PUBLISHING DEPARTMENT The publishing

PUBLISHING DEPARTMENT
The publishing department of the Czech Radio was founded in 2001. The main aim and
the sense of starting this activity is to issue musical works, which are produced by one
of the nation-wide and regional stations, or by Prague Radio Symphony Orchestra.
The publishing department intends to provide access to works written by authors composing
between the wars, above all authors, who had close connection to Radiojournal; we intend to issue
works, which are included in historical collections, the latest news of contemporary reputable composers and to promote and issue works by young and talented authors.
Czech Radio Music Publishing Department
Vinohradská 12, Praha 2, 120 99
CZECH REPUBLIC
tel: (+420) 22 155 3313; fax: 22 155 3355
www.rozhlas.cz/nakladatelstvi/english
SALE
• we accept orders by e-mail or fax
• orchestral parts for hire only
CUSTOMER SERVICES
Czech Radio Music Publishing Department
Římská 13, Praha 2, 120 99
CZECH REPUBLIC
tel: (+420) 22 155 3313; fax: 22 155 3355
e-mail: nakladatelstvi@rozhlas.cz
www.rozhlas.cz/nakladatelstvi/english
Popular music
5
Main series
17
Historical series
83
CMF Edition
95
Books
101
Index
104
Abbreviations:
Asax
BarSax
guit
keyb
org
pno
Tsax
voc
alto saxophone
baritone saxophone
guitar
keyboard
organ
piano
tenor saxophone
vocalist
Popular music
Popular music
Milan Dvořák - Dialogues for Four Hands
Is it possible to carry out a dialogue without words? If it is, the present edition prepared for you by
the Czech Radio Music Publishing Department should serve as an example proving the point. If you
enjoy playing the piano, try and have a little chat with your friend, your partner or your student; try
and share more than just a keyboard with them.
Some of the musical dialogues will be of a lighter nature, sometimes more substantial matters will
be discussed; jazz elements can crop up from time to time alongside romantic or playful passages.
At any rate, I hope it will never be dull, says Milan Dvořák, the author of the score. The thirteen
dialogues were addressed both to less experienced and more advanced players. The work will help
the beginning pianists unveil some of the secret beauty of four-hand piano music.
instrumentation:
description:
publ. No.:
price:
pno
part
R 185
115,- CZK
e
dice
ZUŠ
Milan Dvořák - Jazz Mini-Études for Piano
The Music Publishing Department of the Czech Radio has published 20 mini-études for piano with
a taste of jazz or rock. Technically, they are not overly demanding since the department, in collaboration with the author, wanted to accomodate the wish of many non-professional colleagues
- pianists. Part of the publication is an instructional recording of the sheet music on a CD, created
with the participation of Milan Dvořák.
The Music Publishing Department of the Czech Radio has published 20 mini-études for piano with
a taste of jazz or rock. Technically, they are not overly demanding since the department, in collaboration with the author, wanted to accomodate the wish of many non-professional colleagues
- pianists. Part of the publication is an instructional recording of the sheet music on a CD, created
with the participation of Milan Dvořák.
Sheet music in braille can also be provided thanks to the collaboration with K. E. Macan’s Library
for the Blind.
instrumentation:
description:
publ. No.:
price:
pno
part + CD
R 131
179,- CZK
e
dice
ZUŠ
Milan Dvořák - Jazz Mini-Études for Piano II.
It has been five years since the piano jazz mini-etudes came out, and here comes another selection of twenty more plus a bonus piece. The author hopes that the reactions will be as warm as
in the case of the first volume, and that the collection will find its way into the repertoire of music
schools students as well as other pianists, both professional and amateur. The attached CD should
illustrate the way the music can be played; it is not a set of strict rules of how to perform the pieces,
though.
instrumentation:
description:
publ. No.:
price:
pno
part + CD
R 270
185,- CZK
e
dice
ZUŠ
Popular music
Milan Dvořák - Raise Your Hat to the Song - 20 folk
songs arranged for piano
“Our national folk songs has been sung and played in hundreds of different arrangements, whether
accompanied by a single instrument or as an element of a symphonic composition. Despite that, I
could not help myself and decided - encouraged by the Czech Radio Publishing House - to arrange,
in my own way, twenty of them for piano. I made use of harmonic and rhythmic elements of jazz
music, but at the same time tried to keep the technical demands of the compositions accessible.
Above all, however, I did my best for the song to remain but a song; after all, I myself raise my
hat to it…”
The set includes an instructive recording of the score on CD featuring, apart from the author, also
Mr Miroslav Navrátil.
instrumentation:
description:
publ. No.:
price:
pno
part + CD
R 180
160,- CZK
e
dice
ZUŠ
Ferdinand Havlík - Love Song
The Love Song from the play „Buckram heads“ uses instrumentation of a typical orchestra of the
80‘s. The slow tempo highlights the chromatic progression of keyboard and bassguitar.
instrumentation:
description:
publ. No.:
price:
Asax, Tsax, keyb, pno, bass, drums
score, parts
R 010
125,- CZK
Ferdinand Havlík - Melody for Susan
Melody for Susan is reminiscence of the cycle of plays with Susan. The instrumentation is usual for
the Semafor Band
instrumentation:
description:
publ. No.:
price:
Asax, Tsax, BarSax, org, pno, guit, bass, drums
score, parts
R 004
125,- CZK
Popular music
Ferdinand Havlík - Rapids
The composition „Rapids“ was written for the shows which were introduced by the leading figures
of The Semafor Theatre. Two leads (Asax and Barsax) play with the sound of the full orchestra with
an extended percussion section.
instrumentation:
description:
publ. No.:
price:
Asax, Tsax, keyb, pno, guit, bass, drums
score, parts
R 003
145,- CZK
Ferdinand Havlík - Semafor Madison
The favourite dance of 60‘s Madison is treated like pop-orchestral composition. Its mood is created
by harmony of four Saxophones with two guitars in the background.
instrumentation:
description:
publ. No.:
price:
Asax, 2Tsax, BarSax, org, pno, 2guit, bass, drums
score, parts
R 008
180,- CZK
Ferdinand Havlík - Semafor Shaker
Semafor Shaker has in comparison to the other Semafor compositions large instrumentation. There
are 3 trumpets and 3 trombones in addition to four saxophones.
instrumentation:
description:
publ. No.:
price:
Asax, 2Tsax, BarSax, 3tpt, 3tbn, keyb, pno, guit, bass, drums
score, parts
R 006
210,- CZK
Popular music
Ferdinand Havlík - Semafor Twist
In the instrumentation of Semafor Twist in addition to usual colour of saxophones are also used
two women‘s voices.
instrumentation:
description:
publ. No.:
price:
Asax, Tsax, keyb, pno, guit, bass, drums, 2voc
score, parts
R 007
155,- CZK
Martin Hybler - Just Relax
An album is compiled from eight short pieces for piano four hands in a simple jazz style.
“I have always liked playing the piano four hands; the moments when I can sit down and get carried
away by the lively stream of music have always had the power to cheer up my day and chase any
gloomy thoughts away. The Na pohodu album has been written just for moments like that. I hope
you’ll have fun playing the piano.”
instrumentation:
description:
publ. No.:
price:
pno 2ms
part
R 260
110,- CZK
e
dice
ZUŠ
Martin Hybler - The Wallenstein Dance Suite
An album of piano four hands compositions in a historical style for two young, yet skillful pianists.
The individual pieces that appear on this album were composed in the period from 1992 to 2005.
Written as part of my composition studies at the Prague Conservatory and later at the Faculty of
Music at the Academy of Performing Arts in Prague, these little compositions can bring to one’s mind
the ideal of purity and gentility present in the music of the old masters, whose art I have always
respected and greatly admired.
instrumentation:
description:
publ. No.:
price:
pno 2ms
part
R 265
140,- CZK
e
dice
ZUŠ
Popular music
Martin Kratochvíl - Piano solo
What you are holding in your hands is an album of twelve compositions in the form of both sheet
music and a CD featuring the author‘s performances of the music.The main criterion was that the
form of the piece should be simple, just like the form of any jazz standard or evergreen. Before you
get started and first tones come out of your piano, try reading the few lines by Martin Kratochvíl that
should work as a „user‘s manual“ or a „cookbook“ to help you prepare music for consummation.
The sheet music is a mere approximation; to get to the substance of the music, you have to get to
know it and grasp it yourself. Don‘t get distressed by the seemingly difficult rhythm and harmony.
It is a good idea to start by listening to the CD and reading the music at the same time. The sheet
music is intended to help the „prima vista“ readers as much as possible. In stark contrast with the
academically correct notation rules, the notation is intentionally simplified; it uses incorrect enharmonic substitutions in chord symbols, and is full with other atrocities in order for the musician to be
enabled to read less and play more.
instrumentation:
description:
publ. No.:
price:
pno
part + CD
R 255
220,- CZK
Karel Růžička - In The Garden Of Time
Karel Růžička’s album of jazz themes is far from being merely a sample of improvisations, though the
fact that the album contains sketchy records of these improvisations is undoubtedly beneficial. The
album is mainly a demonstration of the changes the musical means of expression within the realm
of jazz music have gone through. Those who are currently dreaming of becoming jazz pianists might
find this collection of sheet music of similar value as classical piano adepts find Beethoven’s Für Elise
or Mozart’s Turkish March. And, on top of that, the CD featuring the author’s temperate samples
of improvised variations creates a pleasant atmosphere effortlessly enticing to listen to music of a
composer who has been cultivating his imagination for more than half a century.
„The first track on the album, Falešný vous (The Artificial Beard), comes from 1957, the year of
my seventeenth birthday, and was the very first of my compositions to be performed in public and
recorded for radio (by my friend, the pianist Rudolf Rokl). The remaining pieces appear in an order
based on their character and tempo rather than on a chronological sequence. The fact that the
time span between the conception of the first and the last compositions cover quite a period is also
reflected in the title of the album – V zahradě času (In the Garden of Time).“
instrumentation:
description:
publ. No.:
price:
pno
part + CD
R 230
215,- CZK
Slyšeli jsme v Betlémě (We Heard in Bethlehem)
- arranged by Václav Kozel
The album contains twelve Czech Christmas carols, arranged for piano by Václav Kozel, including
such songs as Veselé vánoční hody (Merry Christmas Feast); Co to znamená (What Does It All
Mean); Nesem vám noviny (We Bring You Good Tidings); Já bych rád k Betlému (I Wish to Go to
Bethlehem); Bratři a sestřičky (Brothers and Sisters); Na nebi andělé (Angels In Heaven). All this
appears in a charming graphical design created by the academic painter Vladimír Hanuš.
Following is the arranger Václav Kozel’s note: “The Advent period offers countless opportunities for
concerts where the upcoming Christmas time is always brought to mind. Christmas carols, however,
should not be played too freely. It is more apt to choose songs and melodies that are not carols as
such but that evoke the approaching time in a different way. Also such songs are to be found in this
album. The tempos, the fingering, the harmony, and the dynamics of the arrangements should not
prove too demanding. May this material for solo piano become a helpful assistant in your efforts to
set up a programme that would get to the heart of the most beautiful time of the year.”
instrumentation:
description:
publ. No.:
price:
10
pno
part
R 250
100,- CZK
Popular music
Emil Viklický - Green Satin
Sometime in the mid-eighties I was asked by the legendary music printer Mr Bohumil Macák if I
would be interested in having a few of my jazz piano compositions published. I agreed, since some
of the work had been, more or less, finished already.
I took „The Green Satin“ and „Cacharel“, the piano versions of which I had sent to a competition in
Monaco, and I composed a few more pieces. From the LP „V Holomóci městě“ („In the City of Olomouc“) I transcribed the solo recorded track „Jestřáb“ („Hawk“), including a part of an improvised
solo. I also added the title tune of a series of 13 bedtime stories called „Zmatky kluka Zmatlíka“
(„Mel‘s Pell-Mell“) that is entitled „Praménky“ („Trickles“) on this album and includes also a writtenout improvisation. I wrote a simple composition for our Hawaian-Moravian granddaughter Tamarka
that we play together from time to time, and I added a few more pieces.
Recordings of all compositions are on CD which is enclosed in the publication.
instrumentation:
description:
publ. No.:
price:
pno
part + CD
R 160
185,- CZK
Radio-album 1: Songs by Jiří Šlitr & Jiří Suchý
Marnivá sestřenice (Conceited Cousin), Pramínek vlasů (A Lock of Her Hair), Písnička pro Zuzanu
(Song for Susan), Klokočí (Bladdernut) - that is just a tiny example of songs written by an inseparable twosome Šlitr - Suchý. They created most of their songs already in the beginning of the 60’s
but since then each one of their creations has been living its own successful life.
Czech Radio publishing department introduces a new release of some of the famous songs adapted
by Dan Fiedler. Besides transcriptions for voice and piano with voice variations of E flat, B flat and
C pitch you may also find there scores for solo piano. It is the first music sheet of the upcoming
series called RADIO-ALBUM. The series is undoubtedly going to suit all kinds of basic art schools but
it may as well be used elsewhere. The name RADIO-ALBUM is not a random choice. Our publishing
department follows an old tradition originating in the First Republic of Czechoslovakia. The tradition
concerns piano transcriptions of popular pieces that could be performed for common people not only
on dancing stages but later also through radio transmissions. The first volume of RADIO-ALBUM was
released in 1925. We now hope for the old slogan “Our volumes are indispensable for the world of
dance“ that used to be presented on the back cover of the old series to again play an essential role
in our newly released volumes.
instrumentation:
description:
publ. No.:
price:
A) pno, B) pno, solo part (in B, C, Es)
piano score, parts
R 047
199,- CZK
Radio-album 2: Songs by Zdeněk Petr
Píseň pro Kristinku (Song for Christine), Koukám, jak ten čas letí (Watching the Time Pass by), Ten
umí to a ten zas tohle (That One Knows This and This One Knows That), Červená aerovka (Red
Old Rag Car). Do you like these songs? Would you like to play them or sing them by yourself? After
the huge success of the first volume of RADIO-ALBUM that included the songs of Suchý-Šlitr, Czech
Radio presents all the well known songs by Zdeňek Petr adapted by Dan Fiedler.
Besides transcriptions for voice and piano with voice variations of E flat, B flat and C pitch you may
also find there scores for solo piano. The release is undoubtedly going to suit all kinds of basic art
schools.
When the name of Zdeněk Petr is mentioned only a few people can put it together with the songs
we stated above. For those who knew him he was most of all an author of numerous musicals
- Sto dukátů za Juana (Hundred Gold Pieces for Juan), Filozofická historie (Philosophic history),
Pan Pickwick (Mr. Pickwick) and countless songs - hits of their time. Of course, he was an author
of a respectable number of instrumental arrangements especially in swing that he dearly loved and
popularized it in his native country.
instrumentation:
description:
publ. No.:
price:
A) pno, B) pno, solo part (in B, C, Es)
piano score, parts
R 058
199,- CZK
Popular music11
Radio-album 3: Christmas
Šťastné vánoce (Marry Christmas), Skořápky ořechů (Nutshells), Sedneme si spolu (Lets Sit Down
Side by Side), Zvonky (Chimes), Pojď zpívat o Vánocích (Lets Sing about Christmas), Adeste Fideles,
Rolničky (Jingle Bells), Tichá noc (Silent Night). Those are all songs we hear around Christmas time
when we turn on our radios, televisions or CD players. But how about trying to play those beautiful
songs by ourselves at home? Where to find the music sheets?
Czech Radio publishing department introduces another Radio-Album; this time it presents Christmas
songs adapted by Dan Fiedler. Besides transcriptions for voice and piano with voice variations of E
flat, B flat and C pitch you may also find there scores for solo piano.
instrumentation:
description:
publ. No.:
price:
A) pno, B) pno, solo part (in B, C, Es)
piano score, parts
R 065
199,- CZK
Radio-album 4: Songs by Petr Hapka & Michal
Horáček
S cizí ženou v cizím pokoji (With a Strange Woman in a Strange Room), Levandulová (Lavender),
Štěstí je krásná věc (Luck Is a Beautiful Thing), Dívám se, dívám (I Keep Looking at You), Vana
plná fialek (Bath Full of Violets), Kocour se schoulil na tvůj klín (Tommy Just Cuddled in Your Lap)…
Songs of two excellent authors - Petr Hapka and Michal Horáček who have for more than 20 years
now contributed to Czech popular music to our great satisfaction. All the songs we have been
hearing by Hana Hegerová, Michael Kocáb, Richard Müller, Lucie Bílá or even by one of the authors
Petr Hapka are now made available to you by Czech Radio publishing department; they are adapted
by Dan Fiedler.
This music sheet represents another volume of Radio-Album series. Besides transcriptions for voice
and piano with voice variations of E flat, B flat and C pitch you may also find there scores for solo
piano.
instrumentation:
description:
publ. No.:
price:
A) pno, B) pno, solo part (in B, C, Es)
piano score, parts
R 077
199,- CZK
Radio-album 5: Jiří Pavlica - Songs for Hradišťan
Time is a strange entity that constantly follows us everywhere, it surrounds us, limits us, it helps
to fulfill our needs as well as it hinders our desires. Either way, music is an art that leans heavily
on time and radio transmissions just the same. That might be the reason why all the songs of this
Radio-Album relate to time in some way.
The first three songs are poems by Jan Skácel set to music. Each one of them reflects a different
time, a different season - spring „Modlitba za vodu“ (Prayer for Water), summer „Krátký popis léta“
(A Short Summer Depiction), autumn „Sonet o lásce a modrém portugalu“ (Sonnet of Love and Portugal Blue). The next two songs are inspired by folk poetry. They express the feeling of dawn in song
„Vlaštovka lítá“ (Swallow Soars) and the whole human life in song „Člověk a země“ (Man and the
Earth). An old Japanese text „Kéž by svět trval“ (Let the World Last) pictures man’s ancient desire
to overcome the time limits set to him. The last four songs on lyrics by Jiří Brabec take us through
human life from its very spring till its autumn, reminding us that everything „…měří nám čas a kreslí
duhu letokruhů…“ (…Measures Our Time and Draws the Bow of Tree-rings…).
instrumentation:
description:
publ. No.:
price:
12
A) pno, B) pno, solo part (in B, C, Es)
piano score, parts
R 087
199,- CZK
Popular music
Radio-album 6: Liberated Theatre in Melodies by
Jaroslav Ježek
For the 100th anniversary of Jaroslav Ježek’s birth (25th September 1906), Czech Radio publishing
department has released ten songs: Civilizace (Civilization), David a Goliáš (David and Goliath), Když
jsem kytici vázala (When Fixing Up a Bunch of Flowers), Nashledanou v lepších časech (See You in
Better Times), Nebe na zemi (Heaven on Earth), Nikdy nic nikdo nemá (No-one Has Ever Anything),
Pochod stoprocentních mužů (A March of Hundred Percent Men), Polka specielně aktuelní (Especially Actual Polka), Stonožka (Centipede), Tři strážníci (Three Constables) of the Liberated Theatre
repertoire as a part of the Radio-Album series. A perfect integration of rich melodics and old-time
dances characterizes all of them. Largely satirical lyrics were written by Voskovec and Werich in the
atmosphere of interwar period but in many cases they are still up-to-date today.
In this volume you will again find not only transcriptions for voice and piano with voice variations
of E flat, B flat and C pitch but also scores for solo piano. Music arrangement was done by Milan
Dvořák, an experienced jazz composer and arranger.
instrumentation:
description:
publ. No.:
price:
A) pno, B) pno, solo part (in B, C, Es)
piano score, parts
R 103
199,- CZK
Radio-album 7: Marie Rottrová
„Musical journalists have already written a lot beautiful and thoroughly true about Marie Rottrová.
I cannot express myself so aptly, but I must agree. Especially when listening to her songs and
enjoying over and over how plain, unpretentious and, at the same time, expressive the lyrics are.
There is nothing autotelic about her singing. That is why one can believe every word she sings. It
is also why her singing gently and pleasantly brings me either melancholy or joy. And it is also the
reason why I eagerly embarked upon piano arrangements of some songs from her repertoire.” So
much for the words of the jazz composer, arranger and pianist rolled into one, Milan Dvořák.
Lakomá (Stingy), Lásko (Love), Ty se mi lásko jen zdáš (Love, You are only a dream), Řeka lásky
(The River of Love), Střapatá, nohatá (Tousled and Leggy), Večerem zhýčkaná (Spoiled by the
Evening), Prstýnek (Ring), Měli jsme se potkat dřív (We should’ve met earlier), Padá hvězda, padá
(Falling and Falling is the Star), Vrátil se zpátky ten vánoční čas (Back Came the Christmas Time)
- those are the names of the songs selected for the seventh volume of the Radio-albums.
instrumentation:
description:
publ. No.:
price:
A) pno, B) pno, solo part (in B, C, Es)
piano score, parts
R 109
199,- CZK
Radio-album 8: From One Tale to Another
They usually begin with „Once upon a time...“ or „Once there was...“ and often end with proclamation that all the characters live until today in joy and wealth they achieved by their virtues. What
are we talking about? Of course the fairy tales! They accompany us in various forms throughout our
lives - in books, radio programs, movie theaters and TV screens.
Melodies - essential components of fairy tale movies often stay in our memories longer than the
story itself. Can you recall from which tales are the following songs? Rozvíjej se poupátko (Evolving
bud), Muzikantova písnička (Musician‘s song), Prstýnek (Ring), Saxána, Kdepak, ty ptáčku, hnízdo
máš (Where is your nest birdie), Tři oříšky (Cinderella), Voda, voděnka (Water, water), Dělání (Making) and many others? You will find the answer inside this album.
instrumentation:
description:
publ. No.:
price:
A) pno, B) pno, solo part (in B, C, Es)
piano score, parts
R 140
199,- CZK
Popular music13
Radio-album 9: Eva Pilarová
Eva Pilarová. She came, she sang, she won. It was the year 1960 and the Semafor Theatre was looking for new talents. The moment we heard Cole Porter song Night and Day at Semafor, it became
clear to us that Fate, having assumed the form of the double-bass player Milan Pilar, had found us a
singer that other theatres would envy us. Jiří Šlitr immediately composed a demanding jazz piece for
the play Such a Loss of Blood - as a lyrics writer, I was not of much use for the piece was conceived
as a scat, i. e. a song where the lyrics are substituted by rhythmic syllables. Eva Pilarová coped with
the composition with brilliance, and has ever since rendered our theatre much dutiful service.
Our paths parted, then met again, only to part and meet again and part once more - just the way
life goes. At any rate, Eva Pilarová’s artistry has never been affected by this, she has always been
great. And even today, this remains as true as ever, comments Jiří Suchý.
Apart from the arrangement for voice and piano with available versions for voice in E flat, B flat and
C, there exists also a score for solo piano.
instrumentation:
description:
publ. No.:
price:
A) pno, B) pno, solo part (in B, C, Es)
piano score, parts
R 155
199,- CZK
Radio-album 10: Songs by Karel Svoboda & Jiří
Štaidl
Lady Carneval; Hey, hey Baby; Crazy Love (Láska bláznivá); Salty Tears I Cry (Pláču, pláču sůl);
I Suffer from Love (Lásko má, já stůňu); Into the Towers (Do věží), Mistral (Mistrál), The Time of
Birds‘ Arias Is Over (Konec ptačích árií), Rio de Janeiro, I Like to Live (Žiju rád). This is the list of the
songs to be found in the sheet-music published in the RADIO-ALBUM edition.
Following are Karel Gott’s words from the preface reminiscent of the two authors: “...Hardly a day
passes by without me being sent some music, a tape or a CD recording of a song sang - or rather
narrated - by the author, with a letter enclosed saying that it was me and me alone that was on the
author’s mind while they were composing the song. It is thus rather difficult to explain to anyone
that the extraordinary success of the trio - Karel Svoboda, Jirka Štaidl any myself - stemmed above
all from the sincere and spontaneous friendship we shared. It was simply as though we were one
person, with a single head and a single viewpoint!”
instrumentation:
description:
publ. No.:
price:
A) pno, B) pno, solo part (in B, C, Es)
piano score, parts
R 175
220,- CZK
Radio-album 11: “50 Years of Semafor” Songs by
Jiří Šlitr & Jiří Suchý II
The eleventh RADIO-ALBUM is dedicated to all the fans and admirers of the songs written at the
Semafor theatre: at the theatre whose unprecedented fiftieth birthday are just as unique in the
world of the authorial theatre as the verve of its protagonist Jiří Suchý...
...Blues For You (Blues pro Tebe); Golem; Those Were the Times I Used to Live (Jó, to jsem ještě
žil); Friends (Kamarádi); A Countryside Full of Darkness (Krajina posedlá tmou); A Song of Dew
(Píseň o rose); Why Don’t People Like Each Other (Proč se lidi nemaj rádi); Vagabond Singers
(Toulavý zpěváci); The Three Aunts (Tři tety), Hang Out the Flags (Vyvěste fangle). “Each of these
tunes brings back a memory. Well, it could hardly be otherwise since those were the times I started
to write about popular music, and the songs by the two Jiří’s of Semafor were the best there were,”
says the musical publicist Jiří Černý in the preface to this album.
instrumentation:
description:
publ. No.:
price:
14
A) pno, B) pno, solo part (in B, C, Es)
piano score, parts
R 165
199,- CZK
Popular music
Radio-album 12: Petr Novák “My Shining Little
Star”
Towards the end of March 2010 the twelfth Radio-Album will be released, containing the music
for the following songs by Petr Novák: What Is Love (Co je to láska); I Will Try Not To Wake You
(Já budu chodit po špičkách); A Clown’s Confession (Klaunova zpověď); A Tombstone (Náhrobní
kámen); Room No. 26 (Pokoj č. 26); Tell Me (Povídej); Vanessa; The Girl from the Sweet Beginning
(Děvče z krásných začátků); My Shining Little Star (Hvězdičko blýskavá); The Girl in the White
Blouse (Holka s bílou halenou).
instrumentation:
description:
publ. No.:
price:
A) pno, B) pno, solo part (in B, C, Es)
piano score, parts
R 190
199,- CZK
Radio-album 13: Antonín Gondolán „My Own Way“
„A song can cheer you up in no time. I tis up to you to decide what to do with the ones you can find
on this album – whether simply to listen to my performance or to play and sing them for yourselves.
In any case, I hope that both the listener and the musician will have a good time“ Yours Antonín
Gondolán.
The lyricists Jaroslav Šprongl, Jan Krůta, and Pavel Vrba co-operated on four of the eleven songs
that appera on the album Publisher by the Czech Radio Publishing House as part of the Radio-album
edition. All the remaining pieces were written by the brothers Antonín and František Gondolán in
their native Romani language; however, so as to enable also gadjos to enjoy the music whether as
listeners or performers, the original lyrics were translated to Czech by Jaroslav Šprongl. The outstanding recordings on the CD feature, alongside Antonín Gondolán, such renowned jazzmen as Karel
Růžička and Radek Němec, which, however, should not dicourage any less experienced singers and
musicians from performing these songs.
instrumentation:
description:
publ. No.:
price:
A) pno, B) pno, solo part (in B, C, Es)
piano score, parts + CD
R 210
255,- CZK
Radio-album 14: Václav Neckář’s Songs “We Plough
On Side by Side”
Lékořice (Liquorice); Stín katedrál (The Shade of Cathedrals); Tu kytáru jsem koupil kvůli tobě (I
Bought the Guitar Just For You); Dr. Dam di Dam; Kdo vchází do tvých snů, má lásko (Who Enters
Your Dreams, My Love); Je ráno, Anno (Morning Has Come, Dear Anne) – all these and more songs
feature in this album. Václav Neckář is a versatile singer whose career has spanned several decades,
as is seen on the example of each of these songs. There is a story behind all of these pieces: a story
that has been turned into music. May these stories be strong enough to touch also those who will
manage to learn the songs thanks to this little song-book.
instrumentation:
description:
publ. No.:
price:
A) pno, B) pno, solo part (in B, C, Es)
piano score, parts
R 242
220,- CZK
Popular music15
Abbreviations:
A
arp
Asax
B
Barsax
batt
b.c.
Bsax
camp
campli
cast
cb
cel
cfg
cl
cl b clav
cor
cor ingl
crot
euf
fg
fl
fl becc fl picc
flicor
gr c
chit
mar
ob
16
alto
arpa
saxofono alto
basso
saxofono baritono
batteria
basso continuo
saxofono basso
campane
campanelli
castagnette
contrabbasso
celesta
contrafagotto
clarinetto
clarinetto basso
clavicembalo
corno
corno inglese
crotali
eufonio
fagotto
flauto
flauto a becco
flauto piccolo
flicorno
gran cassa
chitara
marimba
oboe
org
perc
pfte
ptti
ptto
ptto sosp
rec
S
Ssax
T
tamb
tamb b
tamb picc
tamb rull
tb
tb b
tbn
tbn b
timp
tmbo
trb
trgl
Tsax
vcl
vibf
vla
vno
xil
organo
percussioni
pianoforte
piatti
piatto
piatto sospeso
recitazione
soprano
saxofono soprano
tenore
tamburo
tamburo basso
tamburo piccolo
tamburo rullante
tuba
tuba bassa
trombone
trombone basso
timpani
tamburino
tromba
triangolo
saxofono tenore
violoncello
vibrafono
viola
violino
xilofono
Main series
Main series17
Ondřej Adámek - Lonely Sadness
Lonely Sadness is a spatial composition. Reshuffling of musicians in the concert hall forms the formal
substrate of the composition and has also extra-musical implications as it depicts different situations
in a relationship of two people.
It also inspires an interval choice. We proceed slowly from the point of consonant harmonics towards tense dissonant planes. Further on in the piece, the author utilizes effects of reverberation
together with effects of tension between quarter-tones and minute rhythmical deviations. Adámek
uses extreme clarinet positions and in order to achieve tones lower than the actual instrument range
he imposes special techniques.
instrumentation:
description:
publ. No.:
price:
2cl
parts
R 020
125,- CZK
Milan Báchorek - Three Movements for Alto
Saxophone and Piano
„Three Movements for Alto Saxophone and Piano were written in 1989 and they were first performed,
in the original setting for clarinet and piano, on 26th May 1991 at a festival concert Janáček‘s May
(Janáčkův máj) in Ostrava. The piece was first played by the clarinettist Valtr Vítek and the pianist
Milena Pavlorková. The dormant history of the Three Movements was brought back to life only by
the idea of resetting the composition for alto saxophone and piano; an idea that originated from the
recent encounter with Roman Fojtíček, a saxophonist from Prague.
