2017
2016
2015
2014
2013
2012
2011
2010
2009
2008 (2)
2008 (1)
2007
2006
2005
2004 (2)
2004 (1)
2003
2001-2002
1993-2000
1949-1992
1938-1948
1933-1937

home



More recent reviews, listed in the order of their publication date, with the latest review on the top of the page. For reviews by year, follow the menu in the left column.

Vitezslava Kapralova, Dopisy domu. Korespondence rodicum z let 1935-1940. Ed. Karla Hartl. The Kapralova Society, Toronto 2015, 312 stran a 50 obr.; Vitezslava Kapralova, Dopisy laskam. Rudolfu Kopcovi a Jirimu Muchovi. Korespondence z let 1938-1940. Dil druhy souborne korespondence. Ed. Karla Hartl. The Kapralova Society, Toronto 2016, 136 stran a 16 obr.; Vitezslava Kapralova, Dopisy pratelum a jina korespondence z let 1935-1940. Dil treti souborne korespondence. Ed. Karla Hartl. The Kapralova Society, Toronto 2017, 104 stran.

Prvni svazek souborne korespondence Vitezslavy Kapralove (Dopisy domu) v edici Karly Hartlove se dockal vreleho prijeti a dalsi dva si udrzely stejne vysoky standard objevnosti, peclivosti zpracovani i krasnym stylovym designem (graficky upravil Lukas Hytha). Cesky ctenar nemuze vzit kterykoli z techto tri svazku do rukou jinak nez s pocitem piety a ucty k zivotu a dilu teto jedinecne skladatelske osobnosti. Kompetentni edice, ktera snese prisna hlediska prace s dokumenty, prichazi ve svou dobu. Od konce druhe svetove valky se pohledy na Kapralovou, jeji zivotni pribeh a jeji tvorbu postupne promenovaly, pricemz jeji korespondence v nich hrala dulezitou roli - ovsem prevazne v utrzkove podobe, nejednou v nepresnych citacich a skoro vzdy ve vecnem vykladu az prilis uzpusobenem optice toho ktereho autora. Prvni mensi studie na tema Kapralove mely prevazne raz vzpominek a osobnich uvah jejich soucasniku. Cestnou vyjimku z takoveho ladeni maji dve muzikologicky pojate studie, Otakara Sourka (Orchestralni a komorni hudba Kapralove) a Ludvika Kundery (Klavirni a vokalni dilo Kapralove), otistene v pietnim sborniku, usporadanem po skonceni valky Premyslem Prazakem. Podat "co nejpresvedcivejsi obraz umelecke osobnosti" se pokusil v padesatych letech monografii "Vitezslava Kapralova" Jiri Macek a velka exploze dalsiho zajmu se odehrala pozdeji, podnicena literarni cinnosti skladatelcina manzela, spisovatele Jiriho Muchy. [...] Umelecke uchopeni ciziho, realneho zivota prinasi vzdy subjektivni deformaci v pohledu na nej a na jeho spolecenske ukotveni, jak jsme toho svedky u kazdeho biografickeho ohlasu - pripomenme napriklad pro muzikologa jen velice malo presvedcivou filmovou vizi Formanova Mozarta, originalniho Beethovena Agnieszky Hollande nebo treba genialni romanovou metaforu Arnolda Schoenberga u Thomase Manna (Doktor Faustus). Muzikologie se vsak snazi od subjektivniho domysleni tvurci osobnosti odhlednout a pokrocit v analyze dale, aby na zaklade spolehlivych faktu dosahla soudu, ktere jsou obecne platne ci alespon obstoji ve vecne kritice. Takovy velky prvni krok spolehlivosti v pohledu na zivot a dilo Kapralove ucinila prave az cilevedoma prace Karly Hartlove, ktera se stala mezinarodnim garantem odkazu vyznamne ceske skladatelky. [...] Zivotni zajem o tuto skladatelku ozdobila impozantni cinnosti v jejim jmene (mimo jine vydanim takrka veskereho zivotniho dila Kapralove tiskem a na hudebnich nosicich). Vydane tri svazky korespondence prenaseji nyni tuto aktivitu do skladatelciny vlasti a jsou velkou splatkou na dluh, ktery vuci Vitezslave Kapralove mame. Kazdy z nich umoznuje orientaci po vecne spriznenem vyseku profilu osobnosti a jejiho (bohuzel neprilis rozmerneho) zivotniho dila. [...] Pro badatele, ktery na tema Vitezslava Kapralova vytvori analytickou monografii, oprenou o spolehliva pramenna vychodiska, jsou tyto knihy neocenitelnou zakladnou. Netreba poznamenavat, ze k tomuto ukolu je dnes asi nejlepe pripravena prave editorka teto korespondence, jak to dokladaji jeji kompetentni komentare a poznamkovy aparat.
Z recenze Jaroslava Mihuleho pro Hudebni vedu 3/2017, pp. 363-64.

