I bought this recording "on spec" many years 
          ago in its original LP incarnation. It was my first encounter with the 
          music of Vítĕzlav Novák. Nothing like going in at 
          the deep end! It’s good to find this excellent recording now available 
          on CD for it’s hard to imagine many opportunities of hearing this work 
          outside the former Czechoslovakia. 
        
 
        
The work, which is described as a "sea fantasy", 
          was composed between 1908 and 1910 and in it Novák 
          sets a long narrative poem by the poet Svatopluk Čech, published 
          in 1869. Čech’s poem, now long forgotten, is, I suppose, something 
          of an allegory in which the turbulence of the sea storm is compared 
          with strong human emotions. The narrative is complicated. At 
          the start a girl watches from the shore as a ship is tossed about in 
          the storm (track 2) and she prays for those on board. Thereafter a series 
          of episodes on board are depicted including a mutiny followed by the 
          crew getting roaring drunk. There’s also an on-board romance (of which 
          more anon) and as the lovers consummate their love the ship breaks up. 
          Finally, the story comes almost full circle with another hymn sung from 
          the safety of the shore, this time by a mixed chorus of fisher folk 
          (track 15). 
        
 
        
All this is depicted in powerful, richly scored music 
          which includes parts for several vocal soloists. So far as I could judge, 
          without access to a score, all concerned give fine, committed and accurate 
          performances. I was impressed with the ringing tenor 
          of František Livora (track 3) and the Song at the Masthead is ardently 
          declaimed by Jarmila Smyčková (track 5). The emotional kernel of 
          the work is the love duet between the Maiden in the cabin and her Negro 
          slave who, somewhat implausibly, chooses this 
          moment to reveal himself as an African king, sold into slavery (track 
          10). As the lovers Nadĕžda Kniplová and Richard Novák are suitably 
          ardent. 
        
 
        
The chorus is excellent throughout. The men are particularly 
          impressive in their first foray (track 4) where they are members of 
          the crew singing about the ship’s dwarf (!) The singing is full-throated 
          and committed and always secure despite what sound like some pretty 
          fearsome demands made on the sopranos and tenors in particular. The 
          playing of the Czech Philharmonic is quite magnificent whether at full 
          tilt (which is pretty often) or in the more delicately scored passages. 
          They accompany the singers superbly and are also heard to very good 
          effect in the several extensive orchestral interludes. 
        
 
        
Novák’s work is written on a broad canvass and 
          if it is not to sprawl it needs a firm hand on the tiller. Zdenĕk 
          Košler here proves himself to be a musical master mariner. He seems 
          to me to have the full measure of the score and he secures a dramatic 
          and convincing performance. He whips up some fearsome, tempestuous playing 
          and choral singing in the passage which depicts the dismasting of the 
          ship, the event which finally leads to its demise (track 12 from 1’55" 
          and track 13). He also handles the concluding choral prayer (track 15) 
          very well, bringing this uneven work to a noble close. 
        
 
        
Yes, it is an uneven work but it contains some very 
          good music and it is well worth investigating. Supraphon’s recording 
          is a good one, accommodating the largest climaxes (of which there are 
          several) very well and balancing the forces properly. This is not the 
          first recording of the work: there was at least one earlier one, which 
          I have not heard, also from Supraphon, conducted by Jaroslav Krombholc 
          but that dates from the late 1950s or early 1960s. However, in the current 
          state of the record industry it seems unlikely that there will be another 
          recording of this piece in the foreseeable future and, even if there 
          were, it would have to be pretty good to surpass Košler’s account. Supraphon’s 
          documentation is very good, providing notes and texts in Czech, German, 
          English and French. Admirers of this composer and collectors with an 
          enquiring ear are advised to snap up this release before it is shipwrecked 
          on the rock of deletions. 
        
 John Quinn 
        
see also comparative 
          review by Rob Barnett