Viktor Kalabis (1923-2006) - the complete works for solo piano: Sonata No. 1, Op. 2 (1947); Sonata No. 2, Op. 4 (1948); Sonata No. 3, Op. 57 (1982); Accents, Op. 26 (1967); Entrata, aria e toccata, Op. 41 (1975); Three Polkas, Op. 52 (1979); Four Enigmas for Graham, Op. 71 (1989); Two Toccatas, Op. 88 (1999); Allegro impetuoso, Op. 89 (1999)
Ivo Kahánek - piano
The very first complete recording of Viktor Kalabis's piano works, as well as the album of his three sonatas (SU 4210-2, Supraphon 2018) have come to fruition upon the initiative and owing to the relentless enthusiasm of the world-renowned harpsichordist Zuzana Růžičková, the composer's wife and a keen promoter of his oeuvre. Of major importance was the selection of the pianist - one possessing superlative technical skills and having a profound understanding of the structure of Kalabis's music. As Ivo Kahánek put it: "Kalabis was one of the composers who don't restrict their ideas by the traditional laws of the piano technique, hence his music is now and then extremely difficult to perform." Even though Kalabis drew inspiration from the music of other 20th-century masters, he soon arrived at his own, singular and unique musical idiom, which is already palpable in his early opuses. The album maps more than half a century of Kalabis's work, from the post-war Sonata No. 1 to the masterful miniatures dating from the very end of the millennium. Following the critically acclaimed recordings of his symphonic and concert pieces (SU 4109-2 - Choc de Classica, Gramophone Editor's Choice), and of the three sonatas, the present album opens yet another window into Viktor Kalabis's fascinating musical world.
The first complete album of Viktor Kalabis's piano works. A world unto itself.
“The expertly judged recording and attractive booklet notes complement Ivo
Kahánek’s deeply sympathetic and astute performances, ones that measure up
in every way to the music.” MusicWeb International, April 2019
“Ivo Kahánek livre la première intégrale de la musique pour piano du
maître. En constante recherche de lisibilité, il sculpte au ciseau au lieu de
dégrossir à la dynamite. Mieux que dans les démonstrations de force, il fait
des miracles partout où les notes s’attirent, se repoussent, s’agrègent,
se frottent ou s’entrechoquent plus subtilement. Travail d’orfèvre.” Diapason, June 2019