Miloslav Kabelac(1908-79)

Started by Dundonnell, February 11, 2012, 10:41:18 AM

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pjme

#140
Kabelac's 8th symphony is a strange work. I do like the combination of organ and percussion, but for me it is mainly the coloratura soprano part  that mars this composition.
I only know the recording with Jana Jonášová and find listening to her voice quite unpleasant. Possibly another soloist may give a totaly different sound experience.
The work itself is very tense. I can imagine that a live performance in a large space would help to take in the full impact of this very strange and uncommon score.

The symphony was composed after the initial succes of the 8 Inventions for percussion .

Wikipedia:
The 8th Symphony "Antiphonies", Op. 54, by Miloslav Kabeláč was written in 1970 as a reflection of the composer's feelings from the invasion of Warsaw Pact troops into Czechoslovakia in 1968 and the onset of so-called "normalization" process in the society, which means renewal of strong dictate of the regime of pro-Soviet communist rulers, including heavy loss of basic freedoms for citizens of the country.
The composition consists of nine parts – five movements and four interludes, structure of which is controlled by a firm logical order, proportionally and symmetry. Its structural and expressive axis is the third – the longest movement. The intermedia linking the individual movements correspond both in time and music and differ only in an alternately opposite dynamic succession. The work is written for a percussion ensemble (6 musicians), the organ, a coloration(sic) coloratura soprano and two mixed choirs (large and small). The text of the vocal part is taken from the Old testament.
The 8th Symphony was inspired by French ensemble Les Percussions de Strasbourg which presented its premiere with the Czech soloists Jana Jonášová (soprano) and Václav Rabas (organ) in Strasbourg in June 1971.

Description of composition
For this work Kabeláč selected quotations and formulas of a magical and symbolic meaning: Mene, tekel, upharsin – Amen – Hosanna – Hallelujah. The musical language of the Symphony is modal, growing from one of Kabeláč's extraordinary artificial tone-creative principles. The climax of the 3rd movement even suggest a quotation of the Gregorian "Dies irae". The musical expression makes use of elements of exclamation, rhythmic shouts, monotonous and exalted invocations. The basic idea of the work is namely an emphatic warning against the danger of a decline of all positive values of humanity (the historical situation at the time of the origin of the work should be recalled). The suggestive pictures of destruction and suffering alternate at first with apathy. Only later does a beam of hope emerge from the destructive storm and the end of the work suggests the grasping of the hope. It is in fact a positive end, though marred by redeeming suffering.

Karl Henning

Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

pjme

#142
You're welcome!

I listened to some fragments again  - no, that symphony isn't my favorite Kabelac work.

On the Supraphon website https://www.supraphon.com/album/273517-kabelac-symphonies-complete - only very short fragments can be listened to - but the voice of Lucie Silkenová seems to have more "air and space" .

From the Supraphon website:

"Finding an imposing cycle of eight symphonies by a 20th century composer you've never heard of is an event. There's precious little of Miloslav Kabeláč's music presently available on disc, making this release a must-hear. His was a singularly unlucky life: born in 1908, he rose to prominence as a composer in the late 1930s, gaining a senior post at Prague Radio. Having a Jewish wife, Kabeláč resigned from the role soon after the German occupation, his music officially deemed unperformable as a result of his ,,mixed marriage". Post-war, Kabeláč had no intention of appeasing the Czechoslovakian Communist regime and endured a difficult relationship with the state thereafter, his strong religious faith another sticking point. Predictably, these are not easy symphonies to assimilate, with even the few lighter moments tinged with dour melancholy. What's fascinating is how mind-blowingly original much of this music is, doubly so when one considers that Kabeláč would have had little or no access to developments in Western Europe. Things become especially outré from 1960's Symphony No. 5 onwards, written for wordless soprano and large orchestra. This performance has the wonderful Pavla Vykopalová in the solo role, her wilder outbursts anticipating passages in Britten's War Requiem. No. 6 pits solo clarinet against similarly combative tutti forces, and No. 7 has a prominent part for narrator, loudly declaiming Biblical verses in Czech. It genuinely sounds like nothing else you'll have heard. Kabeláć's final Symphony received its first performance in Strasbourg in 1971. Scored for mixed choir, soprano, percussion and organ, this is startling, unsettling music, the clangorous closing pages both ecstatic and terrifying. Poor Kabeláć couldn't get to the premiere, the authorities having denied him a travel permit. The earlier symphonies offer an easier entry point. The tunes don't exactly come thick and fast but the craft is impeccable: Nos. 3 and 4 are both pieces you'll want to return to, the latter's tran­sparent orchestration and busy counterpoint as approachable as Kabeláć gets. I can't recommend this set enough. Don't expect to find it popping up on Classic FM soon, but put in the hours and you'll reap the rewards; Kabeláč's sym­phonies are certainly less oppressive than, say, Hartmann's. Fabulously accomplished performances from Marko Ivanović and the Prague Radio Symphony Orchestra, and excellent sound. Stretch your ears. Buy this box set."
theartsdesk.com, 28th January 2017

