Antonín Tučapský: Violin Concerto (1993)
Antonín Tučapský
born 27 March 1928 in Opatovice (CS)
died 9 Sept. 2014 in Frimley, Surrey, England
First performance:
19 Jan. 1995 by Leland Chen and New London Orchestra (conducted by Ronald Corp) at St. John's, Smith Square, London.
The second movement
(Adagio serio) had already been premiered on 21 June 1993 by Louise Bevan, before the completion of the whole work
CD recording:
Víteszlav Kuzník 1999
Is there music that simply jumps out at you without you being able to classify it in any way: neo-classical, Czech, tonal, supra-temporal, witty, ironic, thrilling?
This is exactly what happened to me when I listened to this violin concerto by Antonin Tučapský without concentrating. Already the special beginning of this concerto made me sit up and take
notice. When I researched the biography of Antonín Tučapský more closely, I became more interested in this violin concerto.
Tučapský was born near Brno in 1928 and, after studying music (and studying with Jan Kunc, a former pupil of Janáček and Novak), soon became a choral conductor recognised throughout
Czechoslovakia until he made himself unpopular with the communist government by marrying an Englishwoman, the singer Beryl Musgrave. In 1975, he escaped the political climate of the time to
London with his wife and had to build a new existence there. At first he was a freelance choral conductor, later - until his retirement in 1997 - a lecturer in composition at Trinity College of
Music. He had success mainly with choral compositions, but his orchestral and instrumental work remained little noticed.
In 1993 he completed his Violin Concerto, which he said he had composed for his own pleasure and enjoyment. In 1995 it was premiered at St. John's, Smith Square, London. As far as I know,
there is only one CD recording of the concerto from 1999.
A Czech refugee in London composed a violin concerto for himself at his age without any commission because he had played the violin himself in his younger years. My interest was aroused, but
unfortunately I found no score and little further information on the reception of his violin concerto. All that remained was to listen carefully:
Listen here!
Movement 1 (Andante, Lentamente, Animato)
Movement 2 (Adagio serio)
Movement 3 (Allegro mobile)
Listening guide:
I. Andante, lentamente, animato
It begins lively and throbbing in the percussion and violin, immediately a simple motif stands out in the brightest of heights and is continued rhythmically with verve until a wave-like wind
motif intervenes abruptly.
The solo violin continues this lively youthful starting élan and lives it out broadly and confidently. Orchestral colours with rhythmic impulses lead to a new, thematically more contemplative
section of the movement, the violin sings and ponders and finally lets everything fade away in double stops.
In the orchestra, something new emerges quietly rhythmically and musically, a calm interplay of violin and high winds spreads out and almost loses itself somewhat in broad euphony until the
orchestra energetically calls for something new.
Low basses bring more serious tones into the action, the violin rises with its motifs into higher spheres. The sounds of the orchestra blend in ever new colours until the violin takes the lead
again.
Gentle, wave-like movements in the orchestra can be heard, light colours dominate, the violin rises up.
Rhythmic motifs that start again and again keep the music flowing, everything again tells of youthful joy and a sense of well-being.
Whirring runs of the violin over throbbing, moving rhythms in the percussion lead to the solo cadenza of the violin.
At the end of the cadenza, the high violins gently take over from the solo violin and accompany its motifs into quieter realms, before a final section by the whole orchestra begins and leads the
movement to greater seriousness. Almost somewhat resignedly, the music fades away sadly.
II. Adagio serio
Quietly, in contrast to the first movement, the violin begins with a sadly serious solo, as if looking back on a life that has passed. She draws the strings of the orchestra into this
contemplative mood. A horn takes over the singing, the violin unfolds her song over quiet chords of the orchestra, as if lost in loneliness and memories.
A somewhat nervous section announces itself, the movement in the orchestra increases and also brings the solo violin back for new solos. Only with time does the mood lighten and slowly fade away
in peaceful, almost somewhat comforting sounds.
III. Allegro mobile
The orchestra breaks chaotically into this sad reverie of the violin and makes itself heard with a banal popular song motif. Now the violin gets going again, wild and rushing forward. Percussion
effects, original orchestral buzzing and once again the popular song motif accompany and drive the violin into a wild forward rush.
From an orchestral interlude beginning with trumpet blaring, which gives the violin an opportunity for a breather, a second rather lyrical theme crystallises. The violin calmly resumes with a
full tone and finds its way to its instrumentally appropriate singing.
In time, however, the violin accelerates again, the orchestra follows and drives on. The violin plunges forward again, the orchestra accompanies colourfully and sets varied rhythmic accents. The
violin seems restless. Bongos in the percussion additionally create a new sound.
The banal ragamuffin motif of the brass suddenly drives in again, as if to formally establish order. But everything rushes on. Then a drum roll... and the music freezes.
Suddenly and unexpectedly after this chaos between frenzy and banal order, a lyrical section follows, beginning sadly, the violin raising its singing to spherical heights, quietly and lonely
outshining the orchestra. A rhythmic motif reminiscent of the first movement comes to the fore, it sounds like an often repeated insistent question, but neither violin nor orchestra penetrate to
an answer... A long search for a solution? Resignation? Or quiet acceptance of what life has brought?
Then the bongos intervene again, now dance-like and liberating, the music finds its youthful joie de vivre again, even the banal popular song motif is allowed to reappear briefly, but a
life-affirming furioso takes over and brings this surprisingly exciting violin concerto to a joyful end.