Violin Concerto in A Minor op. 53
Epilogue, a symphonic composition for orchestra, large and small mixed choirs, soprano, baritone, and bass, op. 37
Symphony No. 10 in E Minor op. 93
Prague Philharmonic Choir
Jan Mráček (born 1991) is one of greatest and most promising violin talents in the Czech Republic. Playing violin since 5 years of age, he already performed at important concert stages as a child.
Among the most valued competition prizes he won are the 1st prize from the Jaroslav Kocian International Violin Competition in Ústí nad Orlicí in 2005 and 2006, the title of absolute winner of the national round of Concertino Praga 2006, the highest award from Václav Hudečekʼs Summer Music Academy in Luhačovice (2005, 2006) and the 1st prize at Beethovenʼs Hradec 2009. He also returned to Luhačovice Academy in August 2012 as a succesful assistant of Mr. Václav Hudeček.
Janʼs greatest success is a 2nd prize in a strong competition of 50 participants at the international Prague Spring Competition in May 2010. He became the youngest laureate of this significant competition ever. Jan Mráček is performing in the Czech Republic and abroad. His piano partner is Lukáš Klánský, with whom he introduced himself at the Prague Spring 2011 recital.
Petr Altrichter is one of the most distinguished Czech conductors, and he has earned an illustrious reputation for the dynamism and depth of his interpretations of symphonic music.
He was raised in a musical family, and he played musical instruments from a young age. Having graduated from the conservatory in Ostrava as a French horn player and conductor, he continued his studies at the JanáčekAcademy of the Performing Arts in Brno in the fields of orchestral conducting under the guidance of Otakar Trhlík and František Jílek and choral conducting with the teachers Josef Veselka and Lubomír Mátl. After his studies in Brno, he worked as a choirmaster and conductor with the Brno Academic Choir, and he played a part in the earning of many prizes at foreign choral competitions and festivals (Middlesbrough, Debrecen…).
Altrichter attracted international attention in 1976, when he earned the title of laureate and a special prize from the jury at the renowned conducting competition in Besancon, France. On the basis of that prize, he became Václav Neumann’s assistant conductor with the Czech Philharmonic, and he started his own artistic career. Not long after that, he began to receive invitations to conduct orchestras abroad.
After a period of activity with the Brno Philharmonic, in 1988 he became a conductor of the Prague Symphony Orchestra, and in 1990 he became its principal conductor. With that orchestra, he made frequent foreign tours to Japan, the USA, Switzerland, Germany, France, and other countries. At the same time, he was engaged in long-term collaboration with the Czech Chamber Philharmonic Orchestra in Pardubice, with which he often gave performances abroad introducing many gifted young soloists (such as Isabelle van Keulen and Radek Baborák) who are now firmly established on concert stages around the world.
From 1993, he was the music director of the Southwest German Philharmonic Orchestra of Constance, with which he gave concerts regularly at the Tonhalle in Zurich and at the KKL in Lucerne, and he also toured Switzerland and Italy.
Petr Altrichter made his debut in the United Kingdom with the Prague Symphony Orchestra at the Edinburgh Festival in 1993, and his London debut with the English Chamber Orchestra followed soon thereafter. In 1997 he was appointed as the principal conductor of the Royal Liverpool Philharmonic after having guest conducted the orchestra with great success during the previous season. He also made an appearance with that orchestra in 2000 at the BBC Proms at London’s Royal Albert Hall, and he made a number of highly acclaimed recordings for the orchestra’s own label – RLPO Live.
In 2001 Altrichter was invited to take the helm of the Brno Philharmonic, and he remained there for seven years, returning to the orchestra with which he had been associated since his student days, and he still continues to guest conduct there regularly.
He is also a regular guest of the Czech Philharmonic, with which he has maintained a steady artistic relationship since his beginnings there as an assistant, and of the Prague Symphony Orchestra, the Brno Philharmonic, and the Slovak Philharmonic, with which he recorded a warmly received award-winning CD with repertoire by Antonín Dvořák.
In 2015 he toured Germany with the Czech Philharmonic, and in late 2015 and early 2016, he toured China with the same orchestra. In the spring of 2017 he toured Japan with the Prague Symphony Orchestra, with which Altrichter is planning a tour of Germany next year. His 2018 calendar includes a tour of the United Kingdom with the Czech National Symphony Orchestra.
He has guest conducted major orchestras abroad, including Japan’s NHK Symphony Orchestra and the Berlin Symphony Orchestra. In the United Kingdom he has collaborated with the BBC Symphony Orchestra, the Royal Scottish National Orchestra, the BBC Scottish Symphony Orchestra, and the London Philharmonic Orchestra.
