Classical Music

Nominated for a 2024 International Opera Award in the New Production category.

"You don't look so bad, you pale fellow up there. Oh, surely your people are happier than us poor earthlings!" cries Matěj Brouček to the Moon shining over Prague. An artist’s imagination knows no bounds—so why not journey there with Janáček and find out if Mr. Brouček is right?

"Without Boundaries!" is a fitting motto for the work of director Robert Carsen, whose productions are acclaimed worldwide for their dramatic vision, poetic quality, humor, and visual sophistication. The famous director’s path crossed with the Czech composer’s work many years ago, and today Carsen has productions of six Janáček operas to his credit. In 2020, he created a production of *Osud* (Destiny) for the Brno company, and he now returns to the stage of the Janáček Theatre, where his new production of *The Excursions of Mr. Brouček* will ceremoniously open the Janáček Brno 2024 festival.

A famous musical based on the novel by Victor Hugo

On February 13, 2009, one of the most renowned musicals of the 20th century premiered on the Musical Stage of the Brno City Theatre. Based on Victor Hugo’s famous 1862 novel *Les Misérables*, the story of the escaped convict Jean Valjean captured the hearts of audiences—and not just in Brno—during a run of more than 130 performances, while Petr Gazdík won the prestigious Thalia Award for his portrayal of the lead role.

World-renowned vocal legend Andreas Scholl returns to Brno. Marking yet another collaboration, this project brings monumental works of the European Baroque—performed in an authentic style—beneath the vaulted ceiling of the Cathedral on Petrov Hill.

The concert commemorates the 500th anniversary of the Habsburgs' accession to the Czech throne, featuring ceremonial music composed for coronations and pivotal historical moments marked by the sound of trumpets and choirs. The program includes, among other works, Handel’s *Zadok the Priest*.

Program: G. F. Handel: Coronation Anthems, J. D. Zelenka: Te Deum, J. J. Fux: Turcaria
Conductor: Andreas Scholl
Performer: SILENTIUM!ensemble

The Prague-based band Good Times Only (GTO) is releasing its third full-length album, *Tohle mi ještě nikdy nikdo nedělal*. Unlike their previous records—*Pěkný chvíle* (2020) and *Teď na to myslim* (2023)—GTO has now embraced a path of creative and studio freedom, working without a dedicated producer. While they collaborated with Jakub Kaifosz (Lazer Viking, Wild Tides) on their first two releases, the creation of the new tracks involved only occasional production consultations with Nikola Šolaja (Kvietah, Atomy Nevadí), who otherwise serves as the mixing engineer.

Teige is an alternative-pop band based in Prague. Originally a trio, the group expanded into a five-piece ensemble and released its debut album, *květiny nonstop*, in the autumn of 2025. The record earned the band—originally from Kutná Hora—a nomination for "Discovery of the Year" at the Vinyla Music Awards and received a positive reception from music critics.

Following the release of her album *Pozvi ma, neprídem*, Katarzia is exploring her rap skills; together with her band (synths, drums, bass) and electronic wizard Aid Kid, she is preparing special arrangements that blend electronic and acoustic elements, guitar, and rap.

On her eighth studio album, she guides listeners through the next chapter of her life. A deep dive into personal doubts and an analysis of romantic relationships remain the core ingredients of this new batch of songs. Millennials—forever in a state of coming-of-age—may well recognize themselves in certain generational dilemmas, such as societal pressure to start a family or a reluctance to fully succumb to the trap known as adulthood.

Introduce students to Leoš Janáček in a fun and engaging way. Let them experience Janáček firsthand!

What is Janáček’s story? How did he live and create? Which places in Brno are linked to him, and how did his personal life shape the music he composed? This two-hour educational workshop takes place on the rehearsal stage of the Janáček Theatre and guides students through the milestones of Janáček’s life and work using entertaining activities.

Practical information:

Workshop designed for primary school students (grades 4–6).
Program duration: 2 hours.
Workshop fee: 2,000 CZK for up to 20 participants; an admission fee of 100 CZK applies for each additional person.
Arrival via the Janáček Theatre staff entrance.
Please ensure students wear comfortable clothing, as the program involves sitting on the floor, creative activities, etc.
To book the program, please contact the opera education specialist: Klára Mazlová (mazlova@ndbrno.cz, +420 607 089 755).

The music of Bizet’s *Carmen* embodies both French *esprit* and Spanish passion. After all, who isn’t familiar with its immortal operatic hits—the famous "Habanera" or the Toreador Escamillo’s aria? Yet, what if there is something more beneath this story of love’s fickleness?

It began with a slim novella by the French writer Prosper Mérimée about Don José, a man who—driven by a foolish passion for a wild Gypsy woman—deserted the army to become a smuggler and a murderer. Directed by Tomáš Pilař, this production of *Carmen* returns to the original story, revealing new layers of the characters; here, they are, above all, human beings hailing from vastly different backgrounds. It is not merely a tale of Carmen’s fickle, unbridled love—something the jealous José cannot come to terms with. It is a clash of two worlds: the orderly, tidy realm of José and Micaëla, bound by established rules, and the world of Gypsies and smugglers living day-to-day, free from laws and driven by immediate impulses. Their worlds suddenly collide, but this disparity sparks a tension and conflict that ultimately lead to the total destruction of both. Neither is able to prevent this, as neither is willing—or able—to yield.

