Spring concert

The ensemble Komorní dechová harmonie Brno was formed 29 years ago from among the players of the brass section of the Railway Symphony Orchestra. The core of the ensemble is a wind deceto consisting of a pair of flutes, oboes, clarinets, French horns and bassoons. Thanks to the hard work, discipline, technical ability and natural musicality of all members of the Brno Chamber Wind Orchestra, the ensemble's repertoire is happily growing, as is the level of its interpretation. However, the ensemble's most valuable currency still remains the unconcealed joy of making music, which is also transmitted to the listeners.
The Brno Chamber Wind Orchestra was conducted by prominent conductors such as Jakub Hrůša or David Mareček. The ensemble cooperates with young conductors on a program basis, which is also the case with Robert Kružík, Joel Hána, chief conductor of the ensemble Filip Urban, or the promising Marek Madeja, who will conduct today's concert.
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The spring concert will begin with Intrady z rájské zahrady III and I by the late Renaissance organist and composer Hans Leo Hassler, who during his lifetime also held the position of court composer for the Roman Emperor and King Rudolf II of Bohemia.
Legends, Op. 59 was written by Antonín Dvořák in 1881. The first of the legends in D minor, is an elegiac reminder of ancient times, Legenda II, G major, Molto moderato, captivates us with its pure Czechness. The Legends in general are characterized by quick mood swings and breathtaking compositional invention.
Pilky are the most famous of the Laš dances by Leoš Janáček. In it, we will hear both the peaceful pair dance of the saws and the predatory blacksmith's smoke. They are followed by two dances taken from his Moravian dances, the Kalamajka and the nervous Kožich, apparently of Laška provenance.
The highlight of the concert will be the premiere of the transcription of the Czech Suite, Op. 39, by Antonín Dvořák, which the master wrote in 1880, i.e. shortly after composing his unforgettable serenades for strings and wind instruments. The opening Prelude introduces us to the mood of the Czech suite, followed by a poetic stylization of the Czech folk dance polka. The main theme in its basic form in the key of D minor has a rather melancholic tuning, the later shift to D major brings a rhythmic and expressive revival. The 3rd movement is inspired by another folk dance, the neighborhood dance. Rich imitation work with the main theme is typical for her. Romance with flute and English horn solos is a captivating nocturne. The final furiant effectively ends the composition with its captivating rhythms and unrestrained spontaneity.