Josef Bohuslav Foerster was the successor to Dvorák as organist in Prague, a lifelong friend of Mahler, and a pivotal figure in Czech music, whose almost 200 compositions take in all the major genres. The three selected works here offer an overview of his orchestral music. Recalling several equally majestic pieces by Smetana, the arresting Festive Overture combines Czech flair with Viennese elegance, while From Shakespeare explores characterization with warmth and resourceful orchestration. The early Symphony No.1 in D minor offers a darkness-to-light trajectory suffused with rich mid-Romantic colors.
Jana Mila crafts songs with powerful lyrics and surprising, catchy melodies—songs she delivers with compelling expression. Americans label her music as Indie Americana Pop. Last year, she took a substantial collection of self-written songs to Nashville and returned with a dream debut and a record deal in hand.
Whereas Vivaldi needs no introduction whatsoever and other names (Caldara, Fasch, Tůma) are familiar to lovers of Baroque music, even specialists have only been getting to know the remarkable oeuvres of Reichenauer and Jiránek over the past few years, owing in large part to Supraphon's Music From Eighteenth-Century Prague series. Prague is that which all these composers had in common; for some of them the city represented a significant part of their career, for others a short episode or merely a way station. The Czech capital was a melting pot in which Dresden, Vienna, Naples and Venice came together and the influences of all the major European musical centres were recast.
In the rich musical life of early 18th century Prague, the Advent and Christmas seasons formed a chapter unto themselves. Their specific repertoire consisted not only of the themes of this liturgical season (including a strong element of the Marian cult), but also of special liturgical and musical forms. In both songs and figural music Czech suddenly appeared side by side with Latin, along with elements of folk religion and culture.