Kapralova: Complete Piano Music. Giorgio Koukl – klavir. Grand Piano / Naxos 2017
[…] Približne ve “zlatem rezu” desky jsou umistena Dubnova preludia z roku 1937. Toto sve vrcholne klavirni dilo Kapralova venovala pianistovi Rudolfu Firkusnemu a dycha z nej znalost Janackovych klavirnich cyklu i již takrka probuzena osobnost ceske skladatelky. Hudba je uvolnena, impresionisticky naladova, zaroven konkretni a presna. Kapralova se “nevykecava”, sklada kvalitne a vycizelovane. Na Dubnova preludia bezprostredne navazuje Sest malych variaci na zvony kostela Saint-Etienne-du-Mont z roku 1938. V nich Kapralova prozrazuje invenci i znalost kompozicni techniky blizke skladatelum mezivalecne Parize. Tato tri dila tvori zakladni osu, kolem niž se toci dalsi kompozice na albu. At už se jedna o Pet klavirnich skladeb, ktere Kapralova napsala coby sestnactileta, nebo kratickou Slavnostni fanfaru. Vsechny prozrazuji suverenni zachazeni s hudebnim materialem […].
From a review by Boris Klepal for Hospodarske noviny online, August 22, 2017.

KAPRALOVA: Piano Pieces
Czech composer-conductor Vitezslava Kapralova was a versatile and adventurous artist who died too young to realize her full potential but left behind some impressive music. [...] We can only wish there were more to the brief life and career of this remarkable composer. The recording of Koukl's Steinway D, made in Lugano, is big and sonorous. Karla Hartl of the Kapralova Society, is responsible for the authoritative notes.
From a review by Sullivan for American Record Guide, July 2017.

KAPRALOVA: Complete piano music
Vif, plein de fantaisie, le jeu de Koukl (serviteur patente de la musique de Martinu) met en valeur toute la singularite de la Passacaille grotesque, des Pieces op.9, des Deux bouquets de fleurs de 1935 et d’autres miniatures (Ostinato Fox, Fanfare festive). On decouvre aussi, grace a lui, deux pages majeures regorgeant d’énergie juvenile, d’idees fraiches et hardies : les quatre beaux Preludes d’avril op.13 (1937) et les Variations sur le carillon de l’eglise Saint-Etienne-du-Mont op.16 (1938), parfaite illustration du vocabulaire musical assez recherche de la jeune Tcheque, avec ses harmonies extremement originale.
From a review by Patrick Szersnovicz for Diapason, May 2017.

Muses Trio: The Spirit and the Maiden. Christa Powell, violin; Louise King, cello; Therese Milanovic, piano. Published by Muses Trio; Australian Music Center, 2760 (2016).
The Muses Trio conceived of and recorded a CD which contains some of the most rare and beautiful compositions in the repertoire. Rather than a haphazard sampling of the works of eminent women composers, this eclectic and extraordinary assemblage of compositions shares the governing premise of aestheticism by engendering beauty and impacting the senses, the intellect, and the emotions of the audience. […] As the final member of the historical vanguard of women composers included on this CD, Vitezslava Kapralova’s Elegie for violin a piano reflects the Zeitgeist of her times. Written in Paris a year and a half before her untimely death, Elegie exemplified the impending horror that would engulf Europe through the somber melody, the cultural musical language, and the dissonant harmonic material occurring in the piano. […] The quality of the performances of the Muses Trio throughout speaks to their ability to seemingly effortlessly access an extensive range of emotions and technique.
From a review by Kimberly Green for the IAWM Journal 23, No. 1 (2017): 30-31.

Vitezslava Kapralova. Complete piano music. Giorgio Koukl (piano). Grand Piano GP708
Sous les doigts du pianiste tcheque Giorgio Koukl (eleve de Fevrier, Neuhaus et Firkusny), cette musique temoigne d’un evident interet pour les heritages de Janacek, Martinu, les inflexions tcheques, les recherches formelles de Bartok, mais aussi de la claire vision futuriste de Kapralova qui, aurait-elle vecu, serait devenue sans aucun doute possible l’une des plus considerables figures musicales de son temps. Une bonne partie de ces enregistrements sont des premieres discographiques mondiales.
From a review by -SM- for Qobuz.com, May 2017.

Vitezslava Kapralova: Integrale dei brani per pianoforte solo
Un recente cd pubblicato dalla Grand Piano (etichetta nata nel 2012 in seno alla Naxos e distribuita in Italia da Ducale Music) ci permette di parlare nuovamente di Vitezslava Kapralova (1915-1940). Il disco, patrocinato dalla Kaprálová Society, ed affidato all’interpretazione di Giorgio Koukl, comprende l’integrale dei brani per pianoforte solo della compositrice ceca e si apre con la Sonata Appassionata, op. 6 (1933), scritta quando aveva solo diciotto anni e studiava al Conservatorio di Brno, sua citta natale. I successivi Preludio e Canone cancrizzante, dai Tre pezzi per pianoforte, op. 9, cosi come la Passacaglia, furono composti nel 1935 a Praga, dove la Kapralova era giunta per perfezionarsi con Novak, e si focalizzano su alcune forme classiche del passato, rivisitate in un’ottica moderna. Breve passo indietro con le Cinque composizioni per pianoforte (1931-32) denotanti un’impressionante maturita, se si pensa che furono create fra i 16 ed i 17 anni. Esse ebbero un destino diverso, in quanto le prime quattro furono orchestrate tre anni dopo e racchiuse nella Suite en miniature, op. 1, mentre la conclusiva divenne un pezzo a sé stante, sempre per pianoforte, intitolato Marcia funebre, op. 2. Al periodo praghese risale anche Dubnova Preludia (Preludi d’aprile), op. 13, datato 1937, che non solo rappresenta uno degli apici della produzione della Kapralova, ma risulta anche il suo pezzo piu eseguito ed inciso. Le Variazioni sul carillon della chiesa di Saint-Etienne-du-Mont, op. 16 (1938) appartengono invece agli ultimi anni, quelli parigini, durante i quali l’autrice incontrò prestigiose personalità artistiche, che contribuirono a consolidare e perfezionare il suo stile. La parte conclusiva del cd e rivolta a composizioni brevissime quali Pisnicka (Canzoncina, 1936) e, in prima registrazione mondiale, la Danza per pianoforte, op. 23 (1940) ricostruita da Koukl a partire da un manoscritto originale, Dve kyticky (Due bouquet di fiori, 1935), Ostinato Fox (1937) e Slavnostni Fanfara (Fanfara festiva, 1940). Riguardo all’esecuzione, il pianista, clavicembalista e compositore praghese Giorgio Koukl si conferma interprete rigoroso e di elevato spessore, che esalta una serie di brani di grande interesse e talora molto complessi. In conclusione un disco che contribuisce ad evidenziare il fondamentale contributo della Kapralova alla musica europea del Novecento, nonostante la sua brevissima parabola terrena.
Review by Marco del Vaglio for Critica Classica, April 14, 2017. Reprinted by permission.

