The review from Ostrava 23. 9. 2017

… the solo parts were performed by the violist Kristina Fialová and the clarinetist Igor
Františák. The violist Fialová is universally acclaimed for her expressive and lively
interpretation, brilliantly cultivated tone, and coherent general conception. Her flawless
technique and immense musicality did not take long to manifest themselves…

The creative output of Max Bruch can be located in the context of composers such as
Johannes Brahms or Antonín Dvořák. Bruch was born in 1838 and throughout his long life
(he died in 1920) he wrote music imbued with Romantic expression. His Double concerto in
E minor for viola, clarinet, and orchestra, Op. 88, composed in 1911, is far removed from the
forays undertaken at the time by composers such as young Stravinsky, Schoenberg, Skryabin,
or Ives. In the classical manner, Bruch’s work consists of three movements with rather similar
tempi. It is marked chiefly by its calm lyricism and meditativeness.
The solo parts were performed by the violist Kristina Fialová and the clarinetist Igor
Františák. The violist Fialová is universally acclaimed for her expressive and lively
interpretation, brilliantly cultivated tone, and coherent overall construction. Her flawless

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technique and immense musicality did not take long to manifest themselves. The first
movement, Andante con moto, opens with a double rhapsodic passage, followed by tallying
orchestral chords. Kristina Fialová wasted no time making good on the expectations with
wonderful agogics and splendidly colorful, cultivated tone.
Igor Františák’s clarinet answered her with the same melody, profoundly expressive,
and then both instruments joined in a canorous melody in the thirds, presented with faultless
coordination. Františák’s introvert dynamics endured into the next somber motif, once again
passed back and forth between the two soloists with impeccable intonation and technical
precision. The first movement of the concerto is one of Bruch’s most fortunate compositions.
Its delicately mournful atmosphere and sophisticated dialogue between the solo instruments
was admirably supported by the orchestra, conducted by Vojtěch Spurný.
The second movement, Allegro moderato, comprises also two rather demanding solo
passages in both instruments, carried in triplet values. Once again, the consonance of timbre
between the two soloists must be commended, just as their excellent coordination. As far as
dynamics is concerned, the viola here drew somewhat ahead of the clarinet.
The concluding movement is designated Allegro molto, but it does not really introduce
much of a contrast in tempo. On the contrary, its somewhat archaic atmosphere returns to the
aesthetics of the opening movement, although the latter two no longer radiate such enchanting
melodies. The idyllic, almost pastoral conclusion ends in a conciliatory subdued triple piano.
Bruch’s Double concerto had evidently been studied with an exemplary care and both
soloists gave outstanding performances, matched by the well-rehearsed orchestra.
… What could be said in conclusion? The first half of the concert featured successful
performances by the two instrumentalists, Františák and Fialová. The Director of the Festival
presented himself in calm, concentrated, and meditative contexts, while Fialová demonstrated
all distinguishing traits of her artistry, and abundantly so: accuracy, precision, enthusiasm, a
rare ability to enliven every single tone and to gorgeously shape each musical phrase…