Jansons, Vladimir Fedosejev, Serge Baudo, Roberto Benzi and Helmut Rilling. As the organizer of the Jan‡‹ek Musical May, the Orchestra is the centrepiece of musical life in North Moravia, together with its associated chamber ensembles. The Orchestra often travels beyond its regional borders when taking part in major Czech festivals and foreign tours: since 1958 it has repeatedly visited nearly every European country as well as the United States, Japan, South Korea and Taiwan. It has recorded much of its repertoire on CDs released by Panton, Rosa, Direkt, Centaur, Naxos and Palatina. Z douhŽ Þady podnžtó, jeì poskytla Leoäi Jan‡‹kovi (1854Ð1928) rusk‡ literatura, dostalo se jenom Gogolovž obs‡hlŽ pov’dce o z‡poroìskŽm koz‡ckŽm atamanu symfonickŽho ztv‡rnžn’. Taras Bulba zaujal skladatele pÞedevä’m popisem troj’ho um’r‡n’: smrt, kterou se za nžco plat’, kterou se nžco vykupuje, se v Jan‡‹kovùch skladb‡ch objevuje skoro poÞ‡d. Gogolova l‡tka takto vnukla Jan‡‹kovi (v posledn’m roce v‡lky, 1918) myälenku na koncertantn’ symfonii, v jej’chì tÞech vžt‡ch by se postupnž s—listicky uplatnily tÞi smy‹covŽ n‡stroje Ð housle, viola a violoncello. V próbžhu pr‡ce se väak tento n‡pad uk‡zal jako pÞ’liä form‡ln’ a ke slovu se naplno dostal nenapodobitelnù jan‡‹kovskù orchestr ve svŽ nejvùraznžjä’ podobž, s varhanami, zvony a œchvatnùmi s—ly housl’, kontrabasu, anglickŽho rohu nebo es klarinetu. Leoä Jan‡‹ek R‡zovitù proud Jan‡‹kovy hudby se vyhùb‡ jako vìdy kaìdŽmu popisu a œzkou lini’ dramatickŽho ostÞ’ m’Þ’ rovnou k j‡dru kaìdŽho pÞ’bžhu. V prvŽ ‹‡sti je j’m l‡ska, osudov‡, jak se u Jan‡‹ka rozum’: Tarasóv mladä’ syn Andrij j’ podlŽh‡ od prvŽho spatÞen’ kr‡snŽ Polky v kyjevskŽm kostele a zóst‡v‡ j’ vžren i v okamìiku, kdy ho vlastn’ otec v bitvž trest‡ smrt’ za zradu. Prvorozenù Ostap um’r‡ zajat a umu‹en na varäavskŽm n‡mžst’; syrov‡ realita tohoto obrazu m‡ u Jan‡‹ka daleko k teatr‡lnosti romantickùch pochodó na popraviätž, postihuje väak stesk, heroismus a smrtelnou œzkost, vykoupenou bohatùrskùm hlasem Bulbovùm. 22 Ten pak vyroste k vžäteckŽ velikosti v z‡vžre‹nŽm obraze Tarasovy vlastn’ smrti: zasko‹en nepÞ’telem, pÞibit ke stromu a upalov‡n hÞ’m‡ z plamenó jeätž rozkazy svùm koz‡kóm Ð podoba s’ly a nepÞemoìitelnosti. Pro tento okamìik si nechal Jan‡‹ek snad nejsladä’ ze svùch melodi’; zn’ uprostÞed slavnostn’ho vyzv‡nžn’ a chor‡ln’ velkoleposti, opakov‡na a opÞ‡d‡na s—lovùmi houslemi, jako poselstv’ nadäen’, v’ry a kr‡sy. Anton’n DvoÞ‡k Bžhem svŽho tÞ’letŽho pobytu ve Spojenùch st‡tech byl Anton’n DvoÞ‡k (1841Ð1904) v zenitu svùch tvór‹’ch sil; mohutnù pÞ’liv novùch inspirac’ tak dal vzniknout sŽrii skladeb, z nichì kaìd‡ vyvrcholila ve svŽm oboru nejen DvoÞ‡kovo tvór‹’ d’lo, ale svùm zpósobem i romantickŽ devaten‡ctŽ stolet’ v samŽm jeho z‡vžru. S pl‡nem symfonie, posledn’ ze svùch dev’ti, DvoÞ‡k do Ameriky uì odj’ìdžl, teprve väak s’la a novost americkùch z‡ìitkó daly jej’ hudbž vzruäuj’c’ obsah a vùrazovŽ napžt’ pod monument‡ln’ stavebnou klenbou. òstÞedn’ hudebn’ myälenkou symfonie je fanf‡rovŽ tŽma NovŽho svžta; vynoÞuje se v pomalŽm œvodu jako nezn‡mù svžtad’l z moÞe zraku poutn’kovu a vrac’ se pak v róznùch podob‡ch ve väech symfonickùch ‹‡stech: v prvn’ jako hlavn’ tŽma, ovl‡daj’c’ a poÞ‡daj’c’ pÞ’val novùch dojmó, ve druhŽ, inspirovanŽ indi‡nskou smute‹n’ slavnost’ z Longfellowovy P’snž o Hiawathovi, jako patetickŽ ur‹en’ m’sta a osudu, ve vùbuänŽm scherzu (s nžìnou vzpom’nkou na vzd‡lenou vlast ve snovž tane‹n’m triu) jako neklidn‡ pÞipom’nka a ve velkolepŽm fin‡le jako ohromuj’c’ pozn‡n’ s’ly, kter‡ se v kontinentu probouz’ a kter‡ bude v nadch‡zej’c’m stolet’ ur‹ovat džjiny svžta. 17. 8 . 2 0 0 4 Russian literature was a major source of inspiraton for Leoä Jan‡‹ek (1854Ð1928), but only once did he opt for a symphonic treatment of a literary subject, and that was GogolÕs lengthy novel about a Zaporozhian ataman. The composer found Taras Bulba interesting in particulary for its depiction of three deaths, death being the ultimate price. Redemption through death is a recurring theme in Jan‡‹ekÕs works. In the last year of the Great War Ð 1918, GogolÕs novel inspired Jan‡‹ek to write a symphony concertante in whose three movements three instruments Ð violin, viola and violoncello Ð were to appear as soloists. However, as the work on the symphony proceeded this idea turned out to be too formalistic and the inimitable Jan‡‹kian orchestra prevailed at its most expressive, with organ and bells and ravishing violin, double bass, English horn and E-flat clarinet solos. As usual, the striking flow of Jan‡‹ekÕs music avoids descriptive word-painting and cuts razor-sharp directly into the dramatic core of each story. Love is the theme of the first part, a fateful love, as always with Jan‡‹ek: TarasÕs younger son Andri falls for a beautiful Polish girl the moment he sees her in a Kiev church, and remains faithful to her even as his father metes out the ultimate punishment for this betrayal. The first-born Ostap is captured and tortured to death in a Warsaw square: the stark reality of this scene is a far cry from the theatricality of romantic marches to the scaffold, yet Jan‡‹ek movingly captures yearning, heroism and deathly anguish, redeemed by BulbaÕs stentorian voice. The voice then grows in stature, reaching prophetic proportions in the final depiction of TarasÕs own death. Surprised by the enemy and nailed to a tree, he shouts orders to his Cossacks while being burnt to death, a symbol of his strength and invincibility. For this moment Jan‡‹ek reserved one of his sweetest melodies, weaving its line amidst the celebratory pealing of bells, and choral splendour, returning and undulating in the solo violin as a message of fervour, faith and beauty. / ò t e r ù, 2 0 h o d . / Tu e s d a y, 8 p . m . During the three years that Anton’n DvoÞ‡k (1841Ð1904) spent in the United States, he was at the zenith of his creative powers. He had a colossal wave of inspiration from which a series of compositions was spawned, and every one representing the pinnacle of its genre, not only in DvoÞ‡kÕs own terms but for the whole romantic period of the 19th century as it came to a close. With a plan for a symphony, to be the last of his nine, DvoÞ‡k set off for America, only the power and the newness of his experiences in American gave the music an exciting content and an expressive tension within a monumental structural arching. 3 Petr Vronskù PETR VRONSKø (1946) za‹al svou hudebn’ dr‡hu jako houslista, velmi œspžänù v Þadž dom‡c’ch soutžì’. Jednadvacetiletù väak za‹al studovat na praìskŽ AMU dirigov‡n’ a œspžchy v mezin‡rodn’ch dirigentskùch soutžì’ch (1971 Besanc,on, 1973 Berl’n) mu z’skaly jmŽno. Jako dirigent pósobil v plzeËskŽ opeÞe, jako äŽf (od 1974) v œsteckŽ; v letech 1979Ð91 dirigoval brnžnskou St‡tn’ filharmonii (od roku 1983 jako äŽfdirigent) a absolvoval v jej’m ‹ele z‡jezdy po tÞech kontinentech; v brnžnskùch letech se vžnoval takŽ pedagogickŽ ‹innosti na Jan‡‹kovž akademii mœzickùch umžn’. Od z‡Þ’ 2002 je äŽfdirigentem Jan‡‹kovy filharmonie Ostrava. PETR VRONSKø (1946) DvoÞ‡kóv rukopis The pivotal concept of the symphony is its fanfare theme, of the New World; it looms in the slow introduction like an unknown continent emerging from a sea of pilgrims sight/vision and then it returns in various guises throughout the symphony. In the first it appears as the main theme governing and organising a flood of new impressions. In the second, inspired by an Indian funeral pageant from LongfellowÕs Song of Hiawatha (1855) its renders a passionate meaning to place and fate. In the fulminating scherzo (with its faint reminiscences of a far away land in the dreamy dance trio) it appears as a restless reminder, and in the magnificent finale like a spectacular acknowledgment of the might which is awakening across the continent and which will determine the history of the world in the dawning century. 23 started his musical career as a violinist, with successes in a number of national competitions. At the age of 21 he took up conducting at the Prague Academy of Performing Arts and gained a considerable reputation in conducting competitions (1971 Besanc,on 1973 Berlin). He was conductor at the PlzeË Opera, held the position of chief conductor at the Opera in òst’ nad Labem from 1974. He conducted the Brno Philharmonic Orchestra from 1979 to 1991, and was the chief conductor from 1983 Ñ together they toured three continents. During his years in Brno he also taught at the Jan‡‹ek Academy of Performing Arts. He has been chief conductor of the Jan‡‹ek Philharmonic Orchestra since September 2002. 