Album insights
Petr Eben, a revered figure in Czech cultural life and the most internationally renowned composer of his country, is highly esteemed in Britain as well for his works in composition and organ playing. Known for his exceptional improvisational skills, Eben held the position of guest professor at the Royal Northern College of Music in Manchester during the 1977/78 academic year. He was deeply involved in various musical roles in the UK, including serving as House Composer for the first Czech Week in Dartington in 1993 and holding the same position in Aldeburgh in 1997. His contributions led him to be recognized as an Honorary Member of the Royal College of Organists, the Royal Academy of Music, and the British Dvorák Society for Czech and Slovak Music.
Born in Zamberk in northeastern Bohemia, Petr Eben spent his childhood in the historic town of Ceský Krumlov in southern Bohemia. Despite his family's devout Catholicism, his father's Jewish lineage led to his expulsion from school in 1943 and internment in the Buchenwald concentration camp. These formative years instilled in him a profound intellect and conscience, influencing his music to this day. His profound understanding of the organ as a composer and performer stems from countless hours spent absorbing its wonders on the organ loft in Krumlov.
Post-war, Eben resumed his studies at the Prague Conservatory in 1948, training in piano under František Rauch and composition under Pavel Borkovec. Despite being denied promotions due to his refusal to join the Communist Party and open religious practice, he won hearts through his captivating teaching for over thirty-five years at Charles University. Following the Velvet Revolution of 1989, Eben was appointed Professor of Composition and Director of the Prague Spring Festival. Despite his retirement and a debilitating illness, Eben continues to compose, primarily focusing on organ pieces and choral works for church celebrations, residing quietly in Prague's Motol district.
One of Petr Eben's notable compositions, "Landschaften von Patmos," showcases the combination of organ with various individual instruments. Commissioned in 1984 for the Heidelberg Bach Society's festival, the piece captures a ceremonial and dramatic ambiance. Its positioning inspired by revelations from the Book of Revelation, the composition explores abstract and symbolic themes, engaging in a mix of analog and less figurative representations. Eben's orchestration, careful to avoid cumbersome instruments to accommodate organ lofts, focuses on contrasting instrumental colors and thematic elements across movements.
Eben's devout Catholicism has spurred collaborations with various figures in the Catholic Church across Czech Republic and Germany, resulting in numerous commissions for notable anniversaries from churches and church leaders. One such work, "Gloria (Präludium 2)," was composed in 2000 to celebrate the sixty-fifth birthday of Mainz's Bishop Cardinal Karl Lehmann. Adapting a Gregorian chant, the piece was premiered at Mainz Cathedral in 2001.
Commissioned by Lucerne's Hofkirche in 2000, "Triptychon" reflects Eben's reinterpretation of Johann Benn's "Ricercari" into his contemporary musical style. Delving into Benn's thematic material, Eben unites these themes within his harmonic complexity.
The composition "Campanae gloriosae," originating from a commission for Trier Cathedral in 1999, marks the celebration of the Cathedral organ's 25th anniversary. Comprising a vivid fantasy, it draws inspiration from the Cathedral's five bells, along with the neighboring St. Gangolf church's two smaller bells. Dedicated to Trier Cathedral, Josef Still premiered the piece during the Trier International Organ Days in 1999.
Of his extensive trumpet and organ repertoire, Eben's "Okna" remains a standout work of the 20th century, often featured in recitals. Inspired by Marc Chagall's stained glass windows, Eben infuses spiritual themes and vivid imagery into his compositions, utilizing the trumpet to enhance the organ's tonal palette. Eben's musical craftsmanship addresses practical concerns, ensuring harmonious collaboration between the organ and trumpet to avoid mechanical delays during performances.
Graham Melville-Mason (© 2006)