With only a few transpositions due to the range of the instrument and the piano part unchanged,
the Three Movements were not difficult to rewrite. The premiere of the current version for alto
saxophone and piano succeeded in proving the vitality of the composition already on the very first
occasion as a studio recording of the Prague radio, and thus helped the piece set off on a new quest
for audience.“
instrumentation:
description:
publ. No.:
price:
Asax, pfte
score, part
R 141
130,- CZK
Hanuš Bartoň - Scattering - Reintegration for
chambre orchestr
“Coined and assigned to the piece only after the score had been completed, the title of Scattering
– Reintegration was meant to reflect both the original intention and the composition as it was
eventually conceived. The original idea was to write a piece of music where disintegrated fragments
of melodies and rhythmical patterns gradually turn into a coherent stream of music. This, however,
does not really happen in the resulting composition. The separate fragments merely glide towards
and eventually overlap one another, which – although a full integration is not achieved – does render
the music more or less continuous. Just as any progress in time is non-continuous, so are all sounds
audible at a certain moment always a result of the intersection of virtually independent layers that
seem hardly to communicate amongst themselves; rather than that, they seem merely to overlap or
immerse into one another only to regain their independence later on. From time to time they seem
to intermingle at random. “
instrumentation:
description:
publ. No.:
price:
18
2fl, 2ob, 2cl, 2fg, 2cor, trb, tbn, perc, tymp, archi
score
R 225
165,- CZK
Main series
Hanuš Bartoň - Six Old-fashioned Miniatures
„I composed the Six Old-fashioned Miniatures for the string trio on the instigation of my schoolmate
and friend Petr Matěják. I wanted to compose very simple, „traditional“-style music, and, in this way,
also to take some rest from the requirements facing the composer and performer of contemporary
music, which I was snowed under in the course of my work on the Miniatures.
I sought inspiration in both folk and „classical“ music of the past. I used simple melodic and rhythmical ideas, and I was working (with one exception) spontaneously, without any pre-given conceptions
or patterns. From the nine pieces I completed, I chose the six that seemed most successful to me,
and I gave them names based on the first impression I got immediately after completing them; the
same applies to the name of the whole cycle. The level required of the performer roughly corresponds to the abilities of a conservatory graduate.“
instrumentation:
description:
publ. No.:
price:
vno, vla, vlc
score, parts
R 079
185,- CZK
Hanuš Bartoň - Trio for clarinet, viola and piano
„I composed the Trio for clarinet, viola and piano at the beginning of the year 2001 and the piece
was first performed in March at the festival „The Baroque and the Avant-garde“ in Záporoží in the
Ukraine. The most significant principle of the work is the conflict of two differing relations between
the instruments: the measure and tempo is either the same for all three instruments or the individual
parts are, in this respect, autonomous. At the start, the clarinet is independent on the piano and
the viola, whereas the latter two correspond with each other. The middle part of the composition is
marked by the mutual coordination of all the three instruments; and towards the end, the piano part
becomes entirely autonomous, while a firm relation is formed between the clarinet and the viola.
The purpose of this progression is to evoke arbitrary „pseudoprogram“ associations. The composition follows a strict harmonic plan that should ensure a certain unity in the musical language of the
work in spite of its loose rhythmical structure. This order is deliberately breached at the very end of
the work where the piano part is completely separated from the others - even in terms of harmony.
Here, the only remaining link can be found in the imitations in the viola of fragments of the piano
part - a reminder of the initial concordance between these two instruments.“
instrumentation:
description:
publ. No.:
price:
cl, vla, pfte
score, parts
R 151
175,- CZK
Zbyněk Bartošík - Transformation
Zdeněk Bartošík (1974) gained his music education (in the field of composition) at the People’s
Conservatory in Ostrava, at D. Kardoš Conservatory in Topolčany, and at the Music Faculty of the
Academy of Performing Arts in Prague.
„When composing, I always try to reach the point when I perceive the music as if it has been written
by a “third person”. I find it important for the piece not to be written spontaneously, but with some
theoretical insight; the final form of the composition, however, remains for me impossible to predict.
It is a complicated process at the end of which I try to evaluate the resulting piece with respect
to traditional criteria. This enables me to decide whether or not to further develop the material at
hand. In Transformation it was my intention to transform the music into a more „“humane“ form.
The initial ostinato-driven music is gradually transmuted into quasi solo parts and slowly heads
towards the final pacification.”
instrumentation:
description:
publ. No.:
price:
fl, vno, vlc, pfte
score, parts
R 261
190,- CZK
Main series19
Karel Bendl/instr. Martin Hybler - In the Dusk
Za šera (In the Dusk) is a cycle of songs for medium voice and chamber orchestra with words written
by Vítězslav Hálek. This piece was originally composed for the medium voice and piano. Upon the
initiative of Václav Riedlbauch, managing director of the Czech Philharmonic Orchestra, the piece
was performed in its orchestral version during the cycle of chamber orchestras in Rudolfinum and its
instrumentation was undertaken by Martin Hybler.
As Martin Hybler says about Karel Bendl: „Frankly speaking, I knew this name only from textbooks
in the past. Meeting his music was a pleasant surprise for me. This music is simple, profound,
full of beautiful melodic ideas. The vocal line is very well felt and placed, the musical phrases are
comprehensible both for the interprets and for the listeners, and the musical expressive intention
entirely corresponds to the lyrical character of the poems of Vítězslav Hálek. Bendl‘s music attracted
me mainly by its pro deep wisdom, craft honesty, and musical appeal“.
instrumentation:
description:
publ. No.:
price:
fl, ob, 2cl, fg, 2cor, arp, archi
score
R 048
270,- CZK
Jan Bernátek - New Jerusalem
„Oratorio New Jerusalem for a mixed choir, baritone, solo soprano, organ, percussion and a reciter
belongs to my most important compositions. I called the first part Good Friday after the poem from
the Wallachian poet František Lazecký, who lived from 1905 to 1984.
In the beginning I used the text of prophet Isaiah to create the dramatic atmosphere in the first part.
The end escalates with the text: „Then the horrid angel will pour miseries on your head and under
his touches your heart will break with thirst and grief. Who then will comfort my sinful Jerusalem.“
Second part of the oratorio Holy city is diametrically contrasting and expresses the promise that God
gave to those that honour his laws. John the Apostle writes in Revelation: „To him who overcomes,
I will give the morning star. He will be dressed in white and I will never blot out his name from the
book of life… Then I saw a new heaven and a new earth, I saw the Holy City, the new Jerusalem,
coming down out of heaven from God.“ The oratorio ends with a hymn: „ Rejoice, rejoice, let us
praise Our Father. Aleluja.“
instrumentation:
description:
publ. No.:
price:
soprano solo, baritono solo, rec, coro misto, org, timp, camp, trgl
score
R 127
275,- CZK
Ivan Boreš - Nocturno for Guitar Solo
“Nocturno speaks of rain. This theme runs through the whole composition as a symbol of airiness.
Only with this in our minds we can move on to interpret it.”
Nocturno for solo guitar by Ivan Boreš is the winning piece of the composition competition especially
set up by PRO GUITARRA association to accompany its regular interpretation competition. By its
demanding technique Nocturno continues the series of 12 Études op. 1.
Ivan Boreš (*1976) pursued many musical styles as a self-taught man until he reached 24. Jiří
Churáček brought him around to composition at the Conservatory in České Budějovice, where Ivan
Boreš now studies at the composition class of Radek Rejšek. At the same time he studies the guitar
at AMU (Academy of Performing Arts in Prague) at the guitar class of Prof. Štěpán Rak.
instrumentation:
description:
publ. No.:
price:
20
chit
part
R 130
95,- CZK
Main series
František Chaun - Hommage a Dubuffet
František Chaun (1921 - 1981) was bound with Jean Dubuffet by lasting personal friendship - a
friendship based on a spiritual and artistic nature common to both. Since the end of the sixties they
corresponded, later they started visiting one another.
Twenty years older Dubuffet could have suited Chaun‘s nature in all kinds of ways, nevertheless it
was mainly his emancipated stance, love for stylized naivism and primitivism (art brut), and a „total
playfulness“ leading one time to a not-committal (or seemingly not-committal) game, other time to
a highly and unmistakably serious expression. Dubuffet also became a dedicatee of one of Chaun‘s
compositions - Double Concerto for violin, violoncello and chamber orchestra „Hommage a Dubuffet“
from 1870. It is a work of all the characteristical signs of Chaun‘s artistic expression.
instrumentation:
description:
publ. No.:
price:
vno solo, vcl solo, 2ob, 2cor, archi
score
R 095
175,- CZK
František Domažlický - Concerto for Tuba and Piano
The composition of Concerto per tuba contrabasso ed archi, op. 53 that was written together with
Duetto for two contrabass tubas in 1983 was incited by Václav Hoza, a tuba player, a member of the
Czech Philharmonic Orchestra at the time in question, and a pedagogue at the Prague conservatory.
The type of invention of the piece as well as its development and the solo part structure betray an
influence of Hindemith’s tuba sonata from 1955. Domažlický’s musical speech is characteristic for its
distinctive use of chromatics within tonal music flow that is applied both in melody and harmony.
In spite of the ever increasing amount of European and – above all – American music for tuba,
Domažlický’s concerto has become an integral part of Czech tuba repertoire. It belongs to the few
Czech compositions for tuba that is both popular with music schools and frequently performed at
instrumental competitions. Together with the full score of the work the author also created a piano
version.
instrumentation:
description:
publ. No.:
price:
tb, pfte
score, part
R 251
120,- CZK
František Domažlický - Concerto for Tuba and
Strings, op. 53
The composition of Concerto per tuba contrabasso ed archi, op. 53 that was written together with
Duetto for two contrabass tubas in 1983 was incited by Václav Hoza, a tuba player, a member of the
Czech Philharmonic Orchestra at the time in question, and a pedagogue at the Prague conservatory.
The type of invention of the piece as well as its development and the solo part structure betray an
influence of Hindemith’s tuba sonata from 1955. Domažlický’s musical speech is characteristic for its
distinctive use of chromatics within tonal music flow that is applied both in melody and harmony.
In spite of the ever increasing amount of European and – above all – American music for tuba,
Domažlický’s concerto has become an integral part of Czech tuba repertoire. It belongs to the few
Czech compositions for tuba that is both popular with music schools and frequently performed at
instrumental competitions. Together with the full score of the work the author also created a piano
version.
instrumentation:
description:
publ. No.:
price:
Main series
tb, pfte
score, part
R 222
165,- CZK
21
František Domažlický - Scherzo for Tuba and Piano
František Domažlický’s contribution to 20th-century tuba literature consists of four compositions.
After his Concerto for tuba and strings, op. 53 (1983), Duet for two contrabass tubas, op. 53a (1983)
and Sonatina for tuba and piano (1991), he composed his last piece for tuba, Scherzo per Tuba ed
pianoforte, op. 77 in 1992.
With a duration of slightly less than five minutes, this chamber work retains the typical features of a
scherzo movement, i.e. mainly a swift pace and lively rhythm. As a piece appropriate for encores, it
enables the soloist to prove the potential of the instrument both in terms of instrumental technique
and tone quality. The piano part makes use of harmonic as well as rhythmical features of jazz-like
character, and, as for melody, the piano is an equally important complement of the solo voice.
instrumentation:
description:
publ. No.:
price:
tb, pfte
score, part
R 240
125,- CZK
František Domažlický - Sonatina for Tuba and Piano
In Sonatina for tuba and piano, op. 75 František Domažlický (1913-1997) applies elements of extended tonality. The solo instrument is presented as a technically equipped melodic instrument capable
of lyrical cantilena that is not only accompanied harmonically by the piano, but the two instruments
become partners in terms of melodic development. A characteristic feature of the Sonatina lies in
the sequential development of the melodic line.
The first movement starts with a compelling main theme that is followed by a waltz stylization. The
contrasting second movement brings about a change of mood in music of harmonic richness. In this
part the piano is granted more space and also the tuba can prove its potential as a distinctive melodic instrument. The third movement catches the listener’s attention with a combination of succinct
rhythm and legato passages in both instruments. The solo instrument part is written in a higher tuba
register so that it is advisable to use contrabass tubas in F or in E flat to perform the piece.
instrumentation:
description:
publ. No.:
price:
tb, pfte
score, part
R 233
145,- CZK
Eduard Douša - Concert Music
Concert Music for violoncello was written on an impulse of Czech cellist, gambist and artist Petr
Hejný. Three short movements emphasize beauty of the instrumental sound in expressive motifs.
In such a transparent structure that utilizes tonal centers the author draws on the colour of violoncello that reminds him, as he says, of a solo voice. The piece builds upon a very pleasant melodic
line. It may be performed even by an advanced amateur and it is very amiable for a professional.
instrumentation:
description:
publ. No.:
price:
22
vcl
part
R 024
90,- CZK
Main series
Eduard Douša - Pezzo concertante per corno solo
Eduard Douša (1951) focuses as a composer mainly on instrumental music: he has composed
three instrumental concertos with orchestra and more than twenty chamber compositions of various
instrumental settings. Pezzo concertante per corno solo he composed for interpretative competition
of International Festival Prague Spring 2013.
instrumentation:
description:
publ. No.:
price:
cor solo
part
R 276
soon available
Eduard Douša - Rhapsody Movement
A Rhapsody Movement for clarinet and piano was composed in 1980 for a competition of wind
instruments in Chomutov. An instrumentally convenient composition, which does not lack any attribute of expressive music, has already received a favourable reception at the competition.
Young players and their teachers at conservatories and higher music schools often turn to Rhapsody
Movement for it represents one of the stem repertoire pieces set for public performances. Jazz stylization makes it very compelling and attractive for both reception and performance.
instrumentation:
description:
publ. No.:
price:
cl, pfte
parts
R 021
125,- CZK
Eduard Douša - String Quartet „Lamentationes“
Eduard Douša (b. 1951) focuses mainly on instrumental music: he has composed three instrumental
concertos with orchestra and more than twenty chamber compositions of various instrumental settings. The String Quartet bearing the subtitle “Lamentationes” is a revised version of an older composition from 1988. The original score was introduced to the public by and thanks to the Panocha
Quartet. The adapted version comes from 2004 and it was premiered by the Apollon quartet.
A one-movement piece, the quartet is essentially based on the platform of the sonata form. The
composition is dedicated “to the memory of Mikuláš Medek”, whose visual art marked for its intellectual insight and expressive force has always attracted the composer. Following are Douša’s own
words addressing the dedicatee: “One of the many reasons I think highly of him lies in the fact that
he was always able to defend his own artistic means of expression and never yielded to temporary
trends, whatever the might be. I believe that this is an imperative that should hold good for the
present-day artistic production of any kind – not to give in to the pressure of modishness or other
forces; but to create in compliance with one’s own feelings and beliefs with only one ultimate aim on
mind – to communicate with the listener, onlooker or reader as intensely as possible...”
instrumentation:
description:
publ. No.:
price:
Main series
vno I, vno II, vla, vcl
score, parts
R 204
195,- CZK
23
Libor Dřevikovský - The Peculiar Clavecin
The piano suite entitled The Peculiar Clavecin is based on neo-Baroque inspirations, which are
combined with certain musical influences of the 20th century‘s music.
This piece as it is represents a very compelling style synthesis: the first movement introduces a
combination of baroque rhythmization with irregular barring; in the second movement we are shown
a rhapsodic „dialog“ with Bach; in the third Couperian felicity joins with Chinese five-tone scale and
in the last movement we see a gently swinging gigue.
instrumentation:
description:
publ. No.:
price:
pfte
part
R 028
185,- CZK
Libor Dřevikovský - Suitie
Compositional focus of Libor Dřevikovský is directed mainly towards chamber music often touching
the brass (Mozartimento for three basset-horns, Brass Octet “Harmoniemusik“, “Suitie“ for alto
saxophone and piano, “Strange Cembalo“ - a suite for piano and other pieces), sometimes also
the symphonic production (Concerto-Divertimento no. 1 F Major and no. 2 Es Major for piano and
orchestra).
“Suitie for alto saxophone and piano (1997) has been written for Sax&Piano Duo (Roman Fojtíček
a Laura Vlková). The piece was created as an expression of pure joy of music - making under the
impression of unconventional connection of the two instruments, saxophone and piano. Alas, the
sound of those two playing together is just so fresh, so new though they both have passed through
many winters.”
instrumentation:
description:
publ. No.:
price:
Asax, pfte
score, part
R 102
115,- CZK
Antonín Dvořák/instr. F. X.Thuri Humoresque op. 101, No. 7
F. X. Thuri‘s orchestration of Antonín Dvořák‘s Humoresque op. 101 No. 7 was commissioned
by Josef Suk for a recording by Suk‘s Chamber Orchestra within the musical project „Beautiful
Moments“ in 1992.
With regard to the demand for such arrangements, the releasing of this instrumentation is another
contribution by the Czech Radio to the already released „Prague Waltzes“ of Antonín Dvořák, orchestrated by Václav Smetáček.
instrumentation:
description:
publ. No.:
price:
24
vno solo, archi
score, parts
R 072
190,- CZK
Main series
Antonín Dvořák/instr. Václav Smetáček Prague Waltzes
In 1879, Antonín Dvořák composed the Prague Waltzes. The treasures of the Czech Radio‘s Music
Publishing House include the handwritten version of Dvořák‘s Prague Waltzes, as arranged by Dr.
Václav Smetáček, conductor. This version‘s brass is more elaborated, and particularly the percussive
instruments‘ section is greatly enriched. This version is one of those played most frequently.
instrumentation:
description:
publ. No.:
price:
2fl, 2ob, 2cl, 2fg, 4cor, 2trb, 3tbn, timp, trgl, ptti, gr c, archi
score
R 025
340,- CZK
Jindřich Feld - 4 Moravian Christmas Songs for a
small instrumental ensemble
Jindřich Feld (1925–2007) graduated the composition study at the Academy of Performing Arts in
1952 and at the same time he also finished his doctoral studies in the field of musicology, aesthetics, and philosophy at Charles University in Prague. He was able to keep up with the development
of North-American and European music, and his music was more and more frequently heard in
European centres.
For the purpose broad casting of Czechoslovak Radio he had written his arrangement of 4 Moravian
Christmas Songs for a small instrumental ensemble in 1950. The composition contains the following
Moravian Christmas Songs: Byla cesta ušlapaná, Copak je to nového, Dej Bůh štěstí a Co se stalo
přihodilo.
instrumentation:
description:
publ. No.:
price:
fl, ob, cl, fg, cor, archi
score
R 219
100,- CZK
Luboš Fišer - Christmas
The composition is an imaginatively elaborated selection of Czech and Moravian Noels. Luboš Fišer
delicately grasped the character of Christmas music; the harmony and instrumentation consisting of
rather large contrasting areas intensifies audience‘s experience up to the logical outcome with the
song “Narodil se Kristus Pán“ (Lord Christ was born).
instrumentation:
description:
publ. No.:
price:
Main series
2fl, 2ob, 2cl, 2fg, 3cor, 3trb, 2tbn, 3timp, batt, arp, archi, soli SATB, coro misto,
coro bambino
score
R 073
445,- CZK
25
Oldřich Flosman - Concerto for Oboe and Orchestra
„One of Oldřich Flosman‘s last pieces is testament to the composer‘s maturity. It is also evidence
of his pure musicianship. Flosman‘s music never loses its shape and says exactly what we read in
the score.
Flosman‘s polyphonic creations exist to serve expression, and are marked by a clear structure and
transparency of composition. Individual movements contrast with one another, with the serious
mood of the first movement being replaced by the frolicking serenade of a village band. The orchestral attack of an intermezzo is followed by an almost Baroque recitative. But at the same time his
work is all cut from the same cloth. We find a deep feeling for the instrument in solo cadences. And
a first glance at the score makes it clear that the artist composed his work with enthusiasm and
pleasure. A careful listener will sense the serious undertone of Flosman‘s awareness of the reality
of life.“
instrumentation:
description:
publ. No.:
price:
ob solo, fl picc, 2fl, 2ob, 2cl, 2fg, 4cor, 2trb, 2tbn, cel, timp, batt, archi
score
R 066
270,- CZK
Josef Bohuslav Foerster / instr. Iša Krejčí Christmas Day Romance, op. 155
Christmas Day Romance is Foerster’s only melodrama based on text of Jan Neruda. It was created
in 1934. The theme is also Christmas, expressed in Neruda’s poem with an inimitable humorous
perspective that can serve as a prototype of folk Czech Christmas spirit: the event in Bethlehem is
commented on in a very earthly way, familiarly, as a genuine celebration of the child birth, the birth
of new life, as it is expressed in Czech folk Nativity scenes, in Christmas carols an other traditions
joined with this beautiful season.
This is exactly what Foerster’s music is: familiarly cheery, melodious, full of emotions without any
trace of mysticism - and nevertheless particularly religious. It was not to no vain that Foerster had
cantorial ancestors. This work was first published in 1935 in the edition Musical editions, founded
and directed by the composer Bohuslav Taraba. The author of the additional orchestral form is also
Iša Krejčí.
instrumentation:
description:
publ. No.:
price:
2fl, 2ob, 2cl, cl b, 2fg, 2cor, 2trb, 3tbn, batt, archi
score
R 134
135,- CZK
Josef Bohuslav Foerster - Three Christmas
melodramas, op. 155, 111, 162
J. B. Foerster (1859 - 1951) with his 32 melodramas is one of the most important composers of his
specific genre combining the recited poetic (or dramatic) text with instrumental music.
As an excellent literate Foerster chose his texts with great care and perspective - and he dealt with
them in the same way when composing. His works are mainly lyrical, reflective, which corresponds
with Foerster’s personality and talent. Nearly all of Foerster’s melodramas were already published
during his lifetime, especially thanks to the attention of Foerster’s society.
instrumentation:
description:
publ. No.:
price:
26
pfte, rec
score, part
R 135
145,- CZK
Main series
Josef Bohuslav Foerster - Two Impromptus for
Violin and Piano, op. 154
In contrast to his two sonatas, the Suite “Princezna Pampeliška“ (“Princess Dandelion”), and the
Fantasy and Ballad for violin and piano, Josef Bohuslav Foerster’s Two Impromptus for violin and
piano op. 154 belong among the less extensive compositions within the genre of the so-called instrumental lyrics. Foerster composed these two pieces in his late years: They were written in 1934, i.e.
in the year of the composer’s 75th birthday.
They were dedicated to Foerster’s second wife, Olga Hilkenová Dostálová, whom the composer
married two years later (in December 1936), after the death of his first spouse, Berta Foersterová
Lautererová. Opus 154 was first published in 1942 by Hudební matice Umělecké besedy (The Music
Foundation of the Patriotic Society of Artists).
instrumentation:
description:
publ. No.:
price:
vno, pfte
score, parts
R 158
145,- CZK
Jiří Gemrot - American Ouverture
The symphonic piece the American Overture was written towards the end of the year 1996. Commissioned by the conductor Paul Freeman, it was premiered by this very conductor first with the Czech
National Symphonic Orchestra in Prague, and later with Chicago Sinfonietta in an orchestral concert
Chicago. The music, lively in pace and impressive, corresponds with the intentions of the commissioner; as for its form, the composition applies and expands on the principles of the sonata form.
The overture has also been recorded for the Czech Radio by the Czech Radio Symphonic Orchestra
and the conductor Ondřej Kukal.
instrumentation:
description:
publ. No.:
price:
picc, 2fl, 2ob, 2cl, 2fg, 4cor, 3trb, 3tbn, tb, timp, perc, archi
score
R 236
170,- CZK
Jiří Gemrot - Bukolika
The one-phrase composition that had been implemented a great number of times uses the structure
of a sonata to describe the feelings of a summer day spent in nature: starting with morning fogs,
through a sunrise, midday heat, afternoon storm, until the dusk and rising of stars.
Challenging technique of this twelve minute piece calls for performance by professional players. For
its easy flow and simple accessibility for listeners it is very popular among all audiences including
those who do not usually enjoy the beauties of contemporary music.
instrumentation:
description:
publ. No.:
price:
Main series
vnoI, vnoII, vla, vcl
score, parts
R 038
230,- CZK
27
Jiří Gemrot - Bachmannlieder
A cycle which Jiří Gemrot originally wrote already in 1984 and which was intended for soprano and
piano. Its premiere under name Pět lyrických písní (Five Lyric Songs) was performed at the festival
in Bad Kissingen. Much later (in 1997), Jiří Gemrot was asked to prepare an orchestral version of
these songs for performance by Munich symphonists.
At that time Jiří Gemrot also extended the cycle by two new songs „Dem Abend gesagt“ and „Ich“
and he proposed a new name for it. In the end, the performance in Munich has never taken place.
The premiere of this piece was planned for the subscription season of the Český rozhlas‘s Symphonic
Orchestra 2004/2005. The solo part was performed by Magdalena Hajóssyjová.
instrumentation:
description:
publ. No.:
price:
soprano solo, 2fl - II muta fl picc, 2ob, 2cl, cl b, 2fg - II muta cfg, 4cor, 3trb,
3tbn, arp, timp, tam-tam, campli, camp di messa, ptto sosp, 2ptti, gr c, archi
score
R 029
300,- CZK
Jiří Gemrot - Capriccio for cello and piano
„Capriccio for cello and piano was written at the turn of 2011 and 2012. The form is of a loose rondo,
and even though its six minutes provide enough space for the musicians to show how accomplished
they are at playing cantabile sections, broken chords, pizzicatos, artificial flageolets, glissandos, or
to prove their agogic feel in loose quasi cadenza parts as well as their precise technique, I strived to
write music of a fluid and compact nature. Bearing in mind the age of the contestants, I made use of
such ways to bring about the impressive nature of a Cappricio that – compared with my other cello
works (the Sonata or both the concertos) – would prove more appropriate to the occasion.“
instrumentation:
description:
publ. No.:
price:
vcl, pfte
score, part
R 256
130,- CZK
Jiří Gemrot - Concertino for Flute, Timpani and
Bagpipe
Concertino for Flute, Timpani, Bagpipe and Symphony Orchestra has sparkling themes and in the
constriction and gaiety of instrumentation does not miss anything of the quality of the best compositions of 20th century.
The piece has been written especially for Chicago Sinfonietta Orchestra and for its conductor Paul
Freeman who had asked for it and premiered it with a great success with his orchestra in Chicago
on May 13, 2002.
instrumentation:
description:
publ. No.:
price:
28
fl, timp, cornamusa - soli; 2fl, 2ob, 2cl, 2fg, 4cor, 2trb, 3tbn, archi
score
R 015
340,- CZK
Main series
Jiří Gemrot - Concerto for Piano and Orchestra
The Concerto for Piano and Orchestra is not the first piece with this name on the list of Gemrot´s
music. However, two of them are juvenilia: Gemrot composed the second one as his graduation
piece at the Music Academy in 1981.
Gemrot´s concert work forms quite a large volume (violoncello, violin, flute concerts, Concerto for
Trumpet and Brass Band, Double Concerto for Violoncello, Piano and Orchestra, Concertino for Violoncello, Piano and Orchestra, Concertino for Flute, Kettledrums, Bagpipes and Orchestra and many
more). The Concerto for Piano and Orchestra is the only one which is composed as a one-movement
concert and it uses the cadence of a solo instrument more often. It is also a kind of a counterpart
of Gemrot´s work for solo piano.
instrumentation:
description:
publ. No.:
price:
pfte solo, 2fl - II muta fl picc, 2ob, 2cl, 2fg, 4cor, 2trb, 2tbn, tbn b, arp, perc,
archi
score
R 118
300,- CZK
Jiří Gemrot - Piano Quintet
Chamber music represents the focal point of Gemrot´s work, but he is also the author of a number
of concertos; a mass for mixed choir; songs with orchestra accompaniment; a symphony and other
symphonic compositions. His music has been heard by audiences from most European countries, but
also from Japan, Canada, Mexico or the USA. Gemrot has been repeatedly invited to visit the USA.
Piano Quintet was commissioned by the Arizona Friends of Chamber Music in Tuscon. Following a
successful premiere of the piece in 2003 Gemrot was asked to write more music for the Friends of
Chamber Music, and he remains the only composer to have been invited there more than twice.
instrumentation:
description:
publ. No.:
price:
pfte, 2vno, vla, vcl
score, parts
R 177
425,- CZK
Jiří Gemrot - Sonata for Violoncello and Piano
The work was created on the basis of the interprets to which it is dedicated (Jeremy Findlay, Elen
Braslavsky). It is an extensive, twenty-minute composition of three phrases with a classical formal
concept.
Both equivalent scores are intended for concert performances. Their musical language leans on
succinct melodics, novel harmony, stabile form and easy listener-oriented communicativeness.
instrumentation:
description:
publ. No.:
price:
Main series
vcl, pfte
parts
R 035
330,- CZK
29
Svatopluk Havelka - Agapé is Love
Agape is Love, a chamber cantata based on the Greek text of the 13th chapter of Paul the Apostle´s
First Epistle to the Corinthians from 1998 belongs to a free cycle of vocal-instrumental compositions
based on Greek biblical texts. The author worked on the cycle from 1993 (Pareneze for soprano,
piano and 2 percusionists) up to the first years of this century (Alpha and Omega - 2002).
The cantata Agapé is Love clearly and distincly represents Havelka´s late compositional style. Its
character is to a large extent determined, quite typically of Havelka, by the modal melodics and
frequent melismatic setting of the text
instrumentation:
description:
publ. No.:
price:
S solo, vno, vla, vcl, pfte
score, parts
R 187
230,- CZK
Svatopluk Havelka - Hymnos
Hymnos, a chamber cantata for baritone, clarinet and vibraphone based on the Greek text of Paul
the Apostle´s Epistle to the Philippians from 1999 belongs to a free cycle of vocal-instrumental
compositions based on Greek biblical texts. The author worked on the cycle from 1993 (Pareneze
for soprano, piano and 2 percusionists) up to the first years of this century (Alpha and Omega
- 2002).
A typical feature of Hymnos lies in the use of the vibraphone as one of the accompanying instruments. Havelka´s continuing affection for percussion instrument is maintained in this work, and the
way - in many aspects a revealing one - these instruments are use dis transferred to the stylistic
instrumentation:
description:
publ. No.:
price:
Bar solo, cl, vibf
score, parts
R 188
195,- CZK
Svatopluk Havelka - Symphony No. 1
The Symphony No. 1 (1955-1956) marked a significant turning point in Svatopluk Havelka‘s career.
This composition became a clear signal that a symphonist had been born whose ability to create
large musical structures in a stylistically original setting was unquestionable. Havelka‘s music has
been drawing attention of the broader public ever since. Each new piece has its own individual form
and brings novel compositional solutions.