5. MHF áPILBERK 2004 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S MalŽ ohlŽ dnut ’ z a a t m o s f Žr o u 3. MHF á P I L B E R K 2 0 0 2 GENERçLNê INTENDANT: BOHUá ZOUBEK ¥ MANAGER FESTIVALU: áçRKA MOTALOVç Po œspžchu druhŽho ro‹n’ku pÞipravila St‡tn’ filharmonie Brno uì tÞet’ Mezin‡rodn’ hudebn’ festival áPILBERK 2002, jedinù letn’ festival velkŽ symfonickŽ a kant‡tovŽ tvorby v ‰eskŽ republice. Na koncertech tohoto ro‹n’ku vystoupily tÞi symfonickŽ orchestry (vedle dom‡c’ St‡tn’ filharmonie Brno takŽ ‰esk‡ filharmonie z Prahy a N‡rodn’ symfonickù orchestr PolskŽho rozhlasu Katovice) s pžti vùzna‹nùmi dirigenty Ð Alexandrem Rahbarim, dom‡c’m Petrem Altrichtrem, Arildem Remmereitem, Vladim’rem V‡lkem a Gabrielem Chmurou, dvžma mezin‡rodnž proslulùmi s—listy Ð houslistkou Bin Huang, klarinetistkou Ludmilou Peterkovou a ìenskou ‹‡st’ PraìskŽho filharmonickŽho sboru. Slavnostn’ zah‡jen’ patÞilo milostnŽmu tŽmatu Romeo a Julie a takŽ Bernsteinovy West Side Story (symfonickùm tancóm). Druhù koncert pÞinesl pestrù reperto‡r sp’äe folklorn’ho zamžÞen’ (nechybžl Leoä Jan‡‹ek i Pol‡k Wojciech Kilar, zn‡mù jako autor filmovŽ hudby). TÞet’ poÞad obr‡til pozornost poslucha‹ó k no‹n’ obloze. Holstovy Planety doplnila umžleck‡ videoprojekce. Nejen planety, ale takŽ mlhoviny a dalä’ zaj’mav‡ seskupen’ vesm’ru doprovodily (v naä’ zemi poprvŽ) na dvou pl‡tnech v’ce neì pades‡timinutovou skladbu. Hostóm patÞily posledn’ dva koncerty. Zaznžla na nich ãst‡liceÒ mezi skladbami symfonickŽho reperto‡ru: DvoÞ‡kóv Houslovù koncert a takŽ Obr‡zky z vùstavy M. P. MusorgskŽho. N‡rodn’ symfonickù orchestr PolskŽho rozhlasu Katovice pÞednesl symfonickou b‡seË Step od polskŽho autora Zygmunta NoszkowskŽho a celù festival uzavÞel Berliozovou Fantastickou symfoni’. 24 CARMEN MEZI MUZIKçLY 4 CLAUDE MICHEL SCHOENBERG Stars (Hvžzdy) GEORGES BIZET Ð FRANCIS BORNE Fantazie z ãCarmenÒ pro flŽtnu a orchestr GEORGE GERSHWIN ItÕs Wonderfull (Je to n‡dhernŽ) HOAGY CARMICHAEL Star Dust (Hvžzdnù prach) ANDREW LLOYD WEBBER (Jesus Christ Superstar) Vzpom’nka HARRY WARREN (Zasnžìen‡ romance Ð Sun Valley Serenade) Chattanooga Choo Choo pÞest‡vka 25Õ HAROLD ARLEN (Kouzeln’k ze zemž Oz Ð The Wizard of Oz) Over the Rainbow (Tam za tou duhou) CHARLIE CHAPLIN (Svžtla ramp Ð Limelight) Svžtla ramp GILBERT BƒCAUD (Zemž, odkud pÞich‡z’m) Zemž odkud pÞich‡z’m ENNIO MORRICONE (Tenkr‡t na Z‡padž Ð Once Upon A Time In The West) Jednoho dne se vr‡t’ä (americk‡ lidov‡) (arr. FRANTIáEK PREISLER) American Patrol (Americk‡ hl’dka) GLENN MILLER Seren‡da mžs’‹n’ho svitu (Moonlight Serenade) FRANCIS LAI (PÞ’bžh l‡sky) Love Story ANDREW LLOYD WEBBER (Jesus Christ Superstar) King HerodÕs Song (P’seË Heroda kr‡le) JIMMY VAN HEUSEN Mal‡ smžs JOHN KANDER New York, New York JERRY BOCK (áumaÞ na stÞeäe Ð Fiddler on the Roof) áumaÞ na stÞeäe GLENN MILLER In the Mood (V n‡ladž) s—listŽ JANA MUSILOVç, IGOR ONDÛê‰EK Ð zpžv MARTINA MATUáêNSKç Ð flŽtna hraje STçTNê FILHARMONIE BRNO dirigent FRANTIáEK PREISLER jun. 25 19 . 8 . 2 0 0 4 Suita (arr. JACK MASON) Somewhere (Kdesi) / ‰ t v r te k , 2 0 h o d . / T h u r s d ay, 8 p . m . LEONARD BERNSTEIN (West Side Story) 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S JANA MUSILOVç 4 ze Svitav vystudovala gymn‡zium a Jan‡‹kovu akademii mœzickùch umžn’ jako zpžva‹ka a here‹ka na katedÞe syntetickùch ì‡nró. Po absolutoriu (1990) nastoupila do angaìm‡ v MžstskŽm divadle Brno, kde vytvoÞila do dneäka dlouhou Þadu vùraznùch muzik‡lovùch rol’; uì dvakr‡t (v letech 1998 a 2000) tam z’skala (prostÞednictv’m div‡ckŽ ankety) cenu ãKÞ’dlaÒ pro nejpopul‡rnžjä’ here‹ku sezony. Televizn’ div‡ci znaj’ jej’ hlas pÞedevä’m z dabovanŽ role agentky ScullyovŽ ze seri‡lu Akta X, ale takŽ z dalä’ch seri‡ló Ð PobÞeìn’ hl’dka, Dallas, Doktor z hor, PÞ’teli mój nebo z filmó ‰okol‡da, Podoby l‡sky, Max a Kevin, Doh‡n’ä mž k ä’lenstv’; vystupovala v ‹eskùch seri‡lech Detektiv Martin Tomsa, O poklad Aneìky ‰eskŽ, Potlach, Zp’v‡n’ na farmž, ç‹ko, Rozto‹me to! Ned‡vno vydala CD s francouzskùmi p’snžmi a äansony ëivot je b‡je‹nù. Zp’vala se St‡tn’ filharmoni’ Brno a se zl’nskou Filharmoni’ Bohuslava Martinó. Leonard Bernstein IGOR ONDÛê‰EK Jana Musilov‡ z Prostžjova absolvoval ateliŽr muzik‡lovŽho herectv’ na Jan‡‹kovž akademii mœzickùch umžn’ a uì bžhem studia se stal ‹lenem souboru MžstskŽho divadla Brno. UplatËuje se tam jak ve velkùch rol’ch ‹inohern’ch (Rostand, Shakespeare, Ostrovskij, Feydau, Stroupeìnickù, Schiller), tak muzik‡lovùch (Kabaret, Kamennù host, West Side Story, Babylon, Svžt plnù andžló). Hostoval ve Vùchodo‹eskŽm divadle v Pardubic’ch, v praìskŽm i brnžnskŽm N‡rodn’m divadle, vystupuje v televizn’ch (‰etnickŽ humoresky, Sedmero krkavcó, Duhov‡ panna) a rozhlasovùch inscenac’ch. Hr‡l v Nžmecku, ápanžlsku, Portugalsku, Rakousku, Holandsku, Finsku, It‡lii, Slovinsku a na Slovensku. Od po‹‡tku letoän’ho roku je äŽfem zpžvohry MžstskŽho divadla Brno. Georges Bizet George Gershwin MARTINA MATUáêNSKç Igor OndÞ’‹ek z Ostravy za‹ala v džtstv’ s klav’rem, ale od roku 1980 se vžnuje flŽtnž. V letech 1983Ð1987 vystudovala ostravskou konzervatoÞ a potŽ Jan‡‹kovu akademii mœzickùch umžn’ ve tÞ’dž Arnoäta Bourka; v roce 1991 se stala s—loflŽtnistkou St‡tn’ filharmonie Brno. S t’mto orchestrem hr‡la v mnoha evropskùch st‡tech, v Jiìn’ Americe a na D‡lnŽm Vùchodž; jako komorn’ hr‡‹ka spoluœ‹inkovala s pÞedn’mi ‹eskùmi instrumentalisty i soubory na koncertn’ch p—di’ch i v nat‡‹ec’m studiu. S—listicky vystupuje bu“ v recit‡lech nebo ve spolupr‡ci s dom‡c’mi i zahrani‹n’mi orchestry. Hoagy Carmichael FRANTIáEK PREISLER Martina Matuä’nsk‡ z Olomouce vystudoval varhann’ oddžlen’ brnžnskŽ konzervatoÞe a dirigov‡n’ na JAMU v Brnž; soukromž studoval zpžv a hru na trombon; mistrovskù dirigentskù kurz absolvoval ve V’dni. Pósobil nejdÞ’ve v operetž, brzy nato v opeÞe N‡rodn’ho divadla v Brnž. V roce 1994 nastudoval a ve dvou stech pades‡ti repr’z‡ch dirigoval Webberóv muzik‡l Jesus Christ Superstar. Dva roky pak pósobil jako äŽfdirigent Hudebn’ho divadla v Karl’nž, v roce 1995 se stal dirigentem opery praìskŽho N‡rodn’ho divadla, v Þ’jnu 1999 pÞijal na kratä’ ‹as funkci äŽfdirigenta PlzeËskŽ filharmonie. Od roku 2002 je äŽfdirigentem MoravskŽ filharmonie v Olomouci. K jeho zahrani‹n’m aktivit‡m patÞ’ vystoupen’ na Slovensku, v Nžmecku, Japonsku, Tchajwanu, Slovinsku, Chorvatsku, Ûecku, Rakousku a Rusku. Andrew Lloyd Webber Harold Arlen 26 19. 8. 2004 / ‰tvrtek, 20 hod. / Thursday, 8 p.m. JANA MUSILOVç, Charlie Chaplin 4 a native of Svitavy, studied at gymnasium, and at the Jan‡‹ek Academy of the Performing Arts as a singer and actress. After graduating in 1990 she took an engagement at the Municipal Theatre in Brno, where she has since shone in a long series of important musical roles; twice she has won the ÒWingsÓ award (in 1998 and 2000) as most popular actress of the season on the basis of audience polls. Television viewers know her as the dubbed voice of agent Scully from The X Files, as well many other television and movie roles, and she has appeared in several Czech-made television serials. She has sung with the Brno Philharmonic Orchestra, and with the Bohuslav Martinó Philharmonic in Zl’n. IGOR ONDÛê‰EK Gilbert BŽcaud of Prostžjov graduated from the atelier of music drama at the Jan‡‹ek Academy, and even as a student he became a member of the cast at the Municipal Theatre in Brno. There he has appeared in major dramatic roles (Rostand, Shakespeare, Ostrovsky, Feydau, Stroupeìnickù, Schiller) and in musicals (Cabaret, Kamennù host, West Side Story, Babylon, Svžt plnù andžló). He has been a guest at the East Bohemian Theatre in Pardubice and the National Theatres in Prague and Brno; he also records for television and radio. He has played in Germany, Spain, Portugal, Austria, the Netherlands, Finland, Italy, Slovenia, and Slovakia. At the beginning of this year he became the head of the department of musical drama at the Municipal Theatre in Brno. MARTINA MATUáêNSKç Glenn Miller Francis Lai Jimmy van Heusen of Ostrava began on the piano as a child, but switched to the flute in 1980. In 1983Ð1987 she studied at the Ostrava Conservatory, and then at the Jan‡‹ek Academy in Brno with Arnoät Bourek; in 1991 she became a soloist at the Brno Philharmonic Orchestra. With this orchestra she has played in many European countries, in South America, and in the Far East; as a chamber musician she has worked with the leading Czech instrumentalists and ensembles, both on the concert stage and in the recording studio. As a soloist she appears at recitals, and with Czech and foreign orchestras. FRANTIáEK PREISLER, a native of Olomouc, studied organ at the Brno Conservatory, and conducting at the Jan‡‹ek Academy. He studied privately on voice and trombone, and took master courses in conducting in Vienna. At first he worked with the operetta, and then caught on with the opera of the National Theatre in Brno. In 1994 he studied and conducted WebberÕs musical Jesus Christ Superstar through two hundred and fifty performances. For two years he was chief conductor of the Music Theatre in Karl’n, conducted opera at PragueÕs National Theatre in 1995, and served for a short time in 1999 as chief conductor of the Pilsner Philharmonic. Since 2002 he has been chief conductor of the Moravian Philharmonic in Olomouc. He has performed internationally in Slovakia, Germany, Japan, Taiwan, Slovenia, Croatia, Greece, Austria, and Russia. Frantiäek Preisler Jerry Bock 27 5. MHF áPILBERK 2004 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S MalŽ ohlŽ dnut ’ z a a t m o s f Žr o u 4. MHF á P I L B E R K 2 0 0 3 GENERçLNê INTENDANT: BOHUá ZOUBEK ¥ MANAGER FESTIVALU: MARTIN FORETNêK V pžti koncertech ‹tvrtŽho ro‹n’ku vystoupily tÞi symfonickŽ orchestry s pžti vùzna‹nùmi dirigenty a dev’ti mezin‡rodnž proslulùmi s—listy. òvodn’ ve‹er n‡leìel St‡tn’ filharmonii Brno s JiÞ’m