A madcap musical comedy inspired by Monty Python

Who doesn’t know the legendary warrior King Arthur? Or the mythical castle of Camelot, where the Knights of the Round Table gathered to unite a fractured Britain, battle enemies, and ultimately set off together in search of the Holy Grail? We all know the legend. But perhaps things actually happened a little differently…

Brno Philharmonic
Conductor: Dominik Pernica
Hosts: Kristýna Drášilová and Vítězslav Mikeš
Script and Direction: Kristýna Drášilová

We are already familiar with the orchestra—we know how powerful it can sound and why it needs a conductor to keep it all together. But what actually lies within? What instruments make up its colorful world? Who takes the lead, and who waits patiently for their big moment? And can an orchestral musician simply sit wherever they please?

The Family Subscription series takes you into the inner workings of the musical system known as the orchestra. Together, we will discover how the various sections interact: who sets the tempo, who carries the melody, and who builds tension in the background. We will learn that every instrument plays an indispensable role—and that even silence can be charged with anticipation.

This year, you don’t have to remain mere listeners! We invite you to join forces with our orchestra: young listeners can prepare alongside their teachers, while adults can dust off their own instruments. Let’s experience that unique feeling together—being part of an orchestra.

Brno Philharmonic
Conductor: Dominik Pernica
Hosts: Kristýna Drášilová and Vítězslav Mikeš
Script and Direction: Kristýna Drášilová

We are already familiar with the orchestra—we know how powerful it can sound and why it needs a conductor to keep it all together. But what actually lies within? What instruments make up its colorful world? Who takes the lead, and who waits patiently for their big moment? And can an orchestral musician simply sit wherever they please?

The Family Subscription series takes you into the inner workings of the musical system known as the orchestra. Together, we will discover how the various sections interact: who sets the tempo, who carries the melody, and who builds tension in the background. We will learn that every instrument plays an indispensable role—and that even silence can be charged with anticipation.

This year, you don’t have to remain mere listeners! We invite you to join forces with our orchestra: young listeners can prepare alongside their teachers, while adults can dust off their own instruments. Let’s experience that unique feeling together—being part of an orchestra.

The autumn ballet premiere will serve as the symbolic culmination of an era—marking the final full-length original work by Artistic Director Mário Radačovský during his tenure in Brno.

The upcoming production, titled *The Mask*, represents a striking departure from the grand, sweeping narratives and biographical sagas that have characterized his work to date (such as *Beethoven*, *Coco Chanel*, and *Warhol*). This time, the creator consciously eschews linear storytelling and specific historical facts. The focus shifts away from biographical details to a compelling dialogue between music and the essence of humanity.

The genius of Frédéric Chopin and Franz Liszt provides the key to a deeper message; the production is conceived as a sequence of scenes that harness the emotional power of waltzes, nocturnes, and rhapsodies—not merely for illustration, but to unmask human nature. Through this virtuosic and emotionally charged music, the work tears away the idealized mask of humanism to reveal an unsettling possibility: that our civilization is but a thin veneer, liable to crumble with unexpected speed. Confronting the modern world, the production poses an urgent question: does latent violence lurk beneath the surface of noble values ​​like justice and tolerance, and does the old social contract still hold? The musical dramaturgy—dominated by solo and concert piano works—will form an inseparable whole with the work’s central concept.

A madcap musical comedy inspired by Monty Python

Who doesn’t know the legendary warrior King Arthur? Or the mythical castle of Camelot, where the Knights of the Round Table gathered to unite a fractured Britain, battle enemies, and ultimately set off together in search of the Holy Grail? We all know the legend. But perhaps things actually happened a little differently…

The legendary band Dunaj is celebrating its 40th anniversary, while the B-Side Band marks its 20th. Together, they will celebrate a combined "sixty years" on this special evening. Birthday guests will include Petr Váša, Jiří Hradil, and others.
This unique project fuses an alternative chapter of Czech music history with the rich, expansive sound of the B-Side Band’s horn section—one of today’s most outstanding big bands.
Dunaj—a band with a distinctive signature style, poetic sensibility, and a sound that never pandered to trends—steps into a new context here. Familiar tracks take on a new dimension, gaining greater dynamics, a broader soundscape, and a tension born from the interplay of two distinct musical worlds, effectively creating a "Dunaj Big Band."
The B-Side Band brings precision arrangements, the power of a horn section, and extensive experience with large-scale projects. Yet, this is not merely accompaniment; it is a full-fledged fusion where intricate detail, groove, and the sheer force of a big band converge.
One evening. A unique lineup. One chance to experience it.

A madcap musical comedy inspired by Monty Python

Who doesn’t know the legendary warrior King Arthur? Or the mythical castle of Camelot, where the Knights of the Round Table gathered to unite a fractured Britain, battle enemies, and ultimately set off together in search of the Holy Grail? We all know the legend. But perhaps things actually happened a little differently…

Kristián Šebek has twice sold out Prague’s Lucerna Hall with his musical project "Můj vzor, ​​Božský Karel" (My Idol, the Divine Karel), and his concerts across the country have been completely sold out for two years running! This year, he is embarking on a tour accompanied by the Slawinski Orchestra, featuring songs you have never heard him perform before and visiting venues where he has never appeared until now!