Also his cantata Chvála světla (Eulogy of Light) for solo voices, mixed choir and orchestra belongs
among works of similar artistic force. Havelka‘s output within the genres of film and incidental music
is numerous as well, consisting of dozens of scores both for full-length and short films. His frequent
cooperation with filmmakers led to several notable awards that Havelka received for his music for
Vojtěch Jasný‘s films „Až přijde kocour“ („When the Tomcat Comes“) and „Všichni dobří rodáci“ („All
the Good Countrymen“), and for the film adaptation of the fairy-tale „Princ a večernice“ („The Prince
and the Evening Star“).
instrumentation:
description:
publ. No.:
price:
30
3fl - II, III muta fl picc, 2ob, cor ingl, 2cl in B, cl in Es, cl b, 2fg, cfg, 4cor, 3trb,
3tbn, tb, timp, perc, pfte/cel, 2arp, archi
score
R 138
260,- CZK
Main series
Svatopluk Havelka - The Signs of Time, symphonic
picture
The symphonic piece Znamení časů (The Signs of Times, 1996) is Havelka´s last major work for
symphonic orchestra, and the only one from his many significant symphonic compositions that was
written in the latest period of the author´s life. Havelka was commissioned to compose it on the
occasion of the centenary of the Czech Philharmonic Orchestra.
The same orchestra also premiered the piece under the Japanese conductor Ken-Ičiro Kobajaši on
24th April, 1997. After the premiere the autor made some slight alterations to the score; the changes were concerned with the instrumentation of several instruments the autor wanted to intensify.
instrumentation:
description:
publ. No.:
price:
fl picc, 3fl, 3ob, cor ingl, 3cl/cl in Es, cl b, 3fg/cfg, 4cor, 4trb, 3tbn, tb, arp, cel,
timp, 4 perc (I: tamb picc, claves, frusta, 3gg, legno; II: 4bonghi, 3t-tom, t-tam,
ptto sosp; III: 4temple-blocks, rag, camp, ptto sosp; IV: vibf, xil), archi
score
R 174
175,- CZK
Robert Hejnar - Elysium for piano solo and
symphony orchestra
“In Ancient Greek mythology the term Elysium refers to the abode (an island) of the blessed and the
righteous in the underworld; in a figurative sense it might also stand for the biblical Paradise (Eden).
I found the source of inspiration for the piece in the 2nd movement of L. van Beethoven’s 4th piano
concerto G major that is traditionally interpreted as “a dialogue between man and God”.
“My intention was to write a one-movement concerto for piano and orchestra that would emphasize
the meditative and confessional aspect of the confrontation between the solo instrument (piano
– man) and the accompanying orchestra (orchestra – God) in order to inspire the concerto form
with substantial and profound subject matter. I tried to eliminate the purely and purposelessly
virtuoso function of the solo piano part (i.e. to avoid technical clichés typical of the instrument and
to put emphasis on the expressive force of the part), and to create a mutual relationship between
the solo instrument and the orchestra making the two elements – in spite of their differing roles
– two equal partners.”
instrumentation:
description:
publ. No.:
price:
pfte solo, picc, 2fl, 2ob, cor ingl, 2cl, cl b, 2fg, cfg, 4cor, 3trb, 3tbn, tbn b, tb,
timp, vibf, cel, campli, camp, trgl, t-tam, ptti, metal chimes, arp, archi
score
R 209
185,- CZK
Petr Hejný - Painter´s Sonata for Violoncello solo
Petr Hejný (1956) composes for the instrument he masters: the cello. In his music, the experience
with the technical potential of the instrument and its timbre possibilities is clearly reflected. Hejný’s
compositions are performed by cellists in competitions and concerts; his sonatas, duos, and trios
are recorded at the Czech Radio
The Painter’s Sonata was written – its first movement CHAD, to be precise – in 1997 for the occasion
of the vernissage of Václav Chad’s exhibition in Litoměřice, where it was also first performed by the
author himself. Years later, Hejný added two more movements, whose themes are based on the
names of two other famous painters – DEGAS, and HEDA.
instrumentation:
description:
publ. No.:
price:
Main series
vcl solo
part
R 269
110,- CZK
31
Jiří Hlaváč - Dedication for Bohuslav Martinů
Three miniatures for clarinet solo were inspired by a number of sources. These include, apart from
the personality of Bohuslav Martinů himself and his loneliness, which is expressed in the composer‘s
poetic dedication in the prologue to the piece, also interviews with Josef Páleníček, Karel Husa and
Jan Novák. Last but not least, there is the memory of Charlotte Martinů, and Martinů‘s Sonatina for
Clarinet and Piano.
instrumentation:
description:
publ. No.:
price:
cl
part
R 063
115,- CZK
Ilja Hurník - Concerto for Flute and Chamber
Orchestra
The first works of the composer, pianist and writer Ilja Hurník (born in 1922 in Poruba), appeared
as soon as in 1933; those early works are still relevant as classical instructive literature today. Since
then Hurník‘s development continued smoothly without any style shifts. In 1938 Hurník‘s family
had to flee to Prague because of the Sudeten annexation. The loss of his native Silesia has been
compensated by the opportunity to become a student of pronounced teachers Vítězslav Novák for
composition and prof. Vilém Kurz for piano play. Later, Ilja Hurník has broadened his scope of composition and life of a piano stage player by literature and education.
Hurník‘s Flute Concerto from 1954 belongs among the series of works inspired by Milan Munclinger
and his ensemble Ars rediviva (Sonata de Camera, Esercizi for brass quartet, and others). The piece
was composed as a neoclassical protest against the constraint of socialistic realism. The three-part
work adopts classical concerto form, relieved expression and instrumentation brilliancy.
instrumentation:
description:
publ. No.:
price:
fl solo, 2ob, 2fg, timp, archi
score
R 070
215,- CZK
Ilja Hurník - Concerto for Flute and Chamber
Orchestra
The first works of the composer, pianist and writer Ilja Hurník (born in 1922 in Poruba), appeared
as soon as in 1933; those early works are still relevant as classical instructive literature today. Since
then Hurník‘s development continued smoothly without any style shifts. In 1938 Hurník‘s family
had to flee to Prague because of the Sudeten annexation. The loss of his native Silesia has been
compensated by the opportunity to become a student of pronounced teachers Vítězslav Novák for
composition and prof. Vilém Kurz for piano play. Later, Ilja Hurník has broadened his scope of composition and life of a piano stage player by literature and education.
Hurník‘s Flute Concerto from 1954 belongs among the series of works inspired by Milan Munclinger
and his ensemble Ars rediviva (Sonata de Camera, Esercizi for brass quartet, and others). The piece
was composed as a neoclassical protest against the constraint of socialistic realism. The three-part
work adopts classical concerto form, relieved expression and instrumentation brilliancy.
instrumentation:
description:
publ. No.:
price:
32
fl solo, pfte
piano score, solo part
R 071
230,- CZK
Main series
Ilja Hurník - Music for Piano
The first works of the composer, pianist and writer Ilja Hurník (*1922 in Poruba), appeared as
soon as in 1933; those early works are still relevant as classical instructive literature today. Since
then Hurník’s development continued smoothly without any style shifts. In 1938 Hurník’s family
had to flee to Prague because of the Sudeten annexation. The loss of his native Silesia has been
compensated by the opportunity to become a student of pronounced teachers Vítězslav Novák for
composition and prof. Vilém Kurz for piano play.
„Throughout the past sixty years I have spent as a concert pianist, the piano has always kept me
quite busy, so that as a composer I have kept my distance from the instrument for a long time. With
years going by, however, one tends to return to the roots. And since my roots, after all, spring from
this instrument, I decided to return to it in this composition. It has a four-movement sonata form,
though the music is, for the most part, of a concertante nature. Making use of all facets of the piano,
the piece explores it as a melodic, virtuoso, playful, and percussion instrument.“
instrumentation:
description:
publ. No.:
price:
pfte
part
R 171
145,- CZK
Ilja Hurník - Symphony in C
The composition has traditional form and the diction of the author shows Silesian ebulliency.
Symphony in C was written by an already formed and very experienced composer Ilja Hurník
(*1922). The piece exploits an ambition to take a very short orchestral piece intended for adepts of
Prague Spring conductor competition and to recreate it into large musical planes.
The work has a clear conventional form. It does not intend to discover new possibilities; rather it
tries to look back at things. The first movement really is a conductor trial having quite a complicated
rhythmical setting. The second movement, a soothing lullaby, introduces an instrumentation of
nostalgically French play of colours to pave the way for the finale that really lets the kettle-drums
pound and the brasses cheer.
instrumentation:
description:
publ. No.:
price:
fl picc, 3fl, 3ob, cor ingl, 3cl, cl b, 3fg, 4cor, 2trb, 3tbn, timp, tamb picc, ptti,
camp, archi
score
R 012
350,- CZK
Ilja Hurník - Twelve Piano Preludes
In Twelve Piano Preludes the author combines a number of compositional elements: fugatto;
unrestrained prelude passages; ostinato patterns are used here and there; some parts betray a
toccata-like character that is at times interleaved with arpeggios. The mood of each of the twelve
parts differs, whether in the modal character, in the dance-like gaiety, or in the turbulence of the
music. Forming a well-rounded and coherent unit, the whole composition can easily become a part
of any piano virtuoso’s stable repertoire. The individual parts are entitled as follows: Aggressively,
Playfully, With a Smile, Dramatically, With Humour, Lullaby, Gigue, Dialogue, Angrily, Recollection,
Boisterously, Reconciliation.
This cycle, highly demanding in technique, represents the author’s return to his roots, i.e. to piano
music composition. Throughout the piece, Hurník makes use of a kind of blurred diatonics that after
a brief harmonic digression unmistakeably finds its way to the appropriate consonants. Personally,
I have been deeply impressed by the piece, despite the fact that one could not possibly label the
composition experimental in any way; the author is perfectly sure about which means of expression
to use and where.
instrumentation:
description:
publ. No.:
price:
Main series
pfte solo
part
R 206
145,- CZK
33
Lukáš Hurník - Girl and Machine
The subject of the concert overture The Girl and the Machine recalls Schubert‘s Death and the
Maiden, and possibly also Beauty and the Beast. It is a confrontation of tenderness, humanity and
emotionality with the brutal rumbling of the machine.
However, the development of this relationship is unexpected. The machine (orchestra) manages
to communicate with the girl (usually solo flute) quite successfully, the girl flirts with it, and the
machine behaves like a bull in a china shop, but it is not unlikable. Eventually, a foreseeable conflict
between the two takes place. This episode leaves them both strengthened, and, at the end, they
rush together, brimming over with youthful energy, towards a happy future in the post-industrial
society... But the piece can be also perceived as lacking any programme, as a concerto movement
in the extended sonata form with a slow episode in the development.
instrumentation:
description:
publ. No.:
price:
fl picc, 2fl, 2ob, 2cl, 2fg, 2cor, 2trb, tbn b, timp, perc, archi
score
R 064
230,- CZK
Lukáš Hurník - Upside-down Variations on Mozart‘s
Theme for string quintet/string quartet/string
orchestra
All the true variations begin with a theme and end by a Fugue. Nevertheless, the Upside-down Variations begin with a Fugue and then, clearing as they go, they slowly approach the line of Mozart‘s
famous melody.
The audience is therefore set against a puzzle or a game of whoever finds out what the theme is.
This piece has been composed to answer the request of Mozartiana Iuventus festival and was performed for the first time at Mozart‘s Bertramka in Prague on September 2000.
instrumentation:
description:
publ. No.:
price:
score
parts (quintet)
add. single part
vnoI, vnoII, vla, vcl, cb ad lib.
score, parts
R 082
155,- CZK
130,- CZK
26,- CZK
Karel Husa - Overture per grand orchestra
„Academy“
Overture “Academy” was written in 1944 during my student years at the Prague Conservatory,
in the composition class of prof. Jaroslav Ridky (1942-45). Although the Second World war was
raging, I felt happy because I found in music - and especially in composing - my life-goal. I think
the Overture is joyful and optimistic, like my student years. I am very grateful to the Czech Radio
for publishing the composition.
instrumentation:
description:
publ. No.:
price:
34
picc, 2fl, 2ob, ci, 2cl, cl b, 2fg, cfg, 4cor, 3trp, 3trb, tb, timp, 4perc, 2arp, archi
score
R 224
190,- CZK
Main series
Karel Husa - Sinfonietta
„Sketches of my Sinfonietta were written during the last two years of WWII (1944-45). Although
the atmosphere in Europe was tense, my musical ideas were optimistic and happy, as composing
was what I loved to do. The form of the work is still classic-romantic, with some impressionistic
orchestral coloring. The Sinfonietta was completed in 1946.
„The first movement is in sonata form; the first theme is lyrical, the second theme is rhythmic.
Both are used in the development section, separately as well as together. The recapitulation brings
back the second and first themes and closes quietly in a short coda. The Nocturne (2nd movement)
has a simple A-B-A form. Both melodies are combined in contrapuntal texture as the movement
moves toward its climax. A gradual diminuendo concludes the movement with a recollection of a
few measures from the beginning. The Finale in rondo form opens in the manner of a fanfare. All
three themes are worked in the middle section, which is reminiscent of a development section of
a sonata form.”
instrumentation:
description:
publ. No.:
price:
fl picc, 2fl, 2ob, 2cl, 2fg, 2cor, 2trb, timp, batt, arp, archi
score
R 112
300,- CZK
Karel Husa - String Quartet „0“
String Quartet „0“ was written in 1942 - 43 during Husa´s studies at the Prague Conservatory, this
quartet was not performed until the Apollon Quartet gave the first performance in Prague on 23
February 2000, in the Lichtenstein Palace, at the concert organized by the Society for contemporary
music (Pritomnost).
It is Husa´s first composition, but it was not included in his works and thus No. 0. The composer
considered it a „learning“ piece and assigned his Sonatina for piano the „opus 1“, although composed after the String Quartet. This three-movement composition develops in a great way with a most
dramatic style and richly changing flow. It is an incredibly surprising and compositionally mature
utterance. The interpreters are constantly and intensively busy.
instrumentation:
description:
publ. No.:
price:
vnoI, vnoII, vla, vcl
score, parts
R 159
220,- CZK
Martin Hybler - Curatio hypochondrii for Fagotto
solo
The four-movement composition entitled Curatio hypochondrii (a hypochondriac’s treatment) for
solo bassoon is the result of my cooperation with the bassoonist Václav Vonášek in 2010. Our
original concept was that of a kind of a sound lab that would search for all kinds of sounds that
the instrument is capable of making when in the hands of a creative artist. The ultimate aim of our
cooperation was a purposeful integration of such effects into a natural flow of music. The piece
contains richly articulated tones, multiphonics, bisbigliandos, glissandos and other techniques that
are becoming ever more frequent in present-day scores.
The non-musical inspiration was taken from the world of medicine – namely, the concept of hypochondria. Statistics tell us that the number of people who suffer from constant concerns about their
imaginary diseases is on the rise. The work was intended to be a humorous piece of music. A healthy
person who – under the obsessive pressure of a disease – undergoes gradually more and more
drastic medical treatments only to be finally relieved by a placebo. The composition is dedicated to
Václav Vonášek for his wonderful contributions on the quest for expanding the sonic possibilities of
the bassoon. May this piece be applied to wholesome effects!
instrumentation:
description:
publ. No.:
price:
Main series
fg solo
part
R 238
140,- CZK
35
Martin Hybler - La musica della luna
„The concert for guitar and chamber orchestra La musica della luna (Music of the Moon) is a three
part composition I wrote in 2001. Originally it was for guitar and piano, but later, in 2005, I changed the piano part and rearranged it for chamber orchestra. I made the composition particularly
for the international music festival Silk Sound Road which took place in the capital of Kyrgyzstan,
Bischkek.
There it was performed form for the first time in its incomplete at the opening concert on the 30
September 2001. After coming back to the Czech Republic I finished the composition giving it its
final shape. I found my inspiration especially in the gorgeous natural scenery of the place.“
instrumentation:
description:
publ. No.:
price:
chit sola, fl picc, 2fl, ob, cor ingl, cl, cl b, fg, 2cor, cel/pfte ad lib, ptti, archi
score
R 090
145,- CZK
Martin Hybler - La musica della luna
„The concert for guitar and chamber orchestra La musica della luna (Music of the Moon) is a three
part composition I wrote in 2001. Originally it was for guitar and piano, but later, in 2005, I changed the piano part and rearranged it for chamber orchestra. I made the composition particularly
for the international music festival Silk Sound Road which took place in the capital of Kyrgyzstan,
Bischkek.
There it was performed form for the first time in its incomplete at the opening concert on the 30
September 2001. After coming back to the Czech Republic I finished the composition giving it its
final shape. I found my inspiration especially in the gorgeous natural scenery of the place.“
instrumentation:
description:
publ. No.:
price:
chit sola, pfte
piano score, part
R 091
135,- CZK
Martin Hybler - Outsider Bohemian, Story for
bassoon and chamber orchestra, op. 29
„An outsider fails to meet social standards and is, without knowing it and agreeing to it, overlooked
by the society and left aside. Unlike the bohemian who differentiates willfully and purposefully
chooses mossy routes.
The outsider bohemian from my composition represents an object who is aware of his unique abilities and experience but has no one to cultivate them for. To the social norm his results are boring.
The story of my outsider bohemian tells about the journey of a man who becomes estranged from
the society at which moment his eyes open and he surprisingly discovers his inner equilibrium. The
piece is dedicated to the bassoonist Tomáš Františ.“
instrumentation:
description:
publ. No.:
price:
36
fg solo, 2chit (1 esecutore), vibf, perc, archi
score
R 163
150,- CZK
Main series
Martin Hybler - Outsider Bohemian, Story for
bassoon and chamber orchestra, op. 29
„An outsider fails to meet social standards and is, without knowing it and agreeing to it, overlooked
by the society and left aside. Unlike the bohemian who differentiates willfully and purposefully
chooses mossy routes.
The outsider bohemian from my composition represents an object who is aware of his unique abilities and experience but has no one to cultivate them for. To the social norm his results are boring.
The story of my outsider bohemian tells about the journey of a man who becomes estranged from
the society at which moment his eyes open and he surprisingly discovers his inner equilibrium. The
piece is dedicated to the bassoonist Tomáš Františ.“
instrumentation:
description:
publ. No.:
price:
fg, pfte
piano score
R 164
170,- CZK
Martin Hybler - Sleeper in the Valley
Inspired by the poem The Sleeper in the Valley by Jean Arthur Rimbaud in Vítězslav Nezval’s translation, the homonymic composition came to life in 1997. Having read the poem, I was impressed by
the author’s ability to depict the contrast between the peaceful life (the idyllic setting, the cosy
womb of nature, the soldier’s restful slumber), and the violent death (the red holes in his side). I
tried to transform this contrast into the instrumentation of my piece – the violas represent life, the
guitars symbolize death.
The interpretation of the music should be approached from the same angle – the mild sound of the
violas accompanied by the icy cold high registers of the guitars. During a concert performance the
poem may be recited half way through the piece (bar 64) but not necessarily.
instrumentation:
description:
publ. No.:
price:
rec ad lib., 2guit, 2vla
score, parts
R 237
150,- CZK
Martin Hybler - Three Melodramas
A strong tension between Desire and Disillusionment, tension between an idea of vigorous and
beautiful life and the surrounding social reality in which the idea cannot be carried out, those are the
specifics of the early work of the poet Fráňa Šrámek (1877 - 1952). There we may found the origin
of his ever failing heroes and tragic or bitter conclusions of his stories.
Gradually, Šrámek moves his attention to that least affected by the distorting tensions of the society
- the intensive love experience, the relationship between man and nature and what is most important, to the youth that grabs the world with ever hungry and eager senses. The poems „Dívka“
(Maiden) and „Žena a jediný“ (Woman and the Only One) from the book „Splav“ (Weir) and the
poem „Pane, kupte hada“ (Sir, Buy a Snake) are set together into a short melodramatic cycle for
their particularly melodic flow of speech. Šrámek created an extraordinary way of expressing the
changeover of a young maiden into a fully-grown woman.
instrumentation:
description:
publ. No.:
price:
Main series
pfte, rec
score
R 107
165,- CZK
37
Martin Hybler - You Don‘t Say
„You Don‘t Say - melodrama for reciter and piano written in 2001 is based on a colloquially shaped
text by Daniel Soukup.
The story runs on a background of telephone-call and describes the communication problems of
today‘s young generation. The main character (Martin) converses with an imaginary female character (Katka). The dialog sensation is built through our constant completion and deduction of Martin‘s
text; therefore I recommend stressing out the long formative holds there. To a great degree the
piano substitutes the imaginary female figure, otherwise it just imitatively completes the absurd
scene of the telephone-call.“
instrumentation:
description:
publ. No.:
price:
pfte, rec
score
R 098
155,- CZK
Jiří Jaroch - Children‘s Suite for Nonet
The most frequently played composition taken from Jaroch‘s chamber production is the serene,
playful and poetic „Children‘s Suite for Nonet“ (1952); he wrote it as a present for children of the
members of the Czech Nonet.
The tritone structure gave place to diatonic euphony and to the author‘s vision of how the so called
„classical music“ is perceived by children. Jaroch keeps children in mind also while choosing the style
of each part; (Little Dance „Hushabye“ Barley-break) even the length of the parts is designed to
meet the abilities of children to keep their perception focused. It seems though, the suite still brings
joy not only to children but also to adults of yet new generations.
instrumentation:
description:
publ. No.:
price:
fl, ob, cl, fg, cor, vno, vla, vcl, cb
score
R 084
270,- CZK
Olga Ježková - Blue Shades
“In the nonet entitled Modré valéry (The Shades of Blue) it was my intention to express five colour
tones by means of the sound of string instruments. The piece abides by the rules of the classical
sonata form with the second slow movement and the third in the form of a dance. The ambition
to stand up to the challenge of such a formal appeal served as an additional stimulus to write the
piece. The composition can be performed in two versions: either by a nonet or by a string orchestra.
Either of these options represents a unique timbre quality. The sound of the string orchestra gives
rise to a specific new ‘timbre shade’ whose appeal and efficacy grows with the growing number of
the performing artists.”
instrumentation:
description:
publ. No.:
price:
38
4vno, 2vla, vcl, cb, perc / archi
score
R 229
155,- CZK
Main series
Olga Ježková - David the Shepherd
„Before David became a king, he was a lowly shepherd and that is why I felt entitled to use his
words and thoughts today.
He probably spoke them in Hebrew, but the 16th century language of the Kralicka version of the
Old Testament on my night stand struck me as being wonderfully melodic and picturesque, while
also being decisive and in places much more exact in its expression than today‘s Czech language. It
doesn‘t quite seem fair to me that I take the thoughts of David and put them in the mouth of someone who can sing them better than I can. I chose thirteen verses for the composition, taken out of
context from the Old Testament Book of Psalms, and rearranged them to create a specific narrative
framework. Clearly their contents are absolutely relevant to any era, so its understandable that I can
feel the need to call to God today in the same sense that David did thousands of years ago.“
instrumentation:
description:
publ. No.:
price:
soprano solo, 3tbn, 2vcl, sega, perc
score, parts
R 074
185,- CZK
Olga Ježková - Eye, symphonic fantasy for a boy´s
soprano and orchestra
“I was impressed by a tiny little book for children of about five years and above containing excerpts
from psalms and epistles translated, so to speak, into a clear language easily comprehensible for
children. A child, however small, does sometimes have to face huge problems. I think it is therefore
a good idea for him or her to be able to realize as early on as possible that there is something else
than the people surrounding them to turn to; something superior, more stable, something sublime.
Sometimes we can do but very little on our own, no matter how hard we try. But there is a different
Eye that sees all. I have always cherished the image of the full sound of the symphonic orchestra
besides a child’s voice as quite irresistible. And, what is more, for me it is a way of expressing any
human being’s appeal to God.”
instrumentation:
description:
publ. No.:
price:
voc puerile, picc, 2fl/fl alto in G, 2ob, ci, 2cl, 2fg, 4cor, 4trp, 3trb, tb, tymp,
7perc, arp, archi
score
R 231
100,- CZK
Jan Jirásek - Castles in the Air
„Some years ago, I felt and experienced my own music so deeply, strongly and clearly
that I almost lost the desire to write it down. I just wanted to live with that and experience it in a state similar to that of meditation. Later on, I figured that something like
that is not possible and reasonable in the real contemporary world and I started to
write music again.
To me „Castles in the Air“ means something both beautiful and unattainable at the
same time. Although that beauty exists both within and beyond us, we are not able to
catch it or master it no matter how much we strive to do that. We can just touch it at
the moments of the deepest and greatest creative intimacy.
The piece for one percussionist „Castles in the Air“ I started to plan to write couple of years ago. I was inspired by Amy L. Barber´s
interpretation of my other percussion piece „Bread and Circuses.“ Both pieces are dedicated to her.“
instrumentation:
description:
publ. No.:
price:
Main series
crot, 4ptti sosp, 3tam-tam, tubi di bambú, tubi di metalo, tamb di legno africano, vibf, mar, tamb b
score
R 094
200,- CZK
39
Jan Jirásek - Viribus unitis
„Viribus unitis“ is a piece for organ and tuba. As far as I know, it is the very first piece
combining those two instruments. The title means „With united forces“. This could
be explained in terms of cooperation of those two instruments. It has its non-musical
essence as well. In these terms, phantasy of the audience cannot be limited.
I was commissioned to write the piece by the Festival Voor de Vind (Amsterdam,
Netherlands). „Viribus unitis“ was premiered on September 8, 2003 at the Westerkerck
Church in Amsterdam. It might be interesting to mention that a great Dutch painter
Rembrandt van Rijn was buried in that church.“
instrumentation:
description:
publ. No.:
price:
org, tb
score, part
R 096
205,- CZK
Julius Kalaš - The Nightingale and the Rose,
symphonic poem for Flute and Orchestra
Julius Kalaš a composer, pedagogue and pianist (1902 - 1967). At the Prague Conservatory he
studied composition with Jaroslav Křička and Josef Bohuslav Foerster; afterwards he went on to the
Master School of the Prague Conservatory to study under Josef Suk. He was a teacher at the Film
Faculty of the Academy of Performing Arts (in the field of film sound and music). Among his activities
the most intensive was his cooperation with the Kocourkov Teachers’ Choir where he assumed the
position of artistic director, composer, and pianist from 1925 to 1953. With this group consisting of
eight members he created a new type of satire.
A significant part of his output consists of his songs, operettas and musical comedies. a composer
he won recognition mainly thanks to his film music (about forty films) that he produced mostly in
cooperation with the Kocourkov Teachers. In his classical music compositions he drew on the work
of his teacher Josef Suk. In 1956 he composed a symphonic poem for flute and orchestra based on
Oscar Wilde’s The Nightingale and the Rose.
instrumentation:
description:
publ. No.:
price:
ob/cor ingl, 2cl/cl b, fg, 3cor, 2trb, tbn, timp, cel, arp, 6perc - 3esec (pc/trgl, gc/ptti/t-tam/tamb picc/gg, camp
E/campli)
score
R 186
270,- CZK
Vítězslava Kaprálová - Christmas Prelude
Christmas Prelude is three minutes of vivid chamber music. Clear bucolic motif in colour of French
horn and oboe with the background of string sixteenth notes is in major and minor simultaneously.
The colour of harp and piano that we can only occasionally glimpse through the mighty string sound
calls for an immediate association with the instrumentation we know from the works of Bohuslav
Martinů, incidentally Kaprálová’s favorite. The same applies to the joyful spark of clear major harmony that sometimes springs out of lightly discordant structures.
instrumentation:
description:
publ. No.:
price:
40
2fl, 2ob, cor, trb, arp, pfte, archi
score, parts
R 022
225,- CZK
Main series
Vítězslava Kaprálová - Military Sinfonietta op. 11
Military Sinfonietta op. 11 was the composer‘s graduation composition, which brought her studies at
the Prague Conservatory to a successful completion. Kaprálová began working on it on 29 May 1936 and completed it on 23 February 1937. She dedicated the composition to Edvard Beneš, President
of the Czechoslovak Republic.
The work was first performed by the Czech Philharmonic under the baton of the composer at a
concert organized by the National Women‘s Council at Lucerna Hall in Prague on 26 November
1937. The following year, on 17 June 1938, the sinfonietta opened the ISCM festival in London.
On this occasion, Kaprálová conducted the work with the BBC Orchestra. The composition was first
published under the title Symfonieta (vojenská-militaire-military) by Edition Melantrich in November
1938 in Prague. Twenty years later, the Czech Music Fund published the work, in a facsimile edition,
under the title Sinfonietta militare. This is therefore the third edition of the work.
instrumentation:
description:
publ. No.:
price:
3fl, 2ob, cor ingl, 3cl, cl b, 2fg, cfg, 6cor, 3trb, 3tbn, tb, perc, archi
score
R 043
290,- CZK
Vítězslava Kaprálová - Partita for Piano and String
Orchestra op. 20
The neo-classical Partita for Piano and String Orchestra op. 20, the main achievement of Kaprálová‘s
Paris studies with Bohuslav Martinů, occupies a rather unique place in the context of the composer‘s
creative output.
Kaprálová worked on this remarkable composition for more than a year: she began sketching it in
March 1938 and finished it in June 1939. The work was premiered by Jan Erml with the Czech Radio
Orchestra, under the baton of Břetislav Bakala, on 20 November 1941 in Brno. It was first published
by Svoboda, a publishing house based in Prague, under the title Partita per pianoforte ed orchestra
d‘archi, op. 20. This is its second edition.
instrumentation:
description:
publ. No.:
price:
pfte, archi
score
R 099
260,- CZK
Vítězslava Kaprálová (revision Ivan Štraus) - String
Quartet No.1, op.8
Vítězslava Kaprálová (1915 - 1940) composed the three-movement String Quartet opus 8 in summer
1935 almost entirely during her holiday sojourn at a place she liked most: in a small village called
Three Wells (Tři Studně) amidst the beautiful countryside of the Czech-Moravian Highlands.
