JOSEF LABOR // Theme and Variations
Nina Karmon, Floris Mijnders, Přemysl Vojta and Oliver Triendl
The positive response to Capriccio’s first recording of his Piano Quartet and Piano Quintet (C5390) has enabled this series to be continued now with three works representative of Labor's oeuvre from the early 1890s. In Vienna, Labor was part of Johannes Brahms’s close circle of friends. Brahms particularly valued his composer colleagues who went their own way without copying him. Labor’s music is very skillfully composed, always sensuous, and first and foremost melodious; it does not require a too complete concentration on itself. A total of around eighty compositions have survived. Among them are practically no occasional works, which is connected to the fact that he was blind: for him composition was a luxury, insofar as he had to rely on the help of a scribe who had to commit the work to paper.
JOSEF LABOR (1842-1924)
Cello Sonata No 1 in A major, Op 7 (1895)
Violin Sonata No 1 in D minor, Op 5 (1891)
Theme and Variations for Horn and piano, Op 10 (1895)
"...The final work is the Theme and Variations for Horn and piano, written soon after the Cello Sonata. There’s Beethovenian precedent for the structure of this work, and its alpine warmth, finely brought out by Přemysl Vojta, its metric changes and varied characterisation of its variations are all most attractive and so too is the confident end to this eight-minute work, a fine addition to the horn-and-piano repertoire…"
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Viejos Aires // an experimental music for french horn, tuba and piano
//Dispar Trio Přemysl Vojta, Patricio Cosentino & Tomoko Sawano
The ensemble has set itself the goal of breaking new ground in chamber music. With its unusual line-up of horn, tuba and piano, the Dispar Trio plays tailor-made pieces by various composers from around the world. "Dispar" in Spanish means "unequal", reflecting the musical richness of the trio who presents its first CD production “Viejos Aires“ almost entirely with new repertoire from Argentinian composer specially written for the trio.
“Viejos Aires“ includes original pieces by Noelia Escalzo, Fernando Egozcue, Roberto Pintos, Jorge Tagliapietra, Pablo Aguirre, Ignacio Freijo and some classics like “The Prayer“ written for Celine Dion and Andrea Bocelli as a vocal duo and Tango e Passo Doble by French composer Jean-François Lézé.
Michael & Joseph Haydn // HORN CONCERTOS
Přemysl Vojta, Fabrice Millischer, Martin Petrák & Haydn Ensemble Prague
The two brothers wrote most of their concertos for the widest variety of solo instruments, but usually in the same type of situation: i.e. once they had assumed important posts at the head of renowned court orchestras. Joseph Haydn became Kapellmeister for the Ezterházy princes in 1761, and Michael became concertmaster of the Salzburg archdiocese court orchestra in 1763. The court musicians in both orchestras were virtuosos in their own right, and one of the tasks of a Kapellmeister consisted in composing new works that permitted them to display their outstanding abilities in the presence of their sovereigns.
MICHAEL HAYDN (?) (1737-1806)
Concerto per il Corno principale D-Dur MH 53
MICHAEL HAYDN
Concertino per il Corno e Trombone
Concertino per il Corno D-Dur, MH 134
JOSEPH HAYDN (1732-1809)
Concerto per il Corno da caccia D-Dur Hob.VIId:3
March 2019
"Přemysl Vojta is a glorious player: full-toned yet infinitely nuanced, long-breathed yet lithe in articulation. He is nicely matched by the agile alto trombone of Fabrice Millischer, while the Haydn Ensemble Prague responds with colour and precision in a warm and radiant recorded acoustic. This is an album which gives great pleasure, and Přemysl Vojta is a player who should be heard."
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METAMORPHOSIS // HORN & PIANO
Přemysl Vojta & Tobias Koch
Alteration and transformation, influence and interaction! The horn and the piano have gone through immense changes over the course of time, as this recording with works by Beethoven, Schumann and Klebe intends to illustrate. The natural horn, the Romantic valve horn and the modern horn enter in dialogue with the fortepiano, the Romantic piano and the modern grand. We embarked on an adventurous musical expedition in the recording studio by dealing with three different types of horns and three different keyboard instruments in the course of three days, thereby attempting to span a wide musical range that depicts the transformation of the historical timbre ideal, condensed as in a time lapse.
LUDWIG VAN BEETHOVEN (1770-1827)
Sonata for Pianoforte and Horn in F Major Op. 17
ROBERT SCHUMANN (1810-1856)
Adagio and Allegro for Pianoforte and Horn Op. 70
Fantasiestücke Op. 73 for Pianoforte and Clarinet
Three Romances Op. 94 for Pianoforte and Oboe
GISELHER KLEBE (1925-2009)
Alteration of the Sonata for Piano Op. 27/2 by
Ludwig van Beethoven into Sonata for Horn and Piano
Op. 95
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FRENCH HORN IN PRAGUE // HORN & PIANO
Přemysl Vojta & Tomoko Sawano
Horn-playing has a long tradition in Bohemia, ranging from the 18th century (J. V. Stich-Punto) to the Tylšar brothers and Radek Baborák. And Přemysl Vojta is without question a superlative pursuer of this line. For his debut album, Přemysl Vojta has chosen pieces by 20th-century Prague modernists. As he himself puts it: "Works by unknown composers who experienced World War II, the German occupation, liberation, occupation by the 'liberators' and the bullying by the communist regime. May this recording be a reminiscence of that time and the people who lived through it." In addition to reflecting the fraught epoch and Slavonic musicality in the Janáček spirit, these works place extreme technical demands on their performers. Přemysl Vojta, however, is up to the challenge and with true mastery duly demonstrates his belonging to the famous Czech horn tradition.
JAROSLAV KOFROŇ
Sonatina
KLEMENT SLAVICKÝ
Capricci for French Horn and Piano
Musica per corno solo
ZDENĚK ŠESTÁK
Concertino No. 2 in F major for French Horn and Piano
EMIL HLOBIL
Sonata per corno e pianoforte, Op. 21