Audiences can look forward to everything they have come to expect from his concerts. The repertoire will include not only the most famous melodies of his idol, Karel Gott—such as "Stokrát chválím čas," "Lady Karneval," and "Jdi za štěstím"—but also hits by other Czech and international legends like Waldemar Matuška, Frank Sinatra, Jiří Korn, and Elvis Presley. There will also be melodies from films and fairy tales—all perfectly arranged for his orchestra.

The autumn ballet premiere will serve as the symbolic culmination of an era—marking the final full-length original work by Artistic Director Mário Radačovský during his tenure in Brno.

The upcoming production, titled *The Mask*, represents a striking departure from the grand, sweeping narratives and biographical sagas that have characterized his work to date (such as *Beethoven*, *Coco Chanel*, and *Warhol*). This time, the creator consciously eschews linear storytelling and specific historical facts. The focus shifts away from biographical details to a compelling dialogue between music and the essence of humanity.

The genius of Frédéric Chopin and Franz Liszt provides the key to a deeper message; the production is conceived as a sequence of scenes that harness the emotional power of waltzes, nocturnes, and rhapsodies—not merely for illustration, but to unmask human nature. Through this virtuosic and emotionally charged music, the work tears away the idealized mask of humanism to reveal an unsettling possibility: that our civilization is but a thin veneer, liable to crumble with unexpected speed. Confronting the modern world, the production poses an urgent question: does latent violence lurk beneath the surface of noble values ​​like justice and tolerance, and does the old social contract still hold? The musical dramaturgy—dominated by solo and concert piano works—will form an inseparable whole with the work’s central concept.

A madcap musical comedy inspired by Monty Python

Who doesn’t know the legendary warrior King Arthur? Or the mythical castle of Camelot, where the Knights of the Round Table gathered to unite a fractured Britain, battle enemies, and ultimately set off together in search of the Holy Grail? We all know the legend. But perhaps things actually happened a little differently…

Kristián Šebek has twice sold out Prague’s Lucerna Hall with his musical project "Můj vzor, ​​Božský Karel" (My Idol, the Divine Karel), and his concerts across the country have been completely sold out for two years running! This year, he is embarking on a tour accompanied by the Slawinski Orchestra, featuring songs you have never heard him perform before and visiting venues where he has never appeared until now!

Audiences can look forward to everything they have come to expect from his concerts. The repertoire will include not only the most famous melodies of his idol, Karel Gott—such as "Stokrát chválím čas," "Lady Karneval," and "Jdi za štěstím"—but also hits by other Czech and international legends like Waldemar Matuška, Frank Sinatra, Jiří Korn, and Elvis Presley. There will also be melodies from films and fairy tales—all perfectly arranged for his orchestra.

To cradle your tears in my palms…

The production of Janáček’s *Osud* (Destiny), which opened the Janáček Brno 2020 festival, marks the return of one of the finest opera directors, Robert Carsen. Known for productions acclaimed for their dramatic insight, poetic quality, and visual refinement, Carsen returns to Janáček’s operatic oeuvre to add a sixth title to his cycle of the composer's works—one created specifically for the Janáček Opera of the National Theatre Brno. From the very first notes of the orchestral waltz in the *Osud* overture, we are transported into the midst of refined spa society; here, simple, natural prose gives way to the language of decadent poets, as Janáček was inspired to write the opera by a beautiful woman—twenty-eight-year-old Kamila Urválková—whom he met in August 1903 at his beloved spa resort of Luhačovice. Kamila confided in Janáček about her love affair with the composer Čelanský, who had depicted his own romantic disillusionment in an opera titled *Kamila*. Janáček was so captivated by Kamila’s charm that he resolved to create a "completely new, modern opera" that would redeem her image. He described *Osud* not as an opera, but as "three novelistic episodes," placing the audience in a setting vastly different from that of his earlier works; following *Jenůfa*, Janáček’s fourth opera, *Osud*, represents a bold musical and dramaturgical foray into new territory.

Emil František Burian: *Vojna* (War) – a folk play with songs and dances based on folk poetry collected by K. J. Erben

Frederic Rzewski: *Coming Together* for narrator and variable ensemble (1971/72)

Part 1: *Coming Together* (1971)
Part 2: *Attica* (1972)
Emil František Burian (1904–1957) ranks among the most remarkable Czech artists of his generation. He exemplifies the avant-garde trends of the interwar period; he was a member of the Devětsil group, collaborated with the Liberated Theatre (*Osvobozené divadlo*), and founded the DADA and D34 theatres. He distinguished himself as an original playwright, director, and composer. Notable examples of his musical-dramatic output include the experimental jazz opera *Bubu from Montparnasse* and the opera *Maryša*, which was inspired by Janáček’s *Jenůfa* (*Její pastorkyňa*).

