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Author Topic: Kabeláč's passacaglia "The Mystery of Time"  (Read 287 times)
Sydney Grew
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« on: 01:49:34, 11-06-2007 »

It's haunting, isn't it? Several cuts above the usual. Inspired by his contemplation of the heavenly bodies and the strict laws which govern their design. We daresay already some American has written a treatise upon the influence of astronomy on classical music. And there are other mysteries from Miloslav Kabeláč: for instance his "Mystery of Silence" (Euphemias Mysterion), and his eight symphonies no less, which we never hear!

Kabeláč was inspired he said by the principles of Oriental music; consider too his "Motifs from Foreign Countries" for pianoforte. Altogether we would urge Members to start a great new push for Kabeláč; it is desirable!
« Last Edit: 07:45:52, 11-06-2007 by Sydney Grew » Logged
autoharp
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« Reply #1 on: 06:47:08, 11-06-2007 »

Sounds intriguing, Sydney. Give us some more information, please !
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trained-pianist
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« Reply #2 on: 07:21:45, 11-06-2007 »


I don't know this composer, never heard his music.
Miloslav Kabeláč (1908 – 1979) was a prominent Czech composer and conductor. Miloslav Kabeláč belongs to the foremost Czech symphonists, whose work can be compared with Antonín Dvořák or Bohuslav Martinů. New ways of expression presentated by Kabeláč in his eight symphonies and the perspectives opened by him to modern understanding and conception of this traditional genre have not yet penetrated our general conscience in a way corresponding to their importance and impact. In the totalitarian period Kabeláč's work found itself on the periphery of official attention and was performed only sporadically and in a limited choice of compositions.
He has symphonies and piano music, according to the dictionary.
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Bryn
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« Reply #3 on: 09:52:24, 11-06-2007 »

t-p, give your ears a treat.

Ancerl's recording of "The Mystery of Time" dates from 1960, by the way. The transfer is very good indeed.
« Last Edit: 09:59:25, 11-06-2007 by Bryn » Logged
trained-pianist
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« Reply #4 on: 09:54:35, 11-06-2007 »

Bryn,
Can you describe to me what kind of music is that. Is it like Janacek, or is it like Martinu. I am more familiar with these two composers.
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Bryn
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« Reply #5 on: 10:05:17, 11-06-2007 »

Can you describe to me what kind of music is that. Is it like Janacek, or is it like Martinu.

There are clear hints of both composers' approaches to timbre, harmony and melodic line. More Janacek than Martinu, but the influence of both is pretty blatant. "Taras Bulba" is an obvious antecedent in terms of the sound-world.
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trained-pianist
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« Reply #6 on: 10:06:59, 11-06-2007 »

He is on my wish list now. You are very convincing.
Off to wish list thread.
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time_is_now
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« Reply #7 on: 17:32:48, 21-06-2007 »

Miloslav Kabeláč (1908 – 1979) was a prominent Czech composer and conductor. Miloslav Kabeláč belongs to the foremost Czech symphonists, whose work can be compared with Antonín Dvořák or Bohuslav Martinů. New ways of expression presentated by Kabeláč in his eight symphonies and the perspectives opened by him to modern understanding and conception of this traditional genre have not yet penetrated our general conscience in a way corresponding to their importance and impact. In the totalitarian period Kabeláč's work found itself on the periphery of official attention and was performed only sporadically and in a limited choice of compositions.
We only know Kabelac from the Janacek/Martinu coupling on the Supraphon Ancerl edition, but we are intrigued to note that he was born in a year which Mr Grew has mentioned often (how, being born in such a year, did he escape the effects of the dust particles, we wonder?) and died in the year in which we ourselves were born.

Does anyone know the date? If it turns out to have been 5 November we shall find this even more remarkable!
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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