Bžlohl‡vkem a Dagmar Peckovou: proveden’ Berliozovùch P’sn’ letn’ch noc’ stalo se o‹ek‡vanùm tžìiätžm francouzskŽho poÞadu. Obsahem druhŽho koncertu bylo p‡smo melodi’ ze slavnùch muzik‡ló a filmó, pe‹livž komponovanŽ a Þ’zenŽ svùm hlavn’m protagonistou Casparem Richtrem; St‡tn’ filharmonie prov‡zela trojici zahrani‹n’ch muzik‡lovùch hvžzd (Isabel Dšrfler, Coleen Bessett a Richard Morris). Hostuj’c’ Dolnorakouskù orchestr hudebn’ch umžlcó (TonkŸnstler Orchester Niederšsterreich) Þ’zenù norskùm dirigentem Olou Rudnerem, äŽfem Tasm‡nskŽho symfonickŽho orchestru, pÞivezl na tÞet’ koncert uprostÞed svŽho standardnž pÞitaìlivŽho programu (Schubert-Bizet-Liszt) novinku Jamese McMillana napsanou pro svžtozn‡mou perkusionistku Evelyn Glennie; jej’m interpretem byl mladi‹kù Martin Grubinger, kterù si uì takŽ z’skal mezin‡rodn’ povžst. DruhŽ hostuj’c’ tžleso, Symfonickù orchestr hlavn’ho mžsta Prahy FOK, provedlo se svùm francouzskùm äŽfdirigentem Serge Baudem poÞad, jehoì ryze ‹eskù charakter (Smetana-DvoÞ‡k-Jan‡‹ek) bylo zaj’mavùm protžjäkem francouzskŽho programu JiÞ’ho Bžlohl‡vka. Z‡vžre‹nù ve‹er festivalu probžhl za Þ’zen’ Petra Altrichtera, äŽfdirigenta St‡tn’ filharmonie; po wagnerovskŽ prvn’ ‹‡sti poÞadu nastoupila brilantn’ ‹tveÞice americkùch hornistó se Schumannovùm Koncertn’m kusem a z‡vžr festivalu patÞil ‰ajkovskŽho Slavnostn’ ouvertuÞe s pÞedepsanùmi efekty zvonó. 28 Fortuna imperatrix mundi I. Primo vere Uf dem Anger pÞest‡vka 25Õ II. In taberna III. Cours dÕamours Blanciflor et Helena Fortuna imperatrix mundi s—listŽ MARIA HAAN Ð sopr‡n MICHAL LEHOTSKø Ð tenor VLADIMêR CHMELO Ð baryton zp’vaj’ ‰ESKø FILHARMONICKø SBOR BRNO sbormistr Petr Fiala KANTILƒNA, sbor džt’ a ml‡deìe pÞi SFB sbormistr Jakub Klecker hraje SLOVENSKç FILHARMONIE dirigent TOMçá HANUS 29 P r o g r a m ov ù ka t a l o g / C a t a l o g u e o f p r o g r a m m e s CARMINA BURANA (Bur‡nskŽ p’snž) 65Õ / S o b o t a , 2 0 h o d . / S a t u r d ay, 8 p . m . CARL ORFF 21. 8 . 2 0 0 4 5 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S MARIA HAAN JAKUB KLECKER vystudovala zpžv a klav’r na koäickŽ konzervatoÞi a opern’ zpžv ve tÞ’dž Evy BlahovŽ na bratislavskŽ VáMU. Je laure‡tkou nžkolika mezin‡rodn’ch soutžì’ a nositelkou ceny ãLibuäkaÒ z Festivalu ‹eskŽho hudebn’ho divadla v roce 1995. Jako s—listka St‡tn’ opery Praha vytvoÞila postavy Gounodovy MarkŽtky, Verdiho Gildy a Violetty, Fiorilly v Rossiniho opeÞe Turek v It‡lii, Isabely v Meyerbeerovž Robertu “‡blovi, Princezny v ZemlinskŽho Byl jednou jeden, Anetty ve Weissovž PolskŽm ìidovi a OfŽlie v Thomasovž Hamletovi. absolvoval dirigov‡n’ na brnžnskŽ konzervatoÞi a pokra‹uje ve studiu u Radomila Eliäky na praìskŽ AMU. V KANTILƒN• za‹al roku 1993 jako zpžv‡‹ek, pozdžji v n’ pósobil jako korepetitor, posledn’ch sedm let jako sbormistr. 5 MICHAL LEHOTSKø zavräil soukromŽ studium zpžvu (1995) recit‡lem v Bratislavž, potŽ absolvoval studijn’ pobyt na Mozartovž akademii v Krakovž, mistrovskŽ kurzy v Pieäéanech a Bayreuthu. Je laure‡tem pžveckùch soutžì’ M. Schneidra TrnavskŽho a Emy DestinnovŽ. Ve svŽm koäickŽm angaìm‡ 1996Ð2001 vytvoÞil Þadu stžìejn’ch postav velkŽho opern’ho reperto‡ru; roku 2001 nžkolikr‡t vystoupil v irskŽm Wexfordu, v posledn’ch letech hostoval v Nžmecku, Rakousku, Ma“arsku i v ‰eskŽ republice. Od letoäka je ‹lenem opery SlovenskŽho n‡rodn’ho divadla v Bratislavž. VLADIMêR CHMELO je absolventem JAMU v Brnž, mistrovskùch kurzó v italskŽ Sienž u prof. Ferra a st‡ìe u rumunskŽho barytonisty Iordachesca, laure‡tem mozartovskŽ soutžìe v Praze, karlovarskŽ DvoÞ‡kovy a Tagliaviniho v Rakousku. V desetilet’ 1987Ð97 byl s—listou Jan‡‹kovy opery, v sou‹asnosti je st‡lùm hostem opery praìskŽho a bratislavskŽho N‡rodn’ho divadla. Zp’val Rakousku, Nžmecku, ve ávŽdsku, v Izraeli, Norsku, ve VelkŽ Brit‡nii, Japonsku, It‡lii, ápanžlsku, Lucembursku, Francii a ve ávùcarsku. V roce 1998 z’skal Cenu Th‡lie, v Þ’jnu 2000 zp’val se St‡tn’ filharmoni’ v Ceccatovž nastudov‡n’ Lisztova Krista ve Vatik‡nu pro papeìe Jana Pavla II. KANTILƒNA vznikla v roce 1956 jako álapanickù džtskù sbor. Roku 1967 se ze äkoln’ho stalo vùbžrovŽ tžleso s nynžjä’m n‡zvem a roku 1983 za‹alo pósobit pÞi St‡tn’ filharmonii Brno. Za necelùch pžt desetilet’ svŽ existence absolvovalo v’c neì 1200 samostatnùch koncertó doma, v devaten‡cti evropskùch zem’ch, Japonsku, USA a Kanadž. Zakladatelem a umžleckùm vedouc’m KANTILƒNY je Ivan Sedl‡‹ek (1932), jenì se vžnuje pžstžn’ džtskŽho sborovŽho zpžvu jako svŽmu ìivotn’mu posl‡n’ a jenì se zaslouìil o skvžlŽ œspžchy sboru na vùznamnùch mezin‡rodn’ch soutžì’ch. TOMçá HANUS (1970) absolvoval housle a dirigov‡n’ na konzervatoÞi v rodnŽm Brnž a pokra‹oval pak ve studiu ve Spojenùch st‡tech na Aspen Music School a u JiÞ’ho Bžlohl‡vka na JAMU. Pósobil nejprve ve zl’nskŽ filharmonii, od roku 1994 byl dirigentem novž zÞ’zenŽ PraìskŽ komorn’ filharmonie, s n’ì absolvoval z‡jezdy do Japonska, Francie, Jord‡nska a Nžmecka a jej’mì je podnes pravidelnùm hostem. Vystupoval s filharmoniemi v Praze, Brnž a Bratislavž, zahrani‹n’ orchestry dirigoval v Nžmecku, ávùcarsku, It‡lii a v Polsku. Jako st‡lù host pósob’ v opeÞe praìskŽho N‡rodn’ho divadla a od loËskŽ sezony je dirigentem SlovenskŽ filharmonie. Nat‡‹’ pro rozhlas a televizi a nžkterŽ z jeho sn’mkó vyäly na CD; s ‹eskùmi interpreta‹n’mi äpi‹kami (Suk, Koìen‡, Peterkov‡, çghov‡) nat‡‹’ pro vydavatelstv’ LOTOS. Maria Haan Michal Lehotskù ‰ESKø FILHARMONICKø SBOR BRNO zp’v‡ od roku 1990 a ve spolupr‡ci s vùzna‹nùmi dom‡c’mi i zahrani‹n’mi dirigentskùmi osobnostmi a orchestr‡ln’mi tžlesy vyv’j’ intenzivn’ ‹innost; vystoupil ve vžtäinž evropskùch zem’, v Argentinž a Uruguayi, je pravidelnùm œ‹astn’kem nžkolika vùzna‹nùch evropskùch festivaló. PETR FIALA, jeho zakladatel, umžleckù Þeditel a sbormistr je absolventem brnžnskŽ konzervatoÞe a JAMU. Vedle ‹innosti pedagogickŽ a kompozi‹n’ se vžnuje pÞedevä’m dirigov‡n’ a Þ’zen’ vlastn’ho sboru; je takŽ pravidelnùm ‹lenem soutžìn’ch porot. Vladim’r Chmelo SLOVENSKç FILHARMONIE vznikla v roce 1949 a o jej’ umžleckou œroveË se zaslouìil V‡clav Talich (äŽfem v letech 1949Ð52) spolu s »udov’tem Rajterem (1949Ð76, umžleckùm äŽfem v letech 1952Ð61). Z hostuj’c’ch dirigentó, kteÞ’ dotv‡Þeli jej’ profil, lze jmenovat Abbada, Celibidache, Danona, Zecchiho, Mata‹i‹e, Doratiho, Mutiho, Masura, Conlona nebo Svžtlanova. Na svùch ‹astùch zahrani‹n’ch z‡jezdech hr‡la uì v osmn‡cti evropskùch zem’ch, na Kypru, v Turecku, Spojenùch st‡tech a v Japonsku; pravidelnž se œ‹astn’ vùzna‹nùch festivaló Ð PraìskŽho jara, V’deËskùch slavnostn’ch tùdnó, Brucknerovy slavnosti v Linci, KorutanskŽho lŽta ve Villachu, Berl’nskùch slavnostn’ch dn’. Nat‡‹’ pro Slovenskù rozhlas a na desky pro Opus, Supraphon, Panton, Hungaroton, JVC, Victor RCA a Pacific music. Jakub Klecker KantilŽna 30 Tom‡ä Hanus Slovensk‡ filharmonie Sbormistr Ivan Sedl‡‹ek 21. 8 . 2 0 04 / S o b ota , 2 0 h o d . / S a t u rd ay, 8 p . m . ‰eskù filharmonickù sbor Brno a sbormistr Petr Fiala MARIA HAAN studied piano at conservatory in Koäice, and opera singing as a student of Eva Blahov‡ at the VáMU in Bratislava. She has won many international competitions, and received the ãLibuäkaÒ Prize from the Czech Music Theatre Festival in 1995. As a soloist at the Prague Opera she has sung the roles of GounodovÕs MarkŽtka, VerdiÕs Gilda and Violetta, Fiorilla in RossiniÕs opera The Turk in Italy, Isabel in MeyerbeerÕs Robert le Diable, the Princess in ZemlinskùÕs Once Upon a Time, Anetta in WeissÕs The Polish Jew, and Ophelia in ThomasÕs Hamlet. JAKUB KLECKER studied directing at the Brno Conservatory, and continues his studies with Radomil Eliäka at the AMU in Prague. He began with KANTILƒNA in 1993 as a child singer, then as a singing coach, and for the last seven years as choir conductor. TOMçá HANUS (1970) studied violin and conducting at the conservatory in his native Brno, and continued his studies at the Aspen Music School in the USA, and with JiÞ’ Bžlohl‡vek at the JAMU. MICHAL LEHOTSKø He worked first at the philharmonic in Zl’n; from competed his private voice studies in 1995 with 1994 he was conductor of the newly-established a recital in Bratislava, then went on to study Prague Chamber Philharmonic, with which at the Mozart Academy in Cracow, and master courses he travelled to Japan, France, Jordan, and Germany, in Pieäéany and Bayreuth. He has been laureate and where he continues to be a regular guest. of both the M. Schneider Tmavskù and Ema He has performed with orchestras in Prague, Brno, Destinnov‡ competitions. During his engagement and Bratislava, and has conducted foreign orchestras in Koäice (1996Ð2001) he studied many of the major in Germany, Switzerland, Italy, and Poland. He is roles in the opera repertoire; in 2001 he made several a permanent guest of the opera at PragueÕs National performances at the Wexford Festival in Ireland. Theatre, and is conductor this year at the Slovak During the years since then he has performed Philharmonic. He records for radio and television, in Germany, Austria, Hungary, and the Czech Republic. and some of these recordings have come out on CD. This year he became a member of the opera He records with the finest Czech musicians at the Slovak National Theatre in