Among the orchestras he has guest conducted are the Bruckner Orchestra in Linz, the Warsaw Philharmonic, the Krakow Philharmonic, the Southwest German Radio Symphony Orchestra in Baden-Baden, the Latvian National Symphony Orchestra in Riga, the Gran Canaria Philharmonic Orchestra, the Luxembourg Philharmonic Orchestra, the Netherlands Philharmonic, the Stavanger Symphony Orchestra, the Norrköping Symphony Orchestra, the Royal Danish Orchestra in Copenhagen, and the Odense Symphony Orchestra.
The festivals at which he is a frequent guest include Prague Spring, Janáček May in Ostrava, Smetana’s Litomyšl, Moravian Autumn in Brno, and the Bratislava Music Festival.
He has made guest appearances at major festivals in Salzburg, Edinburgh, Avignon, Athens, Cheltenham, Paris, Madrid, Chicago, Zurich, Lucerne, Vienne, Seville, Palermo, and elsewhere.
The bulk of Petr Altrichter’s repertoire consists of Czech music – Bedřich Smetana, Antonín Dvořák, Leoš Janáček, and Bohuslav Martinů, Russian music – especially Dmitri Shostakovich, and the works of Gustav Mahler and Anton Bruckner. Important soloists and performers from around the world (Garrick Ohlsson, John Lill, Tabea Zimmermann…) value his flexibility in leading orchestral accompaniments, and they seek out collaboration with him.
The years 1878–1880 are often described as Antonín Dvořák’s “Slavonic period”, as the composer was particularly inspired by Slavonic folk music during that time. It was also over these three years that Dvořák wrote very successful works such as Serenade for Wind Instruments, three Slavonic Rhapsodies, Czech Suite, Symphony No. 6, the first set of Slavonic Dances, Gypsy Songs and a number of compositions for piano. The Concerto for Violin and Orchestra in A Minor Op. 53 is without doubt a masterpiece, and not just of Dvořák’s “Slavonic period”. It was written at the Sychrov chateau over the summer of 1879. The composer was evidently pleased by the interest shown by the Berlin publisher Fritz Simrock in another work “in a Slavonic mood”.
Like many of his contemporaries and forerunners, starting with Beethoven, Dvořák contemplated entrusting the solo part to the virtuoso Joseph Joachim, to whom he dedicated the concerto. Having met the virtuoso Dvořák heeded his advice and revised the work, completing the last changes in October 1882. The composer entrusted the first performance to the 26-year-old violinist František Ondříček. The premiere was on 14 October 1883 at Prague’s Žofín, with the National Theatre Orchestra under the baton of Mořic Anger. The work’s success was extraordinary and on his future tours Ondříček was able to introduce it on the world’s concert stages, where it continues to be heard to this day.
Dmitri Shostakovich’s monumental series of 15 symphonies ranks among the most distinctive music of the twentieth century and Symphony No. 10 in E Minor is one of his most often performed works. It was written in 1953, a year that inscribed itself into political history through the death of the Soviet leader, Joseph Stalin, and one can perhaps feel some of the period’s atmosphere in the work. Indeed, Stalin’s regime harshly oppressed Shostakovich for a long time. The work was premiered by the then Leningrad Philharmonic, led by Yevgeny Mravinsky.
Symphony No. 10 largely preserves the traditional four-movement form. The enormous orchestra – with triple winds and a large percussion section – is used creatively; substantial solo opportunities are given to practically all of the instruments. The first movement is a large, meditative fresco. The short scherzo blows like a whirlwind; allegedly, the composer said it was a portrait of Stalin himself. The gloomy third movement foregrounds the unmistakable sequence of notes, D-E flat-C-B, Shostakovich’s favourite cryptogram used to refer to himself (in German notation, the notes are called D-Es-C-H, hence D. Sch.). This “signature” then also thunders in the middle of the fourth movement, which brings at least some optimism to the overall bleak mood of the symphony.
Wed – Fri / 6:30 p.m. / Rudolfinum – Suk Hall or Western Lounge
Location is specified for each concert in the concert programme and navigation signs at the Rudolfinum.
Pre-concert talks are offered free of charge as a bonus before the evening concerts of the A and B subscription series. They are given by conductors, soloists and members of the Czech Philharmonic, as well as musicologists and music writers who take part in discussions or lectures which will prepare for the evening concert.
They are presented by Eva Hazdrová-Kopecká, Pavel Ryjáček or Petr Kadlec.
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