Zahradní Ateliér / Garden Atelier
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ComposerUSA Winter 1998-99 Page 5
FORFEST IX
An Oasis In the
Contemporary Music World
by Daniel Kessner
- Forfest a contemporary music festival held this year June 21 to 28 in the small town of Kromerĺz in the
eastern Czech Republic, stands clearly outside the new music mainstream, both geographically and aesthetically. Kromeriz is Iocated slightly east of Brno, not far from the Slovakian border. lt is a good five hours from Prague by tram, and only slightly closer to Vienna. In terms of its relation to the “big names“ of the contemporary music establishment, however, it Is far more remote than that.
Forfest‘s stated goal is to present new music with a spiritual orientation, either explicit or implicit. While they have included a modest international component for several years now, the festival Is dominated by Czech composers and performers, most of whom are unknown outside of their- homeland.
The heart and soul of the festival is an organization known as The Artistic Initiative of Kromerĺz, which I now know to be a single, extraordinary family. While I assume that specific decisions on invited composers, performers, and repertoire are made jointly, Václav Vaculovic, an accomplished painter-graphic artist is largely responsible for the international communications and publicity, while his wife Zdenka, a tremendously gifted and versatile musician, handles most of the daily musical matters, both aided by their son Peter. During the course of the festival, Václav‘s paintings and other graphic works were present adding a powerful dimension to the musical events, and he played horn (very well) in one of the chamber concerts. Young Peter performed in several concerts on violin and viola, made digital recordings ot all the concerts, and played electric guitar in a rock band during one event. However, the musical star was Zdenka, who introduced each concert with a brief introductory speech, and excelled throughout the week as conductor, violinist, soprano, and composer.
Before describing the events of the festival, however, a few observations about the host city are essential to capturing the mood and spirit of Forfest. Outside of Prague and perhaps Brno, most of the Czech Republic‘s population lives in small towns. Kromeríz is an absolute jewel. A village of around 8000, its center displays architecture of the l6th through 2Oth centuries, and nearly every building is perfectly maintained, dean, and colorful. Concerts were given in five different venues: three churches, the Kromeríz Museum, and one outdoor setting. invited composers and performers stayed at a nearby hotel, and enjoyed meals together at a restaurant next to the museum. Naturally, everything was within comfortable walking distance.
This ninth edition of Forfest included fourteen concert events during its eight days. Dolly and I had been invited to present a flute and piano recital toward the end of the week, and other commitments prevented us from hearing the entire festival. However, I will review highlights of the nine concerts we attended, and summarize the contents of
the others. The festival opened with an exhibition of paintings related to the Psalms, followed by a performance by the Brno Philharmonic Orchestra and Choir of Bohuslav Marttnu‘s Field Mass.
The following afternoon‘s concert (the first event we were able to attend) featured Canticum Novum, a vocal instrumental ensemble also from Brno directed by composer-conductor František Fiala, and the Prague String Trio. Meditation on Kyne eleison for string trio, by Prague composer Josef Rut, made an especially strong impression, as did Fiala‘s own setting of Psalm 42. The major work of that evening‘s concert was the impressive Symfonia da Requiem by Karel Simandl, ot Karlovy Vary (Karlsbad), at the western tip of the republic. lt was treated to a wonderful performance by the Archbishop‘s Cappella of Kromeríz, conducted by Zdenka Vaculovic. The program aIso included Swiss composer Frank Martin‘s Sonata da chiesa, for viola d‘amore and chamber orchestra, and a repeat performance of the aforementioned string trio by Josef Rut.
On Tuesday evening there was a fine recital by Brno violinist Marie Gajdošová and pianist Libuše Nemcová. While alI of the works were by Czech composers, the only familiar one to me was the sonata by Josef Suk. However, equally impressive were the fifth and sixth sonatas for unaccompanied violin by Jirí Matys (aIso from Brno) and violin-piano works by Petr Erben and Zdenek Pololáník.
Wednesday afternoon‘s concert featured composers from Ostrava, to the north of Kromeríz. To me, the strongest works were by two young women composers. Teresie Martinová‘s Priére de consecration á la Reine de la paiX was the most exploratory work of the program, a challenging and effective extended work for unaccompanied baritone voice, convincingly delivered by Petr Matuszek. Michaela Macurová aIso conducted a sparkling performance of her own Pater noster for a cappella choir. The program closed with Jan Grossman‘s Lovely Lava me. The evening concert was the first of three individual composer concerts, this one presenting works by Prague composer Petr Pokorný. The program consisted Largely of vocal works, three engaging settings of texts by Josefa Kostohryze, and one based upon a poem by the composer himself.
The program of Thursday afternoon was, as expected, the most outrageous of the week -- a collection of works by student composers from the Brno Conservatory. Typical for its “genre,“ there were many short works in as many different styles, all together showing both excellent training and a healthy spirit. That evening, the second of the individual composer programs was devoted to instrumental works of Pavel Zemek. Following excellent works for solo clarinet string trio, solo oboe, and string quartet, cellist Jirí Bárta gaye a magnificent performance of Zemek‘s cycle consisting of Sonatas I, II, and 111 for unaccompanied cello. I found the second of the three particularly compelling.
Two superstars emerged from the Friday afternoon chamber concert, at least from my perspective. Oboist Katerina Fürstová played Benjamin Britten‘s Six Metamorphoses after Ovid, for solo oboe, better than I have ever heard them played -- recordings included. The most pleasant surprise, however, was that after she had already appeared so many times during the week as violinist and conductor, Zdena Vaculovic sang her own psalm setting for soprano and violin, accompanied by her son Peter. lt was a beautiful piece, and very well performed.