Vitezslava Kapralova. Complete piano music. Giorgio Koukl (piano). Grand Piano GP708
Joy unconfined: there have been quite a few samples of Kapralova's piano pieces before but a complete collection such as this is of inestimable value. From Kapralova's early Five PIano Pieces through to final Dance for Piano, reconstructed by Mr. Koukl, we can now hear how Kapralova, starting from an astonishingly high level of creation, developed as a composer in a brief time, and one gains a hint of the direction of travel that would have confirmed her as one of the century's leading composers and performers. [...] My suspicion is that other labels will take up a similar programme and that can only be to the benefit of Kapralova's reception worldwide. As for this CD, it is up to the permanent high standards of the Grand Piano label and the performances and interpretations are exemplary.
From a review by Peter Herbert for The Dvorak Society Newsletter, April 2017.

KAPRALOVA. Complete piano music. Giorgio Koukl (piano). Grand Piano GP708 65:27 mins/
Giorgio Koukl's survey of her complete solo piano music spans the years 1933 to 1940 and includes world premiere recordings, among them her final piano work, an unpublished Dance reconstructed by Koukl; intriguingly, it seems to pre-echo the spirit of Martinu's Etudes and Polkas. The masterpieces here are the April Preludes and Variations sur le Carillon de l'eglise St. Etienne-du-Mont, but it is good to hear them in context of works all reflecting Kapralova's early emotional and pianistic maturity.
From a review by John Allison for BBC Music Magazine, April 2017.

Vitezslava Kapralova. Complete piano music, Giorgio Koukl.
There is a good deal to absorb in the 65 minute playing time of this CD of eleven works, four never before heard in recorded form, ranging from 1931-32 when she was but 16-17 years old, to some of her very last works of 1938-40. There is some connection to Janacek to be heard, though never in some obvious way. Indeed, her father Vaclav Kapral was a pupil of the master composer. But in the end, this is, in its finest moments (and there are many), irredeemably Kapralovian - a young talent following her own muse. Some 77 years after her death we can still feel the musical pulse quickening in her aural self. Eerie, tragic, but triumphant for what little chance she had to give us her musical vision and what she left for us to contemplate. Appreciate that we are here to experience her music now. Not every life is long!
From a review by Grego Applegate Edwards for Gapplegate Classical Modern Music Review, March 30, 2017.

Vitezslava Kapralova “Complete piano music”. Giorgio Koukl, piano. (Grand Piano/Naxos)
Flera av verken är sedan tidigare inspelade. Hennes mest kända stycke ”Aprilpreludier” (“Dubnova preludia”) finns till exempel med på Bengt Forsbergs utmärkta album ”Neglected works for piano” från i fjol med flera andra förbisedda tonsättare. Men ingen sammanställning är lika heltäckande som Koukls och eftersom pianot är så centralt i Kapralovas komponerande är ”Complete piano music” samtidigt en ypperlig introduktion. En sprudlande kraft som gör att Kapralovas musik sköljer över en och sveper en med sig, obeveklig som en vårflod. […] Under efterkrigstiden föll hon i glömska, men de senaste decennierna har intresset för Kapralovas musik vaknat. Kanske delvis tack vare makens memoarer från 1988. I dag arbetar The Kapralova Society i Kanada aktivt för att lyfta fram hennes musik.
From a review by Johanna Paulsson for Dagens Nyheter, March 10, 2017.

