The vast majority was by the contemporary Czech authors. In the radio, we played in programmes of three types: most of all at the public concerts in the radio studio, in the presence of the audience invited by the radio corporation about , mostly broadcast live or straight after the concert, then recording on the cassettes, and finally recording the permanent recordings for the South African Radio which may be broadcast more times.
The radio work was extremely difficult — not only for the enormous extent of the composers presented 26 authors , which is unusual for chamber ensembles, but even for orchestral tours.
This meant a new programme every day, necessarily having been prepared when still at home. The work was even more difficult since the recording time allowance was rather limited, given by local habits. For example, to record a difficult radio programme — Spohr, Jaroch, Zich, Flosman, where at home we have a four-hour recording session for each one, we had about 3 hours altogether. On the other hand, we have to point out the great understanding of both the technicians and the director which crossed the frontiers of official work and became a very friendly mutual cooperation.
We were taken by the high technical quality of our recordings. Despite the great exertion, two facts speak out for the musical standard of the recordings. Most of all, just after the first recordings as well as at the end of the tour a recording company wanted to buy some radio recordings directly in order to make records. And the second one. Putting into consideration how well-known artists and ensembles travel to South Africa after WWII and record for their Radio too, this was a very precious approval.
From severe and too civilized Johannesburg we flew to the beautiful Capetown. On the following day, there was a concert in a famous nearby African university town of Stellenbosch, a public concert in Cape Town followed and the last concert of the tour took place in Port Elisabeth. All Czech Nonet concerts were very successful.
One could quote the hillarious critiques from the newspapers of all towns visited, and in both official languages, English and Africaans. But it happens some artists pick the positive critiques only and are silent about the negative ones, for the favour of their popularity. Although this cannot be the case, let us see to the fact that both the tour principal organizer of Musica Viva and his deputies and the local organizers expressed their wishes spontaneously, even in a form of a concrete proposal, that the Czech Nonet could come back to tour in South Africa within the time limit of two or three years.
This is the most precious approval of Czech art, both performing and composing. Furthermore, it was reached after successful tours of our leading chamber ensembles. Silvertrust writing in The Chamber Music Journal. He studied violin briefly at the Prague Conservatory but was expelled for failure to diligently pursue his studies and from then on studied privately. In he emigrated to Paris and became a pupil of Albert Roussel.
Among his many students was Alan Hovhaness. Please note the size of the score is such that the shipping costs to addresses outside the US requires us to add an extra amount to the price in addition to the standard shipping price which will be added in the shopping cart. Contact Us. Place Order. What's New. If you intend to perform my music in public, please let me know that you will be doing so. There is no obligation to pay, but if you are so inclined, you are welcome to do so!
For works requiring parts, please request them via the contact tab. Nonet for New York Year: Instrumentation: fl, ob, cl, hn, bn, 2vns, va, vc Duration: 35 minutes. Download Score — 1 MB. Download Parts — 7 MB. Invitation to Listen or Perform My music is written to be performed and heard — and hopefully, to inspire.
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