The music of the quartet reflects the joy and self-assurance stemming from the recent success of
her graduate‘s concert in Brno; she wrote as she felt. The nature of the piece is that of an undisturbed and worriless atmosphere of relaxation. It is an immediate reaction to the composer‘s life experiences; a bridge that unites the school and study period and the real life of an artist.
instrumentation:
description:
publ. No.:
price:
Main series
vnoI, vnoII, vla, vcl
score, parts
R 168
425,- CZK
41
Vítězslava Kaprálová - To Karel Čapek, melodrama
on the text by Vítězslav Nezval
The passing away of Kaprálová´s beloved writer, the death of Karel Čapek. An author whom Kaprálová read and loved, and whose struggle for truth deeply affected her own artistic existence, emotionally as well as intellectually. There was Vítězslav Nezval’s beautiful poetic obituary. And Kaprálová
had been considering to write a melodrama. Enchanted by the text, she transformed Nezval’s poetry
directly after the premiere of the Elegy into a profound, agonizing, deeply personal exclamation:
into her own brave account of her relationship with Čapek, the Czech language, the Czech land, the
Czech destiny. The composition was performed in French translation at the Czech embassy in Paris;
again, the piano part was played by the author. After the Paris premiere, Vítězslava Kaprálová left a
brief note in the score: “The ending was very nice…”
Taking into account the often rather excessive severity of the author’s opinions of her own work, this
remark can be understood as a decisive imprimatur.The piece complies ideally with the requirements
of modern melodrama: retaining their full autonomy throughout, the participating elements also
complement one another to achieve an ideal expressive force. The melodrama “To Karel Čapek”
belongs to the most beautiful Czech melodramas and ranks high also in the context of Czech concert solo violin literature.
instrumentation:
description:
publ. No.:
price:
rec, vno, pfte
score
R 239
110,- CZK
Jaroslav Krček - Symphony No. 4 „Desiderata“
„I wrote Symphony No. 4 „Desiderata“ in 2000 and entered it in the Prague Philharmonia‘s competion „ Symphonies for the 3rd Millennium. The orchestra performed the premiere of the symphony
under the baton of Jiří Bělohlávek at the Smetana Festival in Litomyšl.
I wanted to write a joyful chamber symphony, and in the third movement used a text titled „Desiderata“ or „Wisdom of life“, written by unidenified 18th century monk. It is an instructive text, on that
leads us to think about how we should live, how to find ourselves, and find love and happiness.“
instrumentation:
description:
publ. No.:
price:
2fl - II muta fl picc, 2ob, 2cl, 2fg, 2cor 2trb, perc, canto, archi
score
R 067
350,- CZK
Iša Krejčí - Quartett in D
The 1st string quartet in D major, commenced in the 24th year of the author‘s life, constitutes a real
„battlefield“ together with the first two sonatas. It is dedicated to his father‘s seventieth birthday
and in the handwriting, it is possible to find many passionate strokes as well as the author‘s seeking
for his new, somewhat more serious, musical language.
Individual movements were created throughout different years and they were only gradually being
connected or inserted into the original two-movement version: Molto vivace - Passacaglia and a
chorale variation. The release by Czech Radio publishing department represents an inside view into
Krejčí’s workshop offering before excluded variations n. 5 - 9 after the final Presto movement. The
author himself cast aside those variations to shorten the original variation movement so that in front
of it he could insert a short contrasting Scherzo, originally written in 1929.
instrumentation:
description:
publ. No.:
price:
42
vnoI, vnoII, vla, vcl
score, parts
R 042
375,- CZK
Main series
Iša Krejčí - Symphony No. 3
Krejčí’s four symphonies brought a completely new and individual tone to the repertoire of the Czech
post-war symphony, free of romanticising pathos and great tragic or philosophising gestures.
Symphony no. 3 “in C” from 1961/63 stands out from these four with its truly clear, problem-free
ease of form, playfulness and overall freedom of musical statement. The thoroughly optimistic
character of this work, in which there are in principle no slow movements (in place of the 3rd movement is more of a playful and pleasing Aria in Allegretto moderato tempo), radiates from his music
from the first to the last beat. The introductory movement is constructed in a well-arranged sonata
form, linking on to Krejčí’s favourite sparkling Scherzino with alternative Trio in the central section
of the form, then followed by the above-mentioned Aria and effective and vital finale at Allegro
molto speed to close the symphony. The premiere of the work was performed in 1964 by the Czech
Philharmonic under the baton of Karel Ančerl.
instrumentation:
description:
publ. No.:
price:
fl picc, 2fl, 2ob, 2cl, 2fg, 4cor, 2trb, 3tbn, timp, batt, pfte, archi
score
R 108
210,- CZK
Iša Krejčí - Three Piano Scherzina
Three Piano Scherzina by composer Iša Krejčí developed from previous flute pieces from 1953.
Krejčí, an artist of the new classical style, offers the demonstration of refined composition, both
technical and instrumental.
In simple ABA form, he develops the beauty of peripheral parts in a playful animato while the trio
central part sounds with simple and warm popular melodies. It is a polished piece showing the past
of divertiments. The direct musicality of Iša Krejčí‘s Scherzina has become very popular among
piano players within a short period of time. This is also documented by its permanent presence in
their repertoire.
instrumentation:
description:
publ. No.:
price:
pfte
part
R 041
140,- CZK
Iša Krejčí - Trio Divertimento
The composition of the thirty-one-year-old author, dedicated dutifully to „my teacher, K. B. Jirák“, is
one of the works that already presents the author who is certain about his own style. It reflects early
neo-classicism of his first Cassation, funny, juicy, and deliberately a bit naive.
Consisting of four short movements (Introduction - Chorale - Scherzino - Rondino) Trio Divertimento
is very well instrumentally positioned. It displays clear rhythmization and refined homophonic setting
that make the piece perfect for conservatory or higher music school students. In short, anyone
interested in chamber music of this particular instrumentation has a chance to perform an all around
great piece with plenty of buoyancy, cheerfulness and playful modesty.
instrumentation:
description:
publ. No.:
price:
Main series
ob, cl, fg
score, parts
R 034
205,- CZK
43
Miroslav Kubička - Double Concerto for Violin, Piano
and Orchestra
Miroslav Kubička has signed numerous orchestral, lyric and choral pieces but he is also an author of
many chamber compositions. His Symphony for Full Orchestra from 1977 - 1980 received a considerable reception. Among other significant compositions is the Piano Concerto No. 2 (1984 - 1986)
written for a pianist Ivan Klánský. Other Kubička‘s relevant piece was performed at the festival „Prague Premieres 2005“ - Three Frescos, a piece for mixed and children‘s (women‘s) chorus, organ and
percussion on the texts of old Czech poetry was composed to answer the request of abbe Georges
Durand and it symbolizes the alliance of three cultural centres of Europe: Avignon, Bologna and Prague. It was first performed in July 2002 in Avignon. From his chamber creations the one-movement
string quintet The Chats (1982) is worth attention; out of his recent works we choose Quartet in C
Major for flute, violin, violoncello and piano (2000 - 2001).
Double Concerto for Violin, Piano and Orchestra was composed on the prompting of Silvie Hessová
and Daniel Wiesner in 2006 - 2008. It is a celebration of friendship between kindred spirits as the
make their way together though life on earth. The composition flows in a single stream, although it
is clearly divided into slow variations and an energetic, brisk sonata part.
instrumentation:
description:
publ. No.:
price:
vno solo, pfte solo, 2 fl - II muta fl picc, 2ob, 2 cl - II muta cl b, 2fg, 2cor, 2trb, tbn, perc, archi
score
R 178
150,- CZK
Miroslav Kubička - Sinfonietta
„Sinfonietta for chamber orchestra was written between 1976 and 77. This work is very special in
a way, I intended to fulfill a wish of my friend from childhood and write a piece similar to Haydn‘s
symphonies. I knew my friend was seriously ill and I wanted to finish the work as soon as possible;
yet, sadly, already the second movement changed into an Elegy for H. M.
This altered the whole concept of the composition. Harmonic advancement of the second movement
enters the finale and also a symbolic motive from Dvořák‘s Requiem appears in the oboe part. Life
never stops for a loss, it goes on - thinking of Sinfonietta I remember both the beautiful and the
painful memories.“
instrumentation:
description:
publ. No.:
price:
2fl, 2ob, 2cl, 2fg, 2cor, 2trb, timp, archi
score
R 088
410,- CZK
Miroslav Kubička - Sonata for Trombone and Piano
Miroslav Kubička (b. 1951) has signed numerous orchestral, lyric and choral pieces but he is also
an author of many chamber compositions. From his chamber creations the one-movement string
quintet The Chats (1982) is worth attention; out of his recent works we choose Quartet in C Major
for fl ute, violin, violoncello and piano (2000–2001).
„Sonata for Trombone and Piano, written in the years 2004 to 2006, was conceived with an idea in
mind of an instrument close to human voice in terms of its expressive potential. This notion thus
directly infl uenced the peculiar form of the sonata, as well as the stylization of both the instrumental
parts.“
instrumentation:
description:
publ. No.:
price:
44
tbn, pfte
score, part
R 207
165,- CZK
Main series
Jan Kučera - Contemplation
„Contemplation“ is a twelve-minute piece which Jan Kučera composed for the string quintet. The
one-movement composition has the character of a stylized pop-jazz ballad with touches of minimalism. Jan Kučera finds this musical style very congenial.
instrumentation:
description:
publ. No.:
price:
vno I, vno II, vla, vcl, cb
score, parts
R 056
300,- CZK
Jan Kučera - Full House
Full House is a composition in one movement, where we can recognize some elements of baroque
fugue, swing and some parody. According to the author interpret would have to know something
about jazz, funk, be-bop and blues and about the fusion of these elements with classical music.
instrumentation:
description:
publ. No.:
price:
vnoI, vnoII, vla, vcl, cb
score, parts
R 027
245,- CZK
Jan Kučera - Suite concertante
Suite concertante by Jan Kučera (*1977) was composed for the Epoque Quartet and Czech Radio
Symphony Orchestra in 2006 - 2007. The work is conceived as a concerto grosso with striking solo
episodes. “I tried however to also present the string quartet as a compact unit and to confront it
by means of sharp patterns with the orchestra, which does not only play an accompanying role...”,
says the composer about his work.
The first of five parts entails stylised blues, growing from a twelve-bar harmonic scheme; the second
part (Istanbuliana) brings with it oriental melodies together with a certain level of sentiment. The
third movement, which is performed by the string quartet alone, is entitled Intermezzo melancolico;
in this, the nine-bar monothematic melody gradually makes its way through all four instruments.
The Lamentoso is constructed from an arched phase of the solo violoncello and in the fast, temperamental and rhythmically varied final movement, the quartet and the orchestral parts are markedly
separated from one another. The closing movement should - in accordance with its name of Steeplechase - evoke the idea of a helter-skelter racing movement.
instrumentation:
description:
publ. No.:
price:
Main series
2fl - I muta fl picc, 2ob, 2cl, 2fg, 2cor, timp, vibf, batt, archi;
vnoI, vnoII, vla, vcl - soli
score
R 120
245,- CZK
45
Ivan Kurz - Adamu - String Quartet No. 4
“Adamu is a Sumerian expression meaning “an earthling”. There seems to be no doubt that the
biblical term “Adam” can be derived from the Sumerian Adamah = Earth; Adamu (from the same
root) = an earthling. This term, however, might also be a wordplay: “dam” means blood; “A- dam”
would mean “the one from blood” (the created one). I hold the view that until the Bible begins to
deal with the genealogy of Adam (a specific person), the Book of Genesis uses the term Adam to
speak of a created being to designate a species.
So much for the name of the piece that intends to be a subjective and – of course – a very partial
musical portrait of a human being. It works with four thematic fields that should correspond with
four possible spheres of human consciousness (the sphere of the Spirit, of intellect, of the animal
soul, and of the material body). The form of the piece is derived from a selected sequence of the
human DNA chain that also consists of four elements – complex organic compounds, the so-called
nucleotides: A – G – C – T. The fourth string quartet was commissioned by the Doležal quartet and
written in 2011.”
instrumentation:
description:
publ. No.:
price:
vno I, II, vla, vcl
score, parts
R 266
soon available
Ivan Kurz - Angelic Landscapes for baritone and
grand orchestra
„Angelic Landscapes based on texts by Michail Lermontov, Christian Friedrich Henrici, Charles Baudelaire, on folk poetry and ancient prayers written in 2009 represents a subjective reaction to the
process of gradual deconstruction of the value hierarchy that takes place within the co-called cultural
world of the present day. Oppressed and exploited by the process, the modern human being craves
to find – and will always do so – a refuge. Unconscious though this search may be at first, the quest
for a landscape of repose will ultimately become more and more urgent. The “Angelic Landscapes”
represent a vision of such an oasis.
Following is the motto of the composition, taken from Lermontov’s poetry: “The angel was flying
through the sky of midnight and he sang a song quietly; And the moon and the stars, and the crowd
of clouds hearkened to that holy song.” – We should listen along with them.“
instrumentation:
description:
publ. No.:
price:
Bar solo, picc, 2fl, 2ob, 2cl, cl b, 2fg, cfg, 4cor, 3trb, 3tbn, tb, timp, 12perc,
4camp di métal, camp, vibf, cel, archi
score
R 218
150,- CZK
Ivan Kurz - Christmas Songs and Carols
„These arrangements of Christmas songs and carols for children choir a capella were written in
2004. The original impetus came from Professor Jiří Chvála, the choirmaster of Kühn‘s Children
Choir. I worked on the assignment with much joy in my heart; Christmas carols are, after all, unique
in their musical purity, their thematic chastity, they announce hope and love.
To make the whole collection a logical unit from the dramatic point of view, I arranged the pieces to
follow what might be called a story-line: from the nocturnal revelation, the nativity scene, and the
relationship between the child and the mother to the glorification of God‘s grandeur, the ensuing tribute paid by the carol singers, and, finally, back to the stillness of the silent night. Besides the generally popular carols I selected also some less well-known songs in order to emphasize the immense
breadth of folk art and its ability to express the purest emotions. The entire cycle was created and
should be felt as a whole, but the individual scenes within this whole are sequenced chronologically:
the night, the annunciation to the shepherds, the nativity scene, Jesus‘ cradle, Gloria, the carol
singers and an epilogue. The collection consists of 22 Christmas songs and carols.
instrumentation:
description:
publ. No.:
price:
46
coro bambino
part
R 148
285,- CZK
Main series
Ivan Kurz - Expectations
Written in 1984, the Duo for French Horn and Piano was premiered at the 1986 Prague Spring Festival by Vladimíra Klánská (French horn) and Ivan Klánský (piano). The whole four-movement composition forms one integrated flow of music: the first movement, a French horn soliloquy of sorts,
raises a number of questions that are meant to be answered in the remaining three movements. The
whole composition ends in an allusive funeral march that is interrupted unexpectedly, in mid-phrase.
An open ending such as this corresponds with the title of the piece: „Expectations“.
What can we expect in days to come? We are living in a period of cultural decline. The most serious
evidence of this dismal fact can be seen in the non-existence of style, the loss of any sense of style.
With music composition rules abandoned and no restrictions in place, it is impossible for any major,
determinative movement to arise; instead, culture is becoming a bazaar, its values shrinking deeper
and deeper under the pressure of the laws of the market. Should these expectations turn out to
become our factual and persistent „cultural“ future, what else is there to be done but to finish the
interrupted funeral march as a symbol of leave-taking?
instrumentation:
description:
publ. No.:
price:
cor, pfte
score, parts
R 172
145,- CZK
Ivan Kurz - I Can Hear the Angels Sing – String
Quartet No. 3
“The composition was written in 2008 in reaction to the untimely death of Vladimír Leixner, the
cellist of the Stamic Quartet. He was a dear friend of mine and a highly regarded colleague. Leixner’s
contribution to Czech chamber music was substantial – he excelled both as a quartet player and
as an outstanding music life organizer. It is only logical that a piece commemorating one of the
founding members of the Stamic quartet was premiered by this very ensemble. The string quartet “I
Can Hear the Angels Sing” consists of two movements: ! = 40; ! = 48. As for the melodic invention,
the piece contains frequent perfect intervals; as for contents, the composition is an attempt to “look
into” (with St. Augustine) the celestial city. The piece is dedicated to the memory of V. Leixner.”
instrumentation:
description:
publ. No.:
price:
vno I, II, vla, vcl
score, parts
R 263
soon available
Ivan Kurz - Living Spirit
Symphonic picture - Living Spirit finished in 2005, is so far the last in a loose series of symphonic
pictures, which Kurz wrote between 1977 and 2005.
„The basic theme of the symphonic picture, the Living Spirit, is the portrait of an imaginary person.
He is our guide along a journey illustrating the various levels and content of the human conscience.
Personally, like a sentence is a thought expressed in words, music could be emotion expressed in
notes. The ability to think, the rich world of emotions and feelings and the ability to turn back to your
maker, that is what sets man apart from all other creatures and what gives us a uniqueness that
cannot be repeated and fantastic possibilities: in the good and bad sense of the word.....”
instrumentation:
description:
publ. No.:
price:
Main series
fl picc, 2fl, 2ob, 2cl, 2fg, 4cor, 3trb, 3tbn, tb, timp, perc, archi
score
R 105
180,- CZK
47
Ivan Kurz - The Police´s Humoresques, orchestral
suite
„The “Gendarmerie Humoresques” concert suite, created in 2007, does not contain all the melodies
from all the episodes of the 39-part series of detective films, of course. I do hope, nevertheless,
that my selection is a lucky one. There are two versions of the suite: a 17-minute and a 28-minute
(see the Vi – De signs in the score). The premiere of the “Gendarmerie Humoresque” concert suite
(the longer version) took place in 2008 at the Smetana Hall. The Prague Spring festival concert was
performed by the conductor Stanislav Vavřínek and the Prague Radio Symphonic Orchestra.
Gendarmerie Humoresques (Četnické humoresky) became a part of my life for nearly ten years,
they were shot from 1998 till 2007. The individual stories stand on their own, the only linking thread
being the life of the gendarmerie office and the destinies of its members. Accordingly, the music
for the series contains quite a lot of separate musical ideas and themes. The musical speech is
respectful of the atmosphere of the 1920s and 1930s. It does not, however, simply quote the tunes
and songs of the period – all the music is original.“
instrumentation:
description:
publ. No.:
price:
2fl, 2ob, 2cl, Asax in Es, 2fg, 1trb, 1tbn, timp, perc (5 sonatori), archi
score
R 241
260,- CZK
Otomar Kvěch - Cassandra and the Trojan Horse
“Many wise men point out to the fact that the European civilization has reached its crisis. This crisis
is displayed even in art. Some of these displays remind us more of students rags or beginners
attempts; still, critics consider such attempts to be equal successions to works of those like Bach,
Mozart, Brahms, etc. When you try to point this fact out, they do not believe you; on the contrary,
they label you as an awkward conservative.
That is precisely what my composition „Cassandra and the Trojan Horse“ is about. Neither the Trojans believed Cassandra that they should not accept the peace-offering - the Trojan Horse and pull
it within the walls of the city. The story is maybe even too succinctly put in my symphonic portrait:
solo English horn is Cassandra‘s voice, orchestra stands for surrounding world, which fights, rejoices
supposed victories and at the end, it brutally ravages. I have used one more source of inspiration besides the „old-age Romantistic“ non-musical scheme; it was the experimental technique of
applying various time - lines used by contemporary film-makers. In German movie „Run Lola Run“
the story passes the screen three times, and every time it is slightly different. The same way the
central passages of my composition are twice repeated but with slightly different course. The end of
the piece is nevertheless clear, corresponding with the history of Trojan Horse.”
instrumentation:
description:
publ. No.:
price:
cor ingl solo, 2fl, 2ob, 2cl, cl b, 2fg, 4cor, 2trb, timp, batt (2 sonari), archi
score
R 085
200,- CZK
Otomar Kvěch - Expiatio, preludio fantastico e fuga
retrograda per organo
Otomar Kvěch is an author of various orchestral pieces, as well as of chamber compositions. His
creative aesthetics stand partly in opposition to so called Musica Nova. Otomar Kvěch continues the
line of European music which calls for equally harmonized means of musical creativity: melodic line,
creative and harmonic logic, clear rhythmic spacing. He utilizes the technical “products“ of modern
composition tendencies, nevertheless he uses them prudently and chooses them only in those cases,
when the intended musical expression requires so.
Expiatio, preludio fantastico e fuga retrograda per organo he composed for interpretative competition of International Festival Prague Spring 2013.
instrumentation:
description:
publ. No.:
price:
48
org
part
R 275
soon available
Main series
Otomar Kvěch - Storm and Peace, melodrama based
on Ema Destinová´s poetry
Kvěch’s (b. 1950) melodrama Storm and Peace (Bouře a klid) brings back to life the forgotten poetry
that Ema Destinnová (1878-1930) wrote in the first years of her career as an opera singer. The
idea to compose a melodrama based on the poems came from the opera singer and actress Soňa
Červená, who assisted the translator of the poems to select some of them for the purpose. Otomar
Kvěch then chose sixteen pieces, and by setting them to music he managed to create a unified and
inspiring whole.
In the composition he made use of a distinctive creative technique applied in the poems: topics
known from before are turned into a new experience under new circumstances. For instance, in the
score there are to be found three themes from Bizet’s Carmen that belonged among the crucial roles
of both Ema Destinová’s and Soňa Červená’s careers. The chain of events has been rounded up and
the barrier of venues and time has been destroyed. A new compact and ample work has emerged.
The piano version was premiered on 23rd October 2005 as part of the International Festival of
Concert Melodrama, the orchestral version was written for Emmy Destinn Music Festival in 2010.
instrumentation:
description:
publ. No.:
price:
rec, vno solo, 2fl, 2ob, 2cl, 2fg, 2cor, 2trb, timp, 3perc, arp, archi
score
R 208
165,- CZK
Ivana Loudová - Sonata for Clarinet and Piano
The excellent technique and tone quality of Petr Čáp, an outstanding clarinetist and, at present,
also a teacher at the Academy of Music and Drama (Prague), inspired the Sonata for Clarinet and
Piano.
Loudová composed it as early as 1963, not only dedicating it to Petr Čáp, but also performing it with
him several times. The impressive three-movement composition makes great demands on technique
and expression in the first and third movement, in the second part also considerable demands on
tone quality in the lower and middle register.
instrumentation:
description:
publ. No.:
price:
cl, pfte
parts
R 061
195,- CZK
Ivana Loudová - Sonata for Violin and Piano
Ivana Loudová wrote her Sonata for Violin and Piano as early as the age of 19. Apart from her
Fantasia for Orchestra, the Sonata became her graduation piece at the Department of Composition
of the Prague Conservatory.
Thus she proved as early as her studies that she is not only a good violinist and pianist, but also
quite an unconventional and promising composer. Soon after its premiere, the Sonata for Violin and
Piano became part of the repertoire of several leading performers, and, thanks to its persuasive
power and technical difficulty, it has won many admirers among chamber music lovers.
instrumentation:
description:
publ. No.:
price:
Main series
vno, pfte
parts
R 062
240,- CZK
49
Zdeněk Lukáš - Concerto grosso
Concerto grosso is approximately eleven minute piece, which was originally composed for Musici
Pragenses ensemble by composer Zdeněk Lukáš. This is one of his first pieces. It was created during
his Summer holiday trip to Brdy mountains in 1964.
Originally the piece was intended for eleven players only - four soloist, string quartet and seven
other more or less solo players. However, it is only seldom performed this way. According to Lukáš’s
wish, the number of players is usually extended by another seven instruments - four violins, viola,
cello and double bass. Sometimes the total number of players is once more multiplied by two or even
three (according to the possibilities of each orchestra).
instrumentation:
description:
publ. No.:
price:
vnoI, vnoII, vla, vcl - soli, archi
score
R 040
175,- CZK
Zdeněk Lukáš - Contrasti per quattro
The composition Contrasti per quattro was written with deep understanding for the sound of the
string quartet - rich invention, logical harmony, music full of energy and joy of life.
instrumentation:
description:
publ. No.:
price:
vnoI, vnoII, vla, vcl
score, parts
R 011
155,- CZK
Zdeněk Lukáš - Death’s Triumph
Cantata to Francesco Petrarca´s text Death’s Triumph was set to music by Zdeněk Lukáš (1928
- 2007) for the singer Magdalena Kožená in winter 2004. Lukáš comes back to Petrarca after the
great success of his piece Time’s Triumph, which was composed for the lyrics of Petrarca´s cycle. It
is also a piece which received the first prize among Czech composers in a competition of the Prague
Chamber Philharmonic on the first day of the third millennium.
The scholarly critique of the Triumphs cycles points out the excessive descriptiveness, outer classicizing decoration and lack of poeticism. Apparently, this is related to the crisis of the medieval
culture then. However, this gives the composer, Lukáš, a large space for cuts in the text. The literary
“deficiency” then ironically is good for the music piece itself as it creates areas for orchestral instrumentation and enables to develop the melodic curve of the musically lavish talent which together
with the genial intuition chose the liveliest part of the Triumphs: Laura’s death - Death appeared
beautiful in her beautiful face.
instrumentation:
description:
publ. No.:
price:
50
mezzosoprano solo, fl picc, 2fl, 2ob, 2cl, 2fg, 3cor, 2trb, perc, archi
score
R 111
280,- CZK
Main series
Zdeněk Lukáš - Double Concerto for Violin, Cello
and Symphony Orchestra
Zdeněk Lukáš (born 1928 in Prague) is one of the most productive contemporary Czech composers.
His existing work is extensive, diverse in genre, and of great artistic value. For many years, Lukáš‘s
career had been closely connected with the Czech Radio, for he had worked as a music editor for
the Pilsen office.
The principles of Lukáš‘s music are well demonstrated in his Double Concerto for Violin, Cello and
Symphonic Orchestra op. 224. The work was inspired in 1987 by Josef Vlach (1923-1988), first
violinist of the Vlach Quartet, who asked the composer to write a piece for his daughter, violinist
Jana Vlachová, and her husband, cellist Michael Ericsson. This resulted first in Duetto op. 207 for
violin and cello, and finally in the Double Concerto op. 224 in 1989. The composition consists of two
well formed and distinctly contrasting movements. The aforementioned dominant role of melody is
well apparent throughout the piece. The structure of the Concerto is very attractive since it allows
exploiting the utmost technical and expressional possibilities offered by both solo instruments.
instrumentation:
description:
publ. No.:
price:
vno solo, vcl solo, fl picc, 2fl, 2ob, 2cl, 2fg, 4cor, 2trb, 3tbn, tb, timp, 5tamb,
archi
score
R 075
220,- CZK
Zdeněk Lukáš - The Prayer
The verses that Lukáš used as a model for his work are a free version of the Ghana Christians‘
prayers. The deeply emotional meditation of common people and adjuratory cries expressed through
natural images give Lukáš the opportunity to fully show his melodic and rhythmical mastership.
instrumentation:
description:
publ. No.:
price:
coro misto, org, 2bongos, tamb rull, ptti, trgl, tam-tam
score
R 039
240,- CZK
Zdeněk Lukáš - Quis potest dicere, op. 346
The basis of this cycle of four songs for soprano, viola, string orchestra, triangle and drum called
after the opening song Quis potest dicere are four statements from the Book of Proverbs in the
Old Testament, whose author should be, as the tradition says (even thought it is inaccurate), king
Solomon. The texts are organised in such a way that the first and third texts are conceived as trick
questions, while the second and fourth texts have the character of exhortative statements. Zdeněk
Lukáš (1928-2007) especially liked the opening text - Quis potest dicere - and he set it to music earlier and independently as a five-part choir a capella (op. 254). In this song cycle the obligatory viola
seconds the solo soprano as a certain instrumental counterpart and partner in the dialogue.
Here, Lukáš consciously continued in the old composition practice known in baroque cantatas, concert (but also opera) arias of classicism and even in some romantic songs. Musical diction is simple,
diatonic, based on a modal terrain with frequent flexes. The manuscript of his composition was
finished in May 2005 and the premiere took place on the 28th of March 2007 in Prague as a part of
the cycle Czech Premieres. The interpreters during this premiere were soprano Olga Jelínková, violist
Jitka Hosporová and Kolegium českých filharmoniků under the direction of Jaroslav Kroft.
instrumentation:
description:
publ. No.:
price:
Main series
soprano, vla - soli; trgl, tamb picc, archi
score
R 146
115,- CZK
51
Zdeněk Lukáš - Ricordi, Concerto per violoncello e
per orchestra d`archi
Extensive and significant compositional work of Prague-born Zdeněk Lukáš (1928) exceeded three
hundred numerated opuses. Finished in 2005 the Concerto for Violoncello and String Orchestra
„Ricordi“ received the opus number 344.
The one-part composition is lucidly built in a traditional European closed form with a brief introduction and repeated main part: using almost a manifest form the classical return of the main part „Dal
Segno ... al Fine“ is applied here. The whole form is divided into three complex gradational waves:
the introductory range culminates after the violoncello solo cadence at no. 11 of the score, then the
second gradational wave begins after a cessation of the tension - as a matter of fact it is a slightly
altered version of the previous range. The third and the paramount gradational range arises with no.
18 of the score and reaches its climax at no. 25 with a short monologue of solo violin as if closing
the previous animated dialogic range of solo violoncello and orchestra. The violin solo also displays
a musical stream to repeat the main part of the composition (Dal Segno...al Fine) by which end the
composition leads into a bright C - major common chord.
instrumentation:
description:
publ. No.:
price:
vlc solo, archi
score
R 086
115,- CZK
Zdeněk Lukáš - Symphonic Concert
Symphonic Concert for string quartet and orchestra by Zdeněk Lukáš is a composition, which has all
attributes of author‘s orchestral works - above all the feeling for conventionalization and colourful
instrumentation.
instrumentation:
description:
publ. No.:
price:
vnoI, vnoII, vla, vcl - soli; fl picc, fl, 2ob, 2cl, 2cor, 2trb, ptti, 5tamb, claves,
trgl, tam-tam, archi
score
R 013
340,- CZK
Zdeněk Lukáš - Trio Boemo
Zdeněk Lukáš‘s chamber pieces have long been a permanent part of the repertoire of almost all
Czech ensembles. There are dozens of them, for various sets of instruments. Most of them were
commissioned by members of ensembles, who appreciate their ideal instrumentation, good playability, and the steadily positive response of listeners.
The second piece for the piano trio composed by Zdeněk Lukáš is called Trio Boemo. In comparison
with the first piece from 1968, which is heavy with sadness and drama, Trio Boemo is light with the
spontaneity of a person who has achieved the mature optimism of life, and whose invention is more
joyous and cheerful with the coming years. In its seemingly unusual two-part form, the beginning
of the second movement hides a scintillating quick middle part. The lucid instrumentation of this
piano trio meets the wish of the members of the present Czech Trio, to whom Lukáš also dedicated
the piece.
instrumentation:
description:
publ. No.:
price:
52
vno, vcl, pfte
score, parts
R 076
185,- CZK
Main series
Otmar Mácha - Hey Christmas, Long Nights, suite of
Christmas Songs
Otmar Mácha drew on the music of the 1st half of the 20th century in his own production, finding
inspiration in the Czech folklore. He studied composition first with František Míťa Hradil, he was
Jaroslav Řídký’s student at the Prague Conservatory. As a music director and dramaturge of music
broadcasting he worked in the Czechoslovak Radio. Apart from his concert music production, he particularly excelled as a composer of film and television music. His compositional output he contributed
to all the main musical forms, and he also wrote many works for children.
