CZECH PHILHARMONIC CHAMBER ORCHESTRA
Pavel Prantl, Artistic Director
another artistic triumph for our treasured Czech Philharmonic Chamber Orchestra
under the leadership of its Artistic Director Pavel Prantl."
- Prague Post (C. R.)
exquisite artistry and unmistakably Czech sound of the performance, which could
exhaust one's supply of superlatives, rewarded the full hall."
- Luzerner Tagblatt (Switzerland)
neighbors from the Czech Republic proved once again that the string sound for
which they are famous is indeed thriving. From
Haydn to Dvorak to more contemporary offerings, the finesse of the playing
(without the aid or hinderance of a conductor) was a truly artistic
- Westfalenpost (Germany)
evenings of the return of the Czech Philharmonic Chamber Orchestra provided very
different programs than their previous appearances.
The Mozart Divertimenti received flawless execution...their Rossini would
rival that to be heard anywhere in our country.
We hope that we must not wait another five long years for the next
- Il Tempo (Italy)
precision and artistry of the Czech Philharmonic Chamber Orchestra are a wonder
to behold. Not only is each note
perfect, each phrase is a study in musicality.
And, the musicality is very distinctly Czech and not a copy of the
current prescribed method of performing a particular work." -
Journal de Geneve (Switzerland)
INTIMACY [Headline] This week, two
[similar] ensembles performed here. The
two programs were prepared in diametrically different ways, but the intimacy and
finesse of the playing of both ensembles was ample testimony to the value of the
Czech Philharmonic Chamber Orchestra, founded in 1977, performed 16 concerts
over 22 days in Japan. Composed of
members of the Czech Philharmonic Orchestra, the ensemble was making its fourth
appearance here. The program
included a number of melodic chestnuts. A
case in point was the opening work, the slow movement from Bach's Third Suite
for orchestra, marked Air, commonly referred to as the "Air on a G
String." It was far from a
casual rendition, and the delicacy of bow strokes and sensitivity of the
ensemble were transfixing. Pachelbel's
beloved Canon was interpreted with judicious subtlety.
The contrapuntal mix was made to sound not only beautifully expressive
but also beautifully balanced.
early Beethoven Symphony and a late Mozart piano concerto were featured as the
Czech Philharmonic Chamber Orchestra presented an impressive concert.
The [orchestra], led by concertmaster and artistic director Pavel Prantl,
was in excellent form all evening.
concert began with the so-called “Hippochondria Overture” by 18th
century Czech composer Zelenka. The ensemble produced a sound of substantial
resonance that maintained intensity even at the lowest dynamic levels.
Piano Concerto in A Major, composed in 1786, featured the young Welsh pianist
Richard Ormrod in the solo role. The first movement was all genteel elegance,
and Ormrod negotiated his part with clarity and evenness of tone. Ormrod’s
hands fairly floated above the passagework, rendering it with a graceful
fluidity that would be difficult to surpass.
The slow movement was impressive. The conductorless orchestra captured
the expressive melancholy perfectly, caressing the passing dissonances
affectionately before surrendering them reluctantly to the next phrase. It is
hard to imagine a more sensitive treatment of this movement, by soloist or
orchestra, with or without a conductor.
successful as the Mozart concerto was, the performance of Beethoven’s Symphony
No. 1 may well have been the highlight of the evening. The ensemble’s crisp,
neatly accented phrases and careful use of dynamics kept the work lively.
The finale was delightfully coquettish and invigorating.
An enthusiastic audience demanded an encore, and the orchestra obliged
with a zestful performance of Mozart’s overture to “The Marriage of Figaro.”
- Green Bay Press Gazette (02/23/2001)
CPCO winds up its mini-circuit of New Mexico tonight in Popejoy Hall. If you
like your music intimate, animated and impeccable, don’t miss it.
borrow from one of their country’s outstanding writers, they play with an
unbeatable lightness of bowing. Lightness of spirit, radiance – these are the
qualities this extraordinary ensemble projected in Sunday afternoon’s program
for the Los Alamos Concert Association.
playing is distinguished by something far beyond their dazzling technical
ability and faultless unity, which seem taken for granted. There is a quality of
the heart, one might even say the soul, that binds the group. They aim deeper
than the adrenaline-high favored by many performers these days. As natural as
breathing, Sunday’s performance of Beethoven’s Fourth Symphony flowed with
an easy restrained grace that at the same time had sinew and depth.”
lightheartedness and relative delicacy of Beethoven’s Fourth Symphony make it
an appropriate vehicle for performance by a chamber orchestra. The last two
movements in particular were played with a precision and briskness impossible to
achieve with a full-sized symphony. The Finale allowed the winds to display
perfect unity at a death-defying tempo.”
- Los Alamos Monitor (10/20/1999)