Fantastic Landscapes Of Songs With Gustáv Beláček

EUGEN SUCHOŇ

TRI PIESNE (1984) pre bas a orchester na básne Miroslava Válka, Petra Štilichu a Jána Smreka v úprave Petra Zagara 2008

Three Songs for Bass and Orchestra on poems by Miroslav Válek, Peter Štilicha and Ján Smrek arranged by Peter Zagar

1 Malinconia | Miroslav Válek | Moderato 5:55

2 Nuova speranza | Peter Štilicha | Vivo 5:23

3 Giocondita | Ján Smrek | Allegro molto 5:52

ILJA ZELJENKA

AZTÉCKE PIESNE II. pre bas, 4 bongá, flautu a violončelo venované Gustávovi Beláčkovi

AZTEC SONGS II. for bass, 4 bongs, flute and cello dedicated to Gustav Beláček

4 I. 1:55

5 II. 6:35

6 III. 3:59

EUGEN SUCHOŇ

7 BAČOVSKÉ PIESNE (1929) pre barytón a sláčikový orchester

v úprave Petra Zagara 2008

SHEPHERD’S SONGS for barIton and string orchestra

arranged by Peter Zagar 6:25

Ja som bača veľmi starý

Ani kukuk, ani sova

Ja, bača starý

Hopsa, Zuzka

Zelená sa bučina

TADEÁŠ SALVA

8 ÁRIA (1976) pre bas, klavír a sláčikový orchester na texty ľudovej poézie

ARIA (1976) for bass, piano and string orchestra on folk poetry 8:53

JOHANNES BRAHMS

VIER ERNSTE GESÄNGE op. 121 (1896) v úprave Gerharda Auera pre sláčikový

kvintet a flautu 1995

VIER ERNSTE GESÄNGE op. 121 arranged by Gerhard Auer for string

quintet and flute

9 Denn es gehet dem Menschen wie dem Vieh 4:36

10 Ich wandte mich, und sahe an 5:09

11 O Tod, wie bitter bist du 4:14

12 Wenn ich mit Menschen – und mit Engelszungen 6:00

PAVOL KRŠKA

13 STAROSLOVIENSKY OTČENÁŠ… (1996) pre bas a klavír

THE LORD’S PRAYER (CHURCH SLAVONIC)….for bass and piano 5:00

GUSTÁV BELÁČEK bas, bongos

MARIAN LEJAVA conductor

ENSEMBLE OPERA DIVERSA string orchestra 1 2 3 7 8

MAREK PAĽA piano 8 13

MUCHA QUARTET Juraj Tomka, Jozef Ostrolucký, Veronika Kubešová, Pavol Mucha 4 5 6 9 10 11 12

VERONIKA VITÁZKOVÁ flute 4 5 6 9 10 11 12

FRANTIŠEK VÝROSTKO double bass 9 10 11 12

FANTASTIC LANDSCAPES OF SONGS WITH GUSTÁV BELÁČEK

Those tiny musical little poems created only for entertainment at first or to make a man reflect, as well as to introduce into dreaming, to bring sadness or pure joy. They have survived and withstood the severe sieve test of mercilessly measured time and from saloons with a subtle figure behind the piano and his characteristic dioptric glasses up to the rigorous face of a man in endless neurotic movement, or that of the reflective youngster with an old-man beard, have spread out to the world and gradually flooded almost all of the known places. They stand for the hope of preserving the memory of unique life moments of their actors.

Composers and poets have entwined in a solid partnership which finally, has grown into a firm relation, enriching themselves with fruits of spirit.

The Slovak area has not been excluded, either – it has been domesticated in daily routines of its musicians and poets. A Song – as a unique space for expression of the most intimate ideas – became a natural part of their work and artistic messages.

The two cycles by Eugen Suchoň are the opposite counterparts of his artistic quest and they confirm the Composer’s artistry and originality of music language.They are introduced in transcriptions by a Slovak composer Peter Zagar in an ideal combination of solo voice accompanied by string orchestra. The Aria by Tadeáš Salva had been almost a lost piece, finding its revival now in this recording – and what a piece of work! The Author had a long time inclination for the form of ballad and his Aria has been created as the most intense impact of its kind. Pavol Krška, in his nowadays already cult prayer – Otče náš (The Lord’s Prayer), makes the listener’s inner self vibrate by vigorous and deep sound frequencies.

The Aztec Songs II by Ilja Zeljenka are a quintessence of his passion for composition games, in which each of the further bar grows up from the preceding one as the only logic result of eternal inspirational impulse chains. The Composer had Gustáv Beláček’s artistry in the heart of his mind when writing, since this cycle was dedicated to him.

And finally, Johannes Brahms and his last finished piece of work – the one in which he gives a symbolic farewell to life and indirectly also to the whole, so rich, 19th century; the time when we had perhaps heard of that tiny musical little poem for the first time, with the modest short-sighted Viennese boy crouched behind the Hammerklavier. Gerhard Auer transcribed the cycle for chamber orchestra and gifted them a softer sound of strings with flute.

Let the fragile beauty of these songs delight you, with Gustáv Beláček’s mastery and enter the fantastic worlds of musical genius ideas together with him, as our experienced guide, protector and their interpreter. The Ensemble Opera Diversa, the Mucha Quartet with Veronika Vitázková and František Výrostko Jr., Marek Paľa and finally Marian Lejava join him to provide their company.

Marian Lejava

Translation Elena Brtáňová

Recorded in Konvent milosrdních bratří, Brno, Česká republika 25 and 26 January, 9 and 10 March 2019

Recorded in high definition DXD format. (352.8 kHz / 32 bit)

Sound Director and Mastering: Martin Pavlík

Music Director: Matej Haász

Conductor and notes: Marian Lejava

Photo: Jakub Ludvík, Praha

Translations: Elena Brtáňová, Michal Vincent

Production & Distribution: PAVLÍK RECORDS

Graphic Design: Eva Turčáková

Gustáv Beláček: www.gustavbelacek.com

Marian Lejava: www.marianlejava.com

Ensemble Opera Diversa: www.operadiversa.cz

Pavlík Records: www.pavlikrecords.sk

Reviews on portal operaslovakia.sk

Supported using public funding by Slovak Arts Council