VILÉM BLODEK: FLUTE CONCERTO D MAJOR, SYMPHONY D MINOR

Karl-Heinz Schűtz: flute
L’Armonia Terena orchestra conducted by Zdeněk Klauda

Vilém Blodek: “Fly, my heart, to the land of Spring …”

The personality of Vilém Blodek (1834–1874) is known today almost exclusively among flutists. This is due to his brilliant Flute Concerto, which unquestionably stands out from the standard music of its time. The work is significant not only as one of the few early Romantic concertos for this instrument, but also because its scope and conception reveal the expertise of a virtuoso flutist. Blodek was deeply familiar with the full range of the flute's capabilities, showcasing it to its fullest while avoiding excessive physical demands on the soloist in the pursuit of compositional ambition. In short, it is an impressive concerto that, despite its virtuosity, surpasses the typical works of that era’s composer-virtuosos in its compositional depth.

Yet, to the broader public, the name of this Czech composer, flute virtuoso, and music educator has been almost forgotten. Even his once popular and frequently performed opera “V studni” ("In the Well") has faded over time. Due to the simplicity of its libretto and the overall naiveté of the piece, it has virtually disappeared from the repertoires of many opera houses, only occasionally appearing in student productions because of its accessibility both musically and vocally. Nevertheless, in his own time, Blodek was a widely performed and respected composer, largely due to his many stage works written for theatrical productions.

In an effort to honor the still somewhat hidden creative genius of Vilém Blodek, we present his grand “Symphony in D minor”, which confidently enters the realm of Romantic symphonism. This Symphony is a magnificent, expansive composition of extraordinary melodic beauty and accomplished craftsmanship. Particularly noteworthy is Blodek’s imaginative, colorful, and masterfully executed orchestration, in which he naturally emphasizes the woodwind harmony. Blodek's meticulous work with musical motifs and themes would not have been out of place even for composers like Felix Mendelssohn-Bartholdy or Robert Schumann. Blodek’s music is deeply emotional. It speaks directly to its performers and almost dictates the manner of its interpretation. One can hear clearly in his music the influence of his opera and theatrical experience. It has the rare quality of painting vivid images; it often feels as though it is telling a story or enhancing a theatrical or cinematic scene. Yet, it never falls into cheap descriptiveness, avoiding Romantic clichés such as frequent tremolos or broken, diminished chords. Drawing from the classical, Beethovenian tradition of thematic and motivic development, Blodek’s music delineates the contours of various musical landscapes. Through these contrasts, he effectively creates the dramaturgy of the entire work. The symphony moves from the darkly intense music in the home minor key, through winding paths, to the cathartic, victorious D major resolution in the final “Allegro”. In short, the journey of this symphony could be summed up with the Latin phrase "Per aspera ad astra" (through hardships to the stars). Yet, the composer himself provides us with a poetic clue, inscribed on the title page of the score, revealing what inspired him and what he sought to express through his music.

Another motivation for releasing this disc, which you are now holding in your hands, is the original version of the Flute Concerto in D major, presented here, newly revising the solo part and its original Romantic orchestration, thus receiving its world premiere. The only regret we must truly feel is that a nervous illness prematurely ended Blodek’s creative career, and subsequently, his life. It would have been immensely interesting to see where the talent of such an exceptional composer as Blodek would have taken him and what fruits his creative efforts would have borne. Nevertheless, Blodek remains one of the outstanding figures of his time, and this recording aims to complete another piece of the mosaic of Czech musical Romanticism, which would not be complete without him.  

Zdeněk Klauda

Vilém Blodek was born on October 3, 1834, in Prague. His father, Václav Plodek, an experienced tailor, came from the village of Javornice in the Podorlicko region near Rychnov, but later moved to Prague. In 1831, Václav began working for the New Town Institute of Noblewomen (Novoměstský ústav šlechtičen) and married Marie Tichá that same year. Vilém, baptized František Serafín Vilém (Franz Seraph Wilhelm), was their first child. Over the years, the family grew to include five more siblings - two brothers and three sisters.  