Suite of Christmas songs on folk texts for Children´s choir, recorder, percussion and string orchestra
Hej Vánoce, dlouhý noce was written before Christmas 1996 and was premiered 23rd of December
of this year.
instrumentation:
description:
publ. No.:
price:
coro bamb, perc, fl becc, archi
score
R 205
290,- CZK
Otmar Mácha - Spring Sonata, Autumn Sonata
Spring Sonata for violin and piano by Otmar Mácha was written in 1948. It has three parts. Allegro
con gravita, Larghetto sostenuto, and Allegro molto. The author attempts to achieve pregnant,
simple, and expressively efficient composition at both instruments here. The sonata was for the first
time presented by Marie Hlouňová and Jan Panenka at Umělecká beseda. There is also a recording
available with their interpretation of this piece.
The Autumn Sonata for violin and piano was written by O. Mácha for Jaroslav Kolář and violin player
Nora Grumlíková in 1987. As the author says: „Professor Jaroslav Kolář had a great credit of performing musical pieces for violin and piano“. O. Mácha reworked the first part according to his proposal.
The end of the sonata contains a sort of living proposal and it sounds very tragically. The premiere of
this musical piece took place in Dům umělců (House of Artists) on September 23, 1987.
instrumentation:
description:
publ. No.:
price:
vno, pfte
parts
R 046
310,- CZK
Zbyněk Matějů - Saxomania, The Singing Angel
„Saxomania was written for the French saxophonist Edouard Garrido during my artistically and
pedagogically oriented sojourn in France in the nineties. Garrido provided me with useful advice
concerning the technical possibilities of the instrument. Due to its technical demands - circular breathing, multiphonics, etc. (these techniques were not taught in the Czech Republic at that time) - the
Czech premiere came only when Petr Valášek decided to play the composition. His performance was
brilliant, and he liked the piece as much as to create a transcription for bass clarinet.
With The Singing Angel the situation was much easier. I knew that there were at least two competent artists in the Czech Republic (Petr Valášek and Roman Fojtíček) who would not let the composition „lie waste“, which simplified my decision to accept the commission of the Czech Radio, and I
could set to work, untroubled.“
instrumentation:
description:
publ. No.:
price:
Main series
Asax
part
R 137
80,- CZK
53
Zbyněk Matějů - Smorfia
„The composition entitled Smorfia („A Grimace“ in English) was originally planned for Ludmila Peterková and Tomáš Víšek. Coincidentally, it was chosen as the obligatory composition of that year‘s clarinet competition in Chomutov and has since become a part of the permanent clarinet repertoire.“
An analysis of the piece was published in 2001 in the USA as a part of the book Revolutions and
Relevations: The Clarinet Music of Zbynek Mateju.
instrumentation:
description:
publ. No.:
price:
cl, pfte
score, part
R 136
105,- CZK
Zbyněk Matějů - TO-Y
The composition entitled TO-Y was commissioned by the ARPADUA ensemble that makes use of
combinations of various kinds of harps and harp techniques in their concerts. Their repertoire is
incredibly broad, ranging from the classical European music to contemporary South-American composers. The members of ARPADUA are not afraid to experiment and their concerts are always loaded
with energy.“To-y” has been intended as a kind of “toy” for the musicians. It is up to them, whether
they want to make use of the version for 2 concert harps, whether they prefer smaller hook harps,
or whether they perform the solo version for a single instrument.It is essential to keep up the same
tempo in both instruments. The players are given some freedom in the dynamic development of
the piece.”
instrumentation:
description:
publ. No.:
price:
1 or 2 irish or pedal harps
score, parts
R 258
110,- CZK
Lukáš Matoušek - „Czech“ Sonatina for Clarinet and
Piano
„The „Czech“ Sonatina for Clarinet and Piano was written in 1983. It was conceived as homage to
Czech clarinet music, so that there are several quotations or short modified passages from suitable
Czech clarinet pieces to be found in the score. The first movement contains extracts from Czech
Classical music; the third movement includes sequences of 20th century compositions. In the second
movement (in which the medieval form of isorhythm is used) there is no direct quotation. However,
its character should resemble that of the second movement of Bohuslav Martinů‘s Sonatina.
In the year 2007 I wrote a version for alto saxophone and piano. The piano part remains intact with
a few slight exceptions. Only in those parts where the saxophone version is transposed by an octave
compared to the original clarinet version, the piano part includes the note. The solo part indicated in
the piano is the clarinet part. Both the solo instruments (clarinet and saxophone) are provided with
separate parts with the proper transposition“.
instrumentation:
description:
publ. No.:
price:
54
cl (Asax), pfte
score, parts
R 189
115,- CZK
Main series
Jan Meisl - Sonata for Contrabass and Piano Op. 7
“I composed the Sonata for Contrabass and Piano Op. 7 in spring 2000 for Luděk Zakopal, my friend
and an excellent contrabass player. The premiere of the composition took place at the Academy of
Performing Arts in Prague graduation concert, where it was played by Luděk and my sister, Věra
Meislová.
From a formal point of view, the composition is a sonata cycle. The first movement is composed in
sonata form; the second movement has a three-part form. The third, i.e. the last movement, has
the sonata rondo form, where the middle part links to the introduction of the first movement. The
sonata is a virtuoso composition presenting a challenge for interprets, both from a technical and
expressional point of view.”
instrumentation:
description:
publ. No.:
price:
cb, pfte
parts
R 078
205,- CZK
Adolf Míšek - String Quintet E-flat Major
Adolf Míšek (1875 - 1955) is a Czech double-bass player, composer, pedagogue and conductor. He
originally drew on the style of A. Dvořák, but he managed to form his own singular mode of expression that is marked for its graceful emotionality typical of Czech national music.
Apart from the String Quintet E-flat Major he wrote a number of compositions, very interesting from
an instrumentalist‘s point of view, in which the double-bass is presented as an independent solo
instrument of a wide range of timbres: Polonaise Concertante, Three Sonatas for Double-Bass and
VCzech Radio studio by the Stamitz Quartet with the double-bass player Radomír Žalud.
instrumentation:
description:
publ. No.:
price:
vnoI, vnoII, vla, vcl, cb
score, parts
R 157
270,- CZK
Jiří Mittner - Sonata per tromba e pianoforte
Jiří Mittner (*1980) composed The Sonata per tromba e pianoforte during his studies at the Prague
Conservatory. He created the work full of dramatic tension and on the other hand full of lyrical
sound.
The piece was performed a great number of times immediately after its premiere that took place
in October 17, 2001 on the occasion of Harmonia association festival. Soon after, it found a steady
place among successful trumpet works. The premiere was performed by trumpetist Vít Gregorovič
who played together with the author himself mastering the piano. The Czech Radio record has been
performed just the same way.
instrumentation:
description:
publ. No.:
price:
Main series
trb, pfte
parts
R 017
185,- CZK
55
Jiří Mittner - Sonata for Violoncello and Piano
/alternate for alto or double bass/
The Sonata for Violoncello and Piano in three movements is a moderately sophisticated composition
characterised by clear formal structure and traditional melodic and harmonic language. General
balance is also the main focus of the instrumentation approaches and roles of both interpreters.
The composition’s artistic merit is not in its vocality but in its message anchored in a respecting
the score as much as possible, preserving its lucidity and achieving an artistic effect through minor
variations only.
instrumentation:
description:
publ. No.:
price:
vcl, pfte /vla, cb/
score, parts
R 113
175,- CZK
M.P.Musorgskij/instr. Václav Smetáček - Pictures
from an Exhibition
After the sudden death of the architect and painter Viktor Hartmann, Modest Petrovich Mussorgsky
and a few other friends organized an exhibition of his drawings with original subjects. However,
Mussorgsky did immeasurably more by composing, under the impression of this exhibition, one of
his most famous pieces, „Pictures from an Exhibition“, often called by the original Russian name
„Kartinki“. Mussorgsky himself did not orchestrate this cycle of piano pieces, but a few other composers did. The best-known and most frequently played is the instrumentation by Maurice Ravel.
One of the composers who set about orchestrating Pictures from an Exhibition was also the conductor Václav Smetáček „in whose life, composing was somewhat of a Cinderella, and when he
did embark upon something, it was always from an external impulse only.“ His instrumentation of
Pictures from an Exhibition was composed to be broadcasted by the radio station Radiojournal at the
outbreak of World War Two, at a time when Ravel was already on the list of forbidden composers.
instrumentation:
description:
publ. No.:
price:
2fl, 2ob, cor ingl, 2cl, cl b, 2fg, 4cor, 4trb, 3tbn, tb, timp, perc, archi
score
R 060
505,- CZK
Jindra Nečasová Nardelli - Tchaslaw I. Ballad for
Violin and Piano
Jindra Nečasová Nardelli (b. 1960) is the author of numerous chamber, symphonic, vocal, and solo
compositions, as well as ballets. TCHASLAW l. The ballad for violin and piano was composed in 2006 as the author’s subjective reflection on long-lost secret stories of a human soul; this phrase appears
as a cryptogram in the title of the piece, which is dedicated to the Czech violinist Eduard Bayer, and
the pianist Marek Šedivý.
instrumentation:
description:
publ. No.:
price:
56
vno, pfte
score, part
R 232
135,- CZK
Main series
Jan Novák - Aeolia
Aeolia was written in 1983, a year before the composer‘s death, for his daughter and her fellow-students at the Stuttgart Academy (Musikhochschule). In this brilliant and highly original composition
the two flutes that constantly imitate one another are presented as a flexible, mobile and yet integral
unit, while the piano and its almost orchestra-like radiance constitutes a contrastive element.
...Aeolus was the god of Wind in Greek mythology. Aeolia could be translated as „pertaining to Aeolus“, which is not surprising here, since the three terms flute - breath - wind have been interrelated
since primeval ages. The interplay between the two flutes, especially towards the beginning, can
well be perceived as the slow rise of wind.
Aeolia was recorded on CD by Premiers Horizons Disques. The recording was produced by Association Jean-Pierre Rampal with the following performing artists: Clara Novakova and Zorica Milenkovic
- flute, Jean-Bernard Marie - piano.
instrumentation:
description:
publ. No.:
price:
fl I, fl II, pfte
score, parts
R 183
170,- CZK
Jan Novák - Capriccio
Practically all the works of Jan Novák (1921-1984) were in the spirit of the Neo-classical creative
orientation. Characteristic traits are the clear structure of the form, transparent instrumentation,
melody in the framework of free tonality, lively rhythm and a sense of humour. From the end of the
fifties the decisive trait is the inclination towards Latin poetry. Latin, which Novák spoke fluently and
which he also handled intensively as a poet, became the chief source of inspiration for his work.
Capriccio belongs to Jan Novák’s early compositional output. This three-movement piece brims with
playfulness and vigour, and - while revealing the author’s interest in all contemporary compositional
techniques, including jazz elements - it remains an utterly original and distinctive work of art. Its
vibrant rhythmical structure makes use of syncopation and dotted rhythm; the piece is also marked
for brilliant instrumentation that inspires the players to apply unconventional techniques, e.g. “with
fists” in the piano or “sul ponticello” in the violoncello. Far from leading to an aggressive sound,
however, these techniques merely enhance the impression of youthful exuberance.
instrumentation:
description:
publ. No.:
price:
vcl solo, 2cl, 2Tsax, 2trb, 2tbn, timp, batt, vibf, pfte, Vni I, II, Cb I, II
score
R 152
280,- CZK
Jan Novák - Capriccio
Practically all the works of Jan Novák (1921-1984) were in the spirit of the Neo-classical creative
orientation. Characteristic traits are the clear structure of the form, transparent instrumentation,
melody in the framework of free tonality, lively rhythm and a sense of humour. From the end of the
fifties the decisive trait is the inclination towards Latin poetry. Latin, which Novák spoke fluently and
which he also handled intensively as a poet, became the chief source of inspiration for his work.
Capriccio belongs to Jan Novák’s early compositional output. This three-movement piece brims with
playfulness and vigour, and - while revealing the author’s interest in all contemporary compositional
techniques, including jazz elements - it remains an utterly original and distinctive work of art. Its
vibrant rhythmical structure makes use of syncopation and dotted rhythm; the piece is also marked
for brilliant instrumentation that inspires the players to apply unconventional techniques, e.g. “with
fists” in the piano or “sul ponticello” in the violoncello. Far from leading to an aggressive sound,
however, these techniques merely enhance the impression of youthful exuberance.
instrumentation:
description:
publ. No.:
price:
Main series
vcl solo, pfte
piano score, solo part
R 153
190,- CZK
57
Jan Novák - Choreae vernales
Choreae vernales (Spring Dances) were written in 1977, originally as a composition for flute and
guitar. Only later on did Jan Novák transcribe the work for flute and piano, and also for flute, string
orchestra, celesta and harp. The piece consists of three loosely connected movements, each with
its individual character and inherent contrasts. The inspiration for the main theme of the first movement comes from Horatio‘s verse „Diffugere nives, redeunt iam gramina campis / arbosribusque
comae“ (The melted snow the verdure now restores, And leaves adorn the trees).
The exact rhythm of this Latin hexameter is in fact transferred to the first three-part phrase at the
beginning of the Allegretto. Also the two remaining movements retain the spirit of spring and dance,
with slow bucolic songs alternating with raucous Bacchic revelries... But let each performing artist
find their own combination of pace and movement!
The composition Chorea vernales was recorded on CD by LH Promotion with the following performing artists: Clara Novakova - flute, Jean-Bernard Marie - piano.
instrumentation:
description:
publ. No.:
price:
fl, pfte
score, part
R 184
155,- CZK
Jan Novák - Elegantiae tripudiorum
Elegantiae tripudiorum, the elegance of the waltz: ten compositions that - besides individual qualities of each separate part - form one grand work of art: It is the Waltz itself that, dancing gracefully,
enters the scene and guides both the listener and the performing artist through the entire waltz era
and the sundry trends recognizable within the waltz style.
A fanciful fireworks display of the waltz form, Elegantiae tripudiorum portrays each individual waltz
both with pantomimic perfection and human spontaneousness. An independent orchestral version of
the work bears the subtitle „sinfonia minoris“. Judging by the Latin title of the composition, a generous measure of humour and elegance on the part of the composer is to be expected. Yet again, the
author‘s humane existential worldview is palpable here: the waltz enters the history and then leaves
it again, doing so with characteristic subtlety and elegance.
instrumentation:
description:
publ. No.:
price:
2fl, 2ob, 2cl, 2fg, 2cor, 2trb, pfte, archi
score
R 179
215,- CZK
Jan Novák - IV Hymni christiani (Four Christian
Hymns for piano and vocal part ad libitum)
Jan Novák was always deeply interested in all kinds of religious systems, having also studied avidly
many of them. However, as a former Jesuit grammar school student, he always felt most at home
in the world of Christianity. Therefore, it is not surprising that his late compositions are firmly set
in the field of Christian faith. For “Hymni christiani” Novák chose – with the single exception of the
last movement – texts written in ancient meters, adapted and simplified by the author to draw on
the music tradition of the Church. Hymni christiani represent a clear Christian counterpart to Odae,
Novák’s five-part cycle based on Horace’s pagan texts.
The cycle as such resounds with deep Christian mysticism. In the last movement, the “Stabat
Mater”, both the performing artists and the listeners are faced with a monumental depiction of the
crucifixion history.
instrumentation:
description:
publ. No.:
price:
58
pfte, voc ad lib
score, part
R 228
260,- CZK
Main series
Jan Novák - Odarum concentus choro fidium
From the end of the fifties is the decisive trait of Novák´s work the inclination towards Latin poetry.
Latin, which Novák spoke fluently and which he also handled intensively as a poet, became the chief
source of inspiration for his work.
Five quatrain from the first book of Horatio´s Songs encouraged the emergence of work with the
name Odarum concentus choro fidium per orchestra d´archi, thus some harmony of Horatio´s odes
for string orchestra. Composer completed this work in 1973.
instrumentation:
description:
publ. No.:
price:
archi
score
R 198
130,- CZK
Jan Novák - Prima sonata
Prima Sonata, a work belonging among Jan Novák‘s latest compositions, is dedicated to his wife, the
pianist Eliška Nováková. There is a curious parallel between this piece and Bohuslav Martinů‘s First
Sonata for piano that also was not followed by any other composition of such form for solo piano.
Shaped in a conventional style, the three-movement Prima Sonata is a highly idiomatic and unique
work of art, just as much as all the other piano composition by Jan Novák; though based on an
identical musical language - identical to some extent, at least - they remain very different from one
another and mutually incomparable.
Dora Novak-Wilmington: „Speaking from the point of view of an enthusiastic performer of the piano
sonata, I admire the way the composer managed to unite the heavenly with the mundane within
the composition; to speak of the spring buoyancy, the upheavals and blunders of human life as well
as of the bright light of ethereal, eternal glory. All this is permeated with the author‘s well-balanced
attitude towards life and its ephemerality; an attitude stemming from Novák‘s Christianity and his
classical education. The pianist can partake in the maturity of this composition, and share with the
composer the divine source of music.“
instrumentation:
description:
publ. No.:
price:
pfte
part
R 182
195,- CZK
Jan Novák - Rotundelli
Rotundelli, little rondos or - to use the figurative Latin meaning of the word - well-balanced, „wellrounded“ compositions where endings are closely linked to the beginning, as well-rounded as the
form of a violoncello: indeed, anyone can, using only their own imagination, try and find a connection between the title and the work in question. As far as the music is concerned, it stimulates both
the performing artist‘s and the listener‘s imagination by its playfulness and emotional depth, by its
engaging sound qualities and human maturity.
Rotundelli are dedicated to the violoncellist František Smetana, the composer‘s long-standing friend,
who premiered the work together with the pianist Eliška Nováková, the author‘s spouse. Already
during the rehearsals leading to the premiere several alterations were made in cooperation with the
author, mostly in the second movement. The final version, prepared for publication by the author,
does not contain violoncello double stops; in the present edition, these are to be found as „ossia“.
The first version differs from the second also in the following bars: 29- 34 and 115 - 120; these bars
are printed in the current edition.
instrumentation:
description:
publ. No.:
price:
Main series
vcl, pfte
score, part
R 170
195,- CZK
59
Jan Novák - Sonata brevis
In the post-war generation of Czech composers Jan Novák (1921-1984) is undoubtedly one of
the most talented and most striking personalities. At the beginning of the sixties Novák turned
away from large symphonic compositions towards the smaller forms. At this time he also wrote
two chamber compositions for the harpsichord, inspired by the harpsichordist Hana Šlapetová. In
October 1960 Novák wrote the Sonata brevis for her, quickly followed by Inventiones per tonos XII
clavicymbalo aut aliis instrumentis pinnatis modulandae (Inventions in the twelve-tone system for
harpsichord and other key instruments).
Whereas the twelve Inventions were inspired by the polyphony of Bach, which Novák - in keeping
with his interest at that time in the adaptation of a rational way of working - linked with the procedures of the twelve-tone technique, the three-part Sonata brevis is a small and playful composition,
wittily utilising jazz procedures and the boogie-woogie style.
instrumentation:
description:
publ. No.:
price:
cemb
part
R 122
140,- CZK
Jan Novák - Sonatina for Flute and Piano
While composing his Sonatina for flute and piano in 1976 in Rina del Garda, Italy, Jan Novák’s
concern was for beginning flutists.
The composition has the classical four-movement sonata form. Following a free cadenza of the first
movement a contrasting rhythmical theme appears. The second movement written in the ABA form
introduces a lyrical melody that evokes Moravian folklore music - a significant source of inspiration
for Novák. In the third movement a contrast between the flute and the piano is set up: a simple
flute melody is accompanied by rich rhythmical music in the piano. In the final part of the work, on
the contrary, both instruments assume equal roles in the complex and effective rhythmical music
of the last movement. Even though the Sonatina is well suitable for students and more advanced
amateurs, it can just as well be performed in concert.
instrumentation:
description:
publ. No.:
price:
fl, pfte
score, part
R 203
125,- CZK
Jan Novák - Sonata tribus
Sonata tribus (Sonata For Three) was written in 1982 in the German town of Ulm. Like most compositions of the period, also this chamber sonata was written for one’s family and friends. It was
premiered by Novák’s wife Eliška on the piano and by their daughter Clara on the flute; the violin
part was performed by the Polish virtuoso Jerzy Nebel, a citizen of Ulm at the time. In the sonata,
Novák makes full use of the audio effects of the mutually permeating sound of the flute and the
violin. This is also the case of the beautiful second movement, which surpasses the standard boundaries of the slow movements both thank to its grand structure and the depth of the music. Sonata
tribus is often performed also with a cello instead of the violin; the author himself, however, did not
have the opportunity to hear this version.
instrumentation:
description:
publ. No.:
price:
60
fl, vno, pfte
score, parts
R 249
soon available
Main series
Jan Novák - Tibia fugitiva
In 1979 Jan Novák (1921-1984) composed several preludes and fugues for flute under the impression of a concert performance of solo compositions by J. S. Bach and C. P. E. Bach. Initially, Novák’s
plan was to write “Die Wohltemperierte Flöte”. In the end, however, he managed to finish only four
preludes and fugues; the fifth remained a sketch. Two of these pairs of compositions, A major and c
minor, were published by the Italian publishing house Zanibon as Due Preludi e Fughe, and were for
long considered to be the only existing pieces. Only in the summer 2007 a manuscript copy entitled
TIBIA FUGITIVA happened to find its way into Clara Novak´s hands - the composer´s daughter and
flautist. It contained all four preludes and fugues.
This edition of the two “lost” preludes and fugues thus fills up the blank in Jan Novák’s works for
flute. The Latin titles of the pieces, characteristic of Novák, were preserved, as well as the potential
cut in the second fugue that results from the existence of two differing sources. Tibia fugitiva is a
major contribution to the solo flute repertoire, formally drawing on the production of the Baroque
masters, but at the same time being very much alive thanks to the inspiration and mastery of one
of the most compelling Czech composers of the 20th century.
instrumentation:
description:
publ. No.:
price:
fl
part
R 142
105,- CZK
Jan Novák - Toccata chromatica
Ever since the Renaissance period, the form of the toccata has been known as a virtuoso instrumental piece par excellence. This composition by Jan Novák belongs - alongside Chatschaturjan’s,
Prokofiev’s or Bohuslav Martinu’s toccatas - among significant piano works of the 20th century.
Toccata Chromatica is an early work that the author composed in 1959 and dedicated to his wife,
the pianist Eliška Nováková. In spite of this, however, it begins with a dedication of a different kind:
the first notes are B-flat A C B . Apart from 12-tone-system based flamboyant passages of masterful
playfulness, there are also lyrical contrasts to be found in the score that allude to the dedicatee...
instrumentation:
description:
publ. No.:
price:
pfte
part
R 192
120,- CZK
Jan Novák - Variations on a Theme by Bohuslav
Martinů
Novák‘s development as a composer was fundamentally influenced by his study stay in the United
States in the year 1947/8, when he studied briefly under Aaron Copland and in the following five
months in New York privately with Bohuslav Martinů. The influence of the work of Bohuslav Martinů
is evident in particular in the compositions of the first phase of Novák‘s work. To this time it´s
possible to include the emergence of Variations on a Theme by Bohuslav Martinů for two pianos.
The composition was written in 1949 and orchestrated for symphony orchestra ten years later.
Parts of the work are seven variations on the final motif of Martinu‘s Field Mass and the final double
fugue.
instrumentation:
description:
publ. No.:
price:
2pfte
score
R 197
260,- CZK
Main series61
Otakar Ostrčil - The Ballad of the Dead Cobbler and
the Young Dancer, op. 6
Two out of the total number of six Concerto Melodrama proved their quality - The Czech Ballad from
1905 and The Ballad of the Dead Cobbler and the Young Dancer, op. 6 from 1904. In these works
Ostrčil leaves the subject field of his mentor, who preferred dramatic and tragic themes, and sets
off in a different direction.
He based the composition on a then recent poem by Karel Leger (1856 - 1934) who was known
mainly as an author of realistic fiction. In the Ballad, however, Leger’s text switches from the initial
lyrical atmosphere to that of a bizarre horror with both erotic and humorous elements. Ostrčil’s
music makes use of characteristic motives and polka rhythm stylizations; loose tonality and compelling orchestral colours are employed by the author for dramatic purposes. The Ballad of the Dead
Cobbler and the Young Dancer was premiered in Prague on 22nd January 1905. It was performed by
the Czech Philharmonic Orchestra led by Oskar Nedbal; the text was recited by Hana Benoniová.
instrumentation:
description:
publ. No.:
price:
3fl - III muta fl picc, 2ob, cor ingl, 2cl, cl b, 2fg, 4cor, 3trb, 3tbn, tb b, timp,
perc, arpa, archi, rec
score
R 161
580,- CZK
Otakar Ostrčil - The Orphan Child, op. 9
Between 1904 and 1906 Ostrčil wrote three compositions, all similar in style, for voice and grand
orchestra - the melodramas The Ballad of the Dead Cobbler and the Young Dancer, The Czech
Ballad, and the song The Orphan Child, op. 9, which is annotated as “a ballad for mezzo-soprano
and orchestra based on folk lyrics”. The poem that Ostrčil took from Karel Jaromír Erben’s collection,
and that combines the straightforward force of folk poetry with infant innocence, tells the story of
an orphan whose grief over his mother’s death leads eventually to his own end. But despite the
fact that a folk text is used in the ballad, Ostrčil chooses here, as he did in all his work, to avoid
references to folklore music.
The acoustic potential of the grand orchestra is used only very moderately, and instead of applying
unimaginative effects the author does his best to create a mournful, tragic atmosphere. Also the
vocal part remains quite simple and respects the rhythm, intonation and phrasing of spoken language. The piece was first performed by František Neumann and the Czech Philharmonic Orchestra
three months after the score had been finished, on 5th December 1906, at a concert of the Orchestral Music Union (Jednota pro orchestrální hudbu) at the Rudolfinum Concert Hall in Prague. The
vocal part was performed by Gabriela Horvátová for whom the composition was intended.
instrumentation:
description:
publ. No.:
price:
mezzosoprano solo, 3fl - muta fl picc, 2ob, cor ingl, 2cl, cl b, 2fg, 4cor, 3trb,
3tbn, tb, timp, perc, 2arp, archi
score
R 169
205,- CZK
Jiří Pauer - Characters for Brass Quintet
Jiří Pauer‘s output for wind instruments is quite extensive, generally successful, and sought after
internationally. His pieces are characterized by the pithiness of their artistic expression, clarity of
form, intriguing dynamism, and vitality leaning towards robustness and straightforwardness.
Jiří Pauer drew attention to his penchant for the wind instruments as early as his studies at the Academy of Music and Drama (Prague) in the class of Pavel Bořkovec. His graduation work, Concerto
for Bassoon and Orchestra, became also his first piece to be performed by the Czech Philharmonic
(in 1952). Apart from the Divertimento for Three Clarinets, Concerto for Oboe and Orchestra and
Concerto for French Horn and Orchestra, the group of his pieces for the woodwinds composed in the
1960s includes also Wind Quintet. A few years later, pieces for brass instruments begin to predominate, including Concerto for Trumpet and Orchestra, Trompettina, Trombonetta and Tubonetta, but
also small-scale pieces, such as Characters for Brass Quintet (1977, premiere in 1978 in the US) and
Suite for Four Saxophones (1983).
instrumentation:
description:
publ. No.:
price:
62
cor, 2trb, 2tbn
score, parts
R 051
385,- CZK
Main series
Jiří Pauer - Suite for Four Saxophones
Jiří Pauer‘s output for wind instruments is quite extensive, generally successful, and sought after
internationally. His pieces are characterized by the pithiness of their artistic expression, clarity of
form, intriguing dynamism, and vitality leaning towards robustness and straightforwardness.
Apart from the Divertimento for Three Clarinets, Concerto for Oboe and Orchestra and Concerto
for French Horn and Orchestra, the group of his pieces for the woodwinds composed in the 1960s
includes also Wind Quintet. A few years later, pieces for brass instruments begin to predominate,
including Concerto for Trumpet and Orchestra, Trompettina, Trombonetta and Tubonetta, but also
small-scale pieces, such as Characters for Brass Quintet (1977, premiere in 1978 in the US) and
Suite for Four Saxophones (1983).
instrumentation:
description:
publ. No.:
price:
Ssax, Asax, Tsax, Barsax
score, parts
R 055
320,- CZK
Jiří Pauer - Wind Quintet
Jiří Pauer drew attention to his penchant for the wind instruments as early as his studies at the Academy of Music and Drama (Prague) in the class of Pavel Bořkovec. His graduation work, Concerto
for Bassoon and Orchestra, became also his first piece to be performed by the Czech Philharmonic
(in 1952).
Apart from the Divertimento for Three Clarinets, Concerto for Oboe and Orchestra and Concerto
for French Horn and Orchestra, the group of his pieces for the woodwinds composed in the 1960s
includes also Wind Quintet. A few years later, pieces for brass instruments begin to predominate,
including Concerto for Trumpet and Orchestra, Trompettina, Trombonetta and Tubonetta, but also
small-scale pieces, such as Characters for Brass Quintet (1977, premiere in 1978 in the US) and
Suite for Four Saxophones (1983).
instrumentation:
description:
publ. No.:
price:
fl, ob, cl, fg, cor
score, parts
R 053
395,- CZK
Aleš Pavlorek - Concerto per clarinetto basso ed
orchestra
„I have decided to dedicate the Concert for bass clarinet and orchestra to the bass clarinet player
Jiří Porubiak. Since the beginning of the composition, I have tried to make the most of the widest
possible spectrum of colors and expressions of the bass clarinet. Frequent discussions with the
interpreter have helped me to understand fully the issues surrounding the bass clarinet and his art
of interpretation was the driving force throughout the creation of this piece.
