Ondrej Kukal: Composer, Conductor, and Violinist

* Violin Concerto, Op.7
* 'Danse Symphonique' for Large Orchestra, Op.10
* 'Clarinettino' Concerto for Clarinet & Strings, Op.11
* 'Present' Duo for Violin & Cello {Jana Vlachova & Mikael Ericsson};
* String Quartet #1, Op.9.

Violin Concerto: composer is soloist, w. South Bohemia Chamber Philharmonic,
cond V Valek.  Danse Symphonique: Prague Radio Orch., composer conducts;
'Clarinettino': Ludmilla Peterkova w Jakub Waldman, doublebass, and New
Vlach String Quartet; SQ: New Vlach Quartet (composer on violin).
Campion RRCD 1343  TT: 68:02

Exciting music by an impressive young Czech composer.  Although not yet
40, Ondrej Kukal (b. 1964) already has an impressive list of credits
as a conductor: Janacek and Dvorak; Martinu (La Jolla, Toccata e due
Canzoni, and the Concerto Grosso); Rejcha, Vorisek and Kozeluh; Haydn and
Tchaikovsky.  He plays violin with the New Vlach String Quartet, in works
by Brahms, Schumann, Suk and Arriaga.  (MusicVars, GZ, Bohemia Music,
Avenira and Panton labels.)

This recording covers a wide range of the music of Kukal, who also gets his
hand in as violinist and conductor.

The Violin Concerto is a racy, searing work reminiscent of Khatchaturian
or Shostakovich, yet its lightness sets it apart from the latter's weighty
1st.  That work is often quoted and alluded to: for instance, by the
flutes at 2:33 of the Third movement -- a barnstorming Presto con fuoco
full of wild plucking, strumming and other engaging pyrotechnics for
both violinist and listener.  While slightly under-orchestrated, this
concerto shows to advantage Kukal's felicitous, colourful use of wind
instruments, against which the soloist often plays in counterpoint.  This
light, largely accessible violin concerto has a certain grandeur and
some affecting, heartfelt passages: a stirring work that amply rewards
the price of the CD.

The writing for winds also stands out in Kukal's Danse symphonique, Op
10.  Perhaps the most striking feature of this compact, muscular work
for large forces is its dramatic writing for brasses -- echoing Walton
at his most malicious, or the satanic snarling in Vaughan Williams's
'Job.'  The Danse's excitement derives mainly from its very inventive,
infectiously rhythmic orchestration, although reflective music of
considerable intensity also emerges from finely-crafted passages that
show Kukal ranging far beyond mere jazzy flash and exhuberance.  His
masterful pacing and grip on contrasts effectively lends this work tension
and suspense -- which, to my ear, was less evident in the concerto.  All
told, an instrumentally colourful, often fiery 11-minute work that
deserves repeated performance and recordings.

The 'Clarinettino' Concerto for Clarinet and Strings, Op. 11, is a much
better-humoured composition.  Written for clarinet, string quartet and
double bass, this 12-minute work propels the toes to the tune of a highly
energized tango.  The outer, fast movements are light fusions of tango
and classical (think of the Quartetto Gelato), while an involving central
movement plumbs musical depths of far more than passing interest.  The
very brief booklet notes that Kukal spent time conducting at Buenos
Aires' Teatro Colon.  This work indicates that it was time well spent
-- and leads me, further, to guess at some deeper tie with the Argentine.

Both Kukal's String Duo and the Quartet are beautifully-crafted works
suggesting a Bartokian influence -- although a closer association for
me is the music of Kukal's fellow Czech, Zdenek Lukas.  Those familiar
with Lukas might find the same staccato mode of attack, a similarly
strong contrapuntal sense, and much the same inclination towards assertive
or forthright musical utterances.  Kukal has melodic felicity on his
side, however, and is not quite as given as Lukas to musical abstraction.
All told: strong chamber works that reward repeated attention.

The Violin Concerto, according to the booklet, is a student work, as is
the later 'Danses' -- making him all the more remarkable a composer.
The Musica Bona site also lists a Kukal CD with two symphonies and a
bassoon concerto (clips at http://www.musicabona.com/catalog1/VA0142-2.html).

This CD shines a diverse, favourable light on a composer with all the
marks of a seasoned performer: while avoiding the musically shallow and
rewarding close attention, Kukal seems likely to attract new audiences
to concerts with spirited music that sometimes dares to be light, melodic
and (am I allowed to say this?) attractive.

Miking is rather close, but the bright sound is decent overall: A-  The
usual disclaimers apply.  Comments always welcome, privately or otherwise.

Bert Bailey