Blodek’s musical talent became evident in his early childhood and thanks to this, he was admitted, at the age of twelve, to the Prague Conservatory, where he studied flute with Antonín Eiser from 1846 to 1852. At that time, composition was not yet taught as a separate discipline, but Blodek nonetheless received foundational training in music theory, harmony, and counterpoint from Jan Bedřich Kittl, a prominent instructor at the conservatory. Unverified reports suggest that the young Blodek also studied piano privately with the renowned piano virtuoso Alexander Dreyschock.  

Blodek began composing during his years at the conservatory. His earliest known work, dated 1847, was the Sextet for Two Violins and Wind Instruments. In 1850, he wrote the grand Concert Overture in C major, and, the following year, composed the Grand Solo for the flute, his first piece to be assigned an opus number 1. Around the same time, he published the song, Die Kapelle, in the Prague magazine Erinnerungen, taking a poem penned by the German Romantic poet Ludwig Uhland and setting it to music.  

Finding work as a musician in the Czech lands was challenging for young artists, and many sought their first opportunities elsewhere within the Austrian Empire. Such was the case for Vilém Blodek, who in 1853 moved to Galicia (now part of modern-day Poland and Ukraine) where he became a private music teacher in the household of Knight Ludwig Zielinski in Lubica (present-day Lubycza Królewska near the Polish-Ukrainian border). During his time there, he composed his Festive Mass. However, the local musical scene failed to satisfy him, as evidenced by an article he wrote for the magazine Dalibor, where he expressed strong criticism of the region's cultural conditions.

As a result of this, in 1855, Vilém Blodek returned to Prague, where he began working as a flutist, pianist, choir director of the Deutscher Männergesangverein, and also continued using his composition talent and wrote, for instance, incidental music for productions at the Estates Theatre. In 1859, he achieved recognition by winning second prize in a composition competition hosted by the Dalibor magazine with his choral work Náš zpěv (Our Song), set to lyrics by Vítězslav Hálek.

A pivotal moment in Blodek’s career came in 1860. Antonín Eiser, Blodek’s former flute teacher, sought to fill his own position at the Prague Conservatory. Eiser recommended Blodek, and Jan Bedřich Kittl, another mentor, further supported the nomination, emphasizing Blodek’s compositional achievements. Blodek was offered the position and, on August 1, 1860, joined the conservatory faculty as a flute instructor.  

This period marked an artistically flourishing phase in Blodek’s life. He composed several significant works, including his renowned Flute Concerto in D major, completed in the early 1860s. In 1864, he was one of the few composers commissioned to write music for the grand Shakespearean celebrations. However, his greatest success came with the opera V studni (In the Well), written to a libretto by Karel Sabina. This one-act opera premiered on November 17, 1867, at the Provisional Theatre (the temporary stage of Czech drama and opera until a permanent National Theatre could be built) and quickly became the most performed Czech opera after Bedřich Smetana’s The Bartered Bride.  

It is not without interest that Blodek’s younger brother, Mořic Blodek (d. 1847), also pursued a musical career during this time. From 1861 to 1867, Mořic graduated from his cello studies at the Prague Conservatory and later performed in the orchestra of the Estates Theatre until 1869. However, all trails of him were lost after he left for abroad.  

Despite several critics criticizing Blodek that his work was overly influenced by foreign models ranging from Wolfgang Amadeus Mozart to Richard Wagner, his talent had become widely acknowledged. Unfortunately, Blodek’s promising career was cut short by mental illness. His condition first manifested in 1869, leading to his initial hospitalization in 1870. After another hospitalization in 1871, he was retired from the conservatory on December 1 of that year. He spent the remainder of his life in the care of the Prague asylum for the mentally ill in Kateřinky, housed in a former Augustinian convent (now the site of the Psychiatric Clinic of the First Faculty of Medicine at Charles University and the General Faculty Hospital). Blodek passed away here on May 1, 1874, before entering his forties.

While Vilém Blodek spent his final years in complete seclusion, his works gained increasing popularity. His opera V studni (In the Well) maintained exceptional appeal, becoming a favorite not only of professional theatres but also of amateur ensembles, whose capabilities were well-suited to its instrumentation and moderate demands. The opera's success extended beyond the Czech lands, with the first international production staged in 1879 in St. Petersburg, Russia. Five years later, in 1884, it was performed in a German translation at Vienna's Theater an der Wien. In Blodek's homeland, the opera was produced by major companies, including the National Theatre, which staged it shortly after the reopening of the theatre building in 1883. This production enjoyed a notable 39 reprises.  