I have decided to use a three movement structure for the composition. The entire bass clarinet concert has a tonally modal character with some bitonal harmonic areas. The movement themes often
change unexpectedly and very often they even touch other musical genres. Considering instrumentation, I did not want the orchestra to only accompany but rather to be a partner of the solo part.”
instrumentation:
description:
publ. No.:
price:
cl b solo, fl picc, fl I, fl alto muta fl II, ob, cor ingl, cl in B, cl in Es, fg, cfg, 2cor,
trb, tbn, timp, perc, arp, pfte, archi
score
R 129
285,- CZK
Main series63
Zdeněk Pololáník - Concerto Grosso No. 2 for
Clarinet, Bassoon and Strings
Concerto Grosso No. 2 was created out of pure joy for Emil (a clarinetist) and Dušan (a bassoonist)
Drápels, both soloist of the orchestra of Philharmonia Brno. They premiered the piece and then
repeated it many times with various chamber string orchestras. They also provided a radio record
of the piece together with the full string orchestra of the State Philharmonia conducted by František
Jílek.
instrumentation:
description:
publ. No.:
price:
cl solo, fg solo, archi
score
R 101
235,- CZK
Miroslav Raichl - Songs on Folk Poetry from
Bohemia and Moravia
The series of eighteen (if you like sixteen - two songs are repeated in two different transpositions)
songs that use the texts of folk poetry from Bohemia and Moravia from 1986-88 are works to be
found in the category that in the widest sense of the word found the greatest “public acceptance”.
The melodic line of the vocal part, account of the piano accompaniment and the overall well-arranged construction of individual songs do justice to the original world of the folk song with their intentional austerity and simplicity - but also their sincerity and immediacy of expression. Many of them
adhere to the basic rhythmic outline and melodic cadence of the original folk versions. The melodic
extent of the tunes allows for interpretation of these songs by various types of voice and pitches, in
two cases, the composer mentions two differing vocal pitches for the same song.
instrumentation:
description:
publ. No.:
price:
canto, pfte
score
R 092
240,- CZK
Miroslav Raichl - A Swan has Flown Over Here
Raichl gladly worked with folk songs - in part adapting the original tunes although more frequently
setting the texts of folk poetry to new music. This is also the case in the series of four songs for
soprano and piano A Swan has Flown Over Here from 1981.
These are all love songs, which the composer created in the year of his marriage to the singer Svatava Šubrtová. The introductory “Oh, I don’t know, I don’t know” is the yearning song of a girl in love
with wide waves of melodic phrases, the second song “The Sun has been eclipsed for me” on the
other hand is a grief-stricken sigh over vanished love, the third is a more exited song of uncertainty
and also hope for reunion. The closing song “A swan has flown over here” in a leisurely broken
movement again expresses the disappointment of an absent love and the desire to venture out into
the world to find him. The excited phrasing of the closing song is exceptionally compelling, especially
at the peak of the gradation in connection with the vocal and instrumental line.
instrumentation:
description:
publ. No.:
price:
64
soprano solo, pfte
score
R 093
135,- CZK
Main series
Štěpán Rak - Temptation of the Renaissance
„I have always found the form of the Renaissance suite highly attractive. This temptation to try and
deal with the form in my own way led me originally to compose only what is now the final part of the
suite. It is called, quite intentionally, the Renaissance Temptation and I wrote it in the form of virtuoso variations. Over the years I added one part after another until I found myself with something
like a Renaissance suite. Yet such a form as I composed did not exist back then.
In the end, however, the temptation took over again and I put six contrasting parts together to
complete the suite as it appears here. I have dedicated the composition to my friend Vladimír Mikulka, an excellent guitarist, as a way of expressing my gratitude for his efforts to spread my music
around the world.“ Štěpán Rak
instrumentation:
description:
publ. No.:
price:
guit solo
part
R 257
150,- CZK
Radek Rejšek - Tempus Quadragesimae
Tempus Quadragesimae is the third part of organ music cycle “Musica per organum”.
Each of its four parts (Adventus, Nativitas, Tempus Quadragesimae and Pascha) is in fact a sonata
based on choral tunes characteristic of each liturgical period. Tempus Quadragesimae is based on
an ancient Czech sacred song “Christ, a paragon of humbleness”
instrumentation:
description:
publ. No.:
price:
org
part
R 019
125,- CZK
Josef Rut - Symphony No. 4 for Strings
„Symphony No. 4 for Strings“ by Josef Rut was written between 1995 and 1996. The piece, which
requires virtuosity of interprets, can be characterized as follows: the first movement introduces two
motives, the second movement works only with the first motive while the third movement works
with the second motive. Both themes are then connected without interruption by the following
fourth movement. This principle of formal uniformity is used by the author - with several variations
- in all his cyclic musical pieces.
instrumentation:
description:
publ. No.:
price:
archi
score
R 049
360,- CZK
Main series65
Kateřina Růžičková - Minus - Around Zero - Plus
Septet for clarinet, fagot, viola, violoncello, and three percussion instruments players Minus - Kolem
nuly - Plus (Minus - Around Zero - Plus) was composed by Kateřina Růžičková in 1997. This is an
optimistic version of a three-part musical piece, which decided to document the three elementary
states of any existence: negative, neutral, and positive.
According to Kateřina Růžičková, the piece can be performed also in other versions, for example in
the pessimistic one: „Plus - Kolem nuly - Minus“ (Plus - Around Zero - Minus) or to perform individual
parts separately. This is the case of the music carrier named HUDBABY. The recording from 1993
carries the separate part „Kolem nuly“ (Around Zero) for three percussion instruments players. As
Kateřina Růžičková says about her piece: ... „under each existence, everyone can imagine whatever
suits to their current situation“.
instrumentation:
description:
publ. No.:
price:
cl, fg, vla, vcl, mar, tamb di legno, tom-tom, tom-tom b, ptti, gong, timp
score, parts
R 050
145,- CZK
Milan Slavický - Invocation IV for Violin, Clarinet
and Piano
“I decided to add a forth composition to an already existing series of three pieces for solo instruments called Invocation (I - solo viola, II - marimba and III - flute). Even though it was written for a
trio and thus differs in orchestration from the rest of the compositions, it belongs into the series on
the basis of the material and expressive characteristics I used. (Again, I kept to my favorite interval
choices here.) It is a cogitative music that is built upon an arched pattern created by using timber
elements and only slowly taking on explicit forms.
I composed “Invocation IV“ to answer a request of American Verdehr Trio who performed it among
other places at Cleveland Festival. The piece was premiered by Prague ensemble Mondschein who
also recorded it at Czech Radio. At Bratislava festival Melos-Étos the piece was performed by Musica
Danubiana ensemble.”
instrumentation:
description:
publ. No.:
price:
vno, cl, pfte
score, parts
R 110
105,- CZK
Milan Slavický - Morning Thanksgiving
Morning Thanksgiving takes an advantage of all specifics that a good chamber orchestra has to
offer in regard to its sound and skills of its players. Concerning its structure the piece introduces a
slow gradation consisting of small, very well chosen and variating orchestral colours. The gradation
dynamics aim for a great final Tutti of chime sound.
Author himself says about his inspiration: „I wanted to express the feelings of a man who is waking
up and asking - Where am I? Am I well? How are my closest relatives and friends? What can I expect
today? Am I strong enough to do it? By answering all these questions he slowly reaches a specific
feeling: Thank You. Thank You my Lord that I may be here at this very moment, thank You for
letting me feel the world order, for letting me add a little to its good side. Thank You.”
instrumentation:
description:
publ. No.:
price:
66
2fl, 2ob, 2cl, 2fg, 2cor, 2trb, camp, archi
score
R 023
165,- CZK
Main series
Luboš Sluka - Suite from Eastern Bohemia
Luboš Sluka dedicated his symphonic suite From Eastern Bohemia to his native region, which was
the main source of inspiration for the piece. The suite is divided into five parts which deliberately
have no programmatic titles, but only Italian tempo indications. In the composer‘s words, „this,
however, does not mean that they lack a certain latent programme. The piece was first performed
by the Chamber Philharmonic Pardubice with the conductor Peter Feranec on 25 October 2004 in
Pardubice, on the occasion of the inauguration of a new organ in Suk‘s Concert Hall.
instrumentation:
description:
publ. No.:
price:
2fl, 2ob, 2cl, 2fg, 3cor, 2trb, pfte, archi
score
R 059
300,- CZK
Bedřich Smetana/instr. Iša Krejčí - Louise‘s polka,
From student‘s life, Jiřinková polka
Louisina polka (Louise‘s polka), Ze studentského života (From student‘s life), and Jiřinková polka.
These early piano pieces by Bedřich Smetana were adapted for orchestra in 1943 by composer
Iša Krejčí who worked in Czechoslovak Radio as musical director and conductor between 1934
and 1945. The collection of three Smetana‘s pieces in orchestral form is being published by Český
rozhlas musical publishing.
instrumentation:
description:
publ. No.:
price:
2fl, 2ob, 2fg, 2cor, 2trb, 3tbn, timp, trgl, archi
score
R 033
155,- CZK
Bedřich Smetana/instr. Otakar Jeremiáš Scenes from Macbeth
Orchestrating a piano part which makes use of the utmost opportunities of technical virtuosity is
very difficult, because some specific piano means of expression have no adequate counterpart in
the orchestra. Nevertheless, there are outstanding examples of the instrumentation of such piano
compositions. One of them is Bedřich Smetana‘s piece „Scenes from Macbeth“ in Otakar Jeremiáš‘s
arrangement for the symphony orchestra.
Smetana composed the piano piece „Scenes from Macbeth“ during his stay in Sweden in 1859. From
Shakespeare‘s demonic drama, he chose the suggestive part when the protagonist encounters, on
a gloomy Scottish moor, witches who foretell supreme power for him, concealing that it will bring
him death, too. Smetana expressed the scene, which makes the listener shudder, with romantically
excited music, full of tension, turbulent chromatic scales, dramatic dynamic gradations, and pregnant dissonances.
instrumentation:
description:
publ. No.:
price:
2fl, 2ob, cor ingl, 2cl, cl in Es, cl b, 2fg, cfg, 4cor, 3trb, 3trb, tb, timp, batt,
arp, archi
score
R 052
330,- CZK
Main series67
Lukáš Sommer - Concerto for Harp and Orchestra
„The impulse to write Concerto for Harp and Orchestra came from the prominent Czech harpist
Ms. Jana Boušková, who also premiered the piece within a concert cycle of Städtisches Orchester
Bremerhaven. The conductor Stephan Tettzslaff not only accepted the score, but also procured an
official commission of the institution. I agreed to compose a classical concerto with a rich instrumental part, yet I also strived to incorporate my own musical speech I had been consolidating in my
chamber and symphonic music into the conventional three-movement pattern.
The first movement is a lively concertante allegro with a tangible trait of the lute tablature. A specific
register of the harp does indeed resemble the sound of the lute; and it was this sound that, eventually, became the source of inspiration for the style windsurfing applied in the piece. The second
movement contains another stylistic detour - a baroque fugue - where I put into practice a technique
I call „the dissolving polyphony“. The orchestra holds specific tones of the fugue brillante, which
enables interesting musical relations to unfold. The aim was for the concerto to become a kind of
musical lexicon where different types of music would interfere with one another, and yet - hopefully
- concord at the same time.“
instrumentation:
description:
publ. No.:
price:
arp solo, fl picc, 2fl, 2ob, cor ingl, 2cl, cl b, 2fg, cfg, 4cor, 3trb, 2tbn, tbn b, tb,
timp, batt, cel, archi
score
R 167
200,- CZK
Lukáš Sommer - Fantasia Bucolica
Lukáš Sommer (*1984) has started his career by studying the guitar at the Conservatory in České
Budějovice. In 2003 he was nevertheless admitted to the Prague Conservatory where he became the
last student of the composition class of Věroslav Neumann. After one year of studies he moved to
AMU (Academy of Performing Arts in Prague) into the composition class of Ivan Kurz.
Fantasia Bucolica has been written thanks to the initiative of an outstanding clarinetist and professor
of the Conservatory in České Budějovice Zdeněk Zavičák. The piece has a clear three-movement
form; its musical discourse is rather moderate, factual, and at times pointedly tonal. The author
carefully chose the name Fantasia Bucolica to bring to the listener the world of origin of the piece
that is the world of simple medieval bucolic poetry and especially one of its specific forms - the
Frottola. This original inspiration was nevertheless disturbed; in the face of recent family events
Sommer’s wild fantazy was interupted and a “prayer for life“ slipped silently in.
instrumentation:
description:
publ. No.:
price:
cl, xil, archi
score
R 097
115,- CZK
Lukáš Sommer - Thanksgiving
“In the symphony the feeling of gratitude moves through many trials. In the first one - alone
between two conflicting areas - it is expressed by means of an organ cadence. In the second it has
the rising sound of an evening song, also here in conflict with strange, in places almost surrealistic
images. For this reason I return to memories of childhood and find the scrap of a song, which provides my conflict with a solution and leads towards the final thank you”.
Lukáš Sommer (*1984) has started his career by studying the guitar at the Conservatory in České
Budějovice. In 2003 he was nevertheless admitted to the Prague Conservatory where he became
the last student of the composition class of Věroslav Neumann. After one year of studies he moved
to AMU (Academy of Performing Arts in Prague) into the composition class of Ivan Kurz. The most
significant pieces of his present compositional work may be represented by Three Frescos for symphonic orchestra, Sonata No. 1 for violin and piano, Joining of the Roads - a movement for oboe
and string trio, Small Sonata for oboe and piano on the poem of Jan Skácel, Maze - sonata for
harpsichord, or electro-acoustic composition Brain Death. Lukáš Sommer cooperates with number
of young players, he organizes various contemporary music projects, also symposia with musicians
and composers, regular concerts in the concert hall of Otakar Jeremiáš in České Budějovice and he
also organizes musical releases of young composers’ works.
instrumentation:
description:
publ. No.:
price:
68
fl picc, 2fl, 2ob, cor ingl, 2cl, cl b, 2fg, 4cor, 3trb, 2tbn, tbn b, tb, timp, batt, 2arp, org, archi
score
R 123
155,- CZK
Main series
Marie Sommerová - Concerto for Flute and Chamber
Orchestra
The two movements of the Concerto for Flute and Chamber Orchestra reperesent two antipoles
- whereas the intimate first part results from the linear mode of thougt and leaves no space for any
instruments (not even the solo instrument) to stan dout, the sekond movement allows the individual
instrument groups to emancipace themselves, making use of thein specific timbre characteristics
and the dynamics of the orchestration. Also the solo flute part becomes more technically demanding. This komplexity, however, is far from being the typical exhibition of the soloist´s skills at the
expense of the thematic and ideological solidity of the piece.
The work was premiered by the flautist Hana Brožová Knauerová, whose briliant performance was
supported by the Pilsen Philharmonic Orchestra with Marko Ivanović.
instrumentation:
description:
publ. No.:
price:
fl solo, fl, ob, cl, cor, trb, tbn, timp, 4batt, arp, archi
score
R 150
150,- CZK
Jiří Srnka - Moon over the River, orchestral suite
The motion picture based on Fráňa Šrámek‘s stage play and shot by director Václav Krška in 1953,
was accepted only with hesitation in the time of its release. Besides demanded creative and political
themes, this piece deals with inter-generation relations and slight erotic hints, which, together with
its poetical glorification of human tenderness and pronounced love towards all human beings, creates a chance of escaping the ordinary of its time.
The movie suite itself begins with the magnific theme of the river and Slávka‘s window and ends
with an open, questioning melody. The music overflows with impressionistic gaiety of colors (the use
of piano, harp, etc.); on several places exposing the starting motive of the song „Když jsem já šel
tou Putimskou branou“ (When I Walked through that Gate of Putim). The complex is built on finely
distinguished contrasts with prevailing lyrical poetics.
instrumentation:
description:
publ. No.:
price:
2fl, 2ob, 4cl, 2fg, 4cor, 2trb, 3tbn, tb, camp, pfte, arp
score
R 054
305,- CZK
Miroslav Srnka - String Quartet
String Quartet by Miroslav Srnka is the work of a progressive and ambitious author, who is seeking
new way of sound, its interpretation and also new approach to the listening of classical music.
The one-movement quartet is built upon a very refined structure and is therefore able to keep a high
level of listener’s anticipation even in long dynamic gradations. Players may look forward to interesting even adventurous moments of utilizing nearly all possibilities that a string instrument sound
may offer. Listeners will face a completely new flamboyance and a very inventive use of dynamic
and rhythmic changes that are set into a seemingly stable instrument setting.
instrumentation:
description:
publ. No.:
price:
vnoI, vnoII, vla, vcl
score, parts
R 018
135,- CZK
Main series69
Jiří Sternwald - Czech Year in the Village: Spring,
Summer, Autumn, Winter
The cantata Czech Year in the Village for recitation, solo, children’s choir and orchestra is one of
the most successful of Sternwald’s concert works and one that found the greatest success with the
audience.
His genesis can be followed over a relatively long period of time - up to the range of “Children’s
Year in the Village” for Burian’s “D” theatre from the beginning of the forties, when he without a
doubt became thoroughly familiarised with a collection of Czech folk songs and rhymes, above all
with the collection of Erben’s work. He also draws from this in his cantata featured today, which
was created in 1975 - 76. The work is broken up into four separate parts according to the four
seasons and within these, further broken up into smaller thematic spheres, interconnected with an
explanatory commentary.
instrumentation:
description:
publ. No.:
price:
2fl - II muta fl picc, 2ob, 2cl, 2fg, 2cor, 2trb, tbn, batt, arp, coro bambino, rec,
archi
2fl - II muta fl picc, 2ob - II muta cor ingl, 2cl, 2fg, 2cor, 2trb, tbn, batt, arp,
pfte, coro bambino, rec, archi
2fl - II muta fl picc, 2ob - II muta cor ingl, 2cl, 2fg, 2cor, 2trb, tbn, batt, arp,
pfte, coro bambino, rec, archi
2fl - I muta fl picc, 2ob, 2cl, 2fg, 2cor, 2trb, tbn, batt, arp, pfte, coro bambino,
rec, archi
score
R 106; R 117; R 124; R 133
200,- CZK; 240,- CZK; 310,- CZK; 335,- CZK
Josef Suk / instr. Václav Smetáček - Song of Love
for Violin and Orchestra
As one of the most popular of Josef Suk’s compositions, a famous little piece originally set for piano
Song of Love op. 7, No. 1, the work has been arranged many times, including several settings
for orchestra. Smetáček’s arrangement was written in 1943: the instrumentation for solo violin
and symphonic orchestra is very subtle with the obvious intention for the violin solo to stand out.
Smetáček proves his keen sense for timbre, making full use of all the delicate harmonic niceties
of Suk’s score, and ensuring that the melodic counter voices entrusted to various instruments and
instrument groups also sound plastic and smooth. The waves of gradation are well-balanced and
not overstrained in dynamics, with the absolute peak of the piece in No. 5 of the score, at the start
of which there is a single stroke on the cymbals. The final passage, again very delicate in timbre,
makes use of the characteristic sound of the harp.
instrumentation:
description:
publ. No.:
price:
vno solo, 2fl, 2ob, 2cl, 2fg, 4cor, 2tr, timp, perc, arp, archi
score, parts
R 267
soon available
Zdeněk Šesták - Concerto for violoncello and
orchestra No. 2 „The Way of Knowledge“
„Apart from my work as a composer I also engage in studying old music, trying to uncover and
process its still relevant - though often wrongfully forgotten - values... in doing it, I am not concerned with music only, but also with the broader context that lies, so to speak, behind the creation
of a work of art. It is a never-ending and complicated process during which one is faced with many
mistakes and much disappointment, but there are also moments of sheer joy over the acquired
findings.
It is an incessant struggle to try and grasp or at least to approach the Kantian - Ding an sich - in full
awareness of human imperfection. The way to the understanding of a matter in its historical context
is never a straight and simple one; much trouble has to be overcome and much dialectic effort has
to be made in order to reach such a goal. Moreover, to come to know absolutely everything about
the heart of any matter or process is impossible, whether it is a natural or a social phenomenon, not
to speak about the realm of the human soul. The journey as such, though often hard to follow, is,
nevertheless, worth setting on.“
instrumentation:
description:
publ. No.:
price:
70
vcl solo, 2fl, 2ob, 2cl, 2fg, 2cor, 2trb, timp, cel, arp, archi
score
R 139
350,- CZK
Main series
Zdeněk Šesták - Symphony No. 4 for String
Orchestra
“Unlike all my other six symphonies, which make use of all the instruments of the grand orchestra, this work is set only for strings. I have always found the sound of a large strings section very
attractive – even fascinating – for the breath-taking acoustic potential of the divided and sub-divided
plenum that is multiplied by the explosive, hard-bitten, almost mechanically rhythmicized sonority on
the one hand, and the innermost, fragile, and subtly generated meaningfulness on the other. These
are the preconceptions underlying my attempt in this demanding piece to materialize my aesthetic
notions that are rather more apt to being expressed as a matter-of-fact statement of an opinion.
Composing the symphony, I was thinking of the Prague Chamber Orchestra, which also turned out
to be the ensemble that premiered the piece at the Czech Radio, conducted by František Vajnar.”
instrumentation:
description:
publ. No.:
price:
archi
score
R 234
270,- CZK
František Škroup / Josef Kajetán Tyl - Where Is My
Home
The song “Kde domov můj?” (Where Is My Home) was performed in public for the first time at the
Estates Theatre in Prague on 21st December 1834 in the musical farce entitled “Fidlovačka aneb
Žádný hněv a žádná rvačka” (“Fidlovačka, or No Anger and No Brawl”). This song has assumed an
irreplaceable position in Czech history ever since. The source for the publication of Škroup’s song
Kde domov můj? (Where Is My Home?) was an autograph score from the year 1834.
The song “Where is my home?” by František Škroup (1801 - 1862) and Josef Kajetán Tyl (1808
- 1856), number 19 in the play, is sung by Mareš, a blind violinist. Škroup’s instrumentation of the
piece is modest - the singer (bass) is accompanied by solo violin, solo French horn, two supporting
violins, a viola, a violoncello, a contrabass, and two bassoons.
instrumentation:
description:
publ. No.:
price:
vno solo, cor solo, 2fg, archi
score, parts
R 100a
290,- CZK
František Škroup / arrangement Otakar Jeremiáš
- Where is My Home
The song “Where Is My Home?” - already as part of the Czechoslovak national anthem - has been
arranged for various instrumental and vocal settings. Among the most renowned belongs a version
for symphonic orchestra written in 1930 by the composer and conductor Otakar Jeremiáš (1892
- 1962).
Jeremiáš created three versions of the Czechoslovak national anthem altogether: firstly, it was his
arrangement for grand orchestra (1930); secondly, a version for small orchestra (1932); and finally,
an arrangement for organ and grand orchestra entitled “Pastoral” (Christmas 1932).
The editors used two autograph scores as the source for the publication of Otakar Jeremiáš’s (1892
- 1962) arrangement for grand orchestra of the song “Where is My Home?”. These are stored at
the Czech Radio Archive. This version was then used in 1946 when Jeremiáš co-operated with the
composer Václav Trojan (1907 - 1985) to create a new arrangement of the Czechoslovak national
anthem for symphonic orchestra. The resulting score containing vocal parts was published by the
State Publishers of Literature, Music and Art in 1955.
instrumentation:
description:
publ. No.:
price:
Main series
2fl, 2ob, 2cl, 2fg, 4cor, 3trb, 3tbn, tb, timp, ptti, gc, arp, archi
score, parts
R 100b
315,- CZK
71
Jiří Teml - Concerto grosso No. 3
Concerto grosso for flute, basoon and strings was written for chamber orchestra Berg. The new
season ANNO 2003 was opened by this composition in February.
The composition is a contribution to a repertoire of woodwind instruments with a new modification
of the popular baroque form.
instrumentation:
description:
publ. No.:
price:
fl, fg, archi
score
R 037
240,- CZK
Jiří Teml - Concerto rustico per salterio ed archi
„Although Concertino per salterio ed archi is my first piece written for dulcimer, I have been intrigued by the instrument – so ingeniously used by Igor Stravinskij and other, mainly Hungarian,
contemporary composers – for quite some time. What I find particularly inspiring is the rhythmical
and timbre potential of the instrument. Hearing of the composition competition announced in 2004
by the Dulcimer Players’ Civil Association in the Czech Republic in Valašské Meziříčí, I took part in
the contest, and received an award.“
instrumentation:
description:
publ. No.:
price:
salterio solo, archi
score
R 227
155,- CZK
Jiří Teml - Concerto per clavicembalo ed orchestra
da camera
„I composed Concerto per clavicembalo ed orchestra da camera in 2007 - 2008 on the harpsichordist
Monika Knoblochová, who had studied the majority of my compositions for that instrument.
Although I like the sound of that archaic instrument (which is of course well suited to contemporary
music as well), I was very anxious about the project, being aware of the harpsichord´s limited dynamic range. The exquisite harpsichord concertos of Francis Poulenc, Darius Milhaud and Bohuslav
Martinů gave me the courage to make this attempt.“
instrumentation:
description:
publ. No.:
price:
72
clav solo, 2fl, 2ob, 2cl, 2fg, 2cor, 2trb, perc, archi
score, parts
R 173
225,- CZK
Main series
Jiří Teml - Solo for Double-bass
“The initiative leading to the composition of the SOLO for double-bass came from Mr Jiří Pichlík,
a member of the organization committee of Simandl’s double-bass competition and a double-bass
player with the Chamber Philharmonic Orchestra of South Bohemia. The piece opens with a cryptogram referring to Simandl’s name that makes use of the chromatic scale tones and the solmization
syllables. In the case of the letter “n” I used the “damenization” system proposed by Karl Heinrich
Graun in the 1st half of the 18th century (da, me, ni, po, tu, la, be). I tried to use also the lower
register of the instrument. The rich experience of Mr Radomír Žalud, a professor at the HAMU and
the leader of the double-bass section of the Prague Radio Symphony Orchestra, proved more than
useful during the revision of the instrumental part.”
instrumentation:
description:
publ. No.:
price:
cb solo
part
R 235
75,- CZK
Jiří Teml - Symphony No. 3 „Kafka“
„Symphony No. 3 is an important turning point in my composition. I was working on in between
1994 and 1998 and I used everything I had experimented with and thought about in the previous
years. Then I put aside a nearly finished score and started over.
The symphony in not just a musical rewriting of some particular Kafka’s story. Approximately since
I was thirty I have been getting through Kafka’s works with bigger and smaller understanding so it
is a continuous process. The literature has affected me in a special way. When reading it I get into
a very special mood that I wanted to recreate within my composition.
instrumentation:
description:
publ. No.:
price:
2fl, fl anche fl picc, 3ob, 2cl, cl anche cl b, 3fg, 4cor, 3trb, 2tbn, tbn b, tb, timp,
batt, cel, pfte, arp, archi
score
R 119
290,- CZK
Vladimír Tichý - Concerto grosso
The three-movements composition built on the ground plan of a Baroque structure, using a group
of nine solo instruments as a concertino. The composition was created in the early 90s. The musical voice of the work combines the elements and procedures of neo-baroque with the composing
methods of the 20th century.
instrumentation:
description:
publ. No.:
price:
Main series
fl, ob, cl, fg, cor, vno, vla, vcl, cb - soli, 3trb, timp, trgl, frusta, tamb, tamb
picc, archi
score
R 026
330,- CZK
73
Vladimír Tichý - Sonata on the theme by Sergey
Prokofiev for Piano
“In 1986 I composed Sonata on Sergey Prokofiev’s theme for my wife Libuše who first graduated
from a piano class at the Music Faculty of the Academy of Performing Arts in Prague. Its starting
point is the theme of the 10th piano sonata by Prokofiev. One and half page of author’s manuscript (started but not finished torso of the planned sonata) from 1953 is his very last manuscript
material.
The sonata is the two movement sonata cycle with the first movement having a traditional sonata
form, developing Prokofiev’s theme (at the beginning of the exposition it is precisely cited, it is
necessary to understand them as a citation “in quotation marks”). The second and final movement is
variations. The manner of construction of the two movement sonata cycle has foremost Beethoven’s
Sonata op. 111 as a model, as well as Prokofiev’s 2nd symphony and Webern’s Symphony op. 21.“
instrumentation:
description:
publ. No.:
price:
pfte
part
R 115
175,- CZK
Václav Trojan - Concertino per tromba
Concertino per tromba with its classical three-part form, lyrical middle and exultant virtuoso finale
contains no sound novelties in terms of form. However, it offers the soloist the opportunity to
demonstrate the virtues of his or her instrument.
Václav Trojan finished composing this 12-minute piece on 23 January 1977. That was the year he
celebrated his seventieth birthday. Concertino was commissioned by the international competition
Prague Spring, where it was included as a set piece.
instrumentation:
description:
publ. No.:
price:
trb solo, 2fl, ob, cor ingl, 2cl, 2fg, 2cor, timp, gr c, ptti, tamb picc, trgl, gong,
tamb rull, xil, arp, archi
score
R 057
230,- CZK
Václav Trojan - Fairy-tale
Fantasy for a symphonic orchestra Pohádka (Fairy-tale) by Václav Trojan (1907 - 1983) is quiet brief,
approximately seven-and-half minutes long piece for the philharmonic orchestra with a piano, a
celesta, a harp and a relatively large percussion group. This, by itself, suggests an important role of
the colour of sound, variability of the rich timber shades. From a thematic and expressive perspective it is a temperamental orchestral fantasy with rather quick changes in contrasts.
Trojan created Pohádka probably in 1946 or at the beginning of the following year. It was to be
heard for the first time in the broadcast of the Czechoslovak Radio on the 7th of December 1947
performed by the Symphonic orchestra FOK, directed by Zbyněk Vostřák. In the same year Fairy-tale
received the Award of the Czechoslovak Radio. Nevertheless the score remained in the manuscript
and now it is published for the first time.
instrumentation:
description:
publ. No.:
price:
74
fl picc, 2fl, 2ob, cor ingl, 2cl, cl b, 2fg, 4cor, 2trb, 3tbn, tb, timp, batt, cel, arp,
pfte, archi
score
R 121
155,- CZK
Main series
Václav Trojan - Four Caricatures and One Extra
Václav Trojan (1907-1983) created the first version of this musically fresh work at the turn of 1972
- 73 for wind orchestra with piano and percussion. A year later, Trojan modified the composition
for the standard make-up of a chamber orchestra with the Pardubice State Chamber Orchestra in
mind.
