Rejcha

Czech composer Josef Rejcha (1752-95) was strongly influenced by the so-called "Mannheim School" composers, and he in turn left his mark on his own pupils, among them one Ludwig van Beethoven. Rejcha was particularly interested in the sonic qualities of string instruments and was quite enamored of the cello, as evidenced by the three concertos before us. All are excellent works, featuring captivating solo writing, fresh melodic invention, and colorful orchestral accompaniment.

Jiři Ignác Linek opens the final volume with his Sinfonia Pastoralis. Born in Bakov near Prague he succeeded his father as choirmaster in his hometown. Though he followed the trajectory of most Bohemians of studies in Prague he doesn’t seem to have travelled much and certainly didn’t take appointments in estates beyond Bohemia. Probably intended for Christmas his symphony is enjoyable and well characterised, and short. The drone effects in the Adagio hint at the kind of folkloric tints that his more cosmopolitan Bohemian and Moravian contemporaries don’t pursue in their own symphonies and they’re all the more effective for it.

Josefa Rejcha's numerous compositions span a variety of genres. - Rejcha extensively explored the sound qualities of the string instruments, working with expressive melodies and colourful instrumentation. - His concertos for violin, violin duet, violoncello and violin with violoncello were extraordinarily popular in his day. - Rejcha had a fundamental influence on the early works of two composers - his nephew Antonin Rejcha (1767-1836), theorist and later professor at Paris Conservatory, and Ludwig van Beethoven. Slogan: Josefa Rejcha's violoncello concertos in colourful interpretations by Mikael Ericsson

Antonín Rejcha (1770, Prague - 1836 Paris) was a respected professor of counterpoint and fugal technique at Paris Conservatory, and an author of pedagogical works which even Bedřich Smetana and Fryderyk Chopin studied. He wrote wind quintets, piano fugues, overtures and symphonies. It wasn't until the late 20th century that the discovery of his manuscripts in the Bibliotheque Nationale in Paris revealed that he was also a composer of large works for choir and orchestra. One such discovery was Rejchas's Missa pro defunctis - Requiem, written in Vienna, where Rejcha lived from 1802 to 1808 before settling down in Paris.

Antonín Rejcha (1770, Prague - 1836 Paris) was a respected professor of counterpoint and fugal technique at Paris Conservatory, and an author of pedagogical works which even Bedřich Smetana and Fryderyk Chopin studied. He wrote wind quintets, piano fugues, overtures and symphonies. It wasn't until the late 20th century that the discovery of his manuscripts in the Bibliotheque Nationale in Paris revealed that he was also a composer of large works for choir and orchestra. One such discovery was Rejchas's Missa pro defunctis - Requiem, written in Vienna, where Rejcha lived from 1802 to 1808 before settling down in Paris.

The music and performances are plain irresistible. Louis Dauprat and the Detmold Hornists may not be household names, but the Sextet is an outstanding, possibly unique work, and this ensemble, named after their base in Germany, have superb intonation and expressiveness. Neither the date of composition nor of publication of the Sextet are known, but some time between 1810 and 1827 seems likely for both. The work is fairly conservative, with little of the innovation characteristic of Antonín Rejcha's wind quintets, which were composed around this time, and indeed written in part for Dauprat, who studied with Rejcha from 1811 to 1814.

The modern-instrument ensemble of the Czech Chamber Philharmonic Orchestra plays stylishly and with commitment… For anyone with an interest in the music of this time and place, especially as several of these pieces are here receiving their very first recordings. –MusicWeb International

This double CD offers six concertos for two horns, as well as one concerto for three horns and a sextet for two horns and string quartet, all dating from the late eighteenth century. Brothers Zdenek and Bedrich Tylsar, Czech horn players with impressive solo, orchestral, and academic credentials, play with assurance and musical sensitivity. The brothers' playing is characteristic of Eastern European hornists – a relatively small and slightly covered, but focused tone. They use modern double valve horns, which avoid the intonational vagaries of the valveless Waldhorns for which these works were written, and which greatly increase the facility with which these pieces can be played.