"Petit soleil" musical
La premiere fois que j’ai retenu le nom de Vitezslava Kapralova (Brno, 1915 ; Montpellier, 1940), c’etait en lisant le roman Le palais de verre de Simon Mawer, même si ce nom, je l’avais deja rencontre en suivant des emissions consacrees sur France Musique par la regrettee Mildred Clary a la vie de Bohuslav Martinu.
Celle que sa mere devait surnommer “slunicko“ (“petit soleil“) composait a neuf ans sa premiere melodie intitulee “Du domaine des fables “. Son pere, Vaclav Kapral, egalement compositeur, avait ete l’eleve de Leos Janacek puis de Vitezslav Novak a Prague. Elle devait etudier la direction avec Vaclav Talich (se plaignant qu’on ne voyait guere le Maitre), connaitre un succes international (l’execution a Londres en 1938, par l’orchestre de la BBC place sous sa direction, de sa Sinfonietta Militaire op. 11: les femmes chefs d'orchestre ne couraient pas les rues alors, moins encore qu'aujourd'hui), venir etudier a Paris avec une bourse du gouvernement français, se lier avec Martinu qu’elle avait rencontre a Prague, se marier avec Jiri Mucha qu’elle avait rencontre a Saint-Germain-des-Pres, et mourir de maladie le 16 juin 40, en pleine debacle.
Voici l’integrale de sa musique pour piano seul sous les doigts de Giorgio Koukl, un eleve de Rudolf Firkusny (lequel appreciait la compositrice, tout comme Rafael Kubelik); en particulier Les Cinq compositions (1931-32), La brillante Sonate appassionata op. 6 (1933), en deux mouvements, qui ouvre le disque, Les Preludes d’Avril (1937) dedies a Firkusny, Les Variations sur le carillon de l’Eglise Saint-Etienne du Mont op. 16 (1938), et La Danse pour piano (1940, reconstruite par Girgio Koukl). Des les cinq compositions (et le memorable “comme une Marche funebre“ qui les conclut, que Kapralova devait ensuite orchestrer comme son op. 2), des la Sonate Appassionata, des le second theme attachant de son premier mouvement, et les variations si spirituelles du second, Kapralova devait trouver la voie d’une musique peu orthodoxe et tout a fait personnelle, une musique qui semble l’echo d’un temps ou on cherchait la liberte en toute chose et ou on honorait l’insouciance (pour les dernieres œuvres, c’est pourtant celui des accords de Munich). Post-debussyste, ni tout a fait Janacek ni tout a fait Martinu, negation en acte de l’esprit de pesanteur, la musique de Kapralova (que Martinu appelait “chansonnette“), jamais triviale, possede un charme indeniable et elle met aisement l’auditeur dans sa poche. On devrait jouer plus souvent a Paris celle qui y a vecu les deux annees les plus fecondes de sa breve existence.
PS. Lire sur Forum Opera de Nicolas Derny “Vitezslava Kapralova, portrait amoureux et musical“.
Review by Denis Urval for amazon.fr, March 6, 2017.

Vítezslava KAPRÁLOVÁ (1915-1940). Complete Piano Music
This disc was a revelation, illuminating as it does an amazing and surprising talent that burned for an altogether too brief period between the two world wars [...] brought to life with exciting clarity by Giorgio Koukl who always delivers performances designed to champion whichever composer he has turned his attention to. This is a fabulous, thoroughly enjoyable and fascinating disc of truly inspirational music and considerable thanks are due to the hard work of Karla Hartl and her organisation The Kapralova Society (www.kapralova.org) for collecting together and publishing her music and generally ensuring she becomes as well known as she deserves to be. The website is well worth checking out for a complete discography of Kapralova’s works.
From a review by Steve Arloff for MusicWeb International, March 1, 2017.

Norman Lebrecht’s Album of the Week – Kapralova piano music.
Don’t look away just because the composer’s name is unfamiliar and has too many syllables. Kapralova (1915-1940) is a vital link in Czech music. [...] Kapralova’s expression is uniquely her own, inflected with hints of Debussy and Berg but original, vivacious and captivating.
From a review by Norman Lebrecht for Open Letters Monthly - an Arts and Literature Review, February 10, 2017.

Lebrecht Weekly – Complete piano music of Vitezslava Kapralova is compelling listening
Daughter of a Leos Janacek student and herself the secret lover of Bohuslav Martinu, Kapralova flowered in France and Britain in the last years before the Second World War. In addition to composing she was an active conductor, the first woman to raise a baton on BBC television – unscreened, in an experimental studio – and she was widely praised at a London international festival of contemporary music. [...] Her piano masterpiece dates from 1937 and is dedicated to the pianist Rudolf Firkusny, who had introduced her to Martinu. Dubnova Preludia (April preludes) calls to mind the Slavonic fixation with climate, from Tchaikovsky’s Seasons to Janacek’s In the Mists, with a touch of April in Paris. Kapralova’s expression is uniquely her own, inflected with hints of Debussy and Berg but original, vivacious and captivating. Just nine minutes long, it gives the strongest possible indication of her untapped potential.
From a review by Norman Lebrecht for La Scena Musicale, February 10, 2017.

Lebrecht Listens: The Chronicles of Vitezslava Kapralova
Kapralova’s expression is uniquely her own, inflected with hints of Debussy and Berg but original, vivacious and captivating. [...] With Kapralova’s tragic death and her country’s totalitarian subjugation, Czech music went flat for a very long time. Giorgio Koukl’s chronicle of her life at the piano provides compelling listening.
From a review by Norman Lebrecht for Musical Toronto, February 10, 2017.

