Novák J. (1921-1984) Odarum concentus for string orchestra, Choreae vernales, Carmina...

1.-5. Jan Novák (1921–1984) - Odarum concentus for string orchestra / pro smyčcový orchestr (1973)

Con moto – Allegro – Andante – Allegretto – Allegro

6.-8. Jan Novák - Choreae vernales for flute and chamber orchestra / pro flétnu a komorní orchestr (1980)

Con liberta. Alegretto – Andante – Lento. Allegro

9.-15. Jan Novák - Carmina Sulamitis for mezzosoprano and chamber orchestra / pro mezzosoprán a komorní orchestr (1946/1947)

Allegro (Osculetur me), Intermezzo, Andante (Leva eius), Andante (Ego dormio), Sostenuto (Donec aspiret dies), Intermezzo, Allegro (Pone me ut signaculum)

Kristina Vaculová flute / příčná flétna, Lucie Hilscherová mezzosoprano / mezzosoprán, Ensemble Opera Diversa, Gabriela Tardonová conductor / dirigentka

Druhé CD s díly Jana Nováka obsahuje dvě zralá díla a jednu juvenilii v podobě cyklu pro mezzosprán a komorní orchestr na výňatky ze starozákonní knihy Písně písní Carmina Sulamitis. Jde o skvost, který i vzhledem k datu vzniku (1946/1947) snad vůbec nejintenzivněji z Novákových děl stylově odkazuje k dílu Leoše Janáčka a Pavla Haase. Nová nahrávka mimo jiné zúročuje dlouhodobou spolupráci Ensemble Opera Diversa a mezzosopranistky Lucie Hilscherové. Nahrávku tří Novákových kompozic otevírá zdánlivě nenápadný souzpěv ód, Odarum concentus pro smyčcový orchestr (1973). Je ideálním vybídnutím k dalšímu naslouchání Novákově svrchované hudební řeči, úvodem neokázalým, kompozicí lákající k opakovanému poslechu. Choreae vernales (1980), Jarní tance pro flétnu a komorní orchestr, svému názvu navzdory překvapují melancholičností.

JAN NOVÁK (1921, Nová Říše, Czechoslovakia – 1984, Neu Ulm, West Germany) belongs to the leading figures of the post-WWII generation of Czech composers who formed modern music of the late 20th century. His style merges several influences: Stravinsky’s Neoclassical style as mediated by Pavel Bořkovec (1894–1972) and especially by Bohuslav Martinů (1890–1959), with whom Novák studied in New York in 1947–1948; then contemporary popular music (jazz, swing); traditional Moravian folk music and more generally the Christian tradition of Nová Říše, where he grew up. Novák was renowned for his passion for Latin: he not only spoke Latin fluently but also wrote poems and translated into it. His vocal compositions work almost exclusively with Latin texts, with the exception of his early works in which he uses Russian, probably under the influence of the Jesuit grammar school he went to in Velehrad, which had strong Slavic leanings. Some of Novák’s instrumental works take inspiration in classical prosodic metres. Novák was a versatile composer, writing vocal and instrumental music as well as incidental music for theatre and film – such as the seventeen scores for the films of Karel Kachyňa, Karel Zeman, Jiří Brdečka, Jiří Trnka or Vojtěch Jasný. Novák’s most significant works are his ballets Svatební košile (The Wedding Shirt, 1954) and Aesopia (1981), the cantata Dido (1967), composed for the opening of the Classical Grammar School in Brno, the cantata Ignis pro Ioanne Palach (1969) or his opera Dulcitius (1974) on the medieval texts of Hrotsvitha of Gandersheim. Of great vitality are also his symphonies and string quartets. Due to his ongoing conflicts with the Communist regime, Novák decided to emigrate to Denmark in 1968, later moving to Italy and eventually to Germany, where he died. Only in 2010 were his remains ceremoniously transferred to the Central Cemetery of Brno.