THE PROGRAMME - EISENBERG MUSIC SUMMER 2016
Sunday 30 July 5pm
OPENING CONCERT
Anna Hlavenková – soprano, Daniel Kfelíř - baritone, Hana Krejčová - mezzosoprano, EISENBERG KVARTET: Jana Chytilová, Jiří Sycha - violin, Ivo Anýž - viola, Ilze Grudule - cello, Alena Hönigová - fortepiano
Cantatas by L. van Beethoven, J. J. Rösler and piano concerto by J. J. Rösler.
Saturday 6 August 5pm
LOUIS SPOHR: FAUST
director: Miroslav Rovenský
musical director and fortepiano: Alena Hönigová
soloists: Marcus Niedermeyr, Jaromír Nosek, Anna Hlavenková, Dora Pavlíková, Daniel Kfelíř
choir: Denisa Birošová, Jozefina Eichlerová, Jakub Fischer, Hynek Grania, Veronika Mikešová, Hana Krejčová, Iva Lokajíčková, Júlie, Magdalena a Valerie Rovenské, Uta Stevens and others.
Rediscovered in 1930s, Spohr's opera Faust belongs to the classics of the Romantic opera repertoire. Its first version premiered in Prague in 1816 by Weber's opera company (more than 30 years before the larger version of the work), however, has not been performed in modern times yet. Our production is based on the authentic premiere version for piano, soloists and choir, preserved in the Czech Museum of Music. As in the original performance, it will be interspaced with spoken dialogues, this time in Czech.
Saturday 13 August 5pm
FANTASY FOR TWO HANDS
Alena Hönigová – fortepiano
Music by J. J. Rösler, L. van Beethoven, F. Liszt, J. L. Dusík and F. Mendelssohn.
Saturday 20 August 5pm
SWEET PEACE, PLACID WELL
Batzdorfer Hofkapelle (DE)
Marie Friederike Schöder - soprano
Xenia Löffler – recorder and Baroque oboe
Daniel Deuter - violin
Bernhard Hentrich - cello
Stefan Maass and Stephan Rath – lute, theorbo
Tobias Schade - harpsichord
Germnan Arias by George Frideric Handel and chamber music by Philipp Hyazinth Lobkowitz and his musical companions.
Sunday 21 August 3pm
ORATORIO FOR TWO
Ensemble Consolazione: Karel Valter – flauto traverso, Jan Tuláček – early Romantic guitar
Music by Giuliani, Carulli, Diabelli and Haydn.
This concert is based on event which took place in Vienna at the turn of 1808/1809 during a visit of the composer and music writer Johann Friedrich Reichardt (1752 – 1814). He describes his musical experience of hearing the concert in Lobkowitz palace in his „musical travelogue“.
„Also the Prince Lobkowitz with his sonorous voice used entirely in Italian style takes part in the chamber music. His orchestra performs most of instrumental music, each symphony and overture is given in a very successful way. The orchestra is strengthened with a number of educated dilettantes, too. At the concert, I heard also my favourite guitarist Giuliani for the first time and I longed much to hear him many times again“.
from „Vertraute Briefe geschrieben auf einer Reise nach Wien"
by Johann Friedrich Reichardt
Saturday 27 August 5pm
SYMFONIE PRO KVARTET
Alena Hönigová – fortepiano
Lukáš Vytlačil - flauto traverso
Johannes Gebauer – violin
Linda Mantcheva– cello
Ludwig van Beethoven/Johann Nepomuk Hummel: Symphonies No. 5 and 6 for piano quartet.
Hummel's transcriptions of Beethoven's symphonies for piano quartet (with flute instead of viola) are the masterpieces of the genre. Although the transcriptions of orchestral works for chamber ensembles (immensely popular at the start of the 19th century) were mostly intended for amateurs and domestic music making they were, just as in our times, often performed within the given conditions and by the best virtuosos.
This is the case of the Hummel's transcriptions which are extremely demanding and virtuosic, especially for the piano. They are not only the transcriptions of the Beethoven's original scores but truly new creative works. Making up for the lacking colors of the orchestra instruments, the parts contain a diversity of motifs, arpeggios, rich ornamentation and also very new music solutions. Namely the fortepiano and flute parts make use of the new sound possibilities of then the newest models of these insturments.
This composition was an addition to a long-time friendship between Hummel and Beethoven. For many years, they were partners in chamber music (together with Schuppanzigh and others), they were also often compared as piano virtuosos. Despite many twists in their relationship, Hummel was one of the main organizers of Beethoven's funeral and did not hesitate to play percussion in the famed performance of Wellington Symphony at the Congress of Vienna.
