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Sheet music for Miloslav Kabelac
Fur Violoncello und Klavier. Composed by Miloslav Kabelac (1908-1971). Edited by Zdenek Nouza, revision of cello part by Daniel Veis. Czech title: Sonata pro violoncello a klavir op. 9. Classical. Performance score, part(s). With Publication language: Czech/German/English. Opus 9. Editio Baerenreiter Praha #H07793. Published by Editio Baerenreiter Praha (PA.H07793).
Per strumenti a percussione. Composed by Miloslav Kabelac (1908-1971). Edited by Zdenek Nouza. Classical. Score. With Publication language: Czech/German/English. Opus 45. Editio Baerenreiter Praha #H07993. Published by Editio Baerenreiter Praha (PA.H07993).
Composed by Miloslav Kabelac (1908-1971). Czech title: Cizokrajne motivy op. 38. Classical. Performance score. Opus 38. Editio Baerenreiter Praha #H07906. Published by Editio Baerenreiter Praha (PA.H07906).
Organ - Level 4
Composed by Miloslav Kabelac (1908-1971). Edited by Jan Hora. Stapled. Performance score. Opus 32. 27 pages. Editio Baerenreiter Praha #H08028. Published by Editio Baerenreiter Praha (PA.H08028).
Composed by Miloslav Kabelac (1908-1971). Czech title: Sedm skladeb pro klavir op. 14. Classical. Performance score. Editio Baerenreiter Praha #H07857. Published by Editio Baerenreiter Praha (PA.H07857).
Composed by Miloslav Kabelac (1908-1971). Published by Edition Tonger (E4.T2194-2).
- Symphony No. 1 in D for strings and percussions, op.11 (1941 – 1942)
- Symphony No. 2 in C for large orchestra, op. 15 (1942 – 1946)
- Symphony No. 3 in F for organ, brasses and timpani, op. 33 (1948 – 1957)
- Symphony No. 4 in A. "Chamber Symphony", op. 36 (1954 – 1958)
- Symphony No. 5 B flat minor, "Dramatic", for soprano without text, and orchestra, op. 41 (1960)
- Symphony No. 6 "Concertante", for clarinet and orchestra, op. 44 (1961 – 1962)
- Symphony No. 7 for orchestra and reciter on the composer s text after the Bible, op. 52 (1967 – 1968)
- Symphony No. 8 "Antiphonies", for soprano, mixed choir, percussions and organ, on the words from the Bible, op. 54 (1970)
Further orchestral works
- Overture No. 2 for large orchestra, op. 17 (1947)
- Childish Moods. Little orchestral suite, op. 22 (1955)
- Suite from the music to Sophokles Electra for alto, female choir and orchestra, op. 28a (1956)
- Mystery of Time, Passacaglia for large orchestra, op. 31 (1953 – 1957)
- Three Melodramas to accompany the play Kuo Mo-jo "Master of Nine Songs" for reciter and chamber orchestra, op. 34b (1957)
- Hamlet Improvization for large orchestra, op. 46 (1962 – 1963)
- Reflections. Nine miniatures for orchestra, op. 49 (1963 – 1964)
- Metamorphoses II, for piano and orchestra, op. 58 (1979)
- Passacaglia TGM, op. 3 (1937)
- 7 compositions for piano, op.14 (1944 – 1947)
- Easy Preludes, op. 26 (1955)
- 8 preludes for piano, op. 30 (1955 – 1956)
- Motifs from Foreign Countries, op. 38 (1959)
- Small Suite for piano on 4 hands, op. 42 (1960)
- Fantasia for organ G minor and D minor, op. 32 (1957 – 1958)
- 4 preludes for organ, op. 48 (1963)
Other chamber compositions
- Wind Sextet, op. 8 (1940)
- Sonatina for oboe and piano, op. 24 (1955)
- Ballad for violin and piano, op. 27 (1956)
- Suite for saxophone and piano, op. 39 (1959)
- 8 Invezioni for percussion instruments, op. 45 (1962 – 1963)
- Otto ricercari, for percussion instruments, op. 51 (1966 – 1967)
- Lamenti e risolini 8 bagateles, for flute and harp, op. 53 (1969)
- Fated Dramas of Man. Sonata for trumpet, piano and percussion instruments with recitation, op. 56 (1975 – 1976)
Compositions for solo voice with accompaniment
- Moravian Lullabies for soprano and chamber orchestra, on texts from folk poetry, op. 20 (1951)
- Love Songs for soprano, baritone and piano, op. 25 (1955)
- Six Lullabies on text folk poetry for alto solo, small female choir and instrumental ensemble, or for alto and piano, op. 29 (1955)
- Hunters Songs for baritone and 4 French horns, op. 37 (1958 – 1959)
- Echoes from Far-away. 5 songs for alto and piano, without words, op. 47 (1963)
- 6 choruses for male choir on words by Jiří Wolker, op. 10 (1939 – 1940)
- Blue Sky. Children’s choruses on the poetry by František Hrubín, after the pictorial cycle of Josef Čapek, op. 19 (1950)
- To Nature. Cycle of children s choruses on the words of folk poetry, op. 35 (1957 – 1958)
- Do Not Retreat! Cantata for male choir, wind and percussion instruments on folk texts and the words of the chorale "Ye Warriors of God", op. 7 (1939)
- Eufemias Mysterion (Mystery of Silence), for soprano and chamber orchestra to Greek words, op. 50 (1964 – 1965)
- Metamorphoses I of the oldt Czech chorale for mixed choir, solo baritone, male choir and solo higher female voice), op. 57 (1979)
- E fontibus Bohemicis (6 tableaux from Czech annals), op. 55 (1965 – 1972)
The music of Miloslav Kabeláč is characterised by his own extraordinary artificial tone-creative principles. His musical expression makes use of elements of exclamation, rhythmic shouts, monotonous and exalted invocations, mysterious, magical and symbolic meanings. The basic ideas of Kabeláč’s works is namely an emphatic warning against the danger of a decline of all positive values of humanity in context of the historical situation at the time of the origin of main works (World War II, communist regime in our country and the Soviet occupation of Czechia in 1968). Typical orchestration and and favourite instrumentation: symphonic orchestra, percussion ensemble, organ, piano, mixed choir, solo vocals. Most important opuses: 8th Symphony (for organ, percussions, two mixed choirs, and colloration soprano), Mystery of time, Hamlet Variations, Metamorphoses I and II of Czech old choral “Lord, have mercy of us”, etc.
Miloslav Kabeláč was a prominent Czech composer and conductor. Miloslav Kabeláč belongs to the foremost Czech symphonists, whose work can be compared with Antonín Dvořák or Bohuslav Martinů. New ways of expression presentated by Kabeláč in his eight symphonies and the perspectives opened by him to modern understanding and conception of this traditional genre have not yet penetrated our general conscience in a way corresponding to their importance and impact. In the totalitarian period Kabeláč´s work found itself on the periphery of official attention and was performed only sporadically and in a limited choice of compositions.
Malcolm MacDonald <firstname.lastname@example.org> writes:
Important Czech composer and conductor. His music had difficulty in making its
way in post-war Czechoslovakia because of his interest in modern techniques,
and after the 1968 ‘Prague Spring’ it was long suppressed because of his
association with Alexander Dubcek.
In the sixties Milosav Kabeláč was the chairman of the Union of Czech electronic music.