As a gentler and less
revolutionary soul, something of a conservative
in fact, Josef Bohuslav Foerster's music
has been all but obliterated by that
of his countrymen. Janáček
and Martinů. Each of these towering
figures struck out in new directions:
ambitious and successful in their ambitions.
The Prague-born Bohemian
Foerster was a friend of Mahler and
for a while lived in Vienna. He wrote
within the confines of an idiom recognisable
by Schumann and Brahms. He looked towards
these models as Stanford did in England
and as many another did across the world.
The First Cello Sonata
(1898) ebbs and flows with romantic
spirit. A peaceful Lento is notable
for reaching towards the glowing sunrise
moments in Delius's Cello Sonata. It
is framed by a wildly romantic Allegro
commodo and a more urbane, almost
casual, allegro giusto.
The Second Sonata is
from 1926. Again it is three short movements
- almost 17 minutes against the First's
21 minutes. The note-writer claims that
the first movement hints at neo-classicism;
I disagree. The language is readily
linked to the First Sonata perhaps more
Delian and static - subtle in the manner
of Fauré.
The enigmatic Three
Nocturnes date from 1940. The texts
are Notturno by the composer,
Moonlit Night by Frantisek Svoboda
and All sadness passes by Jan
Rokyta. These are all soulful songs
absorbed in the themes of love, eternity
and art nouveau imagery. The mood is
accentuated by the choice of instruments
and voice.
The Melodie from
1934 continues Foerster's love affair
with the lyrical impulse and the romantically
rounded spirit. Do not expect sparks
and lightning. However if you have a
taste for music with a gentle romantic
glow then your goal is found.
Tudor have found three
artists who seems completely at ease
in this idiom yet are able to project
a freshness and bloom to the music.
The recording matches the mood being
warm and cocooned.
Rob Barnett
Duo Moravia: Jiří Hanousek (cello); Paul
Kaspar (piano) 
