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As the jailer in Bedrich Smetana’s opera Dalibor proclaims, “What Czech does not love music?” The Czech lands have produced some of the most important musical figures in the history of European music. From opera composer Christoph Willibald Gluck, virtuoso violinist Johann Stamitz, and scores of keyboard composers in the 18th century to 21st century performers such as mezzo-soprano Magdalena Kozena, the Czech musical heritage is extensive. Czechs also embrace foreign musicians and their works; after all, Mozart’s operas Don Giovanni and La clemenza di Tito both had their premieres in the Czech capital.

The Czech Symphony Orchestra, which will perform at Johnson County Community College’s Carlsen Center at 7 p.m. on Sunday, February 15, is part of this long tradition of Czech music-making. Their program includes two works by Czech composers -- Bohuslav Martinu’s Double Concerto for Two String Orchestras, Piano, and Timpani  H. 271 and Antonin Dvořák’s Symphony No. 9, From the New World, as well as Felix Mendelssohn’s immortal Violin Concerto. While Martinu’s work may not be generally known, it is an extremely compelling artistic response to events in Europe on the eve of World War II. Dvořák ’s New World Symphony and Mendelssohn’s Violin Concerto are among the most popular works in the classical repertory, and with good reason.

Founded in 1954, the Czech Symphony Orchestra, also known as the Janacek Philharmonic Orchestra of Ostrava, has its roots in the Czech Radio Orchestra. It quickly became one of the foremost orchestras in the country and remains especially well known for its performances of music by Czech composers, including Dvořák  and Martinu. The ensemble began touring internationally in 1958, and many distinguished soloists, both Czech and non-Czech, have appeared with the orchestra. This tradition of notable soloists continues, for Finnish pianist Paavali Jumppanen and American violinist Jennifer Frautschi, two major stars in the current classical firmament, will both appear with the orchestra on February 15. The Czech Symphony Orchestra’s highly esteemed conductor, Theodore Kuchar, is principal conductor of both this orchestra and the National Symphony Orchestra of the Ukraine.

 Mendelssohn’s Violin Concerto, which had its first performance in 1845, is a masterwork of the genre. Its three movements are played without pause, and the concerto is filled with the lyricism, playfulness, and sparkle associated with Mendelssohn (consider his music for A Midsummer Night’s Dream). But because of its hallmark transparency, it also poses tremendous challenges for performers—everything is exposed, nothing can be hidden. The concerto is raft with surprises, and Mendelssohn lets his audience know this from the very beginning. Whereas most concertos of the era began with a lengthy orchestral introduction, Mendelssohn offers only a couple of measures of orchestral murmuring before the violinist enters. I’m reminded of a story where a violinist was asked to play the Tchaikovsky Violin Concerto on a moment’s notice with no rehearsal, and was shocked when, at the concert, the orchestra was playing the opening of the Mendelssohn. The violinist realized what was happening and, after literally a few seconds, entered with Mendelssohn’s soaring opening theme.

Antonin Dvořák is one of the defining voices in Czech music. A protégé of Bedrich Smetana,  Dvořák straddled the emerging chasm of being a “universal” and a “national” composer. He wrote in standard Viennese genres, such as symphony, string quartet, concerto, and piano trio, but infused his work with a distinctive Czech voice that most often was based on Czech dance rhythms. He spent three years in New York City (1892-95), where he directed and taught at the National Conservatory. Among his students were notable African American musicians such as the singer Harry T. Burleigh and the violinist Will Marion Cook.

Dvořák was fascinated with American culture, especially the music of African Americans and the entire Indianist movement. These influences are readily apparent in the From the New World Symphony. The symphony, written while Dvořák  was in New York, had its first performance by the New York Philharmonic in December 1893. Several of the themes, most notably the English horn solo in the slow movement, have been connected to the African American spiritual tradition. The words “Goin’ Home” were later added to the tune, strengthening the tie between Dvořák ’s symphony and African American music. But it is the Native American elements that are perhaps even more intriguing. 

As Dvořák scholar Michael Beckerman has demonstrated, Dvořák was planning a large-scale work based on Henry Wadsworth Longfellow’s Hiawatha. While the piece itself never emerged, a great deal of the music made its way into the From the New World Symphony. Hence, the work could be interpreted as a musical depiction of the story of Hiawatha. (Think here the sort of thing that Walt Disney did in Fantasia.)

While Dvořák  remains one of the most significant Czech composers in the years surrounding the turn of the 20th century, Martinu is regarded as one of the leading Czech-born composers of the early 20th century. His music, though, is not rooted in the lush romanticism of Dvořák , but rather exhibits more modernist traits in terms of harsh harmonic dissonances, relentless rhythmic dynamism, and extreme emotional pathos. These traits are readily evident in the highly original Double Concerto for Two String Orchestras, Piano, and Tympani from 1940. Written shortly after the Munich Pact, in which Martini’s homeland was ceded to Hitler, the Double Concerto emerged as Martinu’s statement against the war that was quickly engulfing Europe. The two orchestras, piano soloist, and tympanist sometimes play together, sharing musical musical, while at other times they appear in direct opposition to one another. The Double Concerto is rarely performed, and with its stereophonic antiphonal effects, is something best experienced live.

The Czech Symphony Orchestra’s concert promises to be one of February’s outstanding musical events. The program offers listeners a rare opportunity to hear a riveting piece by Martinu, revel in the lyricism of Mendelssohn’s Violin Concerto, and experience the music of one of Czech’s most illustrious musicians, Dvořák , played by an orchestra from his homeland.



PREVIEW:
Carlsen Center at JCCC
Czech Symphony Orchestra
Sunday, February 15 at 2 p.m.
Carlsen Center
12345 College, Overland Park, KS
For tickets call 913-469-4445 
or online at http://purchase.tickets.com/buy/TicketPurchase?organ_val=3232&pid=6237479&schedule=list

By William A. Everett

Classical Contributor (Past writer)

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