Karl Henning

Quote from: pjme on July 18, 2017, 07:33:17 AM
You're welcome!

I listened to some fragments again  - no, that symphony isn't my favorite Kabelac work.

On the Supraphon website https://www.supraphon.com/album/273517-kabelac-symphonies-complete - only very short fragments can be listened to - but the voice of Lucie Silkenová seems to have more "air and space" .

From the Supraphon website:

"Finding an imposing cycle of eight symphonies by a 20th century composer you've never heard of is an event. There's precious little of Miloslav Kabeláč's music presently available on disc, making this release a must-hear. His was a singularly unlucky life: born in 1908, he rose to prominence as a composer in the late 1930s, gaining a senior post at Prague Radio. Having a Jewish wife, Kabeláč resigned from the role soon after the German occupation, his music officially deemed unperformable as a result of his ,,mixed marriage". Post-war, Kabeláč had no intention of appeasing the Czechoslovakian Communist regime and endured a difficult relationship with the state thereafter, his strong religious faith another sticking point. Predictably, these are not easy symphonies to assimilate, with even the few lighter moments tinged with dour melancholy. What's fascinating is how mind-blowingly original much of this music is, doubly so when one considers that Kabeláč would have had little or no access to developments in Western Europe. Things become especially outré from 1960's Symphony No. 5 onwards, written for wordless soprano and large orchestra. This performance has the wonderful Pavla Vykopalová in the solo role, her wilder outbursts anticipating passages in Britten's War Requiem. No. 6 pits solo clarinet against similarly combative tutti forces, and No. 7 has a prominent part for narrator, loudly declaiming Biblical verses in Czech. It genuinely sounds like nothing else you'll have heard. Kabeláć's final Symphony received its first performance in Strasbourg in 1971. Scored for mixed choir, soprano, percussion and organ, this is startling, unsettling music, the clangorous closing pages both ecstatic and terrifying. Poor Kabeláć couldn't get to the premiere, the authorities having denied him a travel permit. The earlier symphonies offer an easier entry point. The tunes don't exactly come thick and fast but the craft is impeccable: Nos. 3 and 4 are both pieces you'll want to return to, the latter's tran­sparent orchestration and busy counterpoint as approachable as Kabeláć gets. I can't recommend this set enough. Don't expect to find it popping up on Classic FM soon, but put in the hours and you'll reap the rewards; Kabeláč's sym­phonies are certainly less oppressive than, say, Hartmann's. Fabulously accomplished performances from Marko Ivanović and the Prague Radio Symphony Orchestra, and excellent sound. Stretch your ears. Buy this box set."
theartsdesk.com, 28th January 2017

Sometime this side of August, that box will land.  I am very interested to wade into it!
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Rinaldo

Quote from: k a rl h e nn i ng on July 18, 2017, 07:54:44 AMSometime this side of August, that box will land.



Landed here today (actually, I stopped by the record store on my way from work). Now to find some time to give it a thorough listen!

amw

I just got this too. I'm kind of in a lighter and softer mood these days where it comes to orchestra music so it may take some time to get through the whole set but I do have pretty positive impressions of Nos. 5 and 8 from hearing other, less good recordings of them a while back, and those are apparently the two that people dislike the most, so might be fun. >.>

vandermolen

Quote from: amw on July 23, 2017, 02:47:14 AM
I just got this too. I'm kind of in a lighter and softer mood these days where it comes to orchestra music so it may take some time to get through the whole set but I do have pretty positive impressions of Nos. 5 and 8 from hearing other, less good recordings of them a while back, and those are apparently the two that people dislike the most, so might be fun. >.>
I like No.5 very much.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

Rinaldo

QuoteI'm kind of in a lighter and softer mood these days where it comes to orchestra music so it may take some time to get through the whole set...

