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The Cunning Little Vixen, suite from the opera
Wolfgang Amadeus Mozart
Violin Concerto No. 5 in A Major KV 219
Symphony no. 6 in D major, Op. 60
Chief Conductor and Artistic Director, Czech Philharmonic
Principal Guest Conductor, Rotterdam Philharmonic Orchestra
Conductor Laureate, BBC Symphony (London)
Renowned Czech conductor Jiří Bělohlávek was appointed Music Director and Artistic Director of the Czech Philharmonic in 2012, following on from his successful tenure as Chief Conductor of the BBC Symphony Orchestra, of which he is now a Conductor Laureate. He was Chief Conductor of the Prague Symphony Orchestra (1977–89), Music Director of the Prague Philharmonia (1994–2004), was appointed President of the Prague Spring Festival in 2006. From 2013 to 2017, he was Principal Guest Conductor of the Rotterdam Philharmonic Orchestra.
In opera, he has collaborated with the Vienna State Opera, Royal Opera, Covent Garden, New York’s Metropolitan Opera, San Francisco Opera, Opéra National de Paris, the Teatro Real Madrid, Glyndebourne Festival Opera, Zurich Opera, and the National Theatre in Prague. He has also conducted and recorded several opera-in-concert presentations with the BBC Symphony, to great acclaim. Confirming his preeminence as the conductor of Janacek, this past season he conducted the Czech Phil in a concert presentation of Jenůfa at the London Royal Festival Hall, as well as in full production the San Francisco Opera. This was followed by a performance of Janacek The Makropulos Case with the BBC Symphony Orchestra at the BBC Proms.
Under his leadership the Czech Philharmonic is enjoying unprecedented success both at home in Prague, and on extensive tours. Together they have toured in the past three seasons on three continents, including Europe, Asia and North America. Their recent residency in Vienna at the Musikverein was a great success, and has lead to similar events being planned in other world capitals. The Czech Philharmonic announced in January 2017 that their partnership with Maestro Bělohlávek is now officially extended to 2022!
In addition to his ongoing Prague seasons and touring engagements with the Czech, he continues to perform as a guest conductor with the world’s major orchestras, including recent appearances with the BBC Symphony Orchestra (including at the London Proms), New York Philharmonic, Pittsburgh Symphony, Washington National Symphony, and Deutsches Symphony Berlin, Leipzig Gewandhaus Orchestra and Vienna Symphony Orchestra. In the coming season, in addition to major projects with Czech Phil, he looks forward to engagements with the Chicago Symphony Orchestra, Pittsburgh Symphony, Bayerische Rundfunk Orchestra Munich, Rotterdam Philharmonic, Leipzig Gewandhaus Orchestra, St Petersburg Philharmonic, and more.
With the Czech Philharmonic, he will conduct a major Asian tour in Autumn 2017 with concerts in Japan, Korea and Taiwan, in addition to appearances on tour in Europe, the highlight of which will be a performance of Janáček Glagolitic Mass at the Salzburg Festival in August 2018.
Jiří Bělohlávek has recorded extensively, with recent projects with the Czech Philharmonic including the complete symphonies and concertos of Dvořák. The series with Decca continues in the coming season, when a major disc of Suk will be recorded.
In 2012 he was awarded an honorary CBE for his services to British music.
Dvořák composed Symphony No. 6 in D major, Op. 60 spontaneously in the fall of 1880. It is the first work of Dvořák’s symphonic series to be published in print and as the first of all his symphonies it was performed abroad. The symphony was created during a short time span. Dvořák sketched it between 27 August and 20 September 1880 and finished the score soon afterwards between 27 September and 15 October. This took place in his “Slavic” period when during the previous two years 1878–1880 he composed three Slavonic Rhapsodies, the first series of his Slavonic Dances, Czech Suite and Violin Concerto in A minor.
Symphony No. 6 is an optimistic work with a warm and sunny atmosphere. Dvořák said that he tried to write a viable work which would please him as well. The countless reviews and analyzes of this composition are clearly dominated by the opinion that this is an essentially intrinsically Czech work of a healthy and earthy character, very pleasant and typical of Dvořák. It is undoubtedly also thanks to the fiery dance furiant, suggesting an affinity with Slavonic Dances. The Symphony in D major has a classical formal structure and its sections are well balanced. Its symphonic expression is enriched by a strong national accent. The sonata allegro of the first movement overflows with jubilant joy; Dvořák here primarily works with the main idea. In doing so he lavishly presents a number of other great musical ideas. Adagio of the second movement in the form of song is deeply meditative as well as lyrical. Scherzo of the third movement is a stylization of furiant with two vivid themes and, which has a gentle charm of a trio. The finale is a culmination of previous sections with dazzling joy and celebration of life.
Wolfgang Amadeus Mozart’s Violin Concerto No. 5 in A major, “the Turkish” K.219,written in 1775, is a crown jewel in his concert works and among the most sought-after compositions for the instrument today.
The first movement opens with an orchestral introduction with the tempo indication Allegro aperto. The solo violin then enters in an unusually short but distinctive Adagio, markedly transforming the music’s character. Then comes the energetic first subject in tutti, which is followed by a more modest and grotesque second subject. In the development Mozart sparkles with rich invention.
The second movement, Adagio, brings a rest after the glittering mood of the first. It is as if composed by someone else; employing a lyrical, quiet, even contemplative theme, heard in solo passages of unusual beauty.
The third movement, Rondo, is based on a Minuet theme. In the middle section, however, the metre changes from 3/4 (Minuet) to 2/4 (March), which is why the concerto is sometimes called “the Turkish”. The same principle is used, among other works, in Mozart’s Piano Sonata in A major, the third movement of which is known as “the Turkish March”.
The suite from the opera The Cunning Little Vixen by Leoš Janáček (1854–1928), composed by Václav Talich, consists of two movements created from orchestral parts of the first act of the opera where Janáček’s score offers several orchestral parts designated for a ballet scene. However, its creation was preceded by new instrumentation which Talich commissioned from František Škvor and Jaroslav Řídký, on which the suite is based. Despite the frisky sections the main emphasis is on lyrical, modal passages, the harmony spiced with pastel coloring and musical expression of human understanding and love.
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