Came to Zlate Hory to take part in "The Antonin Kubalek International Piano
Courses" for the first time this year and I had known very little about it
before. Not being a pianist by profession, I am a math teacher, nevertheless I
love piano very much, and all I wanted was to discover Professor Kubalek's own
understanding of Janacek, Hindemith and Bach.
And in case that "his" Janacek would be completely different from or
incomprehensible with "my" Janacek then I thought I would just quickly go hiking
after the end of each of the piano lessons. Indeed, Professor Kubalek's Janacek
was different from mine, but his lessons were so astonishing and interesting,
that finally it moved me to ask for a couple of extra lessons: especially
detailed advice for touch, fingering, pedal, phrasing and even something
essential for music, rather mysterious, than something describable in words.
Play correct notes in the best way and yet you do not create the worlds of
Janacek, Hindemith, Bach or Beethoven. I believe that I have found Janacek more
truthful now: sometimes
hot-tempered, often fiery and ardent, getting angry so easily but always true to
himself and to his fellows. Professor Kubalek himself is not very far from
Janacek in a way - but the most important is that he has acquired only the best
of Janacek, and moreover, a good sense of humour; sometimes a nice grim humour,
which I also admired.
It's for sure, I will never forget his wonderful concert given in the Pilgrimage
Chapel of Holy Virgin near Zlate Hory - unfortunately nobody can be taught to
play Josef Suk's piano
cycle "About Mother", op.28 in such a miraculous way as he performed since
everyone has only his own heart.
I was very happy to attend interesting English classes with Mrs Patricia Kubalek,
and I would like to express my gratitude to Mrs Jarmila Groskova, who was the
most perfect
organiser of the Piano Couses I could ever imagine.
Looking forward so much to "the valley at the end of the world" in the next year
again,
Yours Sincerely,
Veronika Chrastinova (Brno, Czech Republic).
The other lecturer at Antonin Kubalek’s International Piano Courses was Prof.
Zdenek Hnat, a seemingly inconspicuous yet prodigious pianist who has been a
faculty member of the Janacek Academy of Music in Brno for the last twenty years.
Together, these colleagues since the 1960’s have in common the ideal of a poetic
and refined interpretation. Prof. Hnat is more strict - as far as rules of
styles are concerned - and makes great demands on touch and tonal production.
This is in comparison to Antonin Kubalek’s teaching style that seems to draw
primarily from his musical genius. Prof. Hnat’s teaching style consists of
lecture, analysis and at times ventures into philosophy - when studying a
Beethoven work, for example.
In short, both artists were a great inspiration at these courses and we are
looking forward to next year with great anticipation.
Richard Pohl
I had the opportunity to gain direct acquaintance with Prof. Kubalek - as both
pianist and pedagogue - during his International Piano Courses last summer
(2003). As a pianist, Mr. Kubalek’s interpretation reveals one key
characteristic: an uncommon ability to penetrate deep into musical structure.
This interpretive approach endowed every composition “spaciousness” – a quality
that he at first encouraged and then demanded from his students. As a pedagogue,
he – as a matter of course – revealed many overlooked details hidden from most
other pianists: giving prominence to counter-voices and/or melodic lines not
immediately apparent but found in seemingly ordinary and overlooked accompanying
parts. This approach results in an unexpected and richly meaningful performance.
This was particularly appreciated in his rendition of Chopin’s Ballade in f
minor, which became – in his hands – religious in affect.
Richard Pohl
Last summer, during his International piano courses, in the little town of Gold
Mountains in the Czech Republic, was the first time I’ve had the opportunity to
hear the artistry of Prof. Kubalek in person. I knew, through media, recordings
and from his contemporaries, that he is an extra-ordinary personality; yet, what
I’d seen and heard that particular evening went beyond all my expectations.
First of all, I didn’t expect that he is more poet and philosopher rather than
just pianist. He sat down at his instrument with a calm meditative demeanor and
as soon as he produced the first few tones of Prokofiev’s Visions Fugitives, he
let the entire audience know that we will remember him forever. Physically, his
body seems not to move yet the music itself lives and has a dense, visceral
impact. Kubalek pays special attention to a tremendous amount of detail: such as
touch, phrasing, articulation, etc., and yet never loses sight of the overall
structure. He plays each work not only with poise but also, and most importantly,
with expression. What for us students was most surprising is his unorthodox use
of the pedal (right and left) even in his performance of Bach. Herein lies a key
to his artistry as an interpreter. For example, in Bach’s last Partita we
noticed no lack of clarity or tasteless thickening of multiple polyphony. On the
contrary, through immaculately executed ornaments, together with a steady pulse,
his Bach achieved a mark of unusual authenticity.
David Schmied
Dear friends,
I am writing, because I feel a need to share my deep appreciation after
attending Antonín Kubálek’s concert at the Mariahilfe Church in Zlaté Hory. It
was a lucky co-incidence that I was able to learn of the concert. I was having
my holiday in nearby Malá Morávka (Karlov) and that is why I attended. Since my
early years I have been to many concerts. Now I live in Prague, where I have
been attending concerts for the last 17 years. I have forgotten some, but I can
remember a few as great experiences and keep the best memories of these.
The Antonín Kubálek recital is among the best musical events I have witnessed. I
do not dare nor am I able to analyze the individual compositions. I think it was
also the beautiful environment, that made the amazing experience even more
powerful. I also know that if I ever get to a place where an Antonín Kubálek’s
concert is accessible due to the distance, I will not hesitate or regret any
efforts to get there, no matter where the concert takes place.
I address my letter to your music school because I do not know exactly where to
send it. Thanks to you, I had a chance to spend a wonderful evening that gave me
indefinable feelings of beauty, majesty and probably humbleness. Please, give my
thanks to Antonín Kubálek.
Gratefully,
RNDr. Tomas Los
Praha July 15, 2003