I've listened through the first disc (Symphonies 1 & 2) and it reinforced my previous impression of Kabeláč's music: I'm not so fond of his loud, percussion-filled stuff, but the sombre, gloomy parts are where it's at for me.

Symphony No. 1 in D for string orchestra and percussion
Is that you, John Williams? The whole thing reminded me of the original Star Wars and I mean it as a compliment, especially given the year of composition (1941-42). Similar development in the strings, similar orchestral 'colour'. The slow 2nd movement feels like a test run for Mystery of Time – a sentiment that haunts both symphonies. The conclusion is kinda all over the place.

Symphony No. 2 in C for large orchestra
Is that you, the middle section of Mystery? Very similar to what's gonna be perfected later. Speaking of which, the 2nd movement is what the intro to Mystery would sound, had it used a saxophone. Yeah, you've read that right. And the result is brilliant, even though it tracks the same trajectory (brooding – bombast – longing). The sax makes it truly memorable. Final movement starts off with some interesting percussion but later loses my interest, when Kabeláč gets the orchestra marching.

Looking forward to the other discs / symphonies, this is a promising start. The recording itself is almost flawless, very nice instrument separation, although I think the music might have benefited from a larger room.

Karl Henning

Well, the Symphonies have arrived!

However, they came the same time as the Weinberg quartets, and I have started down the Weinberg rabbit hole . . . .
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

Karl Henning

Okay, I have listened to the First Symphony, Op.11, and it is a corker!
Karl Henning, Ph.D.
Composer & Clarinetist
Boston MA
http://www.karlhenning.com/
[Matisse] was interested neither in fending off opposition,
nor in competing for the favor of wayward friends.
His only competition was with himself. — Françoise Gilot

kyjo

I am just beginning to discover the music of this most compelling and original composer. I had read much praise for The Mystery of Time here and elsewhere, but had never gotten around to listening to it until last night - and was utterly blown away! My, what a tremendously powerful masterwork! Rising from primordial depths, the music eventually begins a very long, gradual buildup toward a shattering climax which is as grippingly effective as anything in the symphonic output of, say, Nielsen or Shostakovich (perhaps even more so!). It then winds down into a sort of "cosmic" tranquility. I've also been listening to his striking Cello Sonata and 8 Preludes for Piano. I'm highly considering getting the Supraphon set of his eight symphonies, which I'm not yet familiar with.
"Music is enough for a lifetime, but a lifetime is not enough for music" - Sergei Rachmaninoff

SymphonicAddict

Quote from: kyjo on October 04, 2018, 07:58:44 PM
I am just beginning to discover the music of this most compelling and original composer. I had read much praise for The Mystery of Time here and elsewhere, but had never gotten around to listening to it until last night - and was utterly blown away! My, what a tremendously powerful masterwork! Rising from primordial depths, the music eventually begins a very long, gradual buildup toward a shattering climax which is as grippingly effective as anything in the symphonic output of, say, Nielsen or Shostakovich (perhaps even more so!). It then winds down into a sort of "cosmic" tranquility. I've also been listening to his striking Cello Sonata and 8 Preludes for Piano. I'm highly considering getting the Supraphon set of his eight symphonies, which I'm not yet familiar with.

The Mystery of Time is a brooding piece indeed, which was recommended by Jeffrey. The 8 symphonies are a safe purchase, as far as I remember they all are compelling (even the most advanced No. 8 ), serious and with a tremendous power.

vandermolen

Quote from: kyjo on October 04, 2018, 07:58:44 PM
I am just beginning to discover the music of this most compelling and original composer. I had read much praise for The Mystery of Time here and elsewhere, but had never gotten around to listening to it until last night - and was utterly blown away! My, what a tremendously powerful masterwork! Rising from primordial depths, the music eventually begins a very long, gradual buildup toward a shattering climax which is as grippingly effective as anything in the symphonic output of, say, Nielsen or Shostakovich (perhaps even more so!). It then winds down into a sort of "cosmic" tranquility. I've also been listening to his striking Cello Sonata and 8 Preludes for Piano. I'm highly considering getting the Supraphon set of his eight symphonies, which I'm not yet familiar with.
I'm delighted that you enjoyed it Kyle. I find the section when the momentum starts to slow down towards the end very moving for some reason. I'm sorry that a new recording of this masterpiece was not included in the recent box set of the Kabelac symphonies. He is certainly a composer of great interest and a man of integrity as he lived through difficult times. It was Colin (Dundonnell) who recommended the work to me although unfortunately he doesn't post here now. I think I had it coupled with my CD of Janacek's 'Glagolitic Mass' but never bothered to play it before the recommendation from Colin.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

