Radek Baborák News
Czech hornist
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2024-04-25
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2024-01-31 10:23:00
Salzburg Mozartwoche (4) - Baborák Ensemble: Mozart, Reicha, and Michael Haydn, 29 January 2024
Grosser Saal, MozarteumMozart, arr. Radek Baborák: Horn Concerto no.4 in E-flat major, KV 495 Anton Reicha: Quintet for horn, string quartet, and double bass in E major, op.106 Michael Haydn: Horn Concerto in D major, MH 134: ‘Larghetto’ and Allegro ma non troppo’ Mozart, completed Süssmayr (ed. Baborák): Rondo for horn quintet in D major, KV 514 Mozart: Horn Quintet in E-flat major, KV 407 Radek Baborák (horn)Milan Al-Ashhab, (violin)Martina Bačová (violin, viola)Karel Untermüller (viola)Hana Baboráková (cello)David Pavelka (double bass)Image: Wolfgang Lienbacher Not very often does one have opportunity to hear a chamber concert led by a horn player. Still less will it be by one of the distinction of Radek Baborák. Still less than that will the rest of the ensemble be of the distinction of the players Baborák brought together for this, the fourth of my Mozartwoche performances this year. Mixing the familiar and the considerably less so, […]
2021-07-16 03:17:57
Radek Baborák has signed a four-year contract with the Mariánské Lázně-based ensemble, who are also celebrating their 200th anniversary this year. Baborák's conducting career began when he was on tour with the Mito Chamber Orchestra, and members of the orchestra asked him to stand in for an unwell Seiji Ozawa. Since then, Baborák has been […] The post appeared first on The World's Leading Classical Music News Source. Est 2009..
2020-02-09 15:45:00
[…] one were listening to a concerto, that is Beethoven’s doing, no quirk of performance. I have sometimes heard disparaging remarks about the Horn Sonata, op.17. I genuinely cannot understand why; it is a gem, always meriting performance, especially one so refreshing as this. The vigorous approach presented by Mustonen and José Vicente Castelló offered proved quite different from that in a more Mozartian performance I heard last year from Daniel Barenboim and Radek Baborák. It was certainly an account to take no prisoners, more aggressive in the pianism, but with greater precision too. Boldness of contrasts in all three movements suggested once more a commendable seriousness of purpose, however early or allegedly ‘slight’ – it is not – the work may be. The Septet is a glorious and gloriously unqualified masterpiece: so it sounded here, although the first movement did not quite catch fire for me […]
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