The Female Janacek
There are too few recordings of Kapralova's music and almost none currently in print. Good luck finding a copy of her piano and chamber music on Koch and her Piano Concerto in D minor. Vitezslava Kapralova (1915-1940) is slowly being recognized as an important Czech modernist and woman-composer of distinction. Martinu, her one-time teacher and lover, held her in great esteem and remarked, "rarely have I had the opportunity to encounter such genuine talent..." Despite her studies with Martinu and before that Novak, neither seems to have been the principal force that shaped her tonal language and expressive predilections. I don't hear the spirit of Martinu in her work, but rather a post-Romantic style absorbing French impressionism and modern Slavic influences. The Sonata Appassionata op. 6 (1933) is a thunderous curtain-opener and astonishing feat by an 18-year-old. It certainly lives up to its title, as it overflows with youthful passion and intensity. The opening "Maestoso" explodes with heroic grandeur and sonorous piano writing, buttressed by thick brawny chords and sharp dissonance. After this heated powerhouse, the second movement—a theme and variations—is relaxed and crepuscular, featuring a sweetly insouciant theme and variations lingering in a gentler intimate world with none of the vehemence of the previous movement. The final variation is an outstanding and magisterial fugue that has much in common with Myaskovsky's dissonant counterpoint and severity of mood. Three Piano Pieces op. 9 (1935) are excellent, with an impetuous "Praeludium" sounding like French impressionism in the doldrums, while the "Crab Canon" is stern and dwells in the lower registers with an emphatic bass line. Grotesque Passacaglia (1935) manages to be equally creepy and sardonic, owing to its menacing rhythmic figures and violent energy. The Five Piano Compositions (1931-32) are student works, tonal, and generally short enough to be aphorisms. The first "Maestoso" brushes shoulders with early Scriabin, while the last "Alla marcia funebre" is a significant piece: impassioned, full-blooded, and donning a wistful march theme of memorable character. Kapralova may earn a place in the keyboard literature for her April Preludes (1937). There's a maturity and tonal advancement in them that goes beyond vanilla modernism. For example, the "Andante" is a blend of mysterious sonorities out of the Russian Silver Age, coupled with the austerity of Ruth Crawford-Seeger and Messiaen birdsong. Apart from its suave French colors, the "Allegro ma non troppo" seems to bubble with agitation, while the impressionist-tinged "Vivo" is a bright and extroverted affair. Variations sur le carillon de l'eglise St-Etienne du Mont op. 16 (1938) is a short work of its kind at only 8 minutes. A dreamy theme is treated to variations of brittle Stravinskyan rhythms, glittering and brilliant figurations, tender Romanticism, and quietly dignified counterpoint. The final variation is the most dramatic and lively, ending abruptly without tonal resolution, as if with a question mark. The remaining pieces are ephemera; short and light, but necessary filler in a complete piano music volume on one disc. Giorgio Koukl, a seasoned pianist and champion of Martinu's piano works, is the perfect choice for a Kapralova recital. He has the intuitive sensitivity, attention to color, interpretative wisdom, and dynamic control for this particular stripe of early 20th-century piano music.
From a review by “Hexameron” for amazon.com

Vitezslava KAPRALOVA (1915–1940). Complete Piano Music. GRAND PIANO GP708.
All in all, this is a thoroughly fascinating disc and a great introduction to a composer who definitely deserves to be better known.
From a review by Lynn René Bayley for artmusiclounge, February 4, 2017.

Vitezslava KAPRALOVA (1915–1940). Complete Piano Music. GRAND PIANO GP708.
The results in this first account of Kapralova's complete piano music are stirringly impressive; not that this composer is a completely unknown quantity. Her music has been promoted with inspiring strength by the Kapralova Society. […] All of the music here, which dates from the 1930s, has a lofty romantic complexity that avoids harshness or extreme dissonance. There are dissonances but they are subtle - piquant rather than bleak. Despite the complexity there is no sense of obfuscation. Communication is what the composer clearly intended and achieves. The music - always full of character and radiating maturity - will speak without undue tribulation to anyone who enjoys the piano music of John Ireland, Herbert Howells, William Baines or Arnold Bax. The valuable booklet note in English and French is an exemplar of highly competent design. The author is Karla Hartl of the Kapralova Society. Hartl has worked and continues to work tirelessly for Kapralova's deserving music. Grand Piano have chosen well again with the technical and artistic aspects immaculately handled.
From a review by Rob Barnett for MusicWeb International, February 2, 2017.

KAPRALOVA, V.: Piano Music (Complete) (Koukl)
The death in 1940 at the age of twenty-five, of the Czech-born, Vitezslava Kapralova, took from the world one of its most interesting and talented emerging composers.
From a review by David Denton for David's Review Corner @ naxos.com, February 2017.

Crescendo of quality in Amazon's 'Mozart.'
[...] And not just classical music, either; 'Mozart' is not elitist. There's rock, experimental music, jazz, punk and, in the third season, a wonderful introduction to the career of Vitezslava Kapralova, a gifted and prolific composer who conducted both the Czech Philharmonic and the BBC Symphony Orchestra during her brief life. The samples of her music performed by Haileys' friend Lizzie (Hannah Dunne) effectively whet the appetite to hear more.
From a review by David Wiegand for San Francisco Chronicle Late Edition, December 6, 2016.

Still available on iTunes! The Music of Vitezslava Kapralova. Stephanie Chase, Virginia Eskin. Koch Records KIC-CD-7742 (2008).
This glorious music from one of the greatest 20th century composers is exquisitely played by Eskin and Chase. Recorded in 2007 at the Performing Arts Center with support from the Kapralova Society this album is excellently engineered and sounds wonderful. Although the CD is out of print, you can still download the album in M4a format from iTunes for $9.99. Even if you prefer lossless, you should make an exception in this case. No one should miss this joyous testament to a true genius!
From a review by a pseudonym for amazon.com, September 3, 2016.