Bratislava. (Suk, Koìen‡, Peterkov‡, çghov‡) on the LOTOS label. VLADIMêR CHMELO is a graduate of the JAMU in Brno. He took master courses in Siena, Italy under Prof. Ferro, and studied with Romanian baritone Iordachescu; he has been a laureate at the Mozart competition in Prague, the DvoÞ‡k Prize in Karlovù Vary, and the Tagliavini competition in Austria. During the decade 1987Ð1997 he was a soloist at the Jan‡‹ek Opera in Brno, and today appears regularly at the National Theatres in both Prague and Bratislava. He has sung in Austria, Germany, Sweden, Israel, Norway, Great Britain, Japan, Italy, Spain, Luxembourg, France, and Switzerland. In 1998 he won the Thalia Prize, in 2000 he sang with the State Philharmonic in CaccataÕs production of LisztÕs Christ at the Vatican for Pope John Paul ii. KANTILƒNA began in 1956 as the álapanice ChildrenÕs Choir. In 1967 it was moved to Brno, renamed, and became a selective body requiring auditions. In 1983 it was brought under the Brno Philharmonic Orchestra. During its nearly 50 years it has performed over 1200 independent concerts at home and in twelve European countries, Japan, the USA, and Canada. The founder and artistic director of KANTILƒNA is Ivan Sedl‡‹ek (1932), an artist whose lifeÕs calling has been childrenÕs choral music. Under his direction, KANTILƒNA has enjoyed many great successes at important international competitions. CZECH PHILHARMONIC CHOIR OF BRNO has been in existence since 1990, and, in cooperation with outstanding domestic and foreign orchestras and conductors, maintains a demanding schedule: it has performed in most of the European countries, in Argentina and Uruguay; it is a regular participant at a number of important European festivals. Its founder, artistic director, and choirmaster is PETR FIALA, a graduate of the Brno Conservatory and JAMU. In addition to composing and teaching, he conducts and directs his own choir, and is a regular jury member at several competitions. SLOVAK PHILHARMONIC ORCHESTRA was founded in 1949, and its artistic quality was overseen by V‡clav Talich (chief conductor 1949Ð52) and »udov’t Rajter (1949Ð76, artistic director 1952Ð61). The list of guest conductors includes names such as Abbad, Celibidach, Danon, Zecchi, Mata‹i‹, Dorati, Muti, Masur, Conlon, and Svžtlanov. Its frequent tours abroad have taken it to eighteen European countries, Cyprus, Turkey, the United States, and Japan; it regularly takes part in the important festivals: Prague Spring, Vienna Festival Weeks, the Bruckner Festival in Linz, Corinthian Summer in Villach, and the Berlin Festival Weeks. It has recorded for Slovak Radio and for the labels Opus, Supraphon, Panton, Hungaroton, JVC, RCA Victor, and Pacific Music. 31 ScŽnickŽ kant‡ty Carla Orffa (1895Ð1982) pÞedstavuj’ v hudbž dvac‡tŽho stolet’ velmi svŽr‡znù a tžìko napodobitelnù typus. Jeho nžkdejä’ novost a dosud senza‹n’ nevadnouc’ svžìest netkv’ snad v pohrd‡n’ tradicemi, nùbrì naopak v nadobro nekonven‹n’m a napoÞ‡d aktualizuj’c’m pÞ’stupu k nejœctyhodnžjä’m tradic’m väeho druhu Ð antickùm, stÞedovžkùm, renesan‹n’m, folklorn’m. Prvn’ a dnes nejproslulejä’ z tžchto skladeb, Bur‡nskŽ p’snž (Carmina burana), sice pÞi svŽ frankfurtskŽ premiŽÞe v roce 1937 narazily na ofici‡ln’ estetiku Hitlerovy TÞet’ Þ’äe, ale jeätž za v‡lky si naäly cestu k nžmeckŽmu a po v‡lce k evropskŽmu publiku: to uì byly sou‹‡st’ trilogie Trionfi uvedenŽ poprvŽ v mil‡nskŽ Scale roku 1953. Textovùm podkladem Bur‡nskùch p’sn’ je vùbžr stÞedovžkŽ latinskŽ poezie, j’ì se Þ’k‡ vagantsk‡ podle potulnùch studentó-vagantó, kteÞ’ ji ponejv’ce pžstovali (psali ji väak takŽ dvorät’ b‡sn’ci z povol‡n’ a vóbec stÞedovžc’ intelektu‡lovŽ; nejvydatnžjä’m pramenem je dnes takzvanù Bur‡nskù rukopis (Codex buranus) uchovanù v bavorskŽm kl‡äteÞe Benediktbeuern (latinsky Bura). Orffóv vùbor ‹erp‡ ve svùch tÞech d’lech ze tÞ’ nej‹astžjä’ch tematickùch okruhó tŽto poezie: z oslavy jara, z pij‡ckùch p’sn’ a z milostnŽ poezie. Zar‡mov‡n je monument‡ln’m hymnem o promžnlivŽ pÞ’zni átžstžny, skepticky filozofuj’c’ b‡snickou skladbou, jeì znamenitž postihuje ìivotn’ postoj vagantskùch autoró. Zvl‡ätn’m kontrastem, jejì podtrhuje Orff i hudebnž, pósob’ vÞazen’ nžkolika staronžmeckùch lidovùch textó do druhŽ ‹‡sti prvn’ho d’lu. Podstatou Orffovy tvór‹’ aktualizace tžchto textó nen’ jen jejich vùbžr a dramaturgicky promyälenŽ seÞazen’ s pósobivùmi kontrasty, prodlevami, gradacemi a vrcholy, nùbrì odv‡ìnž a vtipnž raìenù pomžr mezi tradi‹n’mi hodnotami a soudobou hudebn’ mluvou. Archaick‡ prostota n‡pžvu je podtrìena harmoni’ a instrumenta‹n’m n‡padem; vzneäenù sp‡d latinskŽ dikce ztr‡c’ svou odtaìitost vynalŽzavùm a ‹asto vùtrìnickùm rytmickùm ‹lenžn’m. PodstatnŽ väak je, ìe pÞi tžchto n‡ro‹nùch souvislostech a ‹asto ironickŽm odstupu postihuje ustavi‹nž ìivù hudebn’ proud vùraz ìivotn’ plnosti a s’ly, opojnù a strhuj’c’ pr‡vž svou bezprostÞednost’. 5 5. MHF áPILBERK 2004 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S 5 The stage cantatas by Carl Orff (1895Ð1982) bring a very distinctive and almost inimitable style to music of the 20th century. Its some-time newness and hitherto sensational and eternal freshness resides perhaps not in a contempt for traditions, but, conversely, in an entirely unconventional and continual updating of the attitude towards the most venerable traditions of all styles Ð ancient, medieval, renaissance and folklore. The textual basis of the first and still the most famous of these compositions, Carmina Burana, is a selection of medieval Latin poetry which is called ÔvagantÕ after wandering student goliards who produced much of it. It was also written by court professional poets and by medieval intellectuals in general. The richest source today is the so-called Codex Buranus, preserved in the Bavarian monastery Benediktbeuern (Latin: Bura). For the three sections of the work OrffÕs selection draws on the three most common themes in the poetry: spring celebrations, drinking songs and love. Framing the work is a monumental hymn to the changeable grace of Fortune, the sceptical philosophising in poetry which admirably expresses the goliard authorsÕ attitude to life. In striking contrast, which Carl Orff CARL ORFF Orff underlines musically, several old German folk texts are incorporated into the second half of the first part. The heart of OrffÕs creative updating of these texts lies not only in the selection of the dramaturgically sophisticated arrangement, with its impressive contrasts of peaks and troughs, but also in the boldly and humorously forged relationship between traditional values and OrffÕs contemporary musical language. The archaic austerity of the melodies is underlined by his conceptualisation of harmony and orchestration. The imaginative and rowdy rhythmic structure erodes the otherwise lofty cadence of Latin diction. Importantly, despite such challenging juxtapositions and often ironic detachment, the incessant spontaneity of the musical flow manages to render the plenitude and strength, both heady and stirring, expressed in the poetry. CARMINA BURANA / BURçNSKƒ PêSN• FORTUNA IMPERATRIX MUNDI áT•ST•NA VLçDKYN• SV•TA 1 O Fortuna, velut luna, statu variabilis, semper crescis aut decrescis; vita detestabilis nunc obdurat et tunc curat ludo mentis aciem, egestatem, potestatem dissolvit ut glaciem. 1 î átžstžno, jsi jak mžs’c stavu promžnlivŽho, st‡le rosteä nebo ubùv‡ä; ten zatracenù ìivot mne jednou hlad’, jednou zrad’, ostÞ’m svŽ hravŽ mysli chudobu i svžtskou moc rozpouät’ jako led. Sors immanis et inanis, rota tu volubilis, status malus, vana salus semper dissolubilis, obumbrata et velata michi quoque niteris; nunc per ludum dorsum nudum fero tui sceleris. Osude, krutù a nicotnù, to‹ se, ty nest‡lù, väechna mizerie i marnŽ nadžje v tobž splùvaj’, zast’nžnù, zahalenù, jednou mne obdaÞ’ä, ale te“ pro tvou faleänou hru chod’m s holùm zadkem. Sors salutis et virtutis michi nunc contraria, est affectus et defectus semper in angaria. Hac in hora sine mora corde pulsum tangite; quod per sortem sternit fortem, mecum omnes plangite! òdžl œspžchu a ctnosti mi nen’ pÞisouzen, bùv‡m nadäen a zase skl’‹en, ale poÞ‡d v tr‡pen’. V tŽto chv’li bez odkladu sledujte srde‹n’ tep; ìe n‡s osud sraz’ v plnŽ s’le, se mnou väichni bždujte! 2 Fortune plango vulnera stillantibus ocellis, quod sua michi munera subtrahit rebellis. Verum est, quod legitur, fronte capillata, sed plerumque sequitur Occasio calvata. 2 Lk‡m nad ranami osudu s uslzenùma o‹ima, protoìe mi svŽ dary vzpurnž odp’r‡. Leccos ‹lovžk nasb’r‡ s hlavou plnou vlasó, ale PÞ’leìitost se naskytne teprve pleäatŽmu. In Fortune solio sederam elatus, prosperitas vario flore coronatus; quicquid tamen florui felix et beatus, nunc a summo corrui gloria privatus. Na stolci átžstžny jsem sedžl povznesenž, väeho zdaru rozmanitùm kvžtem ovžn‹en; aé uì jsem väak rozkvetl jakkoliv, äéasten a blaìen, te“ jsem se z vrcholu zÞ’til zbaven vä’ sl‡vy. Fortune rota volvitur: descendo minoratus; alter in altum tollitur; nimis exaltatus rex sedet in vertice Ð Kolo átžstžny se to‹’: j‡ kles‡m pon’ìen, jinù stoup‡ vzhóru, ätžst’m bez sebe. Na vrcholu sed’ kr‡l, 32 1 caveat ruinam! nam sub axe legimus Hecubam reginam. aé se stÞeì’ p‡du Ð vìdyé tam dole vid’me kr‡lovnu Hekubu! I. PRIMO VERE I. PÛêCHOD JARA 3 Veris leta facies mundo propinatur, hiemalis acies victa iam fugatur in vestitu vario Flora principatur, nemorum dulcisono que cantu celebratur. 