A key figure in preserving and promoting Blodek’s work was Jindřich Kàan von Albest, Blodek’s former student from the conservatory and an influential figure in Prague’s musical life. Kàan prepared piano scores of several of Blodek's compositions and safeguarded his musical estate. Unfortunately, after Kàan's death, the collection became dispersed and was eventually lost.  

Blodek’s ambitious grand opera Zítek remained unfinished. Even prominent composers like Bedřich Smetana were approached to complete the work, but the reception of Blodek’s efforts did not really come to fruition, with the exception of a few. As a result, only a handful of Blodek's works entered the regular repertoire. Apart from some chamber music pieces, which appear sporadically in repertoire, only one composition has remained consistently active in the musical canon: the Flute Concerto in D major. Over time, even the once-beloved opera V studni (In the Well) faded in popularity, giving way to other repertory works. 

Vilém Blodek's Flute Concerto in D major remains his most frequently performed and celebrated composition, attracting significant interest from flutists to this day. It premiered on March 30, 1862, during a conservatory concert at the Konvikt venue in Prague, with the solo part performed by Blodek’s student Václav Svoboda. This concerto is a remarkable blend of compositional skill, intimate knowledge of the solo flute’s capabilities, and delicate, melodic inventiveness. It is both technically dazzling and musically engaging, showcasing the flute's full expressive range without compromising the work's appeal to audiences. 

Despite being the only substantial flute concerto by a Czech composer from the Romantic era, the piece has long lacked a modern edition that faithfully reflects the available sources. Earlier printed versions, such as the piano scores by Jindřich Kàan von Albest (1852–1926) and Karel Šolc (1893–1985), with revisions to the solo part by Josef Bok (1890–1962), as well as a reproduced manuscript from the Czech Music Fund, contain numerous discrepancies in comparison to the sole surviving version that is confirmed to date back to Blodek’s lifetime. These inconsistencies stem largely from the fragmented and problematic state of the source material. After Blodek's death, his musical estate, which likely included the composer’s autograph of the concerto, passed into the hands of Jindřich Kàan.

The only known source of Vilém Blodek’s Flute Concerto in D major that verifiably dates back to his lifetime is a handwritten score housed in the Music History Department Collection of the Czech Museum of Music under the catalog number X. A. 156. The score’s origin remains unclear: its date of creation, original location, the identity of the copyist, and any potential connection to Blodek’s autograph manuscript are unknown. However, based on its characteristics, the manuscript likely originated between 1862 and the early 1870s, as its style of notation was already by then archaic. The precise handwriting and minimal errors suggest it was produced by a skilled, experienced copyist.  On the final notated page (p. 59), a pencil annotation dated February 18, 1891, was likely added by Dr. Jan Pohl, an attorney who acquired the manuscript for his personal music collection. Pohl also created two piano reductions of the concerto, now held in the Czech Museum of Music. The first of these bears the signature II. D. 137, with each movement dated by Pohl at the end as January 23, 24, and 26, 1891. The second, part of a larger collection under catalogue number V. D. 9, bears the date June 25, 1899. Both scores appear to have been derived from the handwritten score or a related source. Pohl’s notes reference an additional, now-lost copy by J. Bouček and the earliest printed edition of the concerto, prepared by Jindřich Kàan von Albest. Although Kàan had access to Blodek’s estate, his edition includes significant deviations from the handwritten sources. These differences involve altered pitches, note durations, articulations, and, most notably, the omission of measures 101 to 110. This omission may have been motivated by a practical concern: removing the use of the low b note. While many types of flutes with pre-reform mechanisms, commonly used throughout most of the 19th century, included this note and, in some cases, even extended their lower range to low B, flutes with Theobald Boehm's (1794–1881) reformed mechanism typically lacked these low notes at the time. The growing popularity of instruments with Boehm's system may have been a valid and practical reason for this adaptation of this piece. Jan Pohl also sought to address this issue but chose the route of transposing the entire concerto. The cadenza underwent changes as well, taking on a character that significantly diverged from the composer’s original intent.

