Antonín Dvořák (1841 - 1904) left a remarkable artistic legacy drawing on inspiration from a wide variety of sources. Home and fatherland played a significant role in his creative process (after all, his personal motto was "God, love, fatherland"), as did composition in general stemming from the Slavic territories. The origins of his orchestral rhapsody composition originate from a time when the composer, encouraged by the recent success of his Moravian Duets, retuned time and again to Slavic inspirations that were particularly dear to him. The idea for creating a cycle of compositions representing his vision of the life of Slavic nations in musical portraits first came to him in 1874. It was then that his Rhapsody in A minor, op. 14 was composed, evidently influenced by the tone poem meditations of F. Liszt. Ultimately, the composer did not find the youthful work-delightful in its spontaneity and replete with the possibilities of the striking dramatic and melodic musical ideas of folk character-worthy of public performance or publication. It was not until after the composer's death that the piece was finally heard in a performance on May 3, 1904 under the baton of Oskar Nedbal.
Four years later, Dvořák returned once again to rhapsodic composition. He began composing his trio of Slavonic Rhapsodies (numbered 45 in the composer's opus) almost simultaneously with the first series of his Slavonic Dances, op. 46. Unlike the structured form of the symphony, one of the characteristic features of a rhapsody is a certain degree of improvisational freedom and a vivid interchange of moods, rhythms, and tone colors. This manner of composition clearly suited Dvořák, brimming with imagination and composing seemingly intuitively at the time. Each of the rhapsodies were conceived as individual compositions distinctive in their characters that were also intertwined with folk inflections.
Rhapsody No. 1 in D major was written February 19 through March 17, 1878, with the first complete sketch dated February 2, 1878. Dvořák essentially built this composition of idyllic, almost pastoral character that swells to dramatic heights in several contrasting central sections on two thematic wholes, employing creative variations, thus creating elements that seem entirely new and contrasting.
The Slavonic Rhapsody No. 2 in G minor, completed on September 18, 1878, is of a more dramatic and heroic character with a distinctive rhythmic primary theme. Diverse in mood and harmonic structure, this work alternates the dramatic with celebratory as well as with almost pastoral sections, and culminates in an impressive climax at the conclusion.
Rhapsody No. 3 in A-flat major (completed December 3, 1878) captivates with its romantic sound, brilliant instrumentation-primarily with its appealing exposition for solo instruments and their various combinations. The impression it elicits is of a narration of legends from bygone eras, and is aroused at the very onset in the solo harp, whose theme then develops into the melancholy melody heard in the woodwinds. Gradually, however, the mood transforms into a more lively joyfulness. The primary theme in the central section recurs with remarkable variations of secondary themes interspersed throughout, during which the musical flow is enlivened by various instrumental entrances (a poignant violin solo, which is answered by the flute, and is later picked up by the ethereal oboe solo).
All three rhapsodies were published by F. Simrock and were quick to gain immense popularity. The composer dedicated the pieces to wealthy music lover Baron von Dervies, living in Nice at the time. Dvořák premiered the first two works on December 17, 1878 in an independent concert in Prague at Žofín. Rhapsody No. 3 was performed for the first time on September 14, 1879 in Berlin, under the baton of Wilhelm Taubert.



The Pilsen Philharmonic was established in 1934. Concert life in Pilsen was already thriving by the 18th century. One of the predecessors of the Pilsen Philharmonic, the Pilsen Philharmonic Society, was founded in 1882, and played an important role in the cultural development of the city. It was this ensemble that lay the groundwork for further development of orchestral and concert life in Pilsen. Later, the 20th century reflected a shift in which the musical culture of Pilsen developed the need for the existence of a high-quality orchestral ensemble that was not burdened by frequent performances or rehearsals at the theater. A fundamental step in resolving this issue was the foundation of the Cultural Association Symphony Orchestra in Pilsen in late 1919, which was renamed the Pilsen Philharmonic in 1934. In 1946, a new era for the orchestra began with the creation of the Pilsen Radio Orchestra, made possible by the construction of the headquarters for Czech Radio Pilsen, which provided dedicated facilities for the orchestra. After the 1993 reorganization of Czech Radio, the Pilsen ensemble continued its activities under the name Pilsen Radio Orchestra - Symphony Orchestra of the City of Pilsen. Later, in 1998, the orchestra was transformed into a public-benefit corporation founded by the city of Pilsen, and once again appeared under the name Pilsen Philharmonic. During its 80 years of existence, the Pilsen Philharmonic has fostered strong tradition and renown among celebrated Czech orchestras, and has become a favored and sought-after ensemble internationally as well.Over the years, a long list of celebrated artists have contributed to the image of this ensemble. These artists include Václav Talich, Aram Khachaturian, Gabriel Vágner, Martin Turnovský, Bohumír Liška, Jiří Bělohlávek, Libor Pešek, Jiří Stárek, Oliver Dohnányi, Sir Charles Mackerras, Vjekoslav Šutej, Serge Baudo, Leonid Kogan, Gidon Kremer, Arnold Katz, David Oistrach, and Mstislav Rostropovich. Contemporary contributors include Ramon Vargas, Montserrat Caballé, Gautier Capuçon, Anne Queffélec, and others.The Pilsen Philharmonic has made countless tours throughout Europe and the United States, and has performed at prestigious concert venues such as the Gasteig in Munich, Zurich's Tonahalle, the Berlin Philharmonic Orchestra Hall, the Cologne Philharmonic Hall, Brucknerhaus in Linz, Auditorium Zaragoza, the Rudolfínum Dvořák Hall in Prague, and many others. The Pilsen Philharmonic records regularly for Czech Radio and other partners. Its opus includes hundreds of recordings of music from the Baroque to the Contemporary eras. Recently, the ensemble participated in the world premiere recording of the opera, The Day of Good Deeds by Bohuslav Martinů, which was released on compact disc, and earned numerous prestigious awards. Since 2013, the Pilsen Philharmonic has been the host and organizer of the Smetana Days international festival in Pilsen.