The 1935 folk play with songs, *Vojna* (War), further demonstrates Burian’s ability to explore new forms within the musical-dramatic genre. In his pursuit of so-called "synthetic theatre," he drew upon his experience with *voiceband* (choral speech), dance, chamber ensembles, folk music, and jazz. The premiere took place in 1935 at the D35 theatre under Burian’s direction, though the work was subsequently banned during the Protectorate era. Burian revisited the piece in the 1950s, revising the instrumentation and staging a revival in 1955. *Vojna* stands as one of the most significant Czech musical projects rooted in folk poetry, placing Burian alongside composers such as Bohuslav Martinů, who were exploring similar themes during that period.

Tim Garland – saxophone
Geoffrey Keezer – piano

The *Mezzo* project, a collaboration between British saxophonist Tim Garland and American pianist Geoffrey Keezer, represents an intersection of the European lyrical tradition and American jazz drive. This partnership is not merely a chance meeting of two virtuosos but a profound dialogue between two musical worlds that complement each other with incredible ease and elegance.

Tim Garland, known for his long-standing collaboration with the legendary Chick Corea, brings his signature style—technically flawless yet deeply emotive—to the project. Here, he showcases this artistry on an unusual instrument: the mezzo-soprano saxophone, a rarity in the jazz world. Geoffrey Keezer—a Grammy nominee acclaimed for blending classical training with a modern jazz vocabulary—partners him at the piano with a sensitivity bordering on telepathy. It is no coincidence that the renowned vibraphonist Gary Burton has hailed this pair as "the best jazz duo I have ever heard."

The music on the *Mezzo* album—and in its live performances—defies strict genre categorization; it flows seamlessly from complex post-bop structures to near-impressionistic passages reminiscent of classical chamber music. Indeed, the list of composers includes figures ranging from Chick Corea to Erik Satie. The compositions are rich in color and unexpected twists; Garland’s tone is pure and luminous, while Keezer’s playing creates rich textures that provide the perfect backdrop for the saxophone lines.

Horkýže Slíže are heading to Brno! The legendary Slovak punk-rock band will unleash their high-energy show—packed with cult hits and uncompromising humor—at the modern Sono Centrum venue. Get ready for an evening of great music and a unique atmosphere.

Janáček’s fifth opera, *The Excursions of Mr. Brouček*, opened the festival’s ninth season, which ran under the motto "Without Borders!" This same phrase aptly describes the work of director Robert Carsen, whose productions are acclaimed worldwide for their dramatic insight, poetic quality, humor, and visual sophistication. The famous director’s path first crossed with the Czech composer’s work many years ago; today, Carsen has staged six of Janáček’s operas. In 2020, he created a production of *Osud* (Destiny) for the Brno ensemble, returning four years later to embark on a journey—not only to the Moon—with Mr. Brouček. Carsen’s production offered a fresh perspective on this rarely performed opera, linking its plot to pivotal 20th-century historical events that shaped the Czech nation. The production’s broad appeal—extending well beyond the local audience—is evidenced by its nomination for the prestigious 2025 Opera Award.

None of Janáček’s operas can be classified as comic operas; while humor is never absent, it serves more as a rare seasoning. Yet, in this opera about a small-time homeowner from Prague’s Lesser Town—an archetypal "little Czech man"—Janáček positively brims with humor, albeit of a decidedly sharp variety. He drew inspiration from the popular *Brouček* novellas by poet Svatopluk Čech, complementing the satire with dance-like rhythms and the use of unusual instruments, such as the glass harmonica and bagpipes. While the first part of the opera—a trip to the Moon—aimed its biting humor at Prague’s critics, intellectuals, and artists, the second half, set in the Hussite era, struck at the unsavory traits of the Czech nation as a whole.

JOSEPH HAYDN Symphony No. 84 in E-flat Major, Hob. I:84
THOMAS ADÈS Air (Homage to Sibelius) for violin and orchestra
BENJAMIN BRITTEN Symphony for Cello and Orchestra, Op. 68

Marie Petříková, violin
Julia Hagen, cello
Brno Philharmonic
Conductor Dennis Russell Davies

The solo violin in Adès’s *Air* is suffused with light, reaching towards celestial heights. The cello in Britten’s Symphony strikes a darker chord. And Symphony No. 84 by “Papa” Haydn keeps the world in balance.

Dymytry and Arakain are embarking on a joint tour of the Czech Republic. It will run from February 20 to October 24, 2026.

Slovenian industrial legends Laibach have announced a new album, *MUSICK*, and are bringing it to Brno’s Fléda club on October 15th! Forget the typical concert experience; this will be a masterclass in the deconstruction of pop culture. Expect marching rhythms, orchestral grandeur, and the uncompromising aesthetic that defined the genre.
Hailing from the Slovenian town of Trbovlje, Laibach has been turning heads since 1980 with a provocative aesthetic that blends totalitarian imagery, industrial soundscapes, and conceptual art. Their work often straddles the line between critiquing and appropriating authoritarian elements, sparking intense debate regarding the meaning and interpretation of their art.
Musically, Laibach operates primarily within the realms of industrial and experimental rock, yet over the years they have explored a vast array of styles—ranging from electronica and orchestral arrangements to avant-garde pop. They have also gained renown for their unconventional reinterpretations of famous tracks—such as their reworking of The Beatles' *Let It Be*—and for monumental versions of folk and pop songs that place the originals within entirely new contexts of meaning.