At the time this recording was made, a completely new piano score with a critically revised flute solo part was being developed in collaboration with the Bärenreiter publishing house. This material, reflecting the historical context of the concerto, was generously provided by the publisher for this recording. This is, therefore, the very first audio recording of the concerto as it might have been realistically heard by the composer himself, avoiding the heavily retouched materials from the 20th century.

Lukáš M. Vytlačil

Vilém Blodek's Symphony in D minor is a product of his early compositional period, though the exact date of its creation remains uncertain. Literature generally places its origin between 1857 and 1866, with musicologist Ratibor Budiš narrowing it down to the years 1858–1859. Budiš’s reasoning is partly based on the poetic motto inscribed on the title page of the symphony's score:  

“Fly, my heart, to the realm of spring,  
Out from your dark chamber!  
That bright ray sent by God  
Will banish all your sorrow.  

Seek peace there, and you will find it!  
The dearest sun is calling you.  
Although your eyes are filled with bitter tears,  
God’s designs are always faithful…”  

(C. Gärtner / translated by Martina Stejskalová)

Budiš speculates that the symphony may reflect Blodek’s emotions during his unfulfilled romantic relationship with his student, Marie Daublebská. Their bond, believed to have formed during this period, remained one-sided, leaving Blodek emotionally affected. The symphony could, therefore, be seen as a musical manifestation of his inner turmoil. Budiš’s hypothesis is further supported by concrete evidence: a letter of recommendation written in 1860 by Jan Bedřich Kittl, then director of the Prague Conservatory, lists the Symphony in D minor among Blodek’s compositions. Chronologically, the symphony likely belongs to a period closely aligned with other works by Blodek's contemporaries, such as Kittl's Symphony No. 4 in C major (premiered in 1858) and Symphony in E minor, Op. 49 by Václav Jindřich Veit's (1806-1864) , composed in the late 1850s and performed in 1859.

Blodek’s Symphony in D minor is an expansive four-movement work, notable for its large-scale structure and innovative motivic development. The symphony opens with a brief, introspective Andante sostenuto that transitions into an extensive Allegro agitato in sonata form, spanning over 500 measures. The brief principal theme, introduced in the bass, resembles the contour of the main theme from Beethoven’s Egmont Overture. However, Blodek imbues it with his own unique touch by extending the theme with inventive appendices, which he further develops motivically. The secondary theme, presented in F major, grows organically from the primary material. Its lyrical character, distinct orchestration, and major mode contrast effectively with the agitation of the primary theme. The individuality of Blodek's work with the motive becomes evident in the first movement, where he appears to introduce a new, striking contrast. However, closer listening reveals a cleverly crafted inversion with augmentation of the main theme. The motive work thus unfolds based on a single theme (it is therefore entirely apt to speak of the monothematic nature of the first movement), while the variety of its variations is remarkably extensive.

The second movement (Andante sostenuto) offers a lyrical, expansive theme introduced by the first clarinet. A horn motif from the first movement’s slow introduction reappears in the second measure, lending an evocative, distant quality. The French horn motif resonates as if from a distance, serving in a unique juxtaposition as a secondary layer to the main theme played by the first clarinet. In the second movement, Blodek weaves together three thematic sections, each contrasting in character, instrumentation, and dynamics. He employs a meticulous variation technique, further enhancing the already rich melodic material.

The Scherzo follows, with its main theme echoing the music of Felix Mendelssohn-Bartholdy. The Trio, on the other hand, incorporates elements of the waltz, which Blodek must have encountered as a performer in Prague. It is clear that this style left a lasting impression on him.

The final movement, Finále (Vivace molto), can be described as a rondo with a sonata-form development and an expansive coda that culminates in a triumphant brightness, enhanced by brilliant orchestration. This orchestration brings the radiant timbres of the brass instruments to the forefront of the full orchestra. There is no doubt that the composer’s "heart soared into the realm of spring." Unfortunately, the Symphony in D minor was never performed during Blodek’s lifetime. Its premiere did not take place until 1966, when a radio recording was made by the Symphony Orchestra of the Capital City of Prague FOK under the baton of Josef Hrnčíř.