Tomáš Brauner is one of the most sought-after conductors of his generation. He is currently principal conductor of the Pilsen Philharmonic and principal guest conductor with the Czech Radio Symphony Orchestra in Prague. In addition to these musical positions, Tomáš Brauner regularly works with leading symphony orchestras and opera houses. In previous seasons, these included the FOK Prague Symphony Orchestra, PKF - Prague Philharmonia, Slovak Philharmonic, Philharmonie Südwestfalen, Moscow State Radio Orchestra, Orchestra of Colours Athens, Janáček Philharmonic Ostrava, Prague Chamber Orchestra, Czech Chamber Philharmonic Orchestra Pardubice, Bohuslav Martinů Philharmonic, Moravian Philharmonic Olomouc, as well as the North-Bohemian Philharmonic Teplice. His operatic conducting career began at the J. K. Tyl Theater in Pilsen, where he premiered and studied a large number of operatic works, such as Ponchielli's La Gioconda, Mozart's Don Giovanni, Tchaikovsky's The Maid of Orleans, Dvořák's The Jacobin, Puccini's Turandot, Francesco Cilea's Adriana Lecouvreur, and others. 2008 marked Brauner's début at the State Opera in Prague with a performance of Verdi's Otello. This was later followed by Massenet's Don Quichotte, Rossini's The Barber of Seville, Puccini's La bohème and Tosca, Verdi's Nabucco, Mozart's The Magic Flute, as well as a concert performance of Mignon by Ambroise Thomas. Additionally, he studied Verdi's Nabucco and Ernani, as well as Roméo et Juliet by Gounod at the National Moravian-Silesian Theater in Ostrava. He conducted Janáček's Její pastorkyňa at the Palacio de Bellas Artes in Mexico City. Brauner was also invited to guest-conduct at the renowned international festivals Bad Kissingen and The Richard Strauss Festival in Garmisch Parten-Kirchen, where he performed the Alpine Symphony by Richard Strauss with the Czech Radio Symphony Orchestra. Additionally, he appeared as a guest conductor at the Prague Spring festival, Smetana´s Litomyšl International Opera Festival, and the International Music Festival Český Krumlov.
Tomáš Brauner was born in 1978 in Prague, and studied oboe and conducting at the Prague State Conservatory. In 2005, he graduated from the Academy of Performing Arts in Prague with a degree in conducting, which was followed by a fellowship at the Viennese Universität für Musik und darstellende Kunst. In 2010, he won the Dimitris Mitropoulos International Conducting Competition in Athens.

Pilsen - European Capital of Culture 2015 is a project that is much more than a festival, more than a presentation of artists, more than a one-time vitalization of a city, more than an advertising platform for sponsors. It is a project that has the power to change the perception of Pilsen, the perception of the role of culture, to become a milestone in the growth of the city.
This project is an enormous opportunity to discover the true meaning of culture and all that it has to offer, to whom it can appeal, and who it can engage. For a long time to come, there will be no better chance to show that culture is an everyday part of our lives, that we encounter it in every step of our daily lives. It can demonstrate how culture is a significant factor in improving the quality of life for all of society with its ability to answer the questions of humanity better than any graph, table, number, or curve. The year 2015 in Pilsen will present how an opera can move you to tears, how an exposition can teach you tolerance for other cultures, how the fine arts in public venues can help uncover new contexts for familiar places, and the emotions you will experience on European Neighbor's Day. The world will see, hear, and taste the beauty of an unparalleled fusion of tradition and innovation. A living reminder of the iconic figures of cultural and artistic life in Pilsen such as Jiří Trnka and Ladislav Sutnar, combined with original concepts by artists and organizers from all over Europe will create a program of a unique blend of small- and large-scale events, cultural functions for the general public and for targeted audiences, one-time experiences, as well as long-term development projects.
Just as the city of Pilsen has transformed itself in the past 20 years from utter grayness into a true European city bursting with color, it is high time to effect this transformation in people as well. The Pilsen 2015 program reflects the path leading from totalitarianism to creativity that we have already travelled, and shows in which direction to forge onward. If our identity is built upon individual historic moments, we are currently experiencing one that allows us to experiment with new contexts and prepare for the future, open ourselves up to it, discover it, and redefine it.
The example of the Pilsen Philharmonic, which is growing and thriving alongside the European Capital of Culture, instills optimism in all who believe that we find ourselves on the threshold of an enormous opportunity. The recording you are listening to now is an exceptional example of how to take advantage of this opportunity.