Neglected Works for Piano. Bengt Forsberg, piano. dB PRODUCTIONS DBCD170.
Bengt Forsberg, best known outside Sweden as Anne Sophie von Otter’s accompanist, is a fine pianist of wide-ranging curiosity. […] The music covers a wide range, with compositions written between 1889 and 1955, a period of great stylistic variety. The pieces reflect this diversity, albeit usually within a relatively conservative aesthetic. There are eight composers of six nationalities, with two Swedish, two American, and Czech, British, French, and Polish musicians. Vitezslava Kapralova was a Bohuslav Martinu pupil. These four April Preludes were dedicated to Rudolf Firkusny, and show a strong Czech national element. Kapralova seems a distinctive voice, with a playful touch that stands out in a collection of mostly serious music. Moods change rapidly even within these short movements. The limpid andante, for instance, ends with an unexpected bit of flash. The final movement has a mocking undertone. […] Forsberg’s performances are immaculate. This bundle of unexpected pleasures is presented in first class recorded sound, with notes by Forsberg that are informative and sometimes wry.
From a review by Richard Kraus for MusicWeb International, August 2016.

Bengt Forsberg: Neglected Works for Piano. DB Productions (2016).
‘Neglected Works for Piano’ is all that the front of Bengt Forsberg’s new CD reveals. The fact that they’re all women composers, of varying degrees of obscurity, only becomes plain from the tracklist – a gratifyingly understated approach in an age obsessed with positive-discrimination box-ticking. […] We begin with Vitezslava Kapralova, one of the great ‘what ifs’, who died in 1940 at just 25 from TB. She was a pupil of Martinu and shares his rhythmic verve in the four April Preludes. What’s also striking is her sureness of voice, the pieces by turn folk-imbued, punchy and wistful, ending with a rhythmically inventive, incisive Vivo. […] With a recording as fine as the pianism, this is a terrific disc, heartily recommended.
From a review by Harriet Smith for Gramophone, June 2016.

New Life for Musical Scores on Dusty Shelves. Bengt Forsberg: Neglected Works for Piano. DB Productions (2016).
Are these trivial works, or is it because they were composed by women? Marketing is important in art as in retail, and women composers until recently have had social obstacles in attaining recognition. Let the listener decide from this album of largely ignored works performed by Swedish pianist Bengt Forsberg. Three composers on this album are somewhat familiar: Germaine Tailleferre (1892-1983), the lone woman of Le Six (the others being Milhaud, Poulenc, Honegger, Auric, and Durey); Doreen Carwithen (1922-2003), who wrote chamber music, some orchestral pieces including a piano concerto, and much music for film, and also was the wife of composer William Alwyn; and Pete Seeger's stepmother Ruth Crawford Seeger (1901-1953), who favored ultra-modernism. The other neglected composers here are the Czech Vitezslava Kapralova (1915-1940), whose life was cut short at age 25 but managed to score some 50 pieces; the prolific American Amy Beach (1867-1944), with over 300 works often of global ethnic influence; the Swede Valborg Aulin (1860-1928), known for her string quartets; fellow Swede Ruth Almén (1870-1945), a poet who taught children besides writing romantic chamber works; and Grazyna Bacewicz (1909-1969), who was a violinist and composer influenced by her Polish folk music. The piano was recorded at low volume and at a distance; the sound, while distinct, is somewhat thin and treble. This caveat aside, the variety of short pieces, sonatinas and preludes, is interesting; indeed, the listener may be surprised at the admirable quality of composition. Our particular tastes in classical music may influence our judgment, but in our enlightened age, it is good to dust off these scores for unbiased reconsideration.
A review by Debra Jan Bibel for amazon.com, June 11, 2016.

Duo Levicek – pohlazeni na dobrou noc. 1. cervna 2016 sal Martinu Lichtenstejnskeho palace Praha.
Poradat koncert v pul desate vecer muze byt pro nekoho ponekud odrazujici. Nicmene, servirovana kombinace mi prisla nesmirne zajimava. Senzacni jazzovy pianista Jiri Levicek, hrajici „klasicky“ repertoar se svou zenou mezzosopranistkou s americkymi koreny, Chaazi Levicek. Pokusim se opet nastinit ojedinelou atmosferu jednoho z koncertu cyklu Prazskeho jara. [...] Cyklus Jablko z klina Vitezslavy „Vitulky“ Kapralove me dostal. Uzasnymi harmoniemi, poeticnosti i pres svuj moderni jazyk, zivymi obrazy, vyvstavajicimi prede mnou. Asi to bude i tim Seifertem. Pisen na vrbovou pistalku, Ukolebavka, Bezvetri, Jarni pout a znama Nezvalova Sbohem a satecek spojuji nadcasove pravdy, zkusenosti, milostne prozitky, pomijivost lasky, prijmuti a krehkost zivota. Naplno se zde projevila ona atmosfera vecera, kterou jsem v uvodu nastinila. Nevím, nakolik volnou ruku meli interpreti pri vyberu skladeb, nicmene bylo citit a slyset, že jsou to pro ne srdecni, osobni zalezitosti. Chaazi se s Necechy obavanou cestinou poprala skvele...
From a review by Kristyna Farac for Opera Plus, June 2, 2016.

