Hans Krása: Ouvertura for small orchestra
Hans Krása is one of the most famous martyrs of the Nazi fury, among musicians from the Czech-Jewish background. His compositional work is by no means extensive, partly due to his premature death, and secondly, because he probably composed only for his inner need, not to make a living with his compositions. Overture for small orchestra was written by Krása in 1943–1944 in Terezín and is one of his last compositions. It was first performed in 1993 in Jerusalem.
Erwin Schulhoff: Concerto Doppio
The double concerto for flute, piano, string orchestra and two French horns, a composition from the composer's zenith, was first performed in 1927 at the New German Theater under the direction of H. W. Steinberg, the flute was played by René Le Roy, the composer himself played the piano.
As a pianist and composer, the Prague native from the Jewish-German family, was approached not only by classics such as Schumann or Liszt, but also by Strauss, Debussy, Berg, jazz and Janáček.
Jaroslav Pelikán: Concerto for French horn and orchestra
"I wrote the song in a few days (and even at night ...) during January 2014 as a birthday present," says Jaroslav Pelikán. "The reason was the 50th Birthday of my close friend, the excellent horn player Stanislav Schulz, who worked in Brazil. He didn't manage to present my song in Brazil, because in the same year, unfortunately, he suffered a stroke and he no longer plays the horn. The concert is unique, relatively dramatic.
Jaroslav Pelikán: Confessiones
a chamber cantata for choir, strings, flute, guitar and organ to the text of St. Augustine was composed for order, but the biggest inspiration was my daughter and her translation of the introductory chapter of the Latin book Confession. The composition was created during early 2017 Spring walks in nature and in the same year in June I also performed it with friends at Sv. Jan pod Skalou. It has been played many times since then, also by amateurs musicians for whom I wrote the song primarily. I have a long-term goal - to compose sacred music accessible both expressively and technically for non-professional musicians, without having to 'simplify' my musical language unnecessarily.