Marek Eben will be the listener’s guide to the musical galaxies. What does a composer put into music, and what do the players and the conductors add? Is the score sacred, or
can compositions be adapted somehow? And how does one get an orchestra to play
the music just as the conductor imagines it? We invite you to the brand new, fun, and
informative programme by Alice Nellis for everyone who wants to know more about
The program is based on a musical part but also on a spoken word that will be given in Czech language only. The program will not be supplied with English subtitles.
Romance for French horn in F major, Op. 36
Johann Sebastian Bach
Oboe Concerto in D minor, BWV 1056, 1st movement
Pyotr Ilyich Tchaikovsky
Symphony No. 4, Op. 36, Finale
author and director
Born in Netolice (South Bohemia) in 1976, Vladislav Borovka began to play oboe under the direction of Jan Nováček there. 1990–1996 he was studying at Prague Conservatoire under the guidance of Bedřich Vobořil. During this period, he was awarded with several prizes such as Concertino Praga – National Award Second Prize and Competition of Conservatoires in Kroměříž Second Prize. 1996–2002 he was studying at Music Academy of Performing Arts in Prague in the class of Jiří Mihule. In 1998, he went through three-month scholarship at The Toho Gakuen Orchestra Academy in Toyama (Japan). In 2001, he became the Laureate of the Prague Spring International Music Competition winning the Third Prize and went to Paris to study on school year at Conservatoire of Paul Dukas in the class of Jean-Louis Capezzali. He attended numerous master classes with top musicians and professors.
In the Czech Republic, he has been the member of the Prague Philharmonia since its foundation in 1994, teaches on the Prague Conservatory and cooperates with The Czech Nonet and Prague Wind Ensemble. As a soloist, he has been playing with many orchestras: Prague Philharmonia, Prague Chamber Orchestra, Košice State Philharmonic Orchestra etc.
Since january 2011 he has been the member of the Czech Philharmonic.
One of the most exciting Czech conductors, Jiří Rožeň is very passionate about contemporary music and rediscovering seldom played pieces.
During the season 2017/2018 he will make his debuts with the Wiener Concert-Verien in the Musikverein Wien and Kölner Philharmonie. Further debuts including the Bruckner Orchester Linz, Prague Radio Symphony Orchestra, Bohuslav Martinů Philharmonic Orchestra, Czech Chamber Philharmonic Pardubice, State Philharmonic Košice. Jiří is re-invited to the PKF – Prague Philharmonia, Karlovy Vary Symphony Orchestra and Brno Philharmonic. Furthermore, he is assisting to Jukka-Pekka Saraste at the Junge Deutsche Philharmonie.
He recently completed his two years appointment as the Assistant Conductor to Thomas Dausgaard and Donald Runnicles at the BBC Scottish Symphony Orchestra and Leverhulme Conducting Fellow at the Royal Conservatoire of Scotland. He assisted, for example, at the BBC Proms and Edinburgh Festival, both 2016 and 2017. During his time in Scotland he conducted the BBC SSO, Royal Scottish National Orchestra, Orchestra of the Scottish Opera, Royal Conservatoire of Scotland Symphony Orchestra and the Red Note Ensemble.
He was a finalist of two prestigious conducting competitions: the 2015 Nestlé and Salzburg Festival Young Conductors Award and the 2014 Donatella Flick LSO Conducting Competition, during which he led the London Symphony Orchestra in concert.
Past and future collaborations with acclaimed soloists include Olga Scheps, Kirill Gerstein, Lawrence Brownlee, Mahan Esfahani, Kateřina Kněžíková, Roman Patočka, Olga Šroubková, Marek Kozák, Vilém Veverka.
He conducted orchestras such as the Royal Concertgebouw Orchestra Amsterdam, Tonhalle-Orchester Zürich, Orchestra Philharmonique de Radio France, Antwerp Symphony Orchestra, WDR Symphony Orchestra Cologne, Bremer Philharmoniker, Lucerne Festival Academy Orchestra as an active participant of masterclasses with Daniele Gatti, Bernard Haitink, David Zinman, Jiří Bělohlávek, Jukka-Pekka Saraste, Peter Eötvös, Christopher Seaman, Edo de Waart, David Robertson.
In 2017 he made a succesful debuts at the International Janáček May Festival with Lawrence Brownlee and at the Festival Allegretto Žilina, recieving the Prize of the Janáček Philharmonic Ostrava and an invitation to the Slovak Sinfonietta. In 2016 he made a highly acclaimed debut at the Prague Spring Festival with the PKF – Prague Philharmonia, with whom he regularly works. In 2015, he debuted at the Salzburg Festival with the Camerata Salzburg and appeared at the Lucerne Festival within the Lucerne Festival Academy in 2013.
Jiří is also at home in the world of opera. In Glasgow he conducted and assisted Stravinskyʼs Mavra, The Bear by Walton, Straussʼs Fledermaus and Brittenʼs Owen Wingrave. He also conducted Ravelʼs L’enfant et les sortilegès with the Hamburg Symphony Orchestra in 2014. In 2012, he conducted the world premiere of the contemporary opera Eine Kluge Else by Sven Daigger at the Brücken Festival for the New Music in Rostock.
Jiří studied conducting at the Royal Conservatoire of Scotland, Zurich University of the Arts, Hamburg University of Music and Theatre, University Mozarteum Salzburg and at the Prague Conservatory. His mentors include Garry Walker, Dennis Russell Davies, Ulrich Windfuhr, Johannes Schlaefli and Hynek Farkač. Jiří was also a fellow of the German Music Council’s Conductors Forum.
Symphony No. 4 in F minor Op. 36 is the first among Pyotr Ilyich Tchaikovsky’s (1840–1893) great symphonies. It was composed in 1877–1878, during the difficult period of the composer’s brief and unsuccessful marriage, and is dedicated “to my best friend”, Tchaikovsky’s patron Nadezhda Filaretovna von Meck. The premiere took place in Moscow on 10/22 February 1878 under the baton of Nikolay Rubinstein.
The first movement is a meditation on fate. The growing feeling of depression and hopelessness is replaced by an arabesque for clarinet and a lyrical melody in strings: “Is it not better to escape from reality and to take refuge in dreams? O joy!” But no – it was only a dream. Fate is unavoidable. In the second movement the solo oboe induces a melancholy feeling which comes in the evening when a book falls from one’s hand, and we indulge in dreaming and melancholy, feeling sorry that so much is now a thing of the past. The third movement, Scherzo in a whimsical F major, “expresses no definite feeling”. The pizzicato of the strings, complemented in the trio by woodwinds and brass, presents the slightly ironic atmosphere of a sneering arabesque. The concluding Finale seems joyful, developing the melody of the Russian folk song In the Field Stood a Birch Tree, but in the middle section (Andante) the rejoicing is threatened by the reappearing motif of fate. Nevertheless, hope and joy – if not one’s own, then at least that of others – triumph in the end.
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