A Celebration of Women in Music!
There are multiple reasons to want this recording. The outstanding pianist is reason number one. The eight women composers inspired Bengt Forsberg sufficiently enough to create this unusual CD. One must trust his judgment! I did, and I’m happy to encourage other listeners to follow me.
A review by Bess Holloway for ArkivMusic, May 27, 2016.

Vitezslava Kapralova: Povidky male fletny. Amos Editio 2014.
Vitezslava Kapralova se i pres svuj kratky zivot dokazala vyznamne zapsat mezi osobnosti nasi hudby mezivalecneho obdobi. Diky spolupraci kanadske hudebni spolecnosti The Kapralova Society a nakladatelstvi Amos Editio je dilo teto pozoruhodne skladatelky postupne zpristupnovano v kritickych edicich. ... Kapralova Povidky zamyslela jako trivety cyklus, z nehoz vsak dokoncila pouze dve casti. ... Prvni veta, nesouci se ve volnem tempu a melodickem charakteru, vyuziva rozsah sopranove zobcove fletny pomerne siroce od d' do c'''. Je z toho mozno soudit, ze v dobe, kdy zobcova fletna byla v instrumentari 20. stoleti pomerne cerstvym nastrojem a hudebni skladatele s ni nemeli jeste mnoho zkusenosti, Kapralova k partu pristupovala spise jako k pricne fletne. Napovidalo by tomu i nezvykle oznaceni tohoto instrumentalniho hlasu jako "Quasi flauto". Klavir je prokomponovan pomerne bohate a prozrazuje, ze v tomto pripade se autorka pohybovala na zname pude. Ve druhe vete si u fletnoveho partu Kapralova oproti predchozi casti vystacila s mnohem mensim rozsahem od e' do e'' (respektive fis'' v trylku). Neni bohuzel znamo, co tento nepomer zpusobilo, nicmene je mozne, ze prvni skladba byla pro Jiriho Muchu prilis narocna a Kapralova tedy ztratila nadseni k dokonceni cyklu, druhou vetu napsala mnohem jednodussi a na treti jiz vubec nezacala pracovat. Navzdory tomu jsou Povidky jedinecnymi a interpretacne osobitymi drobnostmi, ktere predstavuji zrejme nejstarsi kompozicni dilo ceskych hudebnich skladatelu 20. stoleti jez je venovano zobcove fletne.
From a review by Lukas Vytlacil for Harmonie 4 (2016).

Bengt Forsberg lyfter fram stora tonsättare utan att göra stor affär av deras kön. Neglected works for piano. DB Productions.
Detta är den enkla titeln på en av vårens viktigaste skivor. Här spelar pianisten Bengt Forsberg musik av Vítezslava Kaprálová, Amy Beach, Doreen Carwithen, Valborg Aulin, Ruth Almén, Grazyna Bacewicz, Germaine Tailleferre och Ruth Crawford Seeger. Alla är kvinnor, ja, men titeln uppmanar lyssnaren att i första hand betrakta skivan som en samling med god musik som få har hört, inte som en presentation av kvinnliga tonsättare. Det är en bra inställning, och den håller.
From a review by Tobias Lund for Sydsvenskan, March 8, updated March 12, 2016.

Bengt Forsberg - Neglected Works for Piano. DB Productions (2016).
Bengt Forsbergs album där han låter åtta kvinnliga tonsättare, med starka egna röster, träda fram ur den bakgrund som historien tilldelat dem. Av vilka profiler som Grazyna Bacewicz, Doreen Carwithen och Germaine Tailleferre tillhör de minst förbigångna. Överraskningarna blir därför flera. Som den avantgardistiska mystiken hos Ruth Crawford Seeger (styvmamma till Pete), den underbara otåligheten hos den unga Vítezslava Kaprálová och det djärvt storslagna hos lärarinnan, poeten och barnboksförfattaren Ruth Almén. Bästa spår: ”April Preludes Op 13”.
From a review by Martin Nyström for Dagens Nyheter, March 16, 2016.