Introduce students to Leoš Janáček in a fun way. Let them experience Janáček firsthand!

What is Janáček’s story? How did he live and create? Which places in Brno are linked to him, and how did his personal life shape the music he composed? This two-hour educational workshop, held on the rehearsal stage of the Janáček Theatre, guides students through the milestones of Janáček’s life and work using engaging activities.

Practical information:

Workshop designed for primary school students (grades 4–6).
Program duration: 2 hours.
Workshop fee: 2,000 CZK for up to 20 participants; an admission fee of 100 CZK applies for each additional person.
Arrival via the Janáček Theatre staff entrance.
Please ensure students wear comfortable clothing, as the program involves sitting on the floor, creative activities, etc.

Leoš Janáček: *Říkadla* (Nursery Rhymes) (1925–26) / world premiere of a new version for 1–2 voices, clarinet, and piano, arranged by Kryštof Mařatka (2025–26)

Kryštof Mařatka: *Altotem* / nocturnal archaic music for viola with piano accompaniment (Czech premiere)

Kryštof Mařatka: *Báchorky* (Folk Tales) / for viola, clarinet, piano, and an ensemble of Czech and Moravian folk instruments

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Kryštof Mařatka: *Záhada pana Rybky* (The Mystery of Mr. Rybka) / melodrama for actor and pianist based on a short story by Karel Čapek

Leoš Janáček: *Zápisník zmizelého* (The Diary of One Who Disappeared), JW V/12 / song cycle for tenor, alto, three female voices, and piano

While Janáček’s music is rooted in Moravian folk music, Kryštof Mařatka (b. 1971) draws inspiration from the ethnic music of several continents.

Kryštof Mařatka’s 2016 composition *Báchorky* (Folk Tales) is inspired by the world of folk music and its instrumentation, which the composer juxtaposes with other instruments. Featured instruments include the elder-wood pipe, chamois horn, rag-and-bone man’s whistle, nose flute, shepherd’s horn, and bone flute.

Mařatka found the inspiration for his 2015 melodrama *Záhada pana Rybky* (The Mystery of Mr. Rybka) in the short story "Šlépěje" (Footprints) by Karel Čapek, published in the collection *Povídky z jedné kapsy* (Tales from One Pocket). The text and the narrative play a pivotal role, shaping the musical setting—which, however, does not dominate but rather complements the storytelling.

This piece is part of a series of the composer's melodramas written for the same instrumentation, forming a cohesive whole with them. It was originally conceived for a single performer—an actor-pianist handling both the acting and the piano playing—though it can also be performed by two artists: an actor and a pianist. The text may be performed in various languages.

JOSEPH HAYDN Symphony No. 84 in E-flat Major, Hob. I:84
THOMAS ADÈS Air (Homage to Sibelius) for violin and orchestra
BENJAMIN BRITTEN Symphony for Cello and Orchestra, Op. 68

Marie Petříková, violin
Julia Hagen, cello
Brno Philharmonic
Conductor Dennis Russell Davies

The solo violin in Adès’s *Air* is suffused with light, reaching towards celestial heights. The cello in Britten’s Symphony strikes a darker chord. And Symphony No. 84 by “Papa” Haydn keeps the world in balance.

The first joint concert tour by Barbora Poláková and Štěpán Urban—concerts where audiences can immerse themselves in delicate melodies and deeply personal lyrics. Their debut collaborative album, *Sršeň*, delivers everything one would expect from modern folk-pop.

HVOB have been conquering the universe of electronic music for years. They have not only established themselves in the international music scene through their releases, but also as a live act.

The two musicians behind HVOB are Anna Müller and Paul Wallner. Together they compose and produce the music and are therefore jointly responsible for the unique sound of HVOB.

They play sold-out tours in North, Central and South America, Asia, Europe and South Africa and have played many of the world's renowned festivals - from a headlining show at Sonar Barcelona and Clockenflap in Hong Kong to Burning Man, Primavera Sound and Fuji Rock in Japan. They have also recorded a BBC Essential Mix, several Boiler Rooms and a Cercle set in Mexico.

LAKESIDE X is collaborating with Daniel Myer and Depeche Mode drummer Christian Eigner on a new album and will debut a new live show featuring new tracks in Brno on October 16. The band The Brute will also perform as a special guest.

The Brute is a captivating musical project from Switzerland and Germany, founded in 2018 by singer-songwriter Daniel Gierke. The project blends progressive electronic sounds with rock energy, compelling vocals, and cinematic visuals—both in live performances and in music videos. The band fuses elements of electropop, rock, and cinematic soundscapes into a signature sound that feels both modern and deeply emotional, with a touch of the spirit of the 80s and 90s.