3 Radostn‡ tv‡Þ jara se bl’ì’ svžtu, krutost zimy poraìena prch‡. V pestrŽm h‡vu zas vl‡dne Flora a h‡je ji oslavuj’ hudbou a zpžvem. Flore fusus gremio Phebus novo more risum dat, hoc vario iam stipatur flore Zephyrus nectareo spirans in odore. Certatim pro bravio curramus in amore. V jej’m kl’nž zrozenŽ slunce se nanovo usm’v‡; obklopen róznùm kv’t’m dùäe Zefyr nektarovou vóni. Bžìme o z‡vod pro odmžnu v l‡sce! Cytharizat cantico dulcis philomena, flore rident vario prata iam serena, salit cetus avium silve per amena, chorus promit virginum iam gaudia millena. V p’sni trylkuje sladk‡ Philomena, pestrùm kv’t’m se usm’v‡ vesel‡ louka, hejna pt‡kó se m’haj’ lesn’mi póvaby a sbor d’vek zjev’ tis’cerou rozkoä 4 Omnia sol temperat purus et subtilis, nova mundo reserat facies Aprilis, ad amorem properat animus herilis et iocundis imperat deus puerilis. 4 Slunce väechno zjemËuje, ‹istŽ a nžìnŽ, duben ukazuje svžtu novou tv‡Þ; muìnù duch spžje k Amorovi a ten chlapeckù bóh kraluje miluj’c’m. Rerum tanta novitas in solemni vere et veris auctoritas iubet nos gaudere; vias prebet solitas, et in tuo vere fides est et probitas tuum retinere. Väechno se obnovuje v slavnŽ jarn’ dobž a ta n‡m vel’, abychom se radovali; samota skùt‡ takŽ ve tvŽm jaru cestu uchovat si vžrnost a po‹estnost Ama me fideliter, fidem meam nota de corde totaliter et ex mente tota. Sum presentialiter -absens in remota. Quisquis amat taliter, volvitur in rota. Pohle“ na mou vžrnost a miluj mne takŽ z celŽho srdce a z celŽ mysli. Jsem te“ totiì daleko a ten, kdo takto miluje, vìdy se v kole to‹’. 5 Ecce gratum et optatum ver reducit gaudia, purpuratum floret pratum, sol serenat omnia, iamiam cedant tristia! estas redit, nunc recedit hyemis sevitia. 5 Hle, póvabn‡ a vytouìen‡ vesna navrac’ radost, louka vzkvŽt‡ nachem, slunce väechno rozjasËuje. Smutek aé uì ustoup’! LŽto se vrac’ a zah‡n’ krutosti zimy. Iam liquescit et decrescit grando, nix et cetera, bruma fugit, et iam sugit, ver estatis ubera: Uì taj’ a miz’ kroupy, sn’h a väechno ostatn’, zimn’ tmy prchaj’ a jaro z Ëader lŽta saje. 21. 8 . 2 0 04 CARL ORFF / S o b ota , 2 0 h o d . / S a t u rd ay, 8 p . m . CARMINA BURANA / BURçNSKƒ PêSN• illi mens est misera, qui nec vivit, nec lascivit sub estatis dextera. Ubohou m‡ mysl, kdo neìije a nelaäkuje pod vl‡dou lŽta. Gloriantur et lenantur in melle dulcedinis qui conantur, ut utantur premio Cupidinis; simus jussu Cypridis gloriantes et letantes pares esse Paridis. Uì se chlub’ a uì’v‡ si v medovŽ sladkosti, komu se podaÞilo nžco vytžìit z Kupidovy ceny. Poslechnžme Kypridu, budeme se holedbat a uì’vat si jako kdysi s‡m Paris. UF DEM ANGER NA TRçVNêKU 6 Tanz 6 Tanec 7 Floret silva nobilis floribus et foliis. Ubi est antiquus meus amicus? Hinc equitavit, eia, quis me amabit? 7 Kvete les uì vzneäenù kvžty a list’m. Kde je mój d‡vnù pÞ’tel? Pry‹ odcv‡lal, —, kdo mne pomiluje? Floret silva undique, nach mime gesellen ist mir we. Gruonet der walt allenthalben, wa ist min geselle alse lange? Der ist geriten hinnen, owi, wer sol mich minnen? Väude kvete les a mnž se tak stùsk‡ po milŽm! Väude kvete les a kde je mój milù tak dlouho? Pry‹ odcv‡lal, —, kdo mne pomiluje? 8 Chramer, gip die varwe mir, diu min wengel roete, da mit ich die jungen man an ir dank der minnenliebe noete. Seht mich an, jungen man! Lat mich iu gevallen! 8 Kup‹e, dej mi barvu na ‹erveË mùch tv‡Þ’, abych tak pÞimžla ml‡dence k milov‡n’. Pod’vejte se na mne, hoäi, aé se v‡m l’b’m! Minnet, tugentliche man, minnecliche frouwen! Minne tuto iu hoch gemuot unde lat iuch in hohen eren schouwen. Seht mich anÉ Milujte, opravdov’ muìovŽ, pomilov‡n’hodnŽ ìeny! Pos’l’ v‡m to sebevždom’ a dos‡hnete velkùch poct. Pod’vejte seÉ Wol dir werlt, das du bist also freundenriche! Ich will dir sin undertan durch din liebe immer sicherliche. Seht mich anÉ Sl‡va tobž, svžte, ìe jsi tak bohatù radostmi. Chci se ti poddat, abych mžla svou l‡sku poÞ‡d jistou. Pod’vejte seÉ 9 Reie Swaz hie gat umbe, daz sint alles megede, die wellent an man allen disen sumer gan. 9 Rej Ty, co tu rejd’, to jsou väecko džv‹ata, co chtžj’ bez chlapa chodit celŽ lŽto! Chume, chume, geselle min! ih enbite harte din, chum , chum, geselle min. PÞij“ jen, pÞij“, mój pÞ’teli, tak moc tž ‹ek‡m, pÞij“ jen, pÞij“. Suzer rosenvarwer munt. Chum unde mache mich gesunt, suzer rosenvarwer munt. Sladk‡ rud‡ œsta, pÞij“te a uzdravte mne, sladk‡ rud‡ œsta. Swaz hie gat umbeÉ Ty, co tu rejd’É 10 Were diu werlt alle min von deme mere unze an den Rin, des wolt ih mih darben, daz iu chŸnegin von Engellant lege an minen armen. 10 Kdyby mój byl celù svžt od moÞe aì po Rùn, nechal bych to väechno plavat, kdyby mi anglick‡ kr‡lovna leìela v n‡ru‹i. II. IN TABERNA II. V NAáê KR‰M• Mihi cordis gravitas res videtur gravis; iocus est amabilis dulciorque favis; quicquid Venus imperat, labor est suavis, que nunquam in cordibus habitat ignavis. 2 V‡ìnost se mi zd‡ pÞ’liä tžìkou vžc’, ìerty jsou póvabnŽ, sladä’ neì med; Venuäe n‡m vel’ k l’beznŽmu d’lu, a to nen’ nic pro mal‡tn‡ srdce. 5 Via lata gradior more iuventutis, inplicor et vitiis immemor virtutis, voluptatis avidus magis quam salutis, mortuus in anima curam gero cutis. Jdu äirokou cestou podle mravu ml‡d’, zapleten v neÞesti, zapomnžl jsem na ctnost; ì‡dostiv jsem rozkoäe v’c neì svŽ sp‡sy, v duäi mrtev, db‡m jen o svou kóìi. 12 Olim lacus colueram olim pulcher extiteram, dum cignus ego fueram. Miser, miser! modo niger et ustus fortiter! 12 Kdysi jsem obùval rybn’k, kdysi vynikal jsem kr‡sou, kdyì jsem jeätž bùval labut’. B’dnù, b’dnù! Te“ väak ‹ernù a hodnž sp‡lenù! Girat, regirat garcifer; me rogus urit fortiter: propinat me nunc dapifer, Miser, miserÉ KuchaÞ se mnou to‹’ sem a tam, ohniätž mž hroznž p‡l’ a ‹’än’k mž polŽv‡ tukem. B’dnù, b’dnùÉ Nunc in scutella iaceo, et volitare nequeo, dentes frendentes video: Miser, miserÉ Te“ leì’m na m’se a uì nikdy nepolet’m; slyä’m chroupat zuby. B’dnù, b’dnùÉ 13 Ego sum abbas Cucaniensis, et consilium meum est cum bibulis, et in secta Decii voluntas mea est, et qui mane me quesierit in taberna, post vesperam nudus egredietur, et sic denudatus veste clamabit: 13 A j‡ jsem opat bumb‡lkovickù, a s bumbaly sed‡v‡m v radž. a v Deciovž odboru jsem doma a kdo mž r‡no vyhled‡ v kr‹mž, bude ve‹er nahù vyveden a tak z äató svle‹en zavol‡: Wafna, wafna! quid fecisti sors turpissima? nostre vite gaudia abstulisti omnia! Str‡ìe, str‡ìe! Cos to sp‡chal, pitomù osude? Sebrals mi väechno potžäen’ ìivota! 14 In taberna quando sumus non curamus quid sit humus, sed ad ludum properamus, cui semper insudamus. Quid agatur in taberna, ubi nummus est pincerna, hoc est opus ut queratur, si quid loquar, audiatur. 14 Kdyì jsme v kr‹mž, na hÞbitov nemysl’me, ale posp’ch‡me ke hÞe, pÞi n’ì se vìdy zapot’me. Co se džje v tŽ kr‹mž, kde je pen’z äenkùÞem, stoj’ vžru za dotaz: poslyäte, co Þ’k‡m. Quidam ludunt, quidam bibunt, quidam indiscrete vivunt. Sed in ludo qui morantur, ex his quidam denudantur, quidam ibi vestiuntur, quidam saccis induuntur. Ibi nullus timet mortem, sed pro Bacho mittunt sortem: Jedni hraj’, jedni pij’, jin’ prostop‡änž ìij’. Z tžch, co tady sed’ pÞi hÞe, jsou nžkteÞ’ svlŽk‡ni, nžkteÞ’ se oblŽkaj’, jin’ jsou navle‹eni do pytló. Smrti se tady nikdo neboj’, pro Bakcha väak vzd‡ se väeho: Primo pro nummata vini; ex hac bibunt libertini, semel bibunt pro captivis, post hec bibunt ter pro vivis, quater pro Christianis cunctis, quinquies pro fidelibus defunctis, sexies pro sororibus vanis, septies pro militibus silvanis. Za prvŽ Ð za toho, kdo plat’, na zdar pij’ propuätžnci, za druhŽ se pije za zajatŽ, za tÞet’ Ð za ty, co pÞeìili. Za ‹tvrtŽ Ð za kÞeséany vóbec, za p‡tŽ - za vžrnŽ zemÞelŽ. áest‡ za veselŽ sestÞi‹ky, sedm‡ za lesn’ ch‡sku. Octies pro fratribus perversis, nonies pro monachis dispersis, decies pro navigantibus, 11 Estuans interius ira vehementi 11 V nitru planu mocnùm hnžvem undecies pro discordantibus, in amaritudine loquor mee menti: a v hoÞkosti hovoÞ’m s‡m k sobž: duodecies pro penitentibus, factus de materia, cinis elementi, stvoÞen z hl’ny a popela, podob‡m tredecies pro iter agentibus. similis sum folio, de quo ludunt venti. se listu, s n’mì si hraj’ vžtry. Tam pro papa quam pro rege bibunt omnes sine lege. Cum sit enim proprium viro sapienti Zat’mco moudrù muì stav’ supra petram ponere sedem z‡klad svŽho s’dla na sk‡le, Bibit hera, bibit herus, fundamenti, stultus ego comparor flu- rovn‡m se, j‡ hlup‡k, bibit miles, bibit clerus, vio labenti, sub eodem tramite num- plynouc’ Þece bibit ille, bibit illa, quam permanenti. a nikdy nevydrì’m na stejnŽ cestž. bibit servus cum ancilla, Osm‡ za zvr‡cenŽ bratÞ’‹ky, dev‡t‡ za mnichy ute‹ence, des‡t‡ za n‡moÞn’ky, jeden‡ct‡ za sudi‹e, dvan‡ct‡ za trestance, tÞin‡ct‡ za pocestnŽ. Taky za papeìe a za kr‡le pijeme, jak z‡kon k‡ìe. Feror ego veluti sine anuta navis, ut per vias aeris vaga fertur avis; non me tenent vincula, non me tenet clavis, quero mihi similes et adiungor pravis. pije pilnù, pije l’nù, pije b’lù, pije ‹ernù, pije zdejä’, pije tul‡k, pije prosé‡k, pije chytr‡k. Jsem un‡äen jako lo“ bez pos‡dky, jako bludnù pt‡k vzduänùmi drahami; nedrì’ mne pouta, nezastav’ z‡mek, hled‡m sobž rovnŽ a patÞ’m k lumpóm. 