Jarný koncert - “Už sa prebúdza”

The poetic subtitle “is already awakening” captures the spring concert of the women's chamber choir Les Sirènes led by conductor Lukáš Kunst, where on Sunday, April 13, 2025 in the Mirror Hall of the Primate's Palace in Bratislava in their captivating submissions, the engaging dramaturgia draws from a rich collection of Slovak and Czech and Czech choir creation. Andrea Bálešová will perform at the piano and Mária Štúrová (soprano), Pavol Oravec (tenor) and Rastislav Hajach (Baritone) will be performed by the solo vocal parts. from Bohuslav Martinů (1890 - 1959), which represents artfully recalculated free band of fairy tales, games and rhymes coming out of folklore customs during the four seasons using folk poetry texts. The name of the ballet came from the collections of Czech folk fair songs from the 18th century. The composer draws on Czech folklore idioms and motifs and processes various, mostly Czech fairy tales, stories inspired by poems Karel Jaromír Erben, as well as others, of which perhaps the best known are the cat in boots and Cinderella. The composer composed the composer in 1931/32 and from the musical point of view the threshold of the artistic maturity of Bohuslav Martinů, when he adopted a blending of the Czech creative language with the French, acquired during his studies at Albert Roussel in Paris. It is in the period of the 1930s that the composers return to traditional tonality and diatonic melodies with simple
Harmonious support pointing to its strong bonds to his native country, but with the flavor of modern compositional procedures. It could be assumed that the inspirational source of Martinů could be the ballets of Sergei Prokofiev from the 20s as Chut and Le Fils Prodigue, but also the ballet Les Noces (wedding) Igor Stravinsky, not only by his music, but also to incorporate choir and soloists, What is the case of a spear. Špalíček premiered in 1933 in Prague with the subtitle “Ballet from folk games, customs and fairy tales”. In his music he emphasized primarily on the authenticity of the testimony, only subsequently approached the choice of convenient artistic means. As he himself said, Antonín Dvořák, who also represented a considerable inspirational source for him, has been enrolled in him. However, as the theorist and composer, he also significantly dealt with the issue of the 20th century music and the development of modern Slovak music. Although he himself confessed that in the 60s of the 60s he began to have a relatively negative relationship with choral work, in the context of his work, one of the key tasks played, paradoxically, the works for churches. “There is one permanent moment in Hrušovský choir work, from the song to the song. The meaning of the individual word, as well as the meaning of the whole poetic image, has an important, direct functionality in its set -up. It is not autonomous music and there is no negligible in it what is singing… he chooses verses with the feeling of a musician and a greedy taste of the poet… He knows why he writes for the choir, why he won't let the text just inspire… ”wrote a musicologist about Hrušovský church works. Igor Podracký. And the delicacy and compositional art of his choir work will be able to appreciate the concert audience in the selection of the cycle CHLI IT EXCLUSIVE COMPOSITE composed in 1986. (1854 - 1928), as a cross -section of other works of Slovak and Czech choir production.