Katelyn Bouska & Štěpán Filípek | Barber - Janáček - Gill - Ištvan; Works for Cello and Piano

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Classical: Chamber Music Classical: Contemporary Moods: Type: Instrumental
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Barber - Janáček - Gill - Ištvan; Works for Cello and Piano

by Katelyn Bouska & Štěpán Filípek

About Chamber duo of cellist Štěpán Filípek and pianist Katelyn Bouska performs Czech and American classical music of 20th and 21st century.
Genre: Classical: Chamber Music
Release Date: 

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  Song Share Time Download
1. Samuel Barber - Sonata for Cello and Piano - Allegro
Štěpán Filípek & Katelyn Bouska
7:51 album only
2. Adagio
Štěpán Filípek & Katelyn Bouska
4:08 album only
3. Allegro Appassionato
Štěpán Filípek & Katelyn Bouska
5:59 album only
4. Leoš Janáček - Pohádka - Con Moto
Štěpán Filípek & Katelyn Bouska
4:52 album only
5. Con Moto
Štěpán Filípek & Katelyn Bouska
3:46 album only
6. Allegro
Štěpán Filípek & Katelyn Bouska
2:32 album only
7. Jeremy Gill - Dos Sonetos De Amor - La Casa Transparente
Štěpán Filípek & Katelyn Bouska
4:44 album only
8. La Paz Vertiginosa
Štěpán Filípek & Katelyn Bouska
3:55 album only
9. Miloslav Ištvan - Sonata Pro Violin and Piano - Introduzione
Štěpán Filípek & Katelyn Bouska
3:56 album only
10. Canto
Štěpán Filípek & Katelyn Bouska
3:50 album only
11. Recapitulazione
Štěpán Filípek & Katelyn Bouska
4:24 album only


Album Notes
In the summer of 2015, Katelyn Bouska travelled to the Czech Republic intent on searching out the new generation of Czech composers. There, she met Štěpán Filípek who introduced her to the works of Miloslav Ištvan and the world of musical Brno. The inspiration grown from the sharing their musical cultures birthed the inspiration for their collaboration. Currently, Katelyn is on faculty at the Curtis Institute of Music and Temple University in Philadelphia and Štěpán is a member of the Miloslav Ištvan Quartett and is a frequent collaborator with the broadcast company, Český Rozhlas Brno.

One of the most celebrated American composers of the 20th century was Philadelphia-native Samuel Barber (1910-1981). Focused on creating his own musical language apart from the trend for over-intellectualization of the music by his contemporaries, he turned to the human voice for inspiration. Throughout his long career, he would write in excess of three hundred works in the song and opera genres. His works, known for their musical expression and melodic nature, are now often classified as ‘neo-romantic.’ This penchant for passion and musical depth are already evident in Sonata for Cello and Piano (1932) despite its early composition.
Delving into the rich tradition of Czech folk-music and its rhythmic speech-idiosyncrasies, Brno maverick Leoš Janáček (1854-1928) detached from the European late-romantic style and created a completely original means of expression. His early successes were in the opera genre, but as he reached full artistic maturity he expanded to the more intimate genres of chamber and solo piano. By the time of the composition of the Pohádka (Fairytale) in 1912, his works were already well-known beyond the borders of the Czech lands. Its intimate expressions and subtle dialogue between cello and piano illustrate a composer at the height of his artistic sensibilities and in complete control of his craft.
Within the current American composer's generation, Jeremy Gill (* 1975) is beginning to enforce. Even though his teachers (e.g. George Rochberg, or George Crumb) inclined to post-serial way of composing, Jeremy in reaction to their work seek a more humanistic approach to the composition. Continuing in the vein of intimate expression, the Dos sonetos de amor (2001) are inspired by the poems of Pablo Neruda - Noche (Night) and Mediodía (Afternoon). In these evocative settings, the cello as narrator conveys the subtle nuances of the text. The sensitive shades of the poetry, delivered so expressively by the cello, are supported by the atmospheric and evocative piano writing.
Czech society of the early 1970s bore the marks of the harsh effects of the Soviet occupation, sparking a massive country-wide wave of immigration. Alarmed by the disintegration of the intellectual class, the communist regime implemented new tactics resulting in the phenomenon, Šedá zona (Gray Zone). These practices allowed composers such as Miloslav Ištvan (1928-1990) to remain in the country but under severe censorship, outwardly tolerating authority but quietly continuing to create their artistic works. Ištvan wrote his Sonata for Cello and Piano (1970) during this period. Its atmosphere clearly reflects the hopelessness of the situation and the composer’s growing disillusionment. However, its unique exploration of the hitherto untapped timbral possibilities of cello and piano speak to a composer who nevertheless remained in quest of a personal voice in the midst of artistic deprivation.



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