Miloslav Kabelac(1908-79)

[vandermolen]

Quick question to allay my ignorance...

Kabelak?

Or

Kabelatch?

As in relm 1's post. Mystery of Time is his masterpiece.

[foxandpeng]

As in relm 1's post. Mystery of Time is his masterpiece.

Hm. Can't see that one. No matter.

I've just read back through the posts, and Mystery of Time appears to be the essential piece to hear 

I look forward to getting there after making my way through the symphonies!

[Brian]

č = tch sound! Think of it as a Czech version of the common Slavic -ch ending to names (Shostakovich, etc.).

[krummholz]

Just listened to Mystery of Time from the OP - the YouTube video is still up there. I can see both sides of the discussion between Colin and Johan early on in the thread. The "sepulchral" opening is a bit "samey" and I was, for a while, about to give up on the work. But even early on there were interesting details, interactions between the voices that drove the narrative and held my interest - barely.

But as the music built to its amazingly violent climax I began to better understand the musical language. I suspect it's better not to think too seriously about the Passacaglia form here, as the original theme quickly becomes completely lost to the ear in the chaos. (Not to say that it isn't a strict passacaglia, but that fact becomes inaudible after a while.)

As to the musical language, I was actually reminded in some ways of Pettersson, especially in the building up of long paragraphs using ostinati and repeated figures that interact with each other and gradually evolve.

Anyway, colour me impressed. I had not heard of this composer previously.

[Pohjolas Daughter]

Just listened to Mystery of Time from the OP - the YouTube video is still up there. I can see both sides of the discussion between Colin and Johan early on in the thread. The "sepulchral" opening is a bit "samey" and I was, for a while, about to give up on the work. But even early on there were interesting details, interactions between the voices that drove the narrative and held my interest - barely.

But as the music built to its amazingly violent climax I began to better understand the musical language. I suspect it's better not to think too seriously about the Passacaglia form here, as the original theme quickly becomes completely lost to the ear in the chaos. (Not to say that it isn't a strict passacaglia, but that fact becomes inaudible after a while.)

As to the musical language, I was actually reminded in some ways of Pettersson, especially in the building up of long paragraphs using ostinati and repeated figures that interact with each other and gradually evolve.

Anyway, colour me impressed. I had not heard of this composer previously.

I haven't listened to that recording, but have listened to a recent one--which I enjoyed.  I'd love to get a hold of a copy of it.

PD

[Maestro267]

I was a tad underwhelmed by Mystery of Time when I first heard it. I was hoping for a larger orchestra with prominent percussion as such a large-scale work of that period would imply.

[vandermolen]

Hm. Can't see that one. No matter.

I've just read back through the posts, and Mystery of Time appears to be the essential piece to hear 

I look forward to getting there after making my way through the symphonies!

I think it's spelt Kabelac (with accents). I'd go for Mystery of Time before the symphonies.

[foxandpeng]

č = tch sound! Think of it as a Czech version of the common Slavic -ch ending to names (Shostakovich, etc.).

Ah, thank you! I think I lacked clarity that my question was about pronunciation 🫣. I'm a dope.

I think it's spelt Kabelac (with accents). I'd go for Mystery of Time before the symphonies.

Mystery of Time is next, I think. I did listen to the first movement of #5, earlier, but was less impressed than I have been with the first 4 symphonies. Only the first movement, but wordless sopranos don't do a great deal for me...

[krummholz]

Just listened to Mystery of Time again. I'm actually not certain what the basic passacaglia theme even is in the work, it seems to be mainly based on intervals (minor second and minor third mainly, it seems) that are combined both linearly and vertically. And those intervals don't even appear until one note (Eb it sounds like to me, but I don't have the score) has been heard throughout the orchestra spanning the octaves.

Expressively and in the way Kabelac uses the orchestra, I was reminded more this time of the Shostakovich 10th, 2nd movement. Imagine that movement stretched from 4 minutes to about 18, and framed with several minutes of quiet, meditative music on either side. The use of the orchestra is very Shostakovich-like (or perhaps Mussorgsky-like).

My only complaint with that video is the 1950s recording quality. A recording with modern digital dynamic range should be really overwhelming.