Alfred Schnittke: String Quartet No. 3

Antonín Dvořák: Four Songs on Lyrics by Gustav Pfleger-Moravský, Op. 2, B. 124 / arranged for voice and string quartet by Tomáš Ille

Leoš Janáček: String Quartet No. 2 "Intimate Letters", JW VII/13

Antonín Dvořák: In Folk Tone, Op. 73, B. 146 / arranged for voice and string quartet by Tomáš Ille

The fundamental building blocks of Alfred Schnittke’s (1934–1998) String Quartet No. 3 (1983) are quotations from works by three different composers spanning the Renaissance to the twentieth century: Orlando di Lasso, Ludwig van Beethoven, and Dmitri Shostakovich. Drawing on fragments from Lasso’s *Stabat Mater*, quotations from Beethoven’s *Grosse Fuge* for string quartet, and the motif of Shostakovich’s musical cryptogram "DSCH," the composer created a work in which disparate musical styles and textures blend and interpenetrate, much like in our dreams.

Antonín Dvořák (1841–1904) created this four-part song cycle—based on lyrics by the poet Gustav Pfleger-Moravský—in the early 1880s by reworking songs from his earlier cycle *Cypresses* (*Cypřiše*), which he had composed in 1865, shortly before his twenty-fourth birthday. Pfleger’s sentimental poems, filled with sorrow over unrequited love, inspired the young Dvořák to create a work of poignant, Schubert-esque Romantic expression.

Leoš Janáček’s (1854–1928) String Quartet No. 2, *Intimate Letters* (for two violins, viola, and cello), was composed during the final year of the composer’s life. *Intimate Letters* serves as a musical counterpart to the extensive correspondence between Janáček and his muse, Kamila Stösslová. Janáček heard the work performed during rehearsals by the Moravian Quartet in May 1928 but did not live to see its premiere; he died unexpectedly on August 12, 1928. The first performance, intended for experts and critics, was given by the Moravian Quartet on September 7, 1928, in the Hlahol Hall of the Besední dům in Brno. The work was subsequently presented to the general public on September 11, 1928, at the theater within the Brno Exhibition Grounds, as part of the Exhibition of Contemporary Culture in Czechoslovakia.

A Cure for Ailments / The World of Folk Song According to Janáček

"Whoever wishes to understand the human soul should listen to and observe folk song." – Leoš Janáček

Together with selected folk performers, we will explore the songs that resonated with Leoš Janáček and to which he devoted attention in his work on folklore. This chamber music program was devised by Magdalena Múčková.

Performers:

Gorolská muzika Lipka, Jablunkov

Grupa Śpiewacza Jaworzyncianki, Jaworzynki (PL)

Tereza Baron (vocals, heligonka accordion)

CM Valašský vojvoda, Kozlovice

Horňácká cimbálová muzika Kubíci

Béla Bartók: The Wooden Prince, Op. 13, Sz. 60, BB 74 / Suite from the ballet

Leoš Janáček: Sinfonietta, JW VI/18

Igor Stravinsky: Petrushka / Burlesque scenes in four tableaux 

Leoš Janáček (1854–1928), along with the slightly younger Béla Bartók (1881–1945) and Igor Stravinsky (1882–1971), form a significant trio of 20th-century composers who responded profoundly to folk music. While each approached it in his own way, all three were influenced by folk music in their musical thinking. Janáček and Bartók engaged deeply with folk song—even theoretically—and conducted field research; for the former, folk music was a "truth of life" that shaped his melodic style, while for the latter, it became the foundation for his work with modality and rhythm. Stravinsky was captivated by folk rituals, yet he drew from folk music only what he needed at specific stages of his creative journey—primarily texts and melodies. In any case, all three composers utilized this source in highly distinctive and inventive ways.

Béla Bartók composed the work based on the story of a proud, vain princess and a wooden prince between 1914 and 1916; following his opera *Bluebeard’s Castle*, this piece continued his exploration of the differences between men and women. This time, he chose the medium of ballet; the score possesses a distinctly symphonic character and stands as a true masterpiece of orchestration. *The Wooden Prince* is characterized by an impressionistic sound palette and incorporates elements of folk melody, spirited rhythms, and inspiration from Romanian and Hungarian music. Its 1917 premiere met with great international acclaim. Bartók’s suite from the ballet was performed in 1931.

Saul and Hasan are bringing a joint concert show as part of the "OD NEKONEČNA DO DÁVNA" tour.

They will perform at the SONO Music Club in Brno on October 17.

Join Leoš Janáček on a journey through Moravian forests and villages, and listen to the life and stories found there—a playful adventure in pursuit of folk melodies and the language of animals.

Luboš Fišer: *Fašank* (Shrovetide) for children’s choir and piano, set to Moravian folk poetry texts

Miloslav Kabeláč: *To Nature* (*Přírodě*). A cycle of children’s choral pieces set to folk poetry texts with piano accompaniment, Op. 35

Leoš Janáček: *Folk Nocturnes* (*Lidová nokturna*). Evening songs of the Slovak people from Rovné, JW IV/32

Bohuslav Martinů: *Špalíček*, H. 214 (selection from the version for children’s choir and piano)

Children’s singing has always been an integral part of folk customs, games, and festivals. The distinctive timbre of children’s voices inspired a number of leading 20th-century Czech composers; in the natural, unspoiled vocal expression of children, they found a fitting musical counterpart for simple folk texts.

Luboš Fišer (1935–1999) became renowned not only as a prolific film composer but also as an internationally acclaimed creator of orchestral, chamber, and vocal works. His distinctive postmodern style is unafraid to captivate the listener with Romantic—at times even intensely heightened—emotion, contrasted against simple, almost banal folk-like tunes and melodies. Such is the case with *Fašank* (Shrovetide) for children’s choir and piano—set to Moravian folk poetry texts—which was composed for the Bambini di Praga ensemble in 1982.