vandermolen

Quote from: SymphonicAddict on October 04, 2018, 08:40:21 PM
The Mystery of Time is a brooding piece indeed, which was recommended by Jeffrey. The 8 symphonies are a safe purchase, as far as I remember they all are compelling (even the most advanced No. 8 ), serious and with a tremendous power.
Totally agree Cesar. I also like the Kalabis symphonies, also the subject of a recent boxed set from Supraphon and wonder if you know. Symphony 2 'Sinfonia Pacis' is my favourite with its moving bell-like conclusion.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

cilgwyn

Quote from: kyjo on October 04, 2018, 07:58:44 PM
I am just beginning to discover the music of this most compelling and original composer. I had read much praise for The Mystery of Time here and elsewhere, but had never gotten around to listening to it until last night - and was utterly blown away! My, what a tremendously powerful masterwork! Rising from primordial depths, the music eventually begins a very long, gradual buildup toward a shattering climax which is as grippingly effective as anything in the symphonic output of, say, Nielsen or Shostakovich (perhaps even more so!). It then winds down into a sort of "cosmic" tranquility. I've also been listening to his striking Cello Sonata and 8 Preludes for Piano. I'm highly considering getting the Supraphon set of his eight symphonies, which I'm not yet familiar with.
If this description isn't pure temptation,what is?!! Maybe Xmas........or if I can sell something?!! ::) ;D

vandermolen

Quote from: cilgwyn on October 05, 2018, 12:29:38 AM
If this description isn't pure temptation,what is?!! Maybe Xmas........or if I can sell something?!! ::) ;D
Oh, you have to hear 'Mystery of Time' cilgwyn. Just sell your Gilbert and Sullivan collection on ebay to finance the purchase.
;D
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

pjme

I've posted this before - but here is Hrusa conducting "Mystery of time" in an excellent performance with the Finnish Radio Orchestra.

https://www.youtube.com/v/UgeYpx-azF0

Peter

cilgwyn

Quote from: vandermolen on October 05, 2018, 01:08:36 AM
Oh, you have to hear 'Mystery of Time' cilgwyn. Just sell your Gilbert and Sullivan collection on ebay to finance the purchase.
;D
And I've got some rare,deleted,G & S!! It might just cover it?! You're sure you're not interested?!! ;D (You won't be able to get Ko-Ko's 'Little List' song out of your head,for weeks!)

vandermolen

#158
Quote from: cilgwyn on October 05, 2018, 02:08:57 AM
And I've got some rare,deleted,G & S!! It might just cover it?! You're sure you're not interested?!! ;D (You won't be able to get Ko-Ko's 'Little List' song out of your head,for weeks!)
No, count me out of the bidding for your G and S collection please. 8)
Anyways thanks to Peter (pjme) you can listen to the wonderful 'Mystery of Time' above.
Let us know what you think of it.

PS If you want a hard copy Amazon UK has it in the Supraphon, Ancerl Gold Edition for about £7.00 including postage.
"Courage is going from failure to failure without losing enthusiasm" (Churchill).

'The test of a work of art is, in the end, our affection for it, not our ability to explain why it is good' (Stanley Kubrick).

kyjo

#159
Quote from: pjme on October 05, 2018, 01:20:11 AM
I've posted this before - but here is Hrusa conducting "Mystery of time" in an excellent performance with the Finnish Radio Orchestra.

https://www.youtube.com/v/UgeYpx-azF0

Peter

Yes, this is the performance I listened to; a great one indeed. I noted that Jakob Hrůša is programming the work when he comes to conduct the Cleveland Orchestra next month - how exciting! I am seriously tempted to drive up to Cleveland to hear it...

https://www.clevelandorchestra.com/1819-concerts-pdps/1819-tco-classical-series-concerts/week-08/
"Music is enough for a lifetime, but a lifetime is not enough for music" - Sergei Rachmaninoff