In Four Caricatures and One Extra Trojan used part of his music for the famous fairytale film “Once
upon a time there was a king” (on the theme of the fairytale Salt over Gold with J. Werich in one of
the leading roles) for the 2nd and 5th movements. This concerns the part known as “Music for pork
feasting”, which also accompanies an absurd scene in the film of the “first unsalted pork feasting in
history” and then the closing part “At Trojan’s citadel”, the name of which is an obvious allusion to
Trojan’s home in Prague - Na baště sv. Tomáše (St. Thomas’s Citadel Street). The other movements
in the suite are newly composed - on the contrary, Trojan later used the music for the 4th movement (“Masquerades”) in his ballet pantomime - A Midsummer Night’s Dream (1982), from which a
concert suite was again created post facto.
instrumentation:
description:
publ. No.:
price:
2fl - II muta fl picc, ob, cor ingl, cl in B, cl in Es, 2fg, 2cor, 2trb, 2tbn, tb, euf,
timp, batt, pfte, cb
score
R 104
265,- CZK
Václav Trojan - Fuga a 4 voci
Organ concerto documents a very interesting form of the composition art of its author. It is a special
symbiosis of natural broad melodics with consistent contrapuntal work. The resulting shape of piece
„Fuga a 4 voci“ documents Trojan‘s broad intuition about historical music. His inspiration could have
been for example fugues of Seger, Kopřiva, and other masters of the Czech 18th century.
instrumentation:
description:
publ. No.:
price:
org
part
R 031
100,- CZK
Václav Trojan - La Lumia
Composer Václav Trojan wrote among others also several popular pieces between 1930 and 1940.
One of them was also La Lumia.
This three-minute piece with burning passo doble in the color of symphonic orchestra, which only
misses a warm night with dancers. Listeners can expect interesting moments both in the topical
work and in instrumentation colors which Václav Trojan uses with joyful and brilliant invention.
instrumentation:
description:
publ. No.:
price:
Main series
soprano fiorito, 2fl, 2ob, 2cl, 2fg, 4cor, 2trb, 3tbn, tb, tamb picc, cast, tmbo,
cel, gr c, ptti, archi
score
R 032
150,- CZK
75
Václav Trojan - The Last Rose from Casanova
The musical piece Poslední růže od Casanovy (The Last Rose from Casanova) by Václav Trojan has
been composed for a symphonic orchestra. Over twenty minutes long suite consists of eight parts.
This is one of Trojan‘s last musical pieces, which was written to the film of the same name directed
by Václav Krška.
In the spirit of the topic following the life of an ageing lover employed as a librarian at Duchcov
castle, Trojan stylized everything into the rococo color. In addition to this partition, Václav Trojan
(student of Vítězslav Novák) also created music for three other films - these were Byl jednou jeden
král (Once Upon a Time There Was a King), Srpnová neděle (August Sunday), and Sen noci svatojánské (A Midsummer Night‘s Dream). It is also important to mention his very successful cooperation
with Jiří Trnka in the animated film world.
instrumentation:
description:
publ. No.:
price:
fl picc, 2fl, 2ob, 2cl in A, 2fg, 4cor, 3trb, 3tbn, timp, tamb picc, tmbo, trgl,
gr c, ptti, archi
score
R 036
455,- CZK
Václav Trojan - The Prelude for Organ
The Prelude for the Organ is an early work of a significant Czech composer, whose name is usually
related to a type of music other than this composition.
It is not much known that Václav Trojan studied organ play under Prof. Bedřich Wiedermann during
the first phases of his career. This piece originates from this period and by a form of fugue it modestly elaborates an old Czech advent song “Lo, The Lord is Coming, Our Savior”.
instrumentation:
description:
publ. No.:
price:
org
part
R 030
120,- CZK
Miloš Vacek - Capriccio for Basoon
The Capriccio is a composition in three movements which is easy to interpret and accesible to the
audience. The composition provides opportunities for the instrumentalist to display his/her virtuosity.
instrumentation:
description:
publ. No.:
price:
76
fg
part
R 016
90,- CZK
Main series
Dalibor C. Vačkář - The Music for „The Conceited
Princess“
Film scores by Dalibor C. Vačkář (1906 - 1984) became classics in their own right and greatly enhanced the popularity of the respective motion pictures. The music score for the film „The Conceited
Princess“ was an extraordinary effort. It almost elevated the story to the quality of a musical where
the motifs of Princess Krasomila, King Miroslav, the nanny, the deputation, and attendants rounded
and interconnected the story.
instrumentation:
description:
publ. No.:
price:
fl picc, 2fl, 2ob, cor ingl, 2cl in B, 2fg, Asax in Es, 4cor, 4trb in C, 3tbn, tb, timp,
5batt, arp, cel, pfte, voc (soprano), el org, archi
score, parts
R 191
240,- CZK
Dalibor C. Vačkář - Winter in Tatras, the music for
the film Anděl in the Mountains
Dalibor C. Vačkář´s (1906 - 1984) film scores became classics in their own right and greatly enhanced the popularity of the respective motion pictures.The music score for the film comedy „Andel
in the Mountains“ was created in 1954. The plot takes place in Slovakia‘s High Tatra Mountains in
wintertime. It is centered on a love story, full of misunderstandings, while celebrating the famous
beautiful and rugged mountain terrain. Dalibor C. Vackar created, besides the playful tune „I Feel
Like Singing“ (the song introduced first in the film „The Conceited Princess“), and several dance
melodies, a very powerful melodically rich musical portrait of the countryside where he employs his
dramatic and lyrical imagination.
As in „The Conceited Princess“ and „Andel on Vacation“ the music score strongly contributed to the
popularity of these films which remain favorites with viewers even after fifty years. Dalibor C. Vackar
soon after the film premiere wrote an independent seven-minute composition titled „The Winter in
Tatras“ which hasn‘t lost any of its original striking impact in the concert form.
instrumentation:
description:
publ. No.:
price:
fl picc, 2fl, 2ob, cor ingl, 2cl in B, 2fg, 4cor, 3trb in C, 3tbn, tb, timp, 11batt,
arp, pfte, archi
score
R 193
155,- CZK
Emil Viklický - Dark and Vibrant
A few author’s notes on the source of inspiration for this composition: „…We had already performed
together with the string quartett Appolón several times when the violinist Radek Křižanovský came
with the idea that it would not be bad to have a broader repertoire in common. The idea to actually
write a new composition occured to me at Panera, a little café in Bloomington, within a two-hour
drive distance southward from Chicago. I had just ordered a cup of Columbian coffee that was
described as „Dark and Vibrant“. So, there was nothing left for me to do but to finish the composition
later on in Prague.
The piano part of the piece includes improvisation passages, and let it be said that it does not
necessarily have to be only jazz improvisation. The pianist-improviser can just as well choose an
utterly modern approach, making use of the indicated bitonalities…“
instrumentation:
description:
publ. No.:
price:
Main series
vno I, vno II, vla, vcl, pfte
score, parts
R 181
185,- CZK
77
Emil Viklický - Double Concerto for Harp, Oboe and
String Orchestra
“The harpist Ms Jana Boušková and the oboist Mr Jan Adamus asked me some time ago to compose
a harp and an oboe concerto for them. They both know that I enjoy playing with my jazz trio, so they
expressed a wish for the piece to contain “jazz elements”. I was as improvident as to agree.
In the meantime, I wrote a great deal of all kinds of other music and I managed to learn something
from fair harpists about the “royal instrument”. Jan Adamus has been playing my “modern” compositions for oboe since the end of the eighties. In the end, an idea occurred to me to merge the
two long promised concertos into one double concerto. But what really made me start working were
consultations with Jana Boušková: The idea of using pedal glissandos in the middle “blues” part was
too alluring to resist.”
instrumentation:
description:
publ. No.:
price:
arpa, ob / fl - soli, archi
score
R 149
235,- CZK
Emil Viklický - The Mystery of Man
“Towards the end of the year 2003 the producer Todd Barkan (Jazz at Lincoln Centre) asked me to
compose a melodrama for Wynton Marsalis Concert Band based on texts by the Czech ex-president
Václav Havel. After a few telephone consultations I agreed with pleasure. The melodrama “The
Mystery of Man” was eventually produced on 28th October 2004 on the occasion of the inauguration
of Frederick P. Rose Hall in New York. The performances took place on Broadway at 60th Street, i.e.
in the very heart of the theatre world. Many celebrities were present at the premiere, including the
Mayor of New York City and the UN Secretary General.
The actual production was, however, preceded by several meetings with Václav Havel where we
agreed which texts from his extensive output to choose for the libretto. It was also there that the
idea to use not only one but two reciters sprung up, which should help achieve more contrast - an
essential element of any musical drama.
instrumentation:
description:
publ. No.:
price:
2rec, 2Asax / 2cl / fl, 2Tsax / 2cl, Barsax / cl b, 3trb, trb / flicor, 3tbn, pfte,
bass, drums
score
R 166
380,- CZK
Emil Viklický - Piano Concerto E Major
The inspiration leading to the composition of the Piano Concerto E major was described by the
author as follows: I had been toying with the idea of writing a piano concerto for several years. I
thought it might even include jazz motifs, even though I can’t really tell what it actually means. One
of my friends, the graphic designer Jiří Anderle, kept provoking me with all kinds of recordings until,
under the impression of many prolonged debates on painting and music, I finally set down to work
in the spring of 2010. While working on the third movement – sometime in the autumn of 2010 – I
unintentionally recalled the term the funhouse of life that Jiří would speak about so often. At that
time I played the piano in the theatre show at the Viola theatre featuring Mr Luděk Munzar after his
comeback. In the show, which was called I’ll Dress You Up in Stars (Obleču Tě do hvězd) and which
commemorated the 100th anniversary of the poet František Hrubín’s birth, Mr Munzar reminisces
about his fellow actors at the National Theatre. Some of his words will always remain on the spot,
suspended, as it were, above the stage: …Don’t worry, old Kukrálec simply got drunk and turned on
the giddy-go-round. Just like that, just for himself…, which are the final lines of Hrubín’s play The
Crystal Night (Křišťálová noc). And so it happened that the motif of a giddy-go-round found its way
into the third movement of my concerto.”
instrumentation:
description:
publ. No.:
price:
78
1fl, 1ob, cor ingl, 1cl in Es, 1cl in B, cl b, 2fg, 2cor, 1trb, 1tbn, timp, 13perc,
arp, pfte, archi
score
R 226
330,- CZK
Main series
Emil Viklický - Tauromaquia
“Towards the end of the 1980s I wrote a composition called “ADAEMUS” for Jan Adamus. The piece
was set for solo English horn /eventually for oboe/, and the main motif consisted of the tones “A-DA-E-A flat” - an anagram of the artist’s name, in which the last syllable “mus” was substituted with
the tone A flat. The success of this modern composition - based on a constant tone row - led Jan
Adamus to ask me for another piece: this time it was intended for his trio, consisting of an oboe,
a violin, and a piano. Adamus explicitly asked for something rhythmical with a virtuoso oboe part,
possibly spiced with jazz elements.
He had an easy job convincing me; I liked the idea and wrote the four-part “Spanish Variations”,
inspired by Goya’s cycle of graphics entitled “La Tauromaquia”, or “Bullfighting”. I wish to express
my sincere gratitude to Jan Adamus for the slight alterations in the oboe part that he made in the
fourth part, and that I authorized afterwards.
It so happened that it is this very piece that became the most performed of my “classical” compositions. With an average of 15 to 20 performances a year, it has been played at least 300 times
altogether. May all the musicians who decide to play my “Tauromaquia” spend an enjoyable and joyful time both over the score
and then on stage.
instrumentation:
description:
publ. No.:
price:
ob, vno, pfte
score, parts
R 199
175,- CZK
Emil Viklický - Tristana for Violin and Piano or
Marimba
“The basic motive of the piece entitled Tristana sprang to my mind one morning in the Průhonice
park, and I jotted it down on a crumpled piece of paper. I had just seen two male nurses teaching
a beautiful girl to walk on crutches. I realized in horror that the girl’s le leg was missing
from the knee down. I am not sure up to this day, whether it was not just a hallucination brought
about by the fatigue from the morning jog. I fi nished the composition in a few days and sent it to
the Marimolin composition in Boston. It was awarded the 2nd prize. _ e original title, “Girl with One
Leg”, however, was not to Viking of Amy Lynn Barber, who premiered the piece in Prague alongside
Jitka Adamusová. I did not hesitate to change the title to “Tristana”. I guessed correctly that Amy
would not be familiar with Bunuel fi lm, where Catherine Deneuve plays the part of a girl suff ering
from the same handicap. Later on I arranged the marimba part also for piano.”
instrumentation:
description:
publ. No.:
price:
vno, pfte/mb
score, part
R 264
140,- CZK
Bedřich Antonín Wiedermann Organ Compositions I
The center of extensive compositional work by Bedřich Antonín Wiedermann (1883 - 1951) lies
undoubtedly in organ music and vocal pieces. The pieces that are now being published (1. volume:
Toccata Diatonica; Tristezza; Capriccietto; Ave Maria in H; Oh, Lamb of God, Christ; As the Beautiful
Rose of Jericho; Pastorale frygico; Allegro maestoso; Andante pastorale; Finale) have never been
published by print before.
Author’s manuscripts were always preferred among other sources; partly they are deposited in the
Czech Museum of Music in Prague, partly they belong to the private collection of Irena Chřibková. In
the cases when the manuscripts were not available, we used the authorized copies Czech Museum
of Music property.
instrumentation:
description:
publ. No.:
price:
Main series
org
part
R 114
260,- CZK
79
Bedřich Antonín Wiedermann Organ Compositions II
The center of extensive compositional work by Bedřich Antonín Wiedermann (1883 - 1951) lies
undoubtedly in organ music and vocal pieces. The pieces that are now being published (2. volume:
Prelude e minor; Humoresque; Monologue; Dumka; Unseen, Unheard; Hail Holy Queen; Andante
quasi pastorale; A Leaf to Your Memory-Book; Minuet of Miletín; Burlesca) have never been published by print before.
Author’s manuscripts were always preferred among other sources; partly they are deposited in the
Czech Museum of Music in Prague, partly they belong to the private collection of Irena Chřibková. In
the cases when the manuscripts were not available, we used the authorized copies Czech Museum
of Music property.
instrumentation:
description:
publ. No.:
price:
org
part
R 128
260,- CZK
Bedřich Antonín Wiedermann Organ Compositions III
None of the compositions by Bedřich Antonín Wiedermann (1883 – 1951) in the current issue has
come out in print yet. The objective of this edition is to enliven – if possible – the author’s original
intention. Any editorial modifications – which were not very frequent – appear in brackets in the
score. This publication includes Variation and Fuge on a Moravian folk song from Napoleonic era
(1937), Lullaby (1945), two Patorelas (1912, 1943) and Adoration (1912).
As sources the author’s autographs were given preference (these are partly stored at the Czech
Museum of Music – ČMH, and partly they come from Irena Chřibková’s private collection – ICh). The
individual sources differ substantially as to the details they contain, ranging from “bare” notation to
scores containing quite elaborate dynamic, articulation, and expression instructions. Only at times
was the mode of notation tacitly altered (e.g. in the case of added or deleted “safety accidentals”, or
when long legato slurs were substituted by the appropriate text “legato” or “leg” that remain valid
until the next articulation instruction).
instrumentation:
description:
publ. No.:
price:
org
part
R 201
250,- CZK
Bedřich Antonín Wiedermann Organ Compositions IV
None of the compositions by Bedřich Antonín Wiedermann (1883 – 1951) in the current issue has
come out in print yet. The objective of this edition is to enliven – if possible – the author’s original
intention. Any editorial modifications – which were not very frequent – appear in brackets in the
score. This publication includes Prelude in C minor (1925), Variation On original Theme (1948),
two Pastorelas (1943, 1947), Elegy (1934) and two compositions with the name Ricordanza (sine
anno, 1944).
As sources the author’s autographs were given preference (these are partly stored at the Czech
Museum of Music – ČMH, and partly they come from Irena Chřibková’s private collection – ICh). The
individual sources differ substantially as to the details they contain, ranging from “bare” notation to
scores containing quite elaborate dynamic, articulation, and expression instructions. Only at times
was the mode of notation tacitly altered (e.g. in the case of added or deleted “safety accidentals”, or
when long legato slurs were substituted by the appropriate text “legato” or “leg” that remain valid
until the next articulation instruction).
instrumentation:
description:
publ. No.:
price:
80
org
part
R 202
250,- CZK
Main series
Zdeněk Zahradník - Hommage à Gustav Mahler
The symphonic movement Hommage à Gustav Mahler by Zdeněk Zahradník (*1936) has two thematically connected parts. The first slow one (Adagio) follows the form of a sonata. In dreamy
allusions, there are elements of the lapidary theme of the second part at its beginning. When the
main theme, consisting of two short contrast parts, is exposed, the second lyrical theme follows.
The latter is formed by a widely arched melody interrupted by a brusque final theme. Both themes
are interwoven and they form a continuous gradation where at its climax there is a repeat with a
secondary theme which gradually breaks up and divides.
The second part (Allegro vivo) follows up with an evolutionary developed theme, out of which
continuous gradation arises, dominated by the main theme of the first part. After a short cease, a
reminiscence of the secondary theme (Meno mosso) and an extensive coda come, graduating to
the end of the whole piece.
instrumentation:
description:
publ. No.:
price:
Main series
fl picc, 2fl, 2ob, 2cl, cl b muta cl in Es, 2fg, 4cor, 2trb, 2tbn, tb, timp, batt,
arp, archi
score
R 126
215,- CZK
81
82
Historical series
Historical series
83
František Benda (edited by Václav Luks) - Concerto
for Violin and Orchestra C major
The composer and violinist František Benda (1709 - 1786) dedicated much of his music to this instrument. Both his masterful skills as a violinist and his compositional work were influenced significantly
by his engagement in the court orchestra band of Friedrich II, the future Prussian King, and also by
his stay in Dresden where he had the opportunity to get acquainted with a number of prominent
artists of the time (J. G. Pisendel, J. J. Quantz).
The publication of the Concerto for Violin and Orchestra C major is based on the manuscript score
and parts stored at the Saxon Library in Dresden, which is the oldest existing source of the concerto
whose autograph has not been preserved. Composed probably in Rheinsberg (judging by the note
Reinsberg in the score), Concerto for Violin and Orchestra C major represents the 12th volume of
the Thesaurus Antiquae Musicae historical series.
instrumentation:
description:
publ. No.:
price:
vno solo, vno I, vno II, vla, cemb [b.c.]
score, parts
R 195
510,- CZK
František Benda (edited by Václav Luks) - Concerto
for Violin and Orchestra D major
The publication of the Concerto for Violin and Orchestra C major is based on the manuscript score
and parts stored at the Saxon Library in Dresden, which is the oldest existing source of the concerto whose autograph has not been preserved. The concerto was probably intended for a smaller
ensemble: the setting and the instrumentation of the concerto correspond with the rather modest
- as compared with Dresden - size of the Rheinsberg band.
The Dresdner transcription of the score in question, however, contains a feature typical of the
period general practice in Dresden: The copyist left space in the score so that the setting could be
supplemented with wind instruments; this space is taken up by French horn virtuoso parts written
by an unknown hand. Concerto for Violin and Orchestra D major represents the 13th volume of the
Thesaurus Antiquae Musicae historical series.
instrumentation:
description:
publ. No.:
price:
vno solo, 2cor in D, vno I, vno II, vla, cemb [b.c.]
score, parts
R 196
510,- CZK
Vilém Blodek (edited by František Kolář) Symphony in D minor
The source for the publication of Vilém Blodek’s Symphony in D minor was an undated copy of the
score stored at the Czech Radio, created by the Czech composer and conductor Karel Moor probably
from 1934. Symphony in D minor comes from the early period of Blodek’s life; the exact year of
origin, however, is unknown, the dates mentioned in literature varying from 1857 to 1866. Blodek’s
symphony, then, was probably written not long after Smetana’s Triumphal Symphony, and alongside
J. B. Kittl’s Symphony No. 4 C major, and V. J. Veit’s Symphony in E minor.
The four-movement symphony is exceptional in several respects: in its unusually large scale; in its
chromatic complexity – this concerns mainly the extensive development sections in the first and last
movements; and in its non-schematic motivic work.
instrumentation:
description:
publ. No.:
price:
84
2fl, 2ob, 2cl, 2fg, 4cor, 2trp, 3trb, timp, archi
score
R 259
705,- CZK
Historical series
Czech Organ Compositions I (edited by Josef
Popelka)
Composers whose music appears in this album are all closely connected with the Prague organ
school (or the Prague Conservatory, since these two institutions merged in 1889/90). Organ book is
based on original period sources and features compositions written by czech significant composers,
organists, and music teachers Karel František Pitsch, Josef Leopold Zvonař, Josef Krejčí, František
Skuherský a Josef Suk.
instrumentation:
description:
publ. No.:
price:
org solo
part
R 248
190,- CZK
Czech Organ Compositions II (edited by Josef
Popelka)
Composers whose music appears in this album are all closely connected with the Prague organ
school (or the Prague Conservatory, since these two institutions merged in 1889/90). Organ book is
based on original period sources and features compositions written by czech significant composers,
organists, and music teachers Karel František Pitsch, Josef Leopold Zvonař, Josef Krejčí, František
Skuherský, Josef Förster a Josef Suk.
instrumentation:
description:
publ. No.:
price:
org solo
part
R 252
260,- CZK
František Xaver Dušek (edited by Vojtěch Spurný)
- Concerto per il clavicembalo, due violini, viola e
basso in C
Although it is not dated, the origin of the Harpsichord Concerto in C major (on the basis of the fact
that the concerto is listed in Breitkopf catalogue from 1774) can be placed into the 1760s or 1770s,
that is the time when the harpsichord was still the dominant keyboard instrument, as both a concert
and figured bass instrument. However, it is obvious that Dušek‘s concerto can be played on the
hammer or tangent piano, too.
Because of the character of the piece and the number of extant parts, the concerto can be performed „a quattro“, with 2 violins, a viola and a violoncello, or it is possible to choose a chamber
string ensemble with a double-bass or a violone which doubles the part marked as „basso“; J. J.
Quantz recommends, for example, 10 players (3-3-2-1-1). In line with the practice of Dušek‘s time,
it is also possible to let the whole ensemble play only the orchestral tutti, and to accompany the solo
episodes „a quattro“ or with a reduced ensemble.
instrumentation:
description:
publ. No.:
price (score):
price add. single part:
Historical series
clav, vnoI, vnoII, vla, basso
score, parts
R 068
300,- CZK
20,- CZK
85
František Xaver Dušek (edited by Vojtěch Spurný)
- Concerto per il clavicembalo, due corni, due
violini, viola e basso in D
The origin of the Harpsichord Concerto in D major can be placed into the 1760s or 1770s, that is
the time when the harpsichord was still the dominant keyboard instrument, as both a concert and
figured bass instrument. However, it is obvious that Dušek‘s concerto can be played on the hammer
or tangent piano, too.
The cast of the solo instrument is connected also with the choice of the accompanying ensemble.
Because of the character of the piece and the number of extant parts, the concerto can be performed, with 2 violins, a viola, a violoncello and 2 French horns or it is possible to choose a chamber
string ensemble with a double-bass or a violone which doubles the part marked as „basso“; J. J.
Quantz recommends, for example, 10 players (3-3-2-1-1). In line with the practice of Dušek‘s time,
it is also possible to let the whole ensemble play only the orchestral tutti, and to accompany the solo
episodes „a quattro“ or with a reduced ensemble.
instrumentation:
description:
publ. No.:
price (score):
price add. single part:
clav, 2cor in D, vnoI, vnoII, vla, basso
score, parts
R 089
365,- CZK
20,- CZK
František Xaver Dušek (edited by Vojtěch Spurný)
- Concerto per il clavicembalo, due corni, due
violini, viola e basso in Es
Although it is not dated, the origin of the E flat major Harpsichord Concerto can be placed into the
1770s, that is the time when the harpsichord was still the dominant keyboard instrument, as both a
concert and figured bass instrument. However, it is obvious that Dušek‘s concerto can be played on
the hammer or tangent piano, too.
The cast of the solo instrument is connected also with the choice of the accompanying ensemble.
Because of the character of the piece and the number of extant parts, the concerto can be performed, with 2 violins, a viola, a violoncello and 2 French horns or it is possible to choose a chamber
string ensemble with a double-bass or a violone which doubles the part marked as „basso“; J. J.
Quantz recommends, for example, 10 players (3-3-2-1-1). In line with the practice of Dušek‘s time,
it is also possible to let the whole ensemble play only the orchestral tutti, and to accompany the solo
episodes „a quattro“ or with a reduced ensemble.
instrumentation:
description:
publ. No.:
price (score):
price add. single part:
clav, 2cor in Es, vnoI, vnoII, vla, basso
score, parts
R 069
380,- CZK
20,- CZK
Johann Friedrich Fasch (edited by Václav Luks) Ouverture g minor FWV K: g 5
Ouverture g minor by Johann Friedrich Fasch (1688 - 1758), a representative of supreme baroque
instrumental music and Bach’s contemporary, was released as the fourth volume of the historical
series Thesaurus Antiquae Musicae.
The complexity of the volume required creating a critical edition referring to the two preserved
sources available at the Saxon State Library in Dresden, one of which is the author’s manuscript.
Ouverture was written in a traditional suite form - a French ouverture followed by dance movements. In reference to its music language that is marked by an orchestral virtuosity and rich sound
colour we can presume that the piece was written directly for the Dresden Orchestra - one of the
best orchestras of its time that Fasch kept close contacts with for all his life.
instrumentation:
description:
publ. No.:
price:
86
2ob, fg, vnoI, vnoII, vla, cemb [vcl, cb]
score, parts
R 083
475,- CZK
Historical series
Jan Adam Gallina (edited by Zdeněk Šesták) Sinfonia ex Dis
Four-movement composition for two English horns, two French horns and strings. It was composed
according to the orchestral voices deposited at the National Museum - Czech Museum of Music.
This is so called Pachta‘s fund owned by the Prague family of Pachtas from Rájov. This Citoliby
musical group was in a close contact. Realization of this piece was undertaken by a composer and
scholar in one person - PhDr. Zdeněk Šesták. He was literally amazed by the Citoliby castle archives.
The piece named Sinfonia ex Dis by Jan Adam Galina was part of the Prague Spring 2004 music
festival.
instrumentation:
description:
publ. No.:
price:
2cor ingl, 2cor di caccia in Dis, vnoI, vnoII, vla, basso
score
R 045
200,- CZK
Karel Blažej Kopřiva (edited by Zdeněk Šesták) Missa solemnis in D sharp
Under the inspiring and pedagogical influence of the preceptor Václav Jan Kopřiva (1708 - 1789),
a group of composers was formed, which without exaggeration may be designated as the Cítoliby
composer school. This group includes his two sons - Jan Jáchym Kopřiva (1754 - 1792), his father’s
successor in the preceptor’s office, and Karel Blažej Kopřiva (1756 - 1785), an extraordinary organ
player and composer, subsequently from Seger school.
The advanced music culture of Cítoliby, which is located 60 km north-west of Prague and which in
later 18th century consisted of up to 60 houses, was the result of the intensive artistic activities
surrounding the castle, school and St. Jacob’s Church. Cítoliby and the entire estate of the same
name were lucky to be inherited to the art-loving descent of Pachts of Rájov in 1720. The Pachts had
a uniquely refined taste for the quality and progressive in music. Their personal contact with many
significant artists, such as Mozart, Weber, Wagner, as well as the Czech artists Seger, Mysliveček
and Dušek, are well known.
instrumentation:
description:
publ. No.:
price:
2ob, fg, 2cor in Dis, soli, coro, archi, org
score
R 014
465,- CZK
Antonín Kraft (edited by Jakub Michl) - Concerto for
Cello and Orchestra C major, op. 4
Born in the town of Rokycany, Antonín Kraft (1749 to 1820), a Czech cellist and composer, studied
composition with Joseph Haydn, and went on to become the first violoncellist with several court
orchestras – those of Prince Nikolaus Esterházy, Count Grassalkovicz, and Prince Joseph Lobkowicz.
Considered one of the leading cello virtuosos of his day, he also left behind a noteworthy output of
music – namely, his numerous chamber compositions and, above all, his two cello concertos, both
in C major key (op. 4 and the so-called Seydl’s concerto).
The sources for the publication of Kraft’s Cello Concerto C major, op. 4 – the 22nd volume of the
Thesaurus Antiquae Musicae historical edition – consist of a single print: the only surviving source of
the piece, an undated copy coming from the original period, printed in Leipzig by Breitkopf & Härtel
(Premier Concerto Pour le Violoncelle : Oeuvre 4. L. 1), and currently stored at the Saxon State
Library in Dresden under the location number Mus.3920-0-1.
instrumentation:
description:
publ. No.:
price (score):
Historical series
2fl, 2ob, 2cl, 2fg, 2cor, 2trb, timp, archi
score, parts
R 220
280,- CZK
87
František Vincenc Kramář (edited by Marek Štryncl)
- Quintetto pour une Flûte, Violon, deux Violes, et
Violoncelle, Oeuv. 58
F. V. Kramář’s Quintetto surely contains, typically of the author, features of Haydn’s and Mozart’s
compositional style, which is particularly explicit in the gentle introductory parts of the third and
fourth movements where the flute dominates the other instruments. On the whole, however, the
separate parts of this Quintetto all play unusually balanced roles within the piece as a whole when
compared to other chamber compositions of its time; the six-voice fugato from the beginning of the
first movement that recurs later on in the second part of the same movement in a different order of
instrumentation can serve as an example testifying this.
The source for this edition of Quintetto op. 58 by F. V. Kramář is the impression published by the
Viennese Chemische Druckerei that is currently housed in the Music Department of the National
Library of the Czech Republic. It came out already during the composer’s lifetime; although it is
not dated, it was probably created in 1807. The publication includes faksimile of the first pages of
each part.
instrumentation:
description:
publ. No.:
price:
fl, vno, 2vla, vcl
score, parts
R 143
465,- CZK
Josef Mysliveček (edited by Miloslav Richter) Concerto in Es
The original artwork for Mysliveček‘s concert partition creation was the manuscript voices stored in
the archive of Thurn-Taxis prince family from Regensburg. The original manuscript title was: Concerto in Es a 2 Clarinetti in B, 2 Corni, 1 Fagotto, 2 Violini, Viola e Basso. This music was published
based on the order from the regional studio of Český rozhlas - Plzeň. The concert was adapted by
the member of the Český rozhlas‘s Symphonic Orchestra - clarinetist Miloslav Richter.
instrumentation:
description:
publ. No.:
price:
2cl, fg, 2cor, vnoI, vnoII, vla, basso
score
R 044
175,- CZK
Antonín Rejcha (edited by Jakub Michl) - Symphony
F major
Born in Prague, Antonín Rejcha (1770-1836) was a music theoretician and composer of great significance for both Czech and French music life at the turn of the 18th and 19th century. As a composer,
he contributed to all genres including orchestral music. This part of his output includes almost twenty symphonies. The new edition of Rejcha’s Symphony F major is based on the author’s autograph
stored at Bibliotheque National in Paris.
instrumentation:
description:
publ. No.:
price (score):
88
1fl, 2ob, 2cl, 2fg, 2cor, tymp, archi
score, parts
R 244
soon available
Historical series
František Xaver Richter (edited by Marek Štryncl)
- String Quartet B-flat major
František Xaver Richter (1709 to 1789) belongs to the large number of Czech composers and musicians who spent most of their lives abroad. His contribution to the field of chamber music has been
significantly influential. What stands out besides his sonatas, trios, and divertimentos are the seven
string quartets, whose singularity lies in Richter’s ability to apply polyphonic techniques within pieces
of lighter and secular nature. The polyphonic style thus appears in unprecedented forms and contexts and with a force and intensity unequalled by any of Richter’s contemporaries.