Antonín Dvořák: Love Songs, Op. 83, B 160

Vítězslava Kaprálová: Two Songs to Lyrics by R. Bojko, Op. 4

Vítězslava Kaprálová: Farewell and a Handkerchief, Op. 14

Vítězslava Kaprálová: Sung into the Distance, Op. 22

Leoš Janáček: Moravian Folk Poetry in Songs, JW V/2 (selection)

Leoš Janáček: Fairy Tale for Cello and Piano, JW VII/5

Erich Wolfgang Korngold: Three Songs, Op. 22

Erich Wolfgang Korngold: Three Songs, Op. 18 (Nos. 2 and 3)

Antonín Dvořák (1841–1904) created *Love Songs* (to lyrics by Gustav Pfleger Moravský) in late 1888 by adapting and reworking eight songs from his early cycle *Cypresses* (1865). Dvořák’s magnificent musical setting places this cycle among the gems of Czech song literature.

The work of composer Vítězslava Kaprálová (1915–1940) reveals an intimate feminine world filled with delicate, deeply felt lyricism. In her song cycles, Kaprálová transforms the influences of Janáček, Martinů, and the avant-garde of her time in a highly distinctive way. A survey of her song output will range from the early *Songs to Words by R. Bojko* (1932) and the song *Farewell and Handkerchief* (set to a text by Vítězslav Nezval, 1937) to the late cycle *Sung into the Distance*, composed in Paris in 1939.

Lenka Filipová will present her show *Symphonic: River of Life* (Řeka života), named after her song of the same title. The concert promises a unique atmosphere, showcasing Lenka Filipová as a guitarist, singer, and composer—an artist far more interested in music itself than in the boundaries between genres.

The program will feature her greatest hits—such as "Zamilovaná," ​​"Za všechno může čas," and "Prý se tomu říká láska"—alongside new songs and Celtic ballads. She will be joined by guests Jára Bárta (piano) and Sean Barry (Celtic harp, cajón, accordion), with the Brno Strings string octet providing accompaniment throughout the performance. Come and enjoy one hundred minutes of great music, joy, and a wonderful atmosphere.

The following exceptional guests have accepted the invitation to perform alongside Folk Team:

HANA ULRYCHOVÁ
MONIKA EICHMEIER
ROMAN HORKÝ
MARTIN KUDLIČKA

The Brno-based folk-rock band Folk Team is launching its eighth studio album, titled *Na konci světa* (At the End of the World). True to the band's style, Ivan Huvar’s lyrics are poetic in nature; they reflect the present day and incorporate elements of self-reflection, a broader perspective, and—at times—surreal imagery. The music, too, is largely the work of Ivan Huvar; while the sound is more rock-oriented than in Folk Team’s past material, the band retains its signature folk-rock style. A touch of *chanson* is also evident in some of the tracks composed by Roman Venclovský.

Saturday dance party at Metro Music Bar with DJ Raving Tesla.

The Opera Studio and Orchestra of the Brno Conservatory, in collaboration with the Janáček Brno 2026 festival, present a production of Bohuslav Martinů’s *The Theatre Beyond the Gate* (*Divadlo za bránou*). This "lyric opera"—featuring elements of pantomime and dance—was created as a distinctive tribute to folk roots while simultaneously engaging in an open dialogue with the modern trends of the 20th century, including jazz.

Come and see what the young generation reveals in a work that blends playfulness, rhythm, and profound lyricism. We will show you that Martinů’s music remains vibrant and full of light. With this production, we invite both the professional community and the general public to experience music that transcends genre and time, opening the gates of imagination to all who enter.

And what exactly is "the theatre beyond the gate"? In the words of Bohuslav Martinů, it is "nothing other than a stage at a market or a fair outside the town—essentially, a traveling theatre." It is theatre of the here and now, drawing energy from the street—a street that may pulse faster today than in the composer's time, yet remains a space of freedom: playful, unbridled, and open to improvisation and interaction.

Kateřina Marie Tichá, a native of Vlašim, was nominated for a Czech Nightingale (Český slavík) award in the "Discovery of the Year" category in 2013; that same year, she also began an ongoing collaboration with the then-emerging band Jelen. She released the five-track EP *Otazníky* in 2015, followed in 2020 by her debut album *Sami*, which proved to be one of the most pleasant surprises on the Czech music scene. The singer followed up her Anděl Award-winning debut with the highly anticipated second album, *Plamen*—her first recorded in collaboration with the band Bandjeez, which she took over following the passing of David Stypka. This new release was once again produced by the multi-talented Ondřej Turták, and all signs point to it being one of the musical highlights of the year.

The year was 1996. Producers Čechtický, Lipert, and Kleník called British singer Charlotte "Charlie One" Fairman in London, asking her to record vocals for several tracks they were working on. Fairman didn't hesitate. The album *Ohmophonica* was born—and with it, OHM SQUARE, the first band of its kind in the Czech Republic. What began as a cross-border collaboration between studios evolved into one of Prague's most distinctive electronic acts, known for blending live instruments with electronic energy and soulful vocals. "Well, a lot has changed over that time... including our music," Fairman jokes.