Vitezslava Kapralova: Dopisy domu. Korespondence rodicum z let 1935-1940. Vydano ke stemu vyroci skladatelcina narozeni. Edici pripravila Karla Hartl. The Kapralova Society, Toronto 2015. ISBN 978-0-9940425-0-7, 312 stran a 50 ilustraci.
Vitezslava Kapralova predstavuje osobnost, jejiz kratky zivot a pozoruhodna kompozicni tvorba stale znovu vzbuzuji pozornost autoru, kteri se k ni obraceji bud se zajmem odbornym (jen na JAMU uz bylo o ni napsano osm diplomovych a jedna disertacni prace!), nebo se zajmem vychazejicim z pozadavku beletrie. Nejnovejsi kniha venovana Kapralove vysla ke stemu vyroci skladatelcina narozeni, ne vsak u nas, nybrz v dalekem kanadskem Torontu a neni urcovana ani hlediskem ciste odbornym ani beletristickym. Nese nazev Dopisy domu a je prvnim soubornym vydanim skladatelciny korespondence rodicum z poslednich peti let jejiho zivota.
Editorkou knihy je Karla Hartl, predsedkyne a spiritus movens kanadske spolecnosti The Kapralova Society. Za praci na knize i konecny vysledek zaslouzi hluboky obdiv a uznani, a to z vice duvodu. V prve rade proto, ze se ji podarilo shromazdit vsechny dopisy, jez psala Kapralova v dobe studii v Praze a pozdeji ve Francii svym rodicum. Tyto dopisy existuji totiz az na jedinou vyjimku pouze v soukromych archivech! Dalsi duvodem k vysloveni uznani je vlastni cinnost editorska, zahrnujici desifraci a pripadne i nutnou upravu textu a predevsim doplneni vykladovymi poznamkami. Ty jsou pozoruhodne kompletni, coz vyzadovalo praci leckdy az detektivni pri zjistovani dat a programu koncertu, overovani udaju v tisku nebo zjistovani dobovych nazvu ulic a instituci apod. Kapralova psala sve dopisy s temer zeleznou pravidelnosti, ponevadz jeji rodice jakekoliv zdrzeni tezce nesli a ona jim nechtela zpusobovat starosti. Kniha tedy obsahuje 196 dopisu. Jsou vetsinou obsahle, takze mame diky nim moznost seznamit se s Vitulcinymi aktivitami mnohdy temer hodinu po hodine a poznat zpusob jejiho mysleni, jeji nazory na spolecnost, na lidi, s nimiz se poznala. Byla mezi nimi rada znamych osobnosti vcetne prezidenta Benese, jehoz Kapralova popisuje s velkymi sympatiemi smisenymi s trochou selmovstvi pote, co si „kapli do noty“ pri oficialnim jednani o prestavce koncertu. Z hudebni sfery ci kulturni oblasti bylo techto osobnosti jeste mnohem vice a vesmes se jednalo o spickove predstavitele toho ktereho oboru; Karla Hartl je vsechny v predmluve ke sve knize vyjmenovala a dospela pritom k cislu 66! Vitulciny dopisy rodicum jsou velmi vyznamnym dokumentem, v nemz se zraci skladatelcin vyvoj osobni i tvurci a zrani jeji osobnosti. Napriklad jeden z dopisu predstavuje Vitulku uvedomujici si kulturni bohatstvi sve vlasti („Prekrasne Ceskoslovensko po vsech strankach, od Tri Studni az po Talicha!“ str. 114), v dalsim si ctenar uvedomi hloubku jejiho filozofickeho mysleni v souvislosti s tim, jak se Vitulka snazi uklidnovat matku a odvest ji od tryznivych metafyzickych uvah (str. 134) a zase v dalsim dopise resi pisatelka ambivalentni vztah se svym otcem, ktery ji na jedne strane byl starostlivym pomocnikem a ochrancem, ale na druhe strane striktnim vymahatelem „poradku“ podle svych predstav (str.165). Oproti temto lidsky velmi hlubokym dopisum se ctenar v jinych pripadech i trochu pobavi odhalenim faktu, ze Vitulka nebyla ochotna si overovat spravne zpusoby psani zejmena jmen a nazvu, takze se jeji dopisy hemzi chybami: tak zasadne pise Honneger misto Honegger, Hindemit misto Hindemith, u Martinu Riccerkari a Julliette (misto Ricercari, Juliette) a plete se dokonce v nazvu sve vlastni skladby, kdyz pise Variace na zvony kostela St. Etien du Mont (namisto St. Etienne).
Vztahu Vitezslavy Kapralove k muzum byla uz venovana nejedna publikace (jmenujme alespon Muchovy Podivne lasky a Uhrovu knihu Ona a Martinu). A prave delikatnost techto vztahu, ktere by se mohly pri nesetrnem pristupu stat soustem pro bulvar, primela Karlu Hartl k vysostne etickemu rozhodnuti vydat tuto knihu pouze v omezenem mnozstvi 35 (slovy: triceti peti!) vytisku a venovat ji povetsinou jen odbornym knihovnam. Budiz ji za to vysloven hluboky obdiv a neskonaly dik! Kniha vychazejici v elegantnim cernobilem provedeni (graficka uprava Lukas Hytha) a prikladna po odborne i jazykove strance je ozdobou a jednoznacnym obohacenim literatury o skladatelce Vitezslave Kapralove.
Review by Jindra Bartova for Hudebni rozhledy 3/2016.

Vitezslava Kapralova in ihrer und unserer Zeit – zu Einfluss und Rezeption ihres Schaffens. Kapralova Symposium Basel, November 27-28, 2015.
The penultimate event for the day was a public concert presented by Alice Rajnohová (piano) and Olga Pavlu (vocalist). The program was well-chosen to present a cross-section of some of Kapralova’s best works: for piano—the Variations sur le Carillon de l’Eglise St-Etienne du Mont, op. 16; April Preludes, op. 13, and to conclude the concert, the Sonata Appassionata, op. 6, complemented within by Kapral’s Sonata for piano, No. 3 and Martinu’s Three Czech Dances. The vocal portion of the program featured Zpivano do dalky / Sung into the distance, op. 22 and her most well-known Sbohem a satecek / Waving Farewell, op. 14. In a word, the entire concert was: STUNNING.
From a conference report by Judith Mabary, Kapralova Society Journal 14, no. 1 (Spring 2016): 9-10.

NAVRCHOLU.cz