33 bibit velox, bibit piger, bibit albus, bibit niger, bibit constans, bibit vagus, bibit rudis, bibit magnus. Pije p‡n, pije pan’, pije voj‡k, pije p‡ter, pije onen, pije tato pije sluha, pije sluìka, 5. MHF áPILBERK 2004 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S CARL ORFF CARMINA BURANA / BURçNSKƒ PêSN• Bibit pauper et egrotus, bibit exul et ignotus, bibit puer, bibit canus, bibit presul et decanus, bibit soror, bibit frater, bibit anus, bibit mater, bibit ista, bibit ille, bibunt centum, bibunt mille. Pije chudù a nemocnù pije ätvanec, bezejmennù pije chlapec, pije äedivù, pije biskup, pije džkan, pije sestra, pije bratr, pije b‡ba, pije m‡ma, pije tato, pije tenhle, pij’ stovky, pij’ tis’ce. Parum sexcente nummate durant, cum immoderate bibunt omnes sine meta. Quamvis bibant mente leta, sic nos rodunt omnes gentes et sic erimus egentes. Qui nos rodunt confundantur et cum iustis non scribantur. áest set plnùch sklenic neposta‹’, kdyì tak nezÞ’zenž bez konce tu väichni pij’. Jakkoli väak pijeme s veselou mysl’, stejnž n‡s pomluv’ väechna pokolen’ a budou z n‡s nuz‡ci. Ti, co n‡s pomlouvaj’, aé se zmatou a aé se neÞad’ k spravedlivùm! III. COUR DÕAMOURS III. DVñR LçSKY 15 Amor volat undique, captus est libidine. Iuvenes, iuvencule coniunguntur merito. 15 Amor lŽt‡ väude, uchv‡cen ì‡dost’, jeho z‡sluhou se druì’ ml‡denci a d’vky. Siqua sine socio, caret omnis gaudio, tenet noctis infima sub intimo cordis in custodia: fit res amarissima. Kter‡ je bez druha, postr‡d‡ väechnu radost, chov‡ v noci nejhlubä’ tajemstv’ svŽho srdce a to je to nejtrp‹’. 16 Dies, nox et omnia mihi sunt contraria, virginum colloquia me fay planszer, oy suvenz suspirer, plu me fay temer. 16 Den, noc a väechno je proti mnž; co si holky pov’daj’, nut’ mž k pl‡‹i, takìe ‹asto vzdych‡m a jeätž v’c se boj’m. O sodales, ludite, vos qui scitis dicite, mihi mesto parcite, grand ey dolur, attamen consulite per voster honur. Kamar‡di, ìertujte a vy, kdoì v’te, povžzte, potžäte mž smutnŽho; velk‡ je m‡ bolest. Tak mi pÞece pora“te - na svoji ‹est! Tua pulchra facies, me fey planser milies, pectus habens glacies, a remender, statim vivus fierem per un baser. 3 Amore sucrescente, pariter e medio propulso procul tedio, fit ludus ineffabilis membris, lacertis, labiis. Se vzróstaj’c’ l‡skou, svornž a rovnou, daleko väeho ostychu doch‡z’ k nevyl’‹itelnŽ hÞe œdó, paì’, rtó. 20 Veni, veni, venias, ne me mori facias, hyrca, hyrce, nazaza, trillirivosÉ 20 PÞij“ uì, pÞij“, tak jen pÞij“, nenechej mž um’rat, hopsasa, hejsasa, tralalaÉ Pulchra tibi facies, oculorum acies, capillorum series, o quam clara species! Tvoje tv‡Þ je kr‡sn‡, v o‹’ch m‡ä blesk, proudy vlasó, —, a jak ladnou postavu! Rosa rubicundior, lilio candidior, omnibus formosior, semper in te glorior! Rudžjä’ neì róìe, bžlejä’ neì lilie, nade väechny kr‡snžjä’! Vìdy budeä mou pùchou! 21 In trutina mentis dubia fluctuant contraria lascivus amor et pudicitia. Sed eligo quod video, collum iugo prebeo; ad iugum tamen suave transeo. 21 V pochybnostech mysli m’haj’ se protivy: nev‡zan‡ l‡ska Ð a stud. Zvol’m si väak, co uvid’m, sklon’m ä’ji pod jaÞmo, ale pod to sladkŽÉ 22 Tempus est iocundum, o virgines, modo congaudete vos iuvenes. 22 ‰as je pÞ’vžtivù, — panny, tak se s n‡mi veselte, vy ml‡denci! Oh - oh, totus floreo, iam amore virginali totus ardeo, novus, novus amor est, quo pereo. Och, och, och, celù rozkvŽt‡m a uì l‡skou k pannž planu; je to nov‡ l‡ska, kterou um’r‡m. Mea me confortat promissio, mea me deportat negatio. Oh - ohÉ Sl’b’m-li, hned mž to pos’l’, odm’tnu-li, budu skl’‹ena. Och, ochÉ Pro tvou kr‡snou tv‡Þ pl‡‹u tis’ckr‡t, hru“ plnou ledu; zachraË mž, hned bych oìil Ð jedn’m pol’ben’m. Tempore brumali vir patiens, animo vernali lasciviens. Oh - ohÉ V zimn’m ‹ase bùv‡ muì stÞ’zlivù, na jaÞe je rozvernù Och, ochÉ 17 Stetit puella rufa tunica; si quis eam tetigit, tunica crepuit. Eia. 17 St‡la d’venka v ‹ervenŽ sukni, a kdyì se j’ nžkdo dotkl, suknž zaäustila. Hola, hola, hola, hola! Mea mecum ludit virginitas, mea me detrudit simplicitas. Oh Ð ohÉ MŽ panenstv’ si se mnou pohr‡v‡, m‡ prostomyslnost mž zrazuje. Och, ochÉ Stetit puella, tamquam rosula; facie splenduit et os eius floruit. Eia. St‡la d’venka jako róìi‹ka, tv‡Þ j’ z‡Þila a œsta jen kvetla. Hola, hola, hola, hola! Veni, domicella, cum gaudio, veni, veni, pulchra, iam pereo. Oh Ð ohÉ PÞij“, m‡ nejbliìä’, s potžäen’m, pÞij“ uì, kr‡sn‡, hynu! Och, ochÉ 18 Circa mea pectora multa sunt suspiria de tua pulchritudine, que me ledunt misere. 18 Kolem mŽ hrudi je to samù vzdech pro tvou kr‡su; a to mž zoufale trùzn’. 23 Dulcissime, totam tibi subdo me! 23 Mój nejsladä’, cel‡ se ti odd‡m! Manda liet, manda liet, min geselle chumet niet. Ajajaj, mój milù nepÞich‡z’. BLANZIFLOR ET HELENA BLANCIFLOR A HELENA Tui lucent oculi sicut solis radii, sicut splendor fulguris lucem donat tenebris. TvŽ o‹i z‡Þ’ jako paprsky slunce, jako kdyì blesku jas osvžtluje temnoty. Manda lietÉ AjajajÉ 24 Ave formosissima, gemma pretiosa, ave decus virginum, virgo gloriosa, ave mundi luminar, ave mundi rosa, Blanziflor et Helena, Venus generosa! 24 Bu“ zdr‡va, nejztepilejä’, perlo drahocenn‡, bu“ zdr‡va, ozdobo panen, panno proslaven‡, bu“ zdr‡va, svžtlo zemž, róìe svžta, Blanciflore a Heleno, vzneäen‡ Venuäe! Vellet deus, vellent dii, quod mente proposui. Ut eius virginea reserassem vincula. Dejì bóh, dejteì bozi, co jsem si pÞedsevzal, totiì otevÞ’t jej’ panensk‡ pouta. FORTUNA IMPERATRIX MUNDI áT•ST•NA VLçDKYN• SV•TA Manda lietÉ AjajajÉ 25 O Fortuna!... 25 î, átžstžno!... 19 Si puer cum puellula moraretur in cellula, felix coniunctio. 19 Kdyì chlapec s d’venkou prodlŽvaj’ v komórce, äéastnŽ to spojen’! 5 34 1 / 15. 8. 2005 6. mezin‡rodn’ hudebn’ festival StvoÞen’ svžta Faunovo odpoledne Francouzsk‡ suita Pavana za zesnulou infantku Divertissement PRAëSKç KOMORNê FILHARMONIE dirigent Michel Swierczewski áPILBERK 2005 2 / 17. 8. 2005 á‰EDRIN VERDI 15.Ð25. srpna VelkŽ n‡dvoÞ’ hradu ápilberk vìdy ve 20.00 hodin Carmen, suita podle Bizeta S’la osudu, pÞedehra La Traviata, ‡rie Komedianti, intermezzo ‡rie Neddy Manon Lescaut, intermezzo BohŽma, ‡rie Mimi Nžm‡ z Portici, pÞedehra LEONCAVALLO PUCCINI AUBER e f e s t3i v a l Š í n b P / 20. 8. 2005 JANç‰EK ZAWINUL Symfonie Dunaj PÞ’bžhy od Dunaje ILB rodní h ERK 2005 sopr‡n v jedn‡n’ ZAWINUL BAND STçTNê FILHARMONIE BRNO dirigent Arild Remmereit ná i z e 4 / 23. 8. 2005 MASSON VIVALDI Koncert pro bub’nek a orchestr Koncert pro zobcovou flŽtnu (vibrafon) Symfonie ‹. 4 Evelyn Glennie Ð bic’ n‡stroje STçTNê FILHARMONIE BRNO dirigent Christoph Campestrini no m ‰AJKOVSKIJ Br ud Adriana Kohœtkov‡ Ð sopr‡n STçTNê FILHARMONIE BRNO dirigent Petr Altrichter 5 / 25. 8. 2005 • MOZART ònos ze serailu MENDELSSOHN-BARTHOLDY Houslovù koncert BEETHOVEN Symfonie ‹. 8 Pavel áporcl Ð housle NOVø CURYáSKø ORCHESTR dirigent Martin Studer-MŸller 35 6. MHF áPILBERK 2005 P r o g r a m 6 . M H F á p i l b e r k 2 0 0 5 / P r o g r a m m e o f 6 th I M F á p i l b e r k 2 0 0 5 MILHAUD DEBUSSY POULENC RAVEL IBERT 6. 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 VYi VødSn’TKA n le otnic v hra e fes tival Š í n b P Br m ná i z e ERK 2004 rodní h ud na 2. n‡dvoÞ’ ILB no • 5. V ù s t ava f o to g r a f i ’ To m ‡ ä e T i c h Ž h o / E x h i b i t i o n Ð p h o to T i c hù P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S Brnžnskù fotograf TOMçá TICHø se vžnuje umžleckŽ fotografii. Na vùstavž v hradn’ Klenotnici se pÞedstav’ souborem, kterù odkrùv‡ z‡kulis’ ìivota brnžnskŽ filharmonie. / TOMçá TICHø, a photographer from Brno, devotes himself to artsitic photography. At the exhibition in the Jewelry you can see a set of pictures from the life of the Brno Philharmonic Orchestra. 36 JKC Realizace Jan‡‹kova kulturn’ho centra vùraznž oìiv’ kulturn’ a spole‹enskù ìivot v Brnž, z‡roveË s t’m i turistickù ruch a podnikatelskŽ aktivity. UzavÞen’m nedokon‹enŽ z‡stavby vùraznou veÞejnou budovou a pÞem’stžn’m st‡vaj’c’ho parkoviätž pod zem je zde potenci‡l z‡sadnž oìivit celou lokalitu a d‡t vzniknout silnŽmu kulturn’mu mžstskŽmu prostoru, jako zn‡me z italskùch renesan‹n’ch mžst nebo napÞ. z Lincolnova Centra v New Yorku. JKC se stane kulturn’ a turistickou ikonou mžsta. ATELIER M1 ARCHITEKTI s.r.o. www.atelierm1.cz 37 EVÛENY VøSTAVY JSOU OT êCH B•HEM GENERçLN KONCERTñ ZKOUáEK A V DOB• FESTIVALU 5. MHF áPILBERK 2004 V ù s t ava J KC / E x h i b i t i o n Ð J KC • m Funk‹n’ n‡plË budovy: ¥ v’ceœ‹elovù s‡l pro 1500 poslucha‹ó s pÞirozenou akustikou svžtovùch parametró ¥ v’ceœ‹elovù s‡l Ð zkuäebna, pro 250 poslucha‹ó ¥ konferen‹n’ salony, z‡zem’ hudebn’kó, provozn’ z‡zem’ a kancel‡Þe spr‡vy objektu ¥ restaurace pro cca 180 m’st, propojen‡ s kav‡rnou na stÞeän’ terase ¥ stÞeän’ terasy, umoìËuj’c’ d’ky jedine‹nŽ pozici pobl’ì n‡mžst’ Svobody poÞ‡d‡n’ rautó, letn’ch koncertó apod. v kontextu panoramatu historickŽho j‡dra a ápilberku. ¥ prodejna CD a literatury ¥ podzemn’ veÞejnŽ gar‡ìe pro 416 automobiló. no ná i z e ERK 2004 rodní h fes tival Š í n b P Br e Jan‡‹kovo kulturn’ centrum (JKC) je projektem polyfunk‹n’ kulturn’ budovy, navrìenŽ v tžsnŽ symbi—ze s novùm veÞejnùm prostorem, situovanŽ v jedine‹nŽ pozici mezi n‡mžst’m Svobody a Husovou tÞ’dou v nedokon‹enŽ z‡stavbž Besedn’ a VeselŽ ulice. Prim‡rn’m posl‡n’m budovy je vytvoÞen’ koncertn’ho s‡lu pro 1500 poslucha‹ó s akustikou svžtovùch parametró jako domovskŽ scŽny St‡tn’ Filharmonie Brno. Jan‡‹kovo kulturn’ centrum je navrìeno jako v’ceœ‹elov‡ budova, to znamen‡, ìe kromž hlavn’ho koncertn’ho s‡lu obsahuje dalä’ funkce, tak aby tento objekt byl maxim‡lnž vyt’ìen a doprovodnŽ aktivity umoìnily financovat provoz koncertn’ho s‡lu. Jelikoì v ‰R dnes chyb’ modern’ koncertn’ s‡l s akustikou svžtovùch parametró, vùstavba JKC pÞit‡hne do Brna k hostov‡n’ svžtovŽ symfonickŽ orchestry a t’m pos’l’ pozici ‹eskŽ kulturn’ scŽny v evropskŽm kontextu. JKC tŽì vytvoÞ’ podm’nky pro poÞ‡d‡n’ hudebn’ch festivaló róznùch ì‡nró, ale i festivaló divadeln’ch, opern’ch a filmovùch. Koncepce centra umoìn’ i poÞ‡d‡n’ velkùch mezin‡rodn’ch kongresó. Pro zklidnžn’ m’sta je dóleìitŽ um’stžn’ st‡vaj’c’ch parkovac’ch m’st do suterŽnu, kde jsou navrìeny hromadnŽ veÞejnŽ gar‡ìe s kapacitou 416 st‡n’. ILB ud J a n ‡ ‹ kovo k u l t u r n ’ c e n t r u m Ð resumŽ architektonickŽho Þeäen’ 5. SFB Ð program sezony 2004Ð2005 / Brno Philharmonic Orchestra Ð Programme of the Season 2004Ð2005 St‡tn’ filharmonie Brno Program sezony 2004Ð2005 VSC Ð Velkù symfonickù cyklus Jan‡‹kovo divadlo, 19.30 hodin 1 / 25. a 26. 