The main source of these quartets – published in the TAM edition – is the earliest known print of
Richter’s quartets printed in London in 1768. Other sources have been used as comparative sources:
a print dated c1722 from Paris and four copies surviving in Czech lands, Germany and Austria. Soon
will be available also the quartets C major, A major, E-flat major, G major, D major and G minor.
instrumentation:
description:
publ. No.:
price:
vno I, vno II, vla, vcl
score, parts
R 212
160,- CZK
Josef Seger (edited by Pavel Kohout) - Organ
compositions, Fugues
Josef Seger (1716 - 1782) was considered one of the best organ virtuosos and improvisers in the
mid-18th century. He focused mainly on church music, and took special interest in organ compositions. He was also a recognized and sought-after pedagogue; among his numerous students can be
found the names of many significant Czech composers and organists, such as František Xaver Brixi,
Josef Mysliveček, Karel Blažej Kopřiva, Jan Evangelista Koželuh and Jan Křtitel Kuchař.
The source for the new publication of Josef Seger‘s organ compositions is the manuscript stored at
Leipzig Municipal Library. The document is probably the oldest preserved transcription of Seger‘s
organ music. We have singled out several representative pieces from the total number of fugue
compositions and, while leaving the original order of the pieces intact. The location of the compositions neither in the Leipzig source nor in any other comparative sources sufficed as a basis for the
completion of the free forms and the fugues; in all likelihood, however, they were not performed
like that anyway.
instrumentation:
description:
publ. No.:
price:
org
part
R 194
225,- CZK
Josef Seger (edited by Pavel Kohout) - Organ
Compositions, Preludes, Preambles, Fantasias
The source for the new publication of Josef Seger‘s organ compositions is the manuscript stored at
Leipzig Municipal Library. The document is probably the oldest preserved transcription of Seger‘s
organ music. We have singled out several representative pieces from the total number of preludes,
preambles and fantasias and, while leaving the original order of the pieces intact. The location of
the compositions neither in the Leipzig source nor in any other comparative sources sufficed as a
basis for the completion of the free forms and the fugues; in all likelihood, however, they were not
performed like that anyway.
instrumentation:
description:
publ. No.:
price (score):
Historical series
org
part
R 221
225,- CZK
89
Bedřich Smetana - Prague Carnival
The Prague Carnival belongs to Bedřich Smetana’s (1824 to 1884) last works. Judging by the preserved correspondence, Smetana had been considering the idea of a “large symphonic poem entitled
The Prague (or Czech?) Carnival” already from the year 1880. His original intention was that of an
extensive cyclic orchestral work. The admirable idea, however, remained but a fragment, the only
finished pieces being the Introduction and Polonaise (a scene of the whirling carnival dance and the
initial dance of a ball).
The style of the fragment is close to that of Smetana’s innovatory period of the 1860s, represented
by such works as the Macbeth and the Weird Sisters piano sketch or the symphonic poems Richard
III, Wallenstein’s Camp, and Hakon Jarl. The current edition of the score corresponds with the original version and is based on the critical Study Edition of B. Smetana’s Work, Orchestral Compositions
II (Studijní vydání děl B. Smetany, Orchestrální skladby II), Prague 1951.
instrumentation:
description:
publ. No.:
price (score):
fl picc, 2fl, 2ob, 2cl, 2fg, 4cor, 4trp, 3trb, tb, timp, trg, ptti, tamb rull,
gc, archi
score
R 262
160,- CZK
Václav Jan Tomášek (edited by Vojtěch Spurný) Concerto for Piano and Orchestra E flat major,
op. 20
The second piano concerto E flat major is kept in National Museum - Czech Museum of Music. It was
preserved in two fragments. The older manuscript misses the beginning of the piece, the younger
consists only of the beginning of the first movement. Nevertheless, we have a piano score that
corresponds with the older version. Considering the fact that Tomášek never finished the intended
revision of the piece and his work was interrupted virtually in its first run, we have released his piano
concerto in its first version.
Václav Jan Tomášek (1744 - 1850) is counted among the most significant figures of Czech musical
scene in the first half of the 19th century. He was a brilliant pianist, acknowledged composer and
a famous music preceptor. The larger instrumental pieces - symphonies, concertos, overtures - he
wrote in the first decade of the 19th century. Tomášek composed only two concertos, both for piano.
It was C major, op. 18 and E flat major, op. 20.
instrumentation:
description:
publ. No.:
price:
pfte, fl, 2ob, 2cl, 2fg, 2cor, 2cln, timp, archi
score
R 081
675,- CZK
Jan Pavel Veselý (edited by Monika Jägerová) String Quartet C major
Born in the town of Hluboká on the Vltava River, Jan Pavel Veselý (1762-1814) was a skilled violinist
and composer. A member of the theatre orchestras in Alton and Kassel as well as the concertmaster
of Duke Bernburg in Ballenstedt, Veselý is the author of two singspiels and, most importantly, of
chamber music for string instruments (trios, quartets), several of which have come out in print. The
new edition of the String Quartet C major is based on the period Hoffmeister, Vienne print of the
individual voices stored at the Moravian Library in Brno.
instrumentation:
description:
publ. No.:
price:
90
vno I, II, vla, vcl
score, parts
R 247
soon available
Historical series
Jan Pavel Veselý (edited by Monika Jägerová) String Quartet G major
Born in the town of Hluboká on the Vltava River, Jan Pavel Veselý (1762-1814) was a skilled violinist
and composer. A member of the theatre orchestras in Alton and Kassel as well as the concertmaster
of Duke Bernburg in Ballenstedt, Veselý is the author of two singspiels and, most importantly, of
chamber music for string instruments (trios, quartets), several of which have come out in print. The
new edition of the String Quartet G major is based on the period Hoffmeister, Vienne print of the
individual voices stored at the Moravian Library in Brno.
instrumentation:
description:
publ. No.:
price:
vno I, II, vla, vcl
score, parts
R 246
220,- CZK
Jan Václav Hugo Voříšek (edited by Marek Štryncl)
- Graduale Benedictus es
The source for the publication of graduale Benedictus es by Jan Václav Hugo Voříšek (1791 - 1825)
is the autograph score stored in the Archive and Program Funds of the Czech Radio under the location number ARCH 431. The autograph was originally a part of the so-called Balling’s collection with
the original location number of B. S. 420. Graduale Benedictus es was released as the ninth volume
of the historical series Thesaurus Antiquae Musicae.
Should the offertorium Quoniam iniquitatem cognosco be a reminiscence of polyphonic church
Baroque music, then it seems that graduale Benedictus es contains elements of the Classicist conception of the genre, including the sunny atmosphere of a holy day that the music of this era was so
particularly capable of depicting. The instrumentation is similar to other religious works by Voříšek
- the usual oboes, bassoons, trumpets, trombones, kettle-drums, human voices, strings, and the
organ are, however, in the case of this particular piece (unlike the other three compositions) supplemented by the French horns that underline the festive sound of the orchestra. (Since the French
horn is one of the characteristic instruments of Christmas pastorals, it should be pointed out that
Voříšek finished the mass during the Christmas period, on 6th January 1825).
instrumentation:
description:
publ. No.:
price:
ob, vno, pfte
score, parts
R 156
score: 220,- CZK; parts: 170,- CZK
Jan Václav Hugo Voříšek (edited by Petra Matějová)
- Introduction and Rondo Brillante for piano and
orchestra, op. 22
Piano compositions – whether solo or concertante – play an irreplaceable role in the oeuvre of the
excellent organist and pianist Jan Václav Hugo Voříšek. Published as the 23rd issue of the TAM historical series, this virtuoso piano piece is based on two available sources: the period Haslinger Tobias,
Wien print, which is part of the Czech Radio historical collections, and the fragmented autograph
written by the author that is located in the Gesellschaft der Musikfreunde Wien collection.
instrumentation:
description:
publ. No.:
price:
Historical series
pfte solo, 1fl, 2ob, 2cl, 2fg, 2cor in D, 2trp, tymp, archi
score, parts
R 245
soon available
91
Jan Václav Hugo Voříšek (edited by Marek Štryncl)
- Offertorium Mentis opressae
The source for the publication of offertorium Mentis oppressae is the autograph score stored in
the Archive and Program Funds of the Czech Radio under the location number ARCH 432. The
autograph was originally a part of the so-called Balling’s collection with the original location number
of B. S. 420. Offertorium Mentis opressae was released as the tenth volume of the historical series
Thesaurus Antiquae Musicae.
There are striking differences to be found among the religious compositions J. V. H. Voříšek wrote
within the last two years of his life. Whereas his Mass in B-flat major and particularly Graduale
Benedictus es present Voříšek as an ingenious consummator of the art of his ancestors from nearly
a century ago, Offertorium Mentis oppressae could be considered his Classical-Romantic confession.
The dismal and oppressive meaning of the text Voříšek respects throughout the work in an ingenious
and creative way.
instrumentation:
description:
publ. No.:
price:
S A T B soli, 2ob, 2fg, 2trb (clarini in B), 3tbn, timp, vno I, vno II, vla, org
[vcl, cb]
score, parts
R 154
score: 230,- CZK; parts: 200,- CZK
Jan Václav Hugo Voříšek (edited by Marek Štryncl)
- Offertorium Quoniam iniquitatem
The source for the publication of the offerorium Quoniam iniquitatem is the autograph score stored
in Österreichische Nationalbibliothek Wien in Vienna under the location number Wn Mus. Hs. 16441.
This composition was released as the tenth volume of the historical series Thesaurus Antiquae
Musicae.
The initial Andante is marked for its homophonic setting full of romanticizing dramatic rhythmical and dynamic turns - at times gradual, but in the second part also surprisingly abrupt. The
Allegro moderato represents a truly remarkable piece of art as designed by a top-class master of
Baroque counterpoint and polyphony. Despite that, however, the accompanying violin ostinato and
the harmonic background of the composition unmistakably evoke the late Classicist era. In the final
monumental Adagio Voříšek‘s music is inspired by the art of the Renaissance polyphonic composers
that the author managed to blend with Classical-Romantic instrumentation. The resulting character,
noted for its exceptional nobleness and religious force, has been present in the music of all the eras
of the western civilization for centuries, ever since the rise of certain tokens of medieval music.
instrumentation:
description:
publ. No.:
price:
S A T B soli, 2ob, 2fg, 2trb (clarini in C), 3tbn, timp, vno I, vno II, vla, org
[vcl, cb]
score, parts
R 162
score: 270,- CZK; parts: 240,- CZK
Jan Zach (edited by Eva Tornová) - Concerto per il
Cembalo obligato, Violino Primo, Violino Secondo,
Viola e Violoncello GS C 17
The source for this critical edition is the manuscript of Zach’s concerto, housed in the Musical
Department of the State Library in Berlin: Staatsbibliothek zu Berlin - Preußischer Kulturbesitz,
Musikabteilung mit Mendelssohn-Archiv. According to the up-to-date research on J. Zach’s work, this
manuscript is the only preserved source of this work.
Concerto c minor reflects modern techniques characteristic of the period development of music. The
time of its origin is not specified and any attempts at its rough estimation can be based merely on an
assessment of the style of the composition and the biographical data. The work is firmly set in the
tradition of Baroque concertos that are based on the contrast between solo passages and variedly
set orchestral sections where the soloist on the one hand and the orchestra on the other are seen
as partners, and both the groups make use of equivalent thematic material. Formally, the concerto
consists of three movements with regularly alternating tutti and solo sections. Individual groups
of instruments not only take turns, but also complement one another, and in some passages an
independent dialogue between the harpsichord and the first violin section is discernible.
instrumentation:
description:
publ. No.:
price:
92
cemb, vnoI, vno II, vla, basso
score, parts
R 144
290,- CZK
Historical series
Jan Dismas Zelenka (edited by Václav Luks) - I
penitenti al Sepolcro del Redentore ZWV 63
In 1735 - 1736 J. D. Zelenka had the chance to write and present two passion oratorios. Gesu al
Calvario was followed by the oratorio I penitenti al sepolcro del redentore, performed on Good Friday, the 30th of March in 1736. The work is a profound exploration of characters - Mary Magdalen
(Maddalena), King David (Davide) and the Apostle Peter (Pietro) - who meet at the sepulchre of the
Saviour and meditate on the message of Christ´s sacrifice.
The source for this critical edition is the manuscript from the Saxon State Library in Dresden. Though
the legibility of this autographic manuscript was poor we aimed to release an authentic version of
the piece keeping all the peculiarities of Zelenka‘s musical language. Oratorio I penitenti al sepolcro
del redentore represents the 14th volume of Thesaurus Antiquae Musicae historical series.
instrumentation:
description:
publ. No.:
price:
A T B soli, coro misto, 2fl, 2ob, vno I, vno II, vla, b. c.
score
R 145
550,- CZK
Jan Dismas Zelenka (edited by Václav Luks) Ouverture a 7 concertanti F major ZWV 188
Ouverture F major is one of the best known orchestral pieces by J. D. Zelenka (1679 - 1745). It was
most probably written together with another five orchestral pieces during author’s visit in Prague on
the occasion of court festivities for the coronation of the Emperor Charles VI in 1723.
The note on the front page of the manuscript score ”a Praga 1723” proves the fact. The manuscript
can be found at the Saxon State Library in Dresden and it presents a major source of this critical
edition volume. Though it was badly damaged and the legibility of this autographic manuscript was
poor we aimed to release an authentic version of the piece keeping all the peculiarities of Zelenka’s
musical language. Ouverture a 7 concertanti F major represents the fifth volume of Thesaurus
Antiquae Musicae historical series.
instrumentation:
description:
publ. No.:
price:
Historical series
2ob, fg, vnoI, vnoII, vla, cemb [vcl, cb]
score, parts
R 080
475,- CZK
93
94
CMF Edition
CMF Edition
95
Hanuš Bartoň - Passing of Time
„At the beginning of the year 1999 I have composed a new piece for the ensemble MoEns (formerly
known as Mondschein Ensemble). At that time I was interested in using of consonant sounds in
another relation than the tonal music had brought. The Passing of Time is based mostly on major
triads ranged according to a system developed especially for this piece. Sometimes it sounds rather
like a spectral music style, but the base of the system and also my expressive intentions are different
from that contemporary French stream.
Slow and unobtrusive changes of the harmony and the required, for the instrumentation leading
colour of the synthesizer, give to the music an expression of a slow flight. The title, which I invented
after having finished the piece, corresponds with this feeling. The Passing of Time was performed
since 1999 by the MoEns ensemble many times in the Czech Republic and other countries. The
Passing of Time has been also performed by Ensemble continuum at Toronto (Canada) in April
2008 and recently by the Norwegian ensemble BIT 20 at ISCM World New Music Days Gothenburg
2009.“
instrumentation:
description:
publ. No.:
price:
fl, cl in B, vno, vla, vcl, pfte, synt
score, parts
R-CHF 004
295,- CZK
Peter Graham - Carceri d´invenzione, Chromatic
fantasy and fugue for accordion
„The title of the piece the English equivalent of which is “The Fictitious (Unreal) Prisons” was taken
over from a cycle of graphics of the Italian Baroque artist and architect G. B. Piranesi (1720–1778)
that depicts bizarre constructions of fictitious dungeons with hidden ways out. The decision to
set the piece for accordion stems from an analogy with Piranesi’s conditions: In the impoverished
country that Italy was in his day he had hardly any chance of materialising his architectonic visions;
he therefore merely designed buildings that could not exist anywhere but on the paper. Similarly,
it is “just” an accordion that is used to bring the score of rather monumental dispositions to life
– however, the use of any other instrument is ruled out due to specific techniques that are made
use of in the score.“
instrumentation:
description:
publ. No.:
price:
acc
part
R-CHF 001
195,- CZK
Peter Graham - Věruju (I Believe)
„The composition entitled Věruju (I Believe) based on an Old Church Slavonic text was written in
2004 on the occasion of Eva Tálská’s performance of the Ancient Czech Myths (Studio Dům). It was,
in fact, merely an interlude within a more extensive score based on the myth about Svatopluk and
only a part of it was actually used in the performance. In 2007 I revised the piece and dedicated this
new version to the composer Roman Berger on the occasion of his 77th birthday. The uncommonly
plain choral setting calls for a corresponding rustic and inornate mode of expression reminiscent of
the atmosphere of the early Christian piety.“
instrumentation:
description:
publ. No.:
price:
96
choro misto
score
R-CHF 007
250,- CZK
CMF Edition
Marek Kopelent - Nostalgic construction, piquant
version for Mezzosoprano, Violin, Tuba, Accordion
and Piano
„A nostalgic construction – the two terms put together give full account of the compositional intention and the result that is this piece: for the most part, it turns back to the techniques I used in
the 1960s; a time I, looking back over the years with both nostalgia and detachment, remember
being pregnant with worldwide effort to seek new ways of musical expression, and that also meant
a constant struggle of Czech composers against the phantom of the socialist realism as preached
by totalitarian Association of Czechoslovak Composers. The “piquant variant” with the singing voice
spices up the composition by adding another up-to-date dimension: the listener will kindly decipher
in the fragmented text the passion hidden deep in a woman’s soul; a passion that has found its
fruition only in some members of the animal kingdom. However, the piece could just as well play its
part for instance in an imaginary feminist festival.“
instrumentation:
description:
publ. No.:
price:
MS, vno, tb, acc, pfte
score, parts
R-CHF 012
310,- CZK
Lukáš Matoušek - Shadows and Reflections for
Flute, Clarinet, Violin, Viola, Violoncello and Piano
„The name of my composition Shadows and Reflections (1999/2000) is bound with the name of the
Czech ensemble “Mondschein”, for which my piece was originally written. During the moonshine
we can often see fantastic shapes of shadows and reflections. Therefore my composition contains
several different movements. Just as shadows and reflections of moonshine are multiple reflections
of sunshine in their essence, so my music is a multiple “reflection” of the contemporary musical
world surrounding me. I tried to deal with the rampant contemporary musical present. Perhaps it is
for that very reason that my music is also deliberately diverse, perhaps on that account it contains
the reminiscences, and perhaps therefore that thirst for synthesis.“
instrumentation:
description:
publ. No.:
price:
fl, cl, vno, vla, vcl, pfte
score, parts
R-CHF 002
275,- CZK
Vlastislav Matoušek - Hexachordon for Guitar
(amplified ad lib.)
„There are six strings in space and time that make up the resounding Cosmos, the opposite of the
vibrating Chaos. And so the thing to do was, among others, to supplement the myriads of the already existing patterns by another six, in which, for instance, six potentially resounding structures –
parts of a hypothetical set of blocks – would be graphically encoded. A set of blocks whose parts may
be multiplied and combined at will, and then use these components to compose or build bridges, or
mere walkways… and thus to connect things. To connect what is temporarily disconnected. That is
one of the few things a human being can do in wellgrounded hope of doing something useful. The
parts can be performed in any order.“ This composition was written in 2000.
instrumentation:
description:
publ. No.:
price:
CMF Edition
guit
part
R-CHF 008
185,- CZK
97
Michal Nejtek - Music for 18 Strings
„I have only one burnin´desire – let me stand next to your fire!“ (Jimi Hendrix)
„The composition was originally conceived as homage to the phenomenal guitarist. After some time,
however, I realized that any effort to imitate his music was bound to fail. In the end, the only bits
taken over from Hendrix that remained in the piece were two chords (C-sharp minor 7, B minor 7)
I used as the thematic material. The basic unifying idea underlying the five-part form consisting of
music full of inner contrasts lies in the use of certain loci communes, musical moments common to
more parts of the composition. In each part these moments were used in starkly different contexts
– here as a form linking element, there as an ostinato, etc. The prescribed use of specific guitar
effects (the flanger and the wah-wah pedal) suggested in the score is not obligatory. The strings
are not amplified.“
instrumentation:
description:
publ. No.:
price:
el guit, vno, vla, vcl
score, parts
R-CHF 009
265,- CZK
Tomáš Pálka - Such Silence which You have to
Pronounce, composition for four pianists on two
pianos
„The title was taken over from Vladimír Holan’s poem Je... (There Is...) Imagine a journey leading
through a long period of inner silence. At one point this silence explodes, as if upon awakening. The
silence that ensues comes from a different world…“ The composition Such silence that you must
pronounce it was written in 2004.
instrumentation:
description:
publ. No.:
price:
2pfte
score, parts
R-CHF 003
270,- CZK
Ondřej Štochl - Calligrammes for Flute, Violoncello
and Piano
„As I was working my way through this piece, the first thing that sprang to my mind was the shape
of the individual movements. I did not want to censor or develop these initial ideas in any way in
later stages; on the contrary, it was my intention to preserve them in their naive plain state. It was
then a simple, natural process for the music and its poetics to replenish and enliven these shapes
that had grown rather murky and limp over the previous weeks and months. When composing, I
felt very much aware of the intensive and mutually dependent relation between the shape and the
poetic mode of expression; indeed, the less (intentionally) rational work was involved, the more
intensive this feeling grew. The poetic calligram simile thus gives the best account of the impression
the finished composition makes on the author.“ Calligrams was written in 2008.
instrumentation:
description:
publ. No.:
price:
98
fl, vcl, pfte
score, parts
R-CHF 005
145,- CZK
CMF Edition
Ondřej Štochl - Calligrammes II. for Piano Trio
„As I was working my way through this piece, the first thing that sprang to my mind was the shape
of the individual movements. I did not want to censor or develop these initial ideas in any way in
later stages; on the contrary, it was my intention to preserve them in their naive plain state. It was
then a simple, natural process for the music and its poetics to replenish and enliven these shapes
that had grown rather murky and limp over the previous weeks and months. When composing, I
felt very much aware of the intensive and mutually dependent relation between the shape and the
poetic mode of expression; indeed, the less (intentionally) rational work was involved, the more
intensive this feeling grew. The poetic calligram simile thus gives the best account of the impression
the finished composition makes on the author.“ Calligrams II. for Piano Trio was written in 2009.
instrumentation:
description:
publ. No.:
price:
vno, vcl, pfte
score, parts
R-CHF 006
145,- CZK
Pavel Zemek - Sonate No. 2 for Solo Violoncello
„The two-movement composition reflects my views on the cyclic form in the 1990s. The Sonata
actually consists of a continuous melodic line – the basis of the initial movement is developed in the
second virtuoso movement; the piece that is for the most part conceived horizontally contains no
more than shades of the most essential elements of the harmony. The Sonata is dedicated to the
memory of my older friend P. J. Zemek (died 1989) who used to be my frequent companion back
in the 1970s and 1980s.“
instrumentation:
description:
publ. No.:
price:
vcl solo
score, parts
R-CHF 010
185,- CZK
Pavel Zemek - Unisono I for Four Saxophones
Unison I for four saxophones (I. Der Bach und die Zeit, II. Der Fluss und die Zeit, III. Der See) from
2004 is a concise reflection on time, its flow and its layering.
instrumentation:
description:
publ. No.:
price:
CMF Edition
Ssax in B, Asax in Es, Tsax in B, Bsax in Es
score, parts
R-CHF 011
285,- CZK
99
100
Books
Books101
Where Is My Home - The Czech Republic´s National
Anthem Down The Ages
The book Where is My Home? sets out the life Czech national anthem, its reception and importace,
the historical context of the time in which it was written and further developments in the Czech
lands concerning perceptions of Czech statehood and symbolism. Specialists from several institutions were invited to collaborate on this publication. In their contributions they examine the national
anthem from various viewpoints, thereby offering readers a wealth of material related to this topic,
which has not been dealt with comprehensively much until now. Here we find studies in history,
musicology and biographies. This publications was published as a part of a project to mark the 90th
anniversary of the foundation of the Czech republic and the celebrations of Czech Statehood Day.
An enclosed CD both historical and present-day recordings of the anthem is also a part of the
publication; these recordings include also the performance of the National Theatre Orchestra with
Jiří Bělohlávek from 1st Ma, 2008. The book was created thanks to the cooperation of the Czech
Radio with the Office of the Government of Czech republic, the National Museum, and the National
Theatre.
description:
price:
book + CD
370,- CZK
Bedřich Smetana - The Bartered Bride
The publication includes stitched book and two radio historical recordings of Smetana’s opera The
Bartered Bride. Both these historical recordings were recorded in the 1940s. They are linked with
the names of important representatives of Czech musical culture of the twentieth century, Karel
Boleslav Jirák and Karel Ančerl. The earliest recording from the accessible was recorded in February
1945 under Karel Boleslav Jirák, Karel Ančerl recorded The Bartered Bride as the head of the radio
orchestra immediately after taking that position in the autumn of 1947.
In the stitched book we find chronological survey of life and work of Bedřich Smetana, biography of
the both conductors and studies of notable specialists about Bedřich Smetana in czech musical life
of the nineteenth century, about context of the rise and next fate of the opera The Bartered Bride,
about musical broadcasting on Czech Radio and the analyse of the both recordings as well.
description:
price:
102
book + 4 CD
490,- CZK
Books
103
Index
A
K
Adámek, Ondřej
18
B
Báchorek, Milan
Bartoň, Hanuš
Bartošík, Zbyněk
Benda, František
Bendl, Karel
Bernátek, Jan
Blodek, Vilém
Boreš, Ivan
18
18, 19, 96
19
84
20
20
84
20
D
Domažlický, František
Douša, Eduard
Dřevikovský, Libor
Dušek, František Xaver
Dvořák, Antonín
Dvořák, Milan
21, 22
22, 23
24
85, 86
24, 25
6, 7
F
Fasch, Johann Friedrich
Feld, Jindřich
Fišer, Luboš
Flosman, Oldřich
Foerster, Josef Bohuslav
86
25
25
26
26, 27
G
Gallina, Jan Adam
Gemrot, Jiří
Gondolán, Antonín
Graham, Peter
87
27, 28, 29
15
96
H
Kalaš, Julius
Kaprálová, Vítězslava
Kohout, Pavel
Kolář, František
Kopelent, Marek
Kopřiva, Karel Blažej
Kozel, Václav
Kraft, Antonín
Kramář, František Vincenc
Kratochvíl, Martin
Krček, Jaroslav
Krejčí, Iša
Kubička, Miroslav
Kučera, Jan
Kurz, Ivan
Kvěch, Otomar
40
40, 41, 42
89
84
97
87
10
87
88
10
42
26, 42, 43, 67
44
45
46, 47, 48
48, 49
L
Loudová, Ivana
Lukáš, Zdeněk
Luks, Václav
49
50, 51, 52
84, 86, 93
M
Mácha, Otmar
Matějová, Petra
Matějů, Zbyněk
Matoušek, Lukáš
Matoušek, Vlastislav
Meisl, Jan
Michl, Jakub
Míšek, Adolf
Mittner, Jiří
Musorgskij, Modest Petrovič
Mysliveček, Josef
53,
54,
87,
55,
53
91
54
97
97
55
88
55
56
56
88
N
Hapka, Petr
Havelka, Svatopluk
Havlík, Ferdinand
Hejnar, Robert
Hejný, Petr
Hlaváč, Jiří
Horáček, Michal
Hurník, Ilja
Hurník, Lukáš
Husa, Karel
Hybler, Martin
12
30, 31
7, 8, 9
31
31
32
12
32, 33
34
34, 35
9, 20, 35, 36, 37, 38
Ch
Chaun, František
21
J
Jägerová, Monika
Jaroch, Jiří
Jeremiáš, Otakar
Ježek, Jaroslav
Ježková, Olga
Jirásek, Jan
104
90, 91
38
67, 71
13
38, 39
39, 40
Nečasová Nardelli, Jindra
Neckář, Václav
Nejtek, Michal
Nezval, Vítězslav
Novák, Jan
Novák, Petr
56
15
98
42
57, 58, 59, 60, 61
15
O
Ostrčil, Otakar
62
P
Pálka, Tomáš
Pauer, Jiří
Pavlica, Jiří
Pavlorek, Aleš
Petr, Zdeněk
Pilarová, Eva
Pololáník, Zdeněk
Popelka, Josef
98
62, 63
12
63
11
14
64
85
Index
R
Radio-album
Raichl, Miroslav
Rak, Štěpán
Rejcha, Antonín
Rejšek, Radek
Richter, František Xaver
Richter, Miloslav
Rottrová, Marie
Rut, Josef
Růžička, Karel
Růžičková, Kateřina
11, 12, 13, 14, 15
64
65
88
65
89
88
13
65
10
66
S
Seger, Josef
Slavický, Milan
Sluka, Luboš
Smetáček, Václav
Smetana, Bedřich
Sommer, Lukáš
Sommerová, Marie
Spurný, Vojtěch
Srnka, Jiří
Srnka, Miroslav
Sternwald, Jiří
Suchý, Jiří
Suk, Josef
Svoboda, Karel
89
66
67
25, 56, 70
67, 90, 102
68
69
85, 86, 90
69
69
70
11, 14
70
14
Š
Šesták, Zdeněk
Škroup, František
Šlitr, Jiří
Štaidl, Jiří
Štochl, Ondřej
Štraus, Ivan
Štryncl, Marek
70, 71, 87
71
11, 14
14
98, 99
41
88, 89, 91, 92
T
Teml, Jiří
Thuri, František Xaver
Tichý, Vladimír
Tomášek, Václav Jan
Tornová, Eva
Trojan, Václav
Tyl, Josef Kajetán
72, 73
24
73, 74
90
92
74, 75, 76
71
V
Vacek, Miloš
Vačkář, Dalibor C.
Veselý, Jan Pavel
Viklický, Emil
Voříšek, Jan Václav Hugo
76
77
90, 91
11, 77, 78, 79
91, 92
W
Wiedermann, Bedřich Antonín
79, 80
Z
Zach, Jan
Zahradník, Zdeněk
Zelenka, Jan Dismas
Zemek, Pavel
92
81
93
99
Index105
106
107
108