Czech weekend | Moravian Philharmonic

Two orchestral works, aside from the common factor of the composers' nationality, also conceal intriguing stories of their struggles with music, its form, and inspiration. Both Dvořák and Martinů spent numerous hours over their scores, wrestling with many doubts and conflicting emotions. Even geniuses occasionally encounter Gordian knots.

The Piano Concerto in G minor Op. 33 is the only piano concerto by the Czech composer Antonín Dvořák. "I see that I am unable to write a concerto for a virtuoso, so I must think of other things," this remark explains many of the corrections, deletions, cuts, and additions made to the manuscript of the piano part. As a result, the piece is surprising, with the solo part interwoven with the orchestra rather than, as is often the case, set in opposition to it. Despite this, it remains exceedingly difficult to perform—sometimes described as "unplayable" or "written for two right hands." Since its premiere in 1878, various revisions and versions have emerged to aid soloists in preparing and performing the work, which has since received enthusiastic acclaim from audiences worldwide.

Bohuslav Martinů spent decades avoiding the writing of a symphony, as it was considered a dated genre in Europe. It was only after his emigration to the USA in 1941 that the composer realised that to gain prominence on the musical stage, he needed to create repertoire for the major American orchestras, for whom performing symphonies was a staple. Shortly thereafter, he received a commission from the Boston Symphony Orchestra, known for its focus on contemporary music. The first movement of the new symphony was composed in Jamaica, the second and third in Vermont, and the final movement in Massachusetts. "The work calls for lofty thoughts," Martinů wrote in the programme notes for the premiere. Undoubtedly, both works have inspired many lofty thoughts, for both the composers and their performers.