11. 2004 MILOSLAV IáTVAN: Hry, sedm obrazó pro symfonickù orchestr BOHUSLAV MARTINñ: Koncert pro smy‹covŽ kvarteto a orchestr (H. 207) ANTONêN DVOÛçK: Symfonie ‹. 5 F dur JANç‰KOVO KVARTETO dirigent Mischa Damev 2 / 9. a 10. 12. 2004 FRANZ LISZT: Preludia ZOLTçN KODçLY: Tance z Galanty PETR ILJI‰ ‰AJKOVSKIJ: Symfonie ‹. 4 f moll op. 36 dirigent Petr Altrichter 3 / 27. a 28. 1. 2005 VçCLAV RIEDLBAUCH: Pokuäen’ a ‹in (Macbethovsk‡ paralela) ROBERT SCHUMANN: Koncertn’ kus pro 4 lesn’ rohy a orchestr op. 86 FELIX MENDELSSOHN-BARTHOLDY: Symfonie ‹. 5 D dur op. 107 ãReforma‹n’Ò ‰ESKƒ HORNOVƒ KVARTETO dirigent Tadeus Strugala 4 / 17. a 18. 2. 2005 ANTON von WEBERN: Pžt kusó pro orchestr op. 10 MIKLîS RîZSA: Koncert pro housle a orchestr LUDWIG van BEETHOVEN: Symfonie ‹. 6 F dur ãPastor‡ln’Ò op. 68 Frantiäek Novotnù Ð housle dirigent Christoph Campestrini 5 / 7. a 8. 4. 2005 JOHANNES BRAHMS: Koncert a moll op. 102 pro housle, violoncello a orchestr DMITRIJ áOSTAKOVI‰: Symfonie ‹. 15 A dur op. 141 Mihaela Martin Ð housle Franz Helmerson Ð violoncello dirigent Petr Altrichter 6 / 26. a 27. 5. 2005 ALAN HOVHANESS: Tajemnù vrch PHILIP GLASS: Koncert pro housle a orchestr BOHUSLAV MARTINñ: Polo‹as (H. 142), Symfonie ‹. 2 (H. 295) Pavel áporcl Ð housle dirigent Caspar Richter MSC Ð Malù symfonickù cyklus Jan‡‹kovo divadlo, 19.30 hodin 1 / 16. a 17. 12. 2004 FRYDERYK CHOPIN: Koncert pro klav’r a orchestr ‹. 2 f moll op. 21 SERGEJ RACHMANINOV: Symfonie ‹. 2 e moll op. 27 Dinorah Varsi Ð klav’r dirigent Petr Altrichter 2 / 10. a 11. 2. 2005 GIOACCHINO ROSSINI: Lazebn’k sevillskù, pÞedehra JUAN CRISîSTOMO ARRIAGA: Symfonie d moll ALBERTO GINASTERA: SymfonickŽ studie op. 35 MAURICE RAVEL: Bolero dirigent Leoä Sv‡rovskù 3 / 10. a 11. 3. 2005 ANTONêN DVOÛçK: Holoubek, symfonick‡ b‡seË op. 110 JOHANNES BRAHMS: Variace na Haydnovo tŽma op. 56a IGOR STRAVINSKIJ: Svžcen’ jara dirigent JiÞ’ Kout 4 / 5. a 6. 5. 2005 / Koncert na pÞ‡n’ GEORGES BIZET: ArlŽzanka, suity I. a II. nebo MANUEL de FALLA: TÞ’rohù klobouk, suity I. a II. CARL MARIA von WEBER: Koncert pro klarinet a orchestr ‹. 2 Es dur op. 74 ARAM CHA‰ATURJAN: GajanŽ, vùbžr z baletu Ludmila Peterkov‡ Ð klarinet dirigent Petr Altrichter SSC Ð Sv‡te‹n’ symfonickù cyklus k vùro‹’m ‹eskŽ hudby v roce 2004 Jan‡‹kovo divadlo, 19.30 hodin 1 / 16. 9. 2004 / Zahajovac’ koncert ANTONêN DVOÛçK: BiblickŽ p’snž op. 99 BOHUSLAV MARTINñ: Kytice (H. 260) Iveta JiÞ’kov‡ Ð sopr‡n Marta BeËa‹kov‡ Ð alt Jozef Kundl‡k Ð tenor Peter Mikul‡ä Ð bas KANTILƒNA PRAëSKø FILHARMONICKø SBOR dirigent Petr Altrichter 2 / 2. 12. 2004 Koncert k 80. vùro‹’ brnžnskŽho rozhlasovŽho studia a k ukon‹en’ Jan‡‹kova jubilejn’ho roku ANTONêN DVOÛçK: Zlatù kolovrat, symfonick‡ b‡seË op. 109 JAN NOVçK: Capriccio pro violoncello a malù orchestr LEOá JANç‰EK: áumaÞovo d’tž, suita z opery ãZ mrtvŽho domuÒ Michaela Fuka‹ov‡ Ð violoncello dirigent Petr Altrichter 3 / 1. 1. 2005 / Novoro‹n’ koncert JOHANN STRAUSS: Netopùr, pÞedehra op. 362 FRANZ DRDLA: Kubel’kova seren‡da LUBOá FISCHER: Jiìnž od Alp, suita OSKAR NEDBAL: Vinobran’, pÞedehra PABLO de SARASATE: Cik‡nskŽ melodie op. 20 JACQUES OFFENBACH: Orfeus v podsvžt’, pÞedehra Pavel Wallinger Ð housle dirigent Miloä Machek 4 / 12. 5. 2005 / Z‡vžre‹nù koncert LUDWIG van BEETHOVEN: Koncert pro klav’r a orchestr ‹. 1 C dur op. 15 JOSEF SUK: Asrael, symfonie ‹. 2 c moll op. 27 V‡clav M‡cha Ð klav’r dirigent JiÞ’ Bžlohl‡vek KOC Ð Komornž orchestr‡ln’ cyklus Besedn’ dóm, 19.30 hodin 1 / 21. a 22. 10. 2004 WOLFGANG AMADEUS MOZART: Seren‡da c moll pro dechy KV 388 JEAN FRANC,AIX: ExotickŽ tance JOSEF MYSLIVE‰EK: Dechovù oktet ANTONêN DVOÛçK: Seren‡da d moll pro dechy op. 44 dirigent Jakub Klecker 2 / 20. a 21. 1. 2005 VOJT•CH JêROVEC: Semiramis, pÞedehra JIÛê BçRTA: Koncert pro violu a orchestr JAN AUGUST VITçSEK: Menuety ANTONêN DVOÛçK: Seren‡da E dur pro smy‹ce op. 22 Jan Ûezn’‹ek Ð viola dirigent Stanislav VavÞ’nek 3 / 24. a 25. 2. 2005 HUGO WOLF: Italsk‡ seren‡da WILLIAM WALLACE: Koncert pro housle, klarinet, klav’r a orchestr FELIX MENDELSSOHN-BARTHOLDY: Symfonie ‹. 4 A dur op. 90 ãItalsk‡Ò Marie Gajdoäov‡ Ð housle Emil Dr‡pela Ð klarinet Dana Dr‡pelov‡ Ð klav’r dirigent Tom‡ä Netopil 38 4 / 14. a 15. 4. 2005 EVëEN ZçME‰NêK: Musica concertante WOLFGANG AMADEUS MOZART: Koncert pro klav’r a orchestr ‹. 25 C dur KV 503 JOSEPH HAYDN: Symfonie ‹. 101 D dur ãHodinyÒ Hob. I:101 Ivan Moravec Ð klav’r dirigent Petr Altrichter 5 / 19. a 20. 5. 2005 EDWARD ELGAR: Seren‡da e moll op. 20 pro smy‹covù orchestr JOAQUêN RODRIGO: Pastor‡ln’ koncert pro flŽtnu a orchestr LUDWIG van BEETHOVEN: Symfonie ‹. 4 B dur op. 60 Martina Matuä’nsk‡ Ð flŽtna dirigent Petr Altrichter 6 / 2. a 3. 6. 2005 RICHARD STRAUSS: Mžäé‡k älechticem op. 60 PAVEL NOVçK-ZEMEK: Seren‡da pro anglickù roh a orchestr Ð 1. proveden’ FRANZ SCHUBERT: Symfonie ‹. 6 C dur (D 589) Zdenžk N‡den’‹ek Ð anglickù roh dirigent Christoph Campestrini 7 / 16. a 17. 6. 2005 MILAN SLIMç‰EK: Son‡ta pro hoboj a smy‹ce ERICH WOLFGANG KORNGOLD: Mnoho povyku pro nic WOLFGANG AMADEUS MOZART: Haffnerova seren‡da KV 250 Hana Barton’kov‡ Ð hoboj Pavel Wallinger Ð housle dirigent Caspar Richter NC Ð Netradi‹n’ cyklus Besedn’ dóm, 19.30 hodin 1 / 4. a 5. 11. 2004 / Kam’nek v dlani ‰’m se liä’ a v ‹em si rozumžj’ HRADIáèAN Ð umžleckù vedouc’ JiÞ’ Pavlica a STçTNê FILHARMONIE BRNO 2 / 6. a 7. 1. 2005 / Cesta po Evropž WOLFGANG AMADEUS MOZART, HENRY PURCELL, FRANTIáEK TñMA, JOHANN SEBASTIAN BACH, CLAUDE DEBUSSY, MODEST PETROVI‰ MUSORGSKIJ, JAROSLAV JEëEK, BEATLES, JOE ZAWINUL BRASS 6 Ð umžleckù vedouc’ Robert Koz‡nek 3 / 3. a 4. 2. 2005 / Romantick‡ trubka ALEXANDER BORODIN, CARL MARIA von WEBER, ENNIO MORRICONE V‡clav Tùfa Ð trubka STçTNê FILHARMONIE BRNO dirigent Frantiäek Preisler ml. 4 / 24. a 25. 3. 2005 / Muzik‡lov‡ straäidla FRANZ SCHUBERT: ‘‡blóv letohr‡dek CAMILLE SAINT-SAENS: Tanec mrtvùch FRANZ LISZT: Tanec mrtvùch MODEST PETROVI‰ MUSORGSKIJ: Noc na LysŽ hoÞe LƒO DELIBES: Val‹’k z CoppŽlie FRYDERYK CHOPIN: Andante spianato GIOACCHINO ROSSINI: VilŽm Tell, pÞedehra Hong-Chun Youn Ð klav’r STçTNê FILHARMONIE BRNO dirigent Ernest Hoetzl 5 / 9. a 10. 6. 2005 / Symfonickù JablkoË MICHAL N•MEC, INGO BELLMANN, PETR CHLOUBA, MARTIN CARVAN PÞ’hon, Bl‡znivù val‹’k, S‡zava, Û’kadla, N‡vraty, Pulitr, Pad‡n’, Velmi nesmžl‡, Dopis VžÞe, Lov na labutž, Koloto‹, Kdopak n‡m zazp’v‡, Pop’ rondo, Baba Aga, Aplaus na rozlou‹enou JABLKOÅ a STçTNê FILHARMONIE BRNO dirigent Aleä PodaÞil KC Ð Komorn’ cyklus Besedn’ dóm, 19.30 hodin 1 / 9. 11. 2004 / HouslovŽ talenty JOHANN SEBASTIAN BACH: Son‡ta III. pro housle s—lo BWV 1015 EUGÈNE-AUGUSTE YSA¬YE: Son‡ta-balada pro housle s—lo op. 27/3 Milan Pa¼a Ð housle GIUSEPPE TARTINI: ‘‡blóv trylek LUBOá SLUKA: Samota Ð 1. proveden’ HEINRICH WILHELM ERNST: Posledn’ róìe lŽta Adam Nov‡k Ð housle Martina Mergentalov‡ Ð klav’r 2 / 18. 1. 2005 / Dvakr‡t ‹tyÞi plus hostŽ JOHANN SEBASTIAN BACH, DIONøS WEBER, WOLFGANG AMADEUS MOZART, DUKE ELLINGTON, GEORGE GERSHWIN, LOWELL E. SHAW, CHARLIE PARKER, VLADIMêR HNILI‰KA, JOSEF AUDES, MOJMêR BçRTEK, RICHARD MLYNçÛ NOSTALGIA QUARTET BRN•NáTê HORNISTƒ JindÞich Petr‡ä j. h., Tom‡ä Kopeckù j. h. Ð lesn’ roh 3 / 15. 2. 2005 / Ve‹er smy‹covŽho kvarteta JOHANNES BRAHMS: Kvartet ‹. 2 a moll op. 51/2 BOHUSLAV MARTINñ: Kvartet ‹. 5 (H. 268) PETR ILJI‰ ‰AJKOVSKIJ: Kvartet ‹. 1 D dur op. 11 MORAVSKƒ KVARTETO 4 / 26. 4. 2005 / Klav’rn’ recit‡l SERGEJ RACHMANINOV: Etudy-obrazy op. 39 (vùbžr) ROBERT SCHUMANN: Kreisleriana op. 16 JOHANNES BRAHMS: áest klav’rn’ch kusó op. 118 Martin Kas’k Ð klav’r 5 / 31. 5. 2005 / TÞi smy‹ce a É LUDWIG van BEETHOVEN: Trio c moll op. 9/3 JIÛê MATYS: Smy‹covŽ trio JIÛê DRUëECKø: Kvartet F dur pro basetovù roh a smy‹ce JOSEPH HAYDN: Divertimento F dur GIDEON KLEIN: Smy‹covŽ trio TRIO GIDEON Luk‡ä DaËhel Ð basetovù roh KRD Ð Koncerty pro rodi‹e s džtmi Besedn’ dóm, 10.30 hodin 1 / 16. 10. 