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Tadeás Salva: Cello Concerto; Little Suite; Slovak Concerto Grosso No. 3 et al. / Eugen Prochac, cello

Album Summary

>Salva, Tadeas : Concerto for Cello
>Salva, Tadeas : Arias (3), for cello & piano
>Salva, Tadeas : Little Suite, for cello & piano
>Salva, Tadeas : Concerto Grosso for violin, cello & organ no 3 ("Slovak")
>Salva, Tadeas : Preludes (8), for 2 cellos
Performers Conductor Ensemble Composer

Notes & Reviews:

Tadeá Salva was one of the foremost Slovakian composers of his generation. His studies equipped him with a thorough awareness of the new Polish School, and his temperament inclined him toward a synthesis between contemporary technique and the inspiration of folklore. The cello was his favorite instrument. The Concerto is vibrantly orchestrated, absorbingly contoured and shares something of Penderecki's aesthetic. The Slovak Concerto Grosso marries Stravinskian virtuosity with folk impressions, the Three Arias and Little Suite are touching, inspired miniatures whilst the unfinished Preludes illustrate Salva's richness of originality and imagination. As a student Eugen Prochác twice won the Slovak Conservatories competition. He won the Interpretation Competition of Slovakia (1983) and the international Premio Valentino Bucchi Competition (1990) in Rome. Concert tours have taken him to many European music centres, and also to Canada, Japan, Argentina, United Arab Emirates, Iran, and many other countries.

David's Review Corner
Virtuoso in its demands, it intertwines the two instruments in fascinating patterns. The brilliant Slovak cellist, Eugen Prochac, plays throughout and is joined by the pianist Nora Skuta, in the Arias and Suite.

American Record Guide, July / August 2012
Everything I wrote about Tianwa Yang's previous Sarasate recordings (M/A 2008 & S/O 2011) holds true for this third volume. The music itself is a mixed bag (but one filled with some extra-special treats), but the playing is extraordinary. This volume seems to hold some of Sarasate's "easier" pieces (pieces that demand less virtuosity) and some of his most difficult. 'Los Pajaros de Chile', for example alternates constantly between natural pitches and harmonics in fast passagework (and has a hair-raising cadenza in harmonics that imitates bird sounds). The Fantasy-Caprice (first published in 1981) asks the violinist to do things with the bow that don't even seem possible. In this piece, Sarasate seems to give a nod to the Tchaikovsky Violin Concerto and the Paganini concertos, and then he doubles the technical challenges. The finale of the piece calls for a series of tremolos to be played with a ricochet saltato. While the bow is scrubbing back and forth as fast as it can, a certain flick of the wrist makes it bounce, making a crisp, spiccato-like sound.

Notes & Reviews:

Recording information: Concert Hall of Slovak Radio, Bratislava, Slovakia.


Unusual Contemporary Rhythmic Pieces
Tadeas Salva was a contemporary Slovakian composer, and the cello was his primary instrument of choice. However, in his “Concerto for Cello and Chamber Orchestra” it is clear that percussive elements and unorthodox rhythmic patterns were central to the textural patterns that he wanted to create. This is not warm sweeping cello music – far from it. And it doesn’t have the multi-themed feel of Bartok, but it is interesting in a percussive sort of way.

Next comes “Three Arias for Cello and Piano (Nos. 1, 2, and 3)”. Each makes use of atonic counterpoint, and while musically interesting, they are not quite so pleasing to the ear. These are the kind of pieces that you might find sandwiched in a Chamber Music Concert between two bread-and-butter works. They deserve to be heard, but are certainly not going to draw concertgoers in and of themselves.

Following these is a “Little Suite for Cello and Piano”, which presents some rather pleasant material played by the two instruments, each accompanying the other in a lovely back-and-forth motion as if two old friends found a few minutes to catch up with each other. Afterward, “Slovak Concerto Grosso No. 3 for Violin, Cello, and Organ” is a Concerto Grosso in more traditional style featuring what appears to be folk-song based and quite pleasant. These two pieces are easily my favorites on the disc.

Finally is a series of eight preludes for two cellos. Both Mr. Prochac and Mr. Slavik show themselves to be fine cello players in these atypical, more contemporary feeling short pieces,

Overall this music is played well, and the musicians do a fine job with the material. But for me, it was the more traditional sounding pieces that I enjoyed the most. Those that enjoy the more contemporary works will likely find something of value here in the pieces that were not quite my cup of tea.

Submitted on 05/14/12 by KlingonOpera 
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Works Details

>Tadeás Salva (1937 - 1995) : Concerto for Cello
  • Performer: Eugen Prochac (Cello)
  • Conductor: Marian Lejava
  • Ensemble: Slovak Radio Symphony Orchestra
  • Notes: Concert Hall of Slovak Radio, Bratislava, Slovakia (02/09/2006-02/10/2006)
  • Running Time: 12 min. 2 sec.
  • Period Time: Modern
  • Form: Concerto
  • Written: 1967

>Tadeás Salva (1937 - 1995) : Arias (3), for cello & piano
  • Performers: Eugen Prochac (Cello); Nora Skuta (Piano)
  • Running Time: 13 min. 3 sec.
  • Period Time: Contemporary
  • Form: Vocal
  • Written: 1990

>Tadeás Salva (1937 - 1995) : Little Suite, for cello & piano
  • Performers: Eugen Prochac (Cello); Nora Skuta (Piano)
  • Running Time: 8 min. 25 sec.
  • Period Time: Contemporary
  • Written: 1989

>Tadeás Salva (1937 - 1995) : Concerto Grosso for violin, cello & organ no 3 ("Slovak")
  • Performers: Juraj Cizmarovic (Violin); Eugen Prochac (Cello); Bernadetta Sunavska (Organ)
  • Running Time: 20 min. 34 sec.
  • Period Time: Contemporary
  • Form: Orchestral
  • Written: 1987

>Tadeás Salva (1937 - 1995) : Preludes (8), for 2 cellos
  • Performers: Eugen Prochac (Cello); Jan Slavik (Cello)
  • Running Time: 15 min. 56 sec.
  • Period Time: Contemporary
  • Written: 1995