Karel Odstrčil Video
compositore, direttore d'orchestra, musicista
- musica classica, opera, musica elettroacustica, balletto
- Repubblica Ceca, Cecoslovacchia
Ultimo aggiornamento
2024-04-29
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Otomar Kvěch Hůla Odstrčil Kocián Bartoš Jiří Pauer Pauer Emil Hlobil 1950 1969 1999 2018
(1999) Hrubínovské proměny, sextet pro hoboj, harfu a smyčcové kvarteto 00:00 Allegro molto moderato (Je v nás prostá touha žít) 08:39 Presto (Mají v hlavě všedních starostí jak much) 12:14 Adagio molto (Copak je možné, že smrt zevšední?) 19:18 Allegro risoluto (Neboť kdyby zašel v chlapci muž, nic by nezbylo z lásky, nic by nezbylo z poezie) Jana Brožková (hoboj), Jana Boušková (harfa), Kociánovo kvarteto [Pavel Hůla (1.housle), Jan Odstrčil (2.housle), Zbyněk Paďourek (viola), Václav Bernášek (violoncello)] - Jana Brožková (oboe), Jana Boušková (harp), Kocián Quartet [Pavel Hůla (1.violin), Jan Odstrčil (2.violin), Zbyněk Paďourek (viola), Václav Bernášek (cello)] EN Otomar Kvěch +••.••(...)) was czech contemporary composer and teacher. He studied under J. Z. Bartoš on conservatory and under Jiří Pauer and Emil Hlobil on Prague Musical Academy (HAMU). He worked as a pianist in National Theatre. Later, he was a headmaster of department of composition on Prague conservatory and he also worked as musical editor in Czech Radio. Already as a young student I uses lyrical images. It was the most intimate part of my musical language. After many years, my long-ago desire to write a super lyrical piexe have returned. The result is my Sextet for string quartet, oboe and harp (download score here (http•••) (Otomar Kvěch). CZ Otomar Kvěch +••.••(...)) byl český hudební skladatel a pedagog. Absolvoval Státní kozervatoř v Praze, obory skladba (prof. J. Z. Bartoš) a varhany (prof. Josef Kubáň). Od roku 1969 studoval kompozici na pražské HAMU u Jiřího Pauera (1 semestr ve třídě Emila Hlobila). Po dokončení studií pracoval jako korepetitor opery Národního divadla. V posledních letech působil jako vedoucí Skladatelského oddělení na Státní konzervatoři v Praze a vyučoval na Hudební fakultě AMU. Rovněž mnoho let pracoval jako hudební redaktor v Českém rozhlasu. Už od pubertálních let jsem ve svém komponování často uplatňoval lyrické hudební obrazy. Byla to nejintimnější část mého kompozičního já charakterizovaná snahou o intenzivní melodiku a „šťavnatou" harmonii. Po nabídce od ČSKH , ve které jsem si mohl zvolit vlastní obsazení, dávná touha napsat superlyrickou skladbu se přihlásila.Vznikl tak můj Sextet s nezvyklým obsazením: smyčcové kvarteto, hoboj, harfa (obsáhlý komentář a noty ke stažení zde (http•••) (Otomar Kvěch). Skladba je nahrána s laskavým svolením autora / composition is upload with the kind permission of author
Aktuální situace na trhu práce Hosté: Radek Špicar, poradce Svazu průmyslu a dopravy Milan Jasný, obchodní ředitel LMC Miroslav Dravecký, projektový manažer Profesia.cz Coworking - novinka pro profesionály na volné noze Hosté: David Odstrčil, provozovatel coworkingového centra Coffice Jan Sekerka, koordinátor projektu Brno Coworking Center Moderuje Jana Víšková
Paul Hindemith Hůla Odstrčil Brahms Reger Alfred Einstein Bartók Shostakovich Kocian Quartet 1895 1918 1963 1995
- Composer: Paul Hindemith (16 November 1895 / 28 December 1963) - Performers: Kocian Quartet: Pavel Hůla (violin), Jan Odstrčil (violin), Zbyněk Paďourek (viola), Václav Bernášek (cello) - Year of recording: 1995 String Quartet No. 2 in F minor, Op. 10, written in 1918. 00:00 - I. Sehr lebhaft, straff im Rhythmus 05:46 - II. Thema mit Variationen. Gemächlich 15:43 - III. Finale. Sehr lebhaft Paul Hindemith wrote his three-movement String Quartet No. 2, Op. 10, between January and April 1918 while he was a soldier in the field, yet it is free of those horrors of war which Hindemith experienced and also described in a war diary; by his own testimony he survived a grenade attack only "by a miracle". With the composition of this work Hindemith seems to have released himself physically and to have escaped into another world which gave him the power to withstand the terrible experiences of the war. The work is a first synthesis of his early compositions. It seems to be as much influenced by Brahms or Reger, as by the colouristic stimulus and impetus of Slavic music. - Hindemith constructs the first movement as a concise sonata movement with thematic material which is pithy and which never gets out of control or is too insistent. In the development section he includes, unusually enough, a fugato, which is to be performed "completely listlessly, numb" and which maintains the identity of the fugal subject which is derived from the main theme, not just breaking it up or fragmenting it. - The six variations of the middle movement, on an original theme, which returns unaltered at the end, stand out not only through the superior intervention of the art of thematic transformation, but also perhaps suggest the fourth variation, which has the character of a slow march and which should be played "like music from afar", and in the third variation which has parodies of expressive "romantic" playing with rubato. - The Finale, on the other hand, is a technically challenging, extremely demanding, concertante virtuoso movement for all four instruments, with an elegantly catchy subsidiary theme, that skilful chamber music opens up with supporting elements, completes and extends. It ends with a rousing coda. As the distinguished music critic Alfred Einstein observed in the 1920s, this music operates with "an absolutely overpowering joy in playing and hearing music." It stands as another good example that Hindemith's string quartets cycle should be just as famous as Bartók's and Shostakovich's.
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- cronologia: Compositori (Europa). Direttori d'orchestra (Europa). Interpreti (Europa).
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