2004 Jon‡ä a Melicharov‡ v opeÞe Jitka Molavcov‡ a JiÞ’ Suchù STçTNê FILHARMONIE BRNO dirigent Roman V‡lek 2 / 6. 11. 2004 / Svžt o‹ima džt’ ZDEN•K POLOLçNêK: Do us’n‡n’ VLADIMêR SOMMER: Co Þ’k‡ mateÞ’douäka džtem BOHUSLAV MARTINñ: Hra na vl‹ka (ápal’‹ek) PETR EBEN: Na naäem s‡dku HANS KRçSA: Brundib‡r, mal‡ opera pro džti KANTILƒNA sbor džt’ a ml‡deìe pÞi SFB Tom‡ä KoÞ’nek Ð tenor Eva PodaÞilov‡ Ð klav’r KOMORNê SOUBOR SFB dirigent Jakub Klecker 3 / 4. 12. 2004 / Brnžnsk‡ tajemstv’ WOLFGANG AMADEUS MOZART, LEOá JANç‰EK, JAROSLAV JEëEK, ANTONêN DVOÛçK, PAUL HINDEMITH, ANTONIO VIVALDI, GEORGES BIZET, MODEST PETROVI‰ MUSORGSKIJ Roman Novoz‡mskù Ð fagot Petr Hlad’k, Martin Oprä‡l Ð bic’ n‡stroje FAGOTI BRUNENSES STçTNê FILHARMONIE BRNO dirigent a moder‡tor Miloä Machek 4 / 5. 3. 2005 / Snžhurka a sedm muzikantó GORDON JACOB, LUDWIG van BEETHOVEN, FLORIAN GASSMANN, JAN KÛTITEL VAÅHAL, CHRISTOPH WILLIBALD GLUCK, PETR ILJI‰ ‰AJKOVSKIJ, ANTONêN DVOÛçK STçTNê FILHARMONIE BRNO dirigent »ubom’r Mikeska 5 / 21. 5. 2005 / V Þ’äi po‹’ta‹e RONALD BINGE, NIKOLAJ RIMSKIJ-KORSAKOV, GIANNI FERRIO, WOLFGANG AMADEUS MOZART, SERGEJ PROKOFJEV, EDVARD HAGERUP GRIEG, PETR ILJI‰ ‰AJKOVSKIJ, GEORGES BIZET Elena Gazd’kov‡ Ð sopr‡n STçTNê FILHARMONIE BRNO dirigent a moder‡tor Miloä Machek KK Ð Koncerty KANTILƒNY Besedn’ dóm (1,3), katedr‡la sv. Petra a Pavla (2) 1 / 6. 11. 2004 v 17.00 hodin Podzimn’ koncert v Besedn’m domž JIÛê PAUER: Kaleidoskop CTIRAD KOHOUTEK: Na rozhlednž ANTONêN DVOÛçK: MoravskŽ dvojzpžvy (vùbžr) HANS KRçSA: Brundib‡r, mal‡ opera pro džti Tom‡ä KoÞ’nek Ð tenor Zdenžk N‡den’‹ek Ð hoboj Eva PodaÞilov‡ Ð klav’r Z‡kladn’ umžleck‡ äkola KANTILƒNA sbormistrynž Valeria Maéaäov‡ KOMORNê SOUBOR SFB Þ’d’ Jakub Klecker 2 / 25. 12. 2004 v 16.30 hodin V‡no‹n’ koncert v katedr‡le ‰esk‡ a anglick‡ v‡no‹n’ hudba CHARLES BURNEY: Hark! The Herald Angels Sing ORLANDO di LASSO: Benedictus JACOBUS HANDL GALLUS: Natus est nobis, Ave Maria MARTIN MADAN: Lo! He Comes TOMçá PçLKA: V‡no‹n’ kant‡ta Ð 1. proveden’ BENJAMIN BRITTEN: Ceremony of Carols (vùbžr) lidovŽ koledy spoluœ‹inkuj’ Pavla Barton’kov‡ Ð harfa Jakub Janäta Ð varhany Þ’d’ Jakub Klecker 3 / 16. 4. 2005 v 10.30 hodin Jarn’ koncert v Besedn’m domž JIÛê MATYS: Zdravotn’ abeceda, P’snž pro džti PETR ÛEZNê‰EK: Tato teta BOHUSLAV MARTINñ: Vyn‡äen’ smrti z baletu ápal’‹ek, Otv’r‡n’ stud‡nek ARNOáT PARSCH: V‡lka s mloky ZDEN•K POLOLçNêK: Missa brevis spoluœ‹inkuj’ Richard Nov‡k Ð bas Eva PodaÞilov‡ Ð klav’r á‡rka Kr‡lov‡ Ð klav’r Jakub Janäta Ð varhany Z‡kladn’ umžleck‡ äkola KANTILƒNA sbormistrynž Valeria Maéaäov‡ Þ’d’ Jakub Klecker a Ivan Sedl‡‹ek 39 KSPH Ð Koncerty Spolku pÞ‡tel hudby Besedn’ dóm, 19.30 hodin 1 / 19. 10. 2004 Dvž jubilea Ð Theodor Schaefer a Leoä Jan‡‹ek THEODOR SCHAEFER: Dechovù kvintet op. 3, MilostnŽ balady op. 18 LEOá JANç‰EK: ë‡rlivost, Moravsk‡ lidov‡ poezie v p’sn’ch, Pochod modr‡‹kó, Ml‡d’ Jana átef‡‹kov‡ Ð mezzosopr‡n Petr Pomkla Ð pikola Luk‡ä DaËhel Ð basklarinet á‡rka a Jan Kr‡lovi Ð klav’r DechovŽ kvinteto PHOENIX 2 / 7. 12. 2004 / ‰esk‡ hudba 2004 ANTONê DVOÛçK: Sonatina G dur op. 100 pro housle a klav’r JOSEF SUK: ‰tyÞi kusy pro housle a klav’r op. 17 JAN NOVçK: Sonata tribus BOHUSLAV MARTINñ: Madrigalov‡ son‡ta (H. 291) Petr Pomkla Ð flŽtna Marie Gajdoäov‡ Ð housle Bohuslav Matouäek Ð housle JiÞina Kolmanov‡ Ð klav’r Karel Koä‡rek Ð klav’r 3 / 11. 1. 2005 / Hraj’ Ardaäevovi BOHUSLAV MARTINñ: Son‡ta ‹. 3 pro violoncello a klav’r (H. 340) BEDÛICH SMETANA: Polka a moll a Polka F dur z ‰eskùch tancó, Macbeth a ‹arodžjnice SERGEJ RACHMANINOV: SymfonickŽ tance op. 45 Nat‡lie Ardaäevov‡ Ð violoncello Renata Ardaäevov‡ Ð klav’r Igor Ardaäev Ð klav’r 4 / 22. 2. 2005 / Ve‹er smy‹covùch kvartetó WOLFGANG AMADEUS MOZART: Smy‹covù kvartet G dur KV 156 ALBAN BERG: Smy‹covù kvartet op. 3 FRANZ SCHUBERT: Smy‹covù kvartet G dur op. 161 (D 887) BENNEWITZOVO KVARTETO 5 / 15. 3. 2005 / Klav’rn’ recit‡l JOHANN SEBASTIAN BACH: Preludium a fuga Cis dur BWV 848 LUDWIG van BEETHOVEN: Son‡ta As dur op. 26 JOHANNES BRAHMS: Variace na Paganiniho tŽma op. 35 LEOá JANç‰EK: Po zarostlŽm chodn’‹ku (1. Þada) V‡clav M‡cha Ð klav’r 6 / 19. 4. 2005 / Ve‹er klav’rn’ch tri’ JOSEF SUK: Trio c moll op. 2 BEDÛICH SMETANA: Trio g moll op. 15 ANTONêN DVOÛçK: Trio e moll op. 90 ãDumkyÒ GUARNERI TRIO 7 / 17. 5. 2005 / Mlad’ brnžnät’ umžlci FRANZ STRAUSS: Nokturno op. 7 ROBERT SCHUMANN: Adagio a Allegro op. 70 LUDWIG van BEETHOVEN: Son‡ta F dur op. 17 pro lesn’ roh a klav’r Karel Hofmann Ð lesn’ roh Jana Goli‡äov‡ Ð klav’r JOHANN SEBASTIAN BACH: Preludium a fuga Es dur BWV 552 MARCEL DUPRƒ: Suite Bretonne op. 21 Radka Slaninov‡ Ð varhany STçTNê FILHARMONIE BRNO SFB Ð program sezony 2004Ð2005 / Brno Philharmonic Orchestra Ð Programme of the Season 2004Ð2005 6 / 23. a 24. 6. 2005 / Ve v’ru tance CARL MARIA von WEBER, GEORGES BIZET (arr. BORNE), JOHANN SEBASTIAN BACH, PETR ILJI‰ ‰AJKOVSKIJ, WOLFGANG AMADEUS MOZART, JOHANN STRAUSS, EMILE WALDTEUFEL, JOHANNES BRAHMS, EDVARD HAGERUP GRIEG, JULIUS FU‰êK, BEDÛICH SMETANA, ANTONêN DVOÛçK, OSKAR NEDBAL, CHARLES GOUNOD Carlo Jans Ð flŽtna STçTNê FILHARMONIE BRNO dirigent Miloä Machek St‡tn’ filharmonie Brno S F B n a c e s t ‡ c h / B r n o P h i l h a r m o n i c O r c h e s t r a o n To u r SFB na cest‡ch ZAHRANI‰Nê KONCERTY A TURNƒ STçTNê FILHARMONIE BRNO PO ROCE 1996É CONCERTS OR TOURS OF THE BRNO PHILHARMONIC ORCHESTRA AFTER 1996É SEZONA 1996/97 Polsko, Slovensko, Rakousko, Nžmecko, ávùcarsko, Lichtenätejnsko, Belgie, Francie, It‡lie SEASON 1996/97 Poland, Slovakia, Austria, Germany, Switzerland, Lichtenstein, Belgium, France, Italy SEZONA 1997/98 Rakousko, ápanžlsko, Nizozem’, Lucembursko, Belgie, Francie, It‡lie SEZONA 1998/99 Slovensko, Nžmecko, Belgie, Nizozem’ SEZONA 1999/00 Polsko, Rakousko, Nžmecko, Lucembursko, Chorvatsko, Francie SEZONA 2000/01 Slovensko, Rakousko, Nžmecko, Francie, It‡lie-Vatik‡n Ð koncert pro SvatŽho otce SEZONA 2001/02 Rakousko, Nžmecko, ápanžlsko, ávùcarsko SEZONA 2002/03 Rakousko, ávùcarsko, Francie SEZONA 2003/04 Nžmecko, Rakousko SEZONA 2004/05 SEASON 1997/98 Austria, Spain, Netherlands, Luxembourg, Belgium, France, Italy SEASON 1998/99 Slovakia, Germany, Belgium, Netherlands SEASON 1999/00 Poland, Austria, Germany, Luxembourg, Croatia, France SEASON 2000/01 Slovakia, Austria, Germany, France, Italy-Vatican Ð Concert for the Holy Father SEASON 2001/02 Austria, Germany, Spain, Switzerland SEASON 2002/03 Austria, Switzerland, France SEASON 2003/04 Germany, Austria SEASON 2004/05 Singapur, Tchajwan, Vietnam, Korejsk‡ republika, Hongkong, Filip’ny, Singapore, Taiwan, Vietnam, South Korea, Hongkong, Philippines, Nžmecko, Rakousko, Nizozem’, Slovensko Germany, Austria, Netherlands, Slovakia 40 ASIJSKƒ TURNƒ Ð TOYOTA CLASSICS 2004 27. 10.Ð11. 11. 2004 Singapore, Taiwan, Vietnam, South Korea, Hongkong, Philippines S F B n a c e s t ‡ c h / B r n o P h i l h a r m o n i c O r c h e s t r a o n To u r Singapur, Tchajwan, Vietnam, Korejsk‡ republika, Hongkong, Filip’ny ASIA TOUR Ð TOYOTA CLASSICS 2004 October 27 ÐNovember 11, 2004 41 STçTNê FILHARMONIE BRNO S F B Ð d i s ko g r a f i e / B r n o P h i l h a r m o n i c O r c h e s t r a Ð D i s c o g r a p h y St‡tn’ filharmonie Brno S F B Ð d i s ko g r a f i e 42 S F B Ð d i s ko g r a f i e / B r n o P h i l h a r m o n i c O r c h e s t r a Ð D i s c o g r a p h y PÞedstavujeme v‡m nepatrnù zlomek z rozs‡hlŽho vùbžru naäich hudebn’ch nosi‹ó. NžkterŽ z nich si móìete zakoupit v hudebn’ch prodejn‡ch nebo pÞed koncerty SFB. We would like to present a small sample of the large choice of our CDs. Some of them you can buy in the music shops or before the concerts of the Brno Philharmonic Orchestra. 43 STçTNê FILHARMONIE BRNO 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S OFICIçLNê PARTNEÛI www.skanska.cz ud m no • www.snip.cz www.premiera.cz 44 Br ná i z e www.koop.cz ERK 2004 rodní h e fes tival Š www.pbsvb.cz í n b P ILB 5. PartneÞi / Partners www.cmcem.cz GENERçLNê MEDIçLNê PARTNER PartneÞi / Partners www.euroawk.cz 45 5. MHF áPILBERK 2004 5 . M E Z I N ç R O D N ê H U D E B N ê F E S T I V A L / 5 TH I N T E R N AT I O N A L M U S I C F E S T I V A L áPILBERK 2004 P R O G R A M O V ø K ATA L O G / C ATA L O G U E O F P R O G R A M M E S MEDIçLNê PARTNEÛI www.rozhlas.cz/brno fes tival Š í n b P ud Br m ná i z e www.kisshady.cz ERK 2004 rodní h e ILB no 5. www.czechia.com/opusmusicum/ • PartneÞi / Partners www.muzikus.cz Brno 107,5 FM ¥ www.proglas.cz www.rovnost.cz 46 MEDIçLN• PODPOÛILI KÞenov‡ 42, Brno no www.dpmb.cz Br m ná i z e www.brnocar.cz ERK 2004 rodní h DOPRAVU ZAJIáèUJê PartneÞi / Partners e fes tival Š í n b P ILB ud www.e-mates.cz • 5. KV•TINOVç VøZDOBA Květiny Gelnarová PalackŽho tÞ. 39, Brno 47 5. MHF áPILBERK 2004 ud ná i z e ERK 2004 rodní h ILB e fes tival Š í n b P Br m P r o g r a m o v ù k a t a l o g 5. mezin‡rodn’ho hudebn’ho festivalu no • 5. á P I L B E R K 2 0 0 4 Vydavatel ¥ St‡tn’ filharmonie Brno Rok ¥ 2004 N‡klad ¥ 1 000 vùtiskó Redakce ¥ Martin Foretn’k Texty ¥ JiÞ’ Beneä a Martin Foretn’k Anglickù pÞeklad ¥ James Edward Thomas, Todd Hammond, Hana Nesn’dalov‡ Foto ¥ archiv SFB, Martin Foretn’k, Michaela DvoÞ‡kov‡ Grafickù n‡vrh ¥ © V‡clav Mekyska GrafickŽ zpracov‡n’ a produkce ¥ Jonat‡n, tel./fax 545 245 324 Tisk ¥ TED, s.r.o.