Zdeněk Klauda

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Orchestra L’Armonia Terrena emerged from the rich artistic background shaped by extraordinary musicians such as violinist and composer Jan Valta and flutist and composer Jaroslav Pelikán. The ensemble quickly attracted prominent talent from the younger generation of artists. Founded in 2014, its creation was inspired by the production of the solo album “Decade” by soprano Simona Šaturová, featuring music by Josef Mysliveček and Wolfgang Amadeus Mozart. This marked the beginning of a series of successful recording projects with the Nibiru Publishers label.  In 2017, the orchestra recorded the world premiere of Ryba’s Stabat Mater (1805), which earned the prestigious DIAPASON découverte Award from the French magazine.  In 2019, they released another world premiere recording, the masterful Requiem by Antonín Rejcha.  Later that same year, a recording of Jakub Jan Ryba’s Missa Solemnis in C per Festo Resurrectionis was added to their discography.  In 2020, the ensemble completed a Ryba trilogy with a recording of his orchestral works and instrumental concertos.  Most recently, in 2021, they released Rediscovered Romantic Testimony, an album featuring nearly all of the orchestral works by Václav Jindřich Veit, a remarkable Czech composer of the early 19th century often referred to as the “Czech Mendelssohn.”  

The creation of these pioneer recordings brings the orchestra immense joy, not only in the creative process but in fulfilling its mission: to rediscover and revive forgotten or unjustly overlooked treasures of Czech music, allowing them to shine once again in concert halls and become a permanent part of the musical repertoire.

Karl-Heinz Schütz is the principal flutist of the Vienna Philharmonic Orchestra as well as the Vienna State Opera. He has held a similar position with the Stuttgart Philharmonic for four years and with the Vienna Symphony Orchestra from 2005 to 2011. Born in Innsbruck and raised in Tyrol's Landek, he received his musical education at the Landeskonservatorium in Vorarlberg under Eva Amsler, at the Conservatoire National Supérieur de Musique in Lyon with Philippe Bernold, and under Aurèle Nicolet in Switzerland. He has received first place awards at the Carl Nielsen International Music Competition in 1998 and the International Flute Competition in Krakow in 1999.  He has performed as a soloist across Europe and Japan, playing major flute concertos with the Vienna Philharmonic, the Vienna Symphony Orchestra, the NHK Tokyo, and the Sapporo Symphony Orchestra. He has been invited to collaborate with conductors such as Daniel Barenboim, Fabio Luisi, Yakov Kreizberg, Dmitrij Kitajenko, and Bertrand de Billy. Karl-Heinz Schütz is also a passionate chamber musician and a member of various ensembles specializing in music from Baroque to contemporary. In 2013, he succeeded Wolfgang Schulze in the Ensemble Wien-Berlin and the Wiener Ring Ensemble. He has performed at international festivals in Salzburg, Bregenz, Graz, Montpellier, Rheingau, Sapporo, and Prague.

Karl-Heinz Schütz is a professor of flute at the Musik und Kunst Privatuniversität Wien and has held several guest professorships. He conducts masterclasses across Europe and is an active recording artist, particularly with CAMERATA TOKYO, where his CDs featuring works by Mozart, Prokofiev, and Brahms have been released. His album Concerto Grosso of the 20th Century with The Academy of St. Martin in the Fields, conducted by Sir Neville Marriner, was released by CHANDOS. He is the artistic director of the HORIZONTE Landeck organization.

Conductor Zdeněk Klauda is a multifaceted artistic personality. In addition to his career as a conductor, he is the head of the musical preparation at the National Theatre in Prague and a dramaturg and co-founder of the Jakub Jan Ryba Festival. Thanks to his artistic qualities and extensive experience, he is frequently invited to collaborate with prestigious opera houses worldwide, including the Bavarian State Opera in Munich, the Semper Opera in Dresden, the Vienna State Opera, the Paris National Opera, the Salzburg Festival, and the Glyndebourne Festival. He is also the founder and conductor of the orchestra L’Armonia Terrena. Klauda is deeply engaged in concert performances, research, and recording activities. His lifelong mission is to rediscover unjustly forgotten works of Czech composers, as well as to bring contemporary composers’ music to life. Since the 2022/2023 season, he has regularly conducted productions of Die Zauberflöte and Le nozze di Figaro at the National Theatre in Prague.