 | This article includes a list ofgeneral references, butit lacks sufficient correspondinginline citations. Please help toimprove this article byintroducing more precise citations.(March 2015) (Learn how and when to remove this message) |
Miloslav Kabeláč (1 August 1908 – 17 September 1979) was aCzechcomposer andconductor. Kabeláč belongs to the foremost Czech symphonists, whose work is sometimes compared withAntonín Dvořák's andBohuslav Martinů's. In the communist period, his work was on the periphery of official attention and was performed sporadically and in a limited choice of compositions.
Kabeláč was born inPrague. In 1928–31 he studied at thePrague Conservatory as a pupil ofKarel Boleslav Jirák, simultaneously (in 1930–31) he was a pupil ofAlois Hába. In 1932–54 Kabeláč was employed by Prague Radio. From 1957 to 1968 he worked as a teacher at the Prague Conservatory. During his life Kabeláč was active inUmělecká beseda, in theFederation of Czechoslovak Composers and other organisations.
In the 1960s he tried to revive contacts with Western modern music and composers, but after the 1968Soviet invasion of Czechoslovakia he was silenced. His works were performed only abroad from then on.
Miloslav Kabeláč belongs to the most distinguished Czech composers of the 20th century. He soon created a distinctive style for which the auspiciousmelody andharmony, the ingeniouspolyphony and the consistent architecture of both small and large compositions are typical. His utmost expression was his conscious work with the intervals in which he emerged from non-European musical cultures. Kabeláč used here, for example, artificially numbered scale - modеs whose internal course has a larger range than anoctave. He also denounced the term artificialtonal music, especially for the musical theoretical justification of his economical melody. In theinterval structure, he also explored the possibilities of so-called intervalaugmentation anddiminution,inversion and other practices brought to the music by the so-called 2nd Viennese school. The first mature compositions of this style include theanti-cantataDo not retreat! (1939), performed for the first time after the end of the Second World War (28 October 1945).
At the beginning and in the years of war, Kabeláč focused onchamber opuses (Wind Sextet, Sonata for cello and piano, Two pieces for violin and piano) and Symphonic (1st and 2nd symphonies). Over time, work with large occupation (8th symphony, Mysterium of Time, Reflections), which are his most significant works - along with songs for drums that have already come on European stages at the time (Eight Inventions for percussions). In the 1960s, which gave him wide recognition in the form of the State Prize and Foreign Orders, he received a number of stimuli from foreign avant-garde, which he had organically incorporated into his compositional morphology. He also excelled in pedagogical activities and interest in non-European cultures. He was one of the first promoters ofelectro-acoustic music in Czechoslovakia.
Numerous choreographers have also taken up his work "Eight Inventions for Percussion Instruments. ", Alvin Ailey with theAmerican Dance Theater are the most prominent among them, his choreography titled Streams, was performed in Prague too in 1979.[1]
| International | |
|---|---|
| National | |
| Academics | |
| Artists | |
| People | |
| Other | |