The Opera Studio and Orchestra of the Brno Conservatory, in collaboration with the Janáček Brno 2026 festival, present a production of Bohuslav Martinů’s *The Theatre Beyond the Gate* (*Divadlo za bránou*). This "lyric opera"—featuring elements of pantomime and dance—was created as a distinctive tribute to folk roots while simultaneously engaging in an open dialogue with the modern trends of the 20th century, including jazz.

Come and see what the young generation reveals in a work that blends playfulness, rhythm, and profound lyricism. We will show you that Martinů’s music remains vibrant and full of light. With this production, we invite both the professional community and the general public to experience music that transcends genre and time, opening the gates of imagination to all who enter.

And what exactly is "the theatre beyond the gate"? In the words of Bohuslav Martinů, it is "nothing other than a stage at a market or a fair outside the town—essentially, a traveling theatre." It is theatre of the here and now, drawing energy from the street—a street that may pulse faster today than in the composer's time, yet remains a space of freedom: playful, unbridled, and open to improvisation and interaction.

A contemporary musical born of passion and blood – world premiere

The story of a woman for whom freedom is the ultimate value has lost none of its urgency, even after nearly two hundred years. Carmen returns to the stage once more, this time as a musical set in present-day New York.

Béla Bartók: Dance Suite, Sz. 77, BB 86a

Gustav Mahler: Songs of a Wayfarer

Johannes Brahms: Hungarian Dances (selection)

The six-movement *Dance Suite* is among the most popular orchestral works by the Hungarian composer Béla Bartók (1881–1945), a contemporary of Leoš Janáček. He composed it in 1923 to mark the 50th anniversary of the unification of the cities of Buda, Óbuda, and Pest, which created the Hungarian capital, Budapest. With its striking, vigorous music, colorful orchestration, and incorporation of Hungarian, Romanian, and even Arab folk motifs, the work captivated audiences at its premiere and soon found its way into the repertoires of orchestras worldwide.

Gustav Mahler (1860–1911) was inspired to compose *Songs of a Wayfarer* (*Lieder eines fahrenden Gesellen*) by his unhappy love for the soprano Johanna Richter. Written around the turn of 1884–1885, the lyrics were penned by the composer himself in the spirit of the German folk songs he knew from the collection *Des Knaben Wunderhorn* (The Youth's Magic Horn). This cycle of four songs for baritone and orchestra became Mahler’s first masterpiece; in it, poignant tragedy is expressed through a quintessentially Mahlerian late-Romantic musical language, interwoven with moments of undisguised irony and echoes of nature, naive children's lullabies, and the raw sounds of rustic village bands. The two sets of *Hungarian Dances* by Johannes Brahms (1833–1897)—comprising a total of 21 dance pieces—served as a cornerstone in the composer's rise to worldwide fame. In creating them, Brahms drew inspiration not only from Hungarian folk music but also from the music of Gypsy bands. The first ten dances were published in a piano version in 1869, with the remainder following eleven years later. The work's widespread success prompted Brahms to orchestrate three selected dances in 1873; over time, the remaining dances were also given orchestral arrangements by his successors, including Antonín Dvořák.

Berlin Manson is a Slovak synth-punk band. Their uncompromising lyrics and explosive live performances have made them one of the most discussed bands in Slovakia and the Czech Republic.

They first gained attention with their breakthrough single, "I Don't Dance, I Nod My Head," a raw anthem of disillusionment. In 2022, they were named Discovery of the Year at the Radio_Head Awards (SK) and only a year later their album Hotel Kyiv cemented their status. In 2025, Berlin Manson took home three Radio_Head Awards, confirming their place in the new music wave.

They've released three albums in the last two years - relentless creativity that combines punk urgency, black humor and cool synth textures. Their music speaks of post-industrial reality, equal parts protest and party. In 2025, they also played concerts at some important festivals such as Sziget in Hungary, OFF festival in Poland, Pohoda festival in Slovakia, Colors of Ostrava in the Czech Republic or Eurosonic Noorderslag in Holland and many others. This year they started the year with a tour in Poland and two concerts in New York. They are preparing another long-playing album in the fall of 2026.

Tomás Luis de Victoria: Asperges me, Domine and 4
Choral introitus Terribilis est locus
Giovanni Pierluigi da Palestrina: Missa Assumpta est Maria a 6 – Kyrie, Gloria
Orlando di Lasso: Meditabor in mandatis tuis a 4
Giovanni Pierluigi da Palestrina: Missa Assumpta est Maria a 6 – Credo
Tomás Luis de Victoria: Vexilla regis prodeunt and 6 alternatim
Jacobus Handl Gallus: Ecce quomodo moritur iustus and 4
Giovanni Pierluigi da Palestrina: Missa Assumpta est Maria a 6 – Sanctus
Jacobus Handl Gallus: Pater noster and 8
Giovanni Pierluigi da Palestrina: Missa Assumpta est Maria a 6 – Agnus Dei
Giovanni Croce: Domus mea a 4 (communio)
Tomás Luis de Victoria: O quam gloriosum and 4