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COMPOSITIONS Peter Scheck CONTENT My musical credo Premiere of the Symphony COPOSITIONS The Symphony c-moll 2000 The Sinner´s Eyes Chor Melancholy La Festa Violin Concert a-moll "From the Summer" My musical credo The idea of composing came very spontaneously in 1998 with a small composition Melancholy. Although I have no composition school education I studied the harmony, musical instruments, forms etc. I consulted my compositions with many practical musicians. I analysed the works written by the best composers. With a bit of exaggeration I can say that my teachers were Tschaikowski, Beethoven, Dvoøák, Frank and others who don’t address me. But they gave me a good advice which direction not to go. The inducement for composing was a defiance against not understandable compositions written by many contemporary composers. An impulse gave me one interview. A no named composer declared that although he knew the audience disliked his music he wouldn’t change anything on the way he was creating it. It was not important for him whether his composition did address the people or didn’t. I think that this approach caused the apathy by contemporary music and is one of the reasons of discouraging young people form classical music. At that point I apologise to all good composers. I want to avoid pandering. People are attacking by the rubbish from the TV, radio etc. So it’s difficult to gain their interest for the contemporary classical music. The composers should ask „Why is it so?“ and „How can I improve it?“. They are obliged to think about it. Only a person who is not discouraged can choose the music he or she will like. I find the musical techniques of the 20th century extreme. Although they brought something innovative I think they alienated the music from the public. I believe in the clearness, understanding, logic and the naturalness of the music. It’s up to the audience to be a judge of the composition. d Premiere of the Symphony My Symphony c-moll 2000 was firstly given on 28th June 2002 in Marienbad. It was played by the Orchestra Komorní filharmonie Pardubice and conducted by Tomas Krejci. The orchestra and the conductor as well performed it better than is their professional duty what contributed to the great success of the evening. I thank them very much. The atmosphere at that concert was very spontaneously and unrepeatable. The biggest reward for my hard work on the composition and for all the struggles conected with performing it was the standing ovation of the public. This enforced the orchestra to add my short peice Melancholy. The media - Mlada Fronta DNES daily newspaper, Czech radio, regional press - welcomed my composition as well. I´d like to thank all people who helped me and believed in me. I cannot name all of them but I want to pick up the patron of the concert famous violin player Gabriela Demeterova, AROKO agency and collegues form the A JE TO ensemble who cared for the so If you are interested in my CD record of my Symphony c-moll 2000, you can apply for it by me. See my adress in contact. For hearing a sample of it click music. d The Symphony c-moll 2000 Peter Scheck written 1998 - 2000, consists of 4 movements I. Allegro non troppo begins with welcome of the new Milenium. The name 2000 symbolizes more the magic number 2 which had seemed so far for us. Immediately we can anticipate something like an appeal. This is relieved by anxiety with belief and hope. II. Lento - Paessaggio serale (Evening landscape) symbolizes good message. We can find a place where we can follow the sunset and the sunrise (alba). We should appreciate it and at the end we may be hearing the rain drops (le gocce piovane). III. This movement is cheerful (Con sgaiataggine) despite of serious twist. It slows suddenly and stops to be changed for a scene with two drunk men. After it runs the music again to lead us to the final ,,attacca“ part. IV. Con coraggio creats one part with the latter. The adagio theme from the first movement is returning as an ,,Idéé fix“. It is abandoned with the finishing ,,Dance of victory“ (ballo vittorioso) which ends with dynamic coda. d Melancholy Melancholy is short composition, I would say an abbreviation piece. It is based on piece for guitar from Dionysio Aguado (1784 – 1849) to which I composed the main melody stream and all other voices. It was arranged harmonically in slowlier tempo and enriched with contra voices so that it creates one long dynamic bow which goes to the final fortissimo. There it becomes calmer and disappears in the silence.(sample) d The Sinner´s Eyes This composition was written during a very difficult time when my near friend was dying. The dominant position of piano is extraordinary in this composition. d Choir A composition for a combined choir and orchestra. I used a theme of L. van Beethoven from the 2nd movement of his 7th Symphony. I decided for a lower tempo because I feel that it corresponds better to the warning content of the text. It is well known that Beethoven itself changed the tempos of his compositions often. d La festa A short festival piece for eight brasses. For its light and frivolous character it should entertain the listener. d Violin Concert a-moll "From the Summer" The first movement Lento-Allegro begins with orchestra part in slowly tempo, where different groups of instruments are tied one after another. Just before the violin takes up its solo part the tempo runs up, the movement gets dynamic and enables the soloist to perform his expressiveness and virtuosity. Melody line gets us ready for the next movement. The second movement Grave-Andante is enriched by the colour of tube. The orchestra is to hear in the beginning. Just afterwards, the solo part draws the audience in a last summer atmosphere. This is marked by the leading idea of the movement “Please, don’t forget me”, which is articulated firstly by strings in pizzicato and later highlighted by soloist in flaggioleto. In the end, the upper voice seems not to take farewell and reminds us “Please, don’t forget, please, don’t forget”. The third movement Vivo leggero comes attacca in a refreshing and a like-a-game manner, which is not broken but for few moments where the soloist slows down to express its considerations. The atmosphere of this movement is different from both preceding, so as to let us forget all gloominess and to joy us without any concern. d