What do we know about the Czech composer,
journalist and pianist Karol Janovický? Bohus
Frantisek Simsa (real name) is one of many émigré composers who arrived in the
United Kingdom in the aftermath of European Totalitarianism. Born in the
Bohemian town of Pilsen on 18 February 1930, he travelled to Germany in 1949
and then to London where he studied at the Royal College of Music. He worked
for the BBC for many years as a producer in the gramophone department and later
at the BBC World Service where he directed the Czechoslovak Service. He has
been a great champion of Anton Dvorak and has participated in Dvorak Society
activities for many years.
Karol Janovický has a huge catalogue, with
an especial focus on chamber and instrumental music. However, there are many orchestral works, songs
and an opera. His music is modern-ish
sounding, but from what I have heard on this CD is certainly not avant-garde.
If I were to give a clue to listening, I guess I would say his music lies
somewhere between Béla Bartók, Leoš Janáček and Mátyás Seiber, with a little Antonín
Dvořák thrown in for good measure. Occasionally, in these works I heard echoes of Vaughan Williams and Benjamin
Britten, but that may have been my imagination. All this is only a hint: he is
very much his own man.
The CD opens with the vibrant Festive Fantasia and Fugue for recorder
and piano. It was written as a 70th birthday gift to the present
recorderist John Turner. From the opening bars of this work, and the exotic
sounds produced by the wind instrument one just knows that this is will be an enjoyable
work. The liner notes are correct: there is a ‘cheeky’ squaring up to each
other for fun rather than for fight. The fugue is based on Verdi’s aria from Falstaff
(my favourite Shakespearean character) ‘Tutto nel mondo é burla. L'uom é nato
burlone’, - The whole world is a joke, man is born a jester. It is good to hear
music that lacks angst and is quite simply fun.
The eponymous Rain Songs are settings of poems by the Hungarian-born poet and translator
George Szirtes (b.1948). These were written in 2010 in memory of the composer Mátyás
Seiber. Seiber came to London in the1930s as a refugee: he is noted for his
eclectic musical style, working with folk music, serialism and jazz. He died in
1960. As the title implies, the poems
evoke water and rain, although there are also references to historical issues,
such as the trenches of the First World War with gas and mud. The imagery in
these poems is impressive (as would be expected from Szirtes). One of my
favourite lines is ‘The whistling of small birds among wet leaves/A scroll of
gull, an even stream cloud…’
Karol Janovický has set these poems with
imagination and dexterity. The song-cycle is a carefully made synthesis of
voice, recorder and piano. Often the ‘pitter patter’ of the rain can be heard
in musical onomatopoeia. The aesthetic of these songs is timeless: it would be
unfair to say that they ‘sound like’ any other composer. They are contemporary,
yes, but always approachable and often quite beautiful.
The other song-cycle on this CD is Passages of Flight for soprano and
piano, dating from 1995. The five poems set were chosen by their author,
Richard Robbins, who is a friend of Karol Janovický. There is a strange beauty about these ageless
settings that reflect the bitter-sweet subject matter of Robbins’ poems.
The Sonata for recorder (2013) followed on
from the Festive Fantasia and Fugue. Janovický
was so impressed by John Turner’s performance of this work, that he immediately
began on the Sonata. It is written in three movements with the finale being an
excuse for a musical thriller. Once again, the recorderist is encouraged to
produce some bizarre effects on their instrument. There are some serious
moments here, but the mood is typically positive. A lovely romantic second
subject features in the opening movement, which contrasts with the ‘Jack-in-the-Box’
main theme. The slow movement is dreamy in mood and suggests a lazy, warm
summer’s day.
My personal favourite track is the Piano
Sonata dating from around 2005. Like most of the other instrumental pieces on
this CD it is an agreeable work that is not emotionally demanding. There are
moments of depth here, but the overall impression is one of fun and ‘joie de
vivre.’ The first movement uses sonata form to tell a story (plot unknown)
which is well-balanced between love and intrigue. The slow movement is
reflective but not in any way sad or gloomy. The Sonata ends with a ‘playful’
romp framed as a ‘rondo.’
The style of pianism is quite old-fashioned
in its sound and there is absolutely nothing wrong with that: it could have
been written at almost any time over the past 100 years. I felt that there was
a touch of Les Six in places. It is
inspiringly played by Joan Taylor.
I liked the Quintet for recorder and
string quintet. The work was first heard in Cambridge at a memorial concert
(2010) for Mátyás Seiber. Once again, it is dedicated to John Turner. This is a
considerable piece, lasting for nearly 14 minutes. There are three movements,
which are full of invention and interest, including much rhythmic vitality,
especially in the final movement. The recorder is always to the fore and has a
technically challenging part. The ‘mood swings’ are considerable: from idyllic
to intense by way of a touch of romance. Written in an amicable, but sometimes
wayward, modern style this work is faultless in it effect.
Bearing in mind that this CD consists largely
of premiere recordings from a relatively unknown composer, I would have liked
more detailed liner notes. I understand that a listener and a reviewer can ‘critique’
a piece of music with little or no background: it would have been helpful to
have just a little bit more information. For example, I had to refer to the
composer’s webpage
to find out when some of these pieces were composed.
The text of both song-cycles is given.
There are no biographical details of the performers, although once again this
can be explored on the Internet. The composer’s biography is also a bit skimpy,
although there is a link in Janovický’s webpage to an essay by Dr David C.F.
Wright, which for reasons well-known to readers of MusicWeb International cannot be quoted (even if one wanted to). The cover design by Clarissa Upchurch is
suitably ‘rainy’ in its effect. I would have expected a slightly better-quality
insert: on my copy the printing on the middle pages is a wee bit ‘squiffy’,
with the last line of the text of the poem ‘Flight’ nearly cut off.
The sound quality is ideal on the entire
CD. From the initial impact of hearing this works for the very first time (I
did listen to this CD twice-through) exhibits sympathetic playing. As always,
Lesley-Jane Rogers’ singing is a sheer pleasure. Her voice is ideally suited to
these two sets of songs. John Turner’s performances are excellent. His impact
is felt in every bar of this CD: he seems to act as an unheard MC in those
works he is not involved in. Naturally,
the Manchester Camerata Ensemble are in tip-top condition. I have already
recognised the splendid rendition of the Piano Sonata by Joan Taylor.
I noted that there are many works in Karel
Janovický’s catalogue. It may be a bit ambitious to hope for a recording of the
symphonies and sinfoniettas, however, there is vast amount of chamber music for
a wide variety of instrumental forces, many piano works and dozens of songs (several
in the Czech language) that demand to be explored.
Track Listing:
Karel JANOVICKÝ (b.1930)
Festive
Fantasia and Fugue for recorder and piano (2013)
Rain Songs for Soprano,
Treble Recorder and Piano, (2010)
Sonata
for treble recorder and piano (2013)
Passages of Flight: a cycle of five
songs for high voice and piano (1995)
Sonata
for piano (2005)
Quintet
for recorder and strings (2010)
John
Turner (recorder), Lesley-Jane Rogers (soprano), Joan Taylor (piano), The
Manchester Camerata Ensemble.
PRIMAFACIE PFCD 060
With thanks to MusicWeb International where this review was first published.
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