[kyjo]

I like the magnificent Mystery of Time quite a bit better than any of his symphonies that I've heard. I recall No. 5 (the one with the wordless soprano) being quite good, but I've been disappointed with some of the others. Another work of his I rate highly is the earlyish Cello Sonata with its wonderfully imposing first movement Passacaglia. 

[Symphonic Addict]

To be released on 5 September:



Will this be the first release of another complete cycle of his symphonies?

I didn't know that Kabelac had composed overtures. Looking forward to this recording.

More info here.

[Der lächelnde Schatten]

To be released on 5 September:



Will this be the first release of another complete cycle of his symphonies?

I didn't know that Kabelac had composed overtures. Looking forward to this recording.

More info here.

I'm still crossing my fingers for a Martinů Hrůša symphony cycle, especially since he's the current president of the International Martinů Circle. Interesting that he's turned his attention to Kabeláč, though.

[vandermolen]

To be released on 5 September:



Will this be the first release of another complete cycle of his symphonies?

I didn't know that Kabelac had composed overtures. Looking forward to this recording.

More info here.

To be released on 5 September:



Will this be the first release of another complete cycle of his symphonies?

I didn't know that Kabelac had composed overtures. Looking forward to this recording.

More info here.

Most interesting Cesar! Thanks for posting it.

[kyjo]

Recently had a first listen to his Symphony No. 1 for Strings and Percussion:



Man, this is unremittingly serious, intense stuff! Composed in 1941-42, its decidedly anxiety-ridden tone should be rather unsurprising, I suppose. I found it mostly very effective, especially in its imaginative use of percussion (there's some healthy "swats" on the tam-tam, as Hurwitz would say). I couldn't help but wish that Kabeláč would lighten up just a bit every once in a while - there aren't even any Shostakovichian ironics or Petterssonian lyrical "islands" - but he does allow for a sense of just barely conquered struggle in the exciting D major coda. This is most definitely Danny's (foxandpeng) type of music! I intend to explore/revisit the rest of his symphonic cycle (the only one's I've heard in the past are Nos. 4 and 5), but this is music I need to be in the right mood for!

[Der lächelnde Schatten]

Recently had a first listen to his Symphony No. 1 for Strings and Percussion:



Man, this is unremittingly serious, intense stuff! Composed in 1941-42, its decidedly anxiety-ridden tone should be rather unsurprising, I suppose. I found it mostly very effective, especially in its imaginative use of percussion (there's some healthy "swats" on the tam-tam, as Hurwitz would say). I couldn't help but wish that Kabeláč would lighten up just a bit every once in a while - there aren't even any Shostakovichian ironics or Petterssonian lyrical "islands" - but he does allow for a sense of just barely conquered struggle in the exciting D major coda. This is most definitely Danny's (foxandpeng) type of music! I intend to explore/revisit the rest of his symphonic cycle (the only one's I've heard in the past are Nos. 4 and 5), but this is music I need to be in the right mood for!

I can't say the Kabeláč symphonies have taken ahold of me, but they are interesting works and form a unique symphonic cycle. I definitely prefer Martinů if we're talking about 20th Century Czech symphonists.

[vandermolen]

I can't say the Kabeláč symphonies have taken ahold of me, but they are interesting works and form a unique symphonic cycle. I definitely prefer Martinů if we're talking about 20th Century Czech symphonists.

Me too although Mystery of Time is a masterpiece IMO.

[kyjo]

Me too although Mystery of Time is a masterpiece IMO.

Totally agree - it is that monolithic work, as well as his powerful early Cello Sonata, that remain the works of his that have impressed me most.

[vandermolen]

Totally agree - it is that monolithic work, as well as his powerful early Cello Sonata, that remain the works of his that have impressed me most.

Have just ordered this Kyle - all your fault 

[Mister Sharpe]

I knew, years ago, some American relatives of the composer.  They could not have cared less about their illustrious forebear and even less about classical music.  I esp. like his Symphony #8, Antiphonies.  Last year, Capriccio released his Complete Chamber Music which I covet but still haven't sprung for.

[Cato]

Concerning Kabelac's Symphonies 1 and 8:

From the notes on YouTube for the Eighth Symphony:

...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 (i.e. the failure of the Prague Spring in 1968 under Alexander Dubcek and the continuation of the oppressive Communist state with the help of Russian tanks and thousands of troops from the Warsaw Pact. - Cato)). 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.