Petr Eben

Arguably the most important Czech composer in the latter twentieth and early twenty first centuries, Petr Eben produced a considerable output generally of vocal, choral, symphonic, organ, piano, and chamber works. In lots of ways he was the Czech counterpart to Olivier Messiaen, due to both composers’ common religious beliefs — Roman Catholicism — and, moreover, their tendency to create music, both vocal and solely instrumental, inspired because of it. Eben survived both imprisonment with the Nazis and decades-long oppression with the Soviet-dominated Czech Communist federal government. Stylistically, he was uncompromising when others had been willing to compose politically appropriate music. Not really that Eben’s functions are especially tough or inaccessible; most listeners would discover his expressive vocabulary no more advanced than that of Britten or Messiaen, two composers who may have inspired him. Eben was regarded a professional at improvisation over the body organ and his music continues to be broadly performed and documented since about 1980, along with his recognition still apparently increasing. Eben was created in Zamberk, Czechoslovakia, on January 22, 1929, and was raised in the Bohemian city of Cesky Krumlov. He was precocious, learning piano, body organ, and cello there from his early youngsters. Following the Nazi invasion and profession of his homeland, Eben, a Roman Catholic having a Jewish dad, was imprisoned in the notorious loss of life camp Buchenwald from 1943 to 1945. In 1948 he enrolled on the Prague Academy of Music, where he examined under Pavel Borkevec (structure) and Frantisek Rauch (piano). He graduated in 1954 and the next year started teaching music background at Prague’s Charles School, on whose faculty he continued to be until 1990. Eben’s first large functions included his 1954 Initial Body organ Concerto (the next emerged in 1984) and Concerto for Piano and Orchestra (1960-1961). In 1977-1978 Eben trained on the Royal North University of Music in Manchester, Britain, and thereafter created various other musical ties to Britain. Throughout his lifestyle Eben refused to become listed on the Czech Communist Party and continuing openly attending cathedral, hence forfeiting many profession advancements. Following the Communist federal government crumbled, nevertheless, he was presented with several important consultations and awards, included in this presidency from the Prague Springtime Festival (1989) as well as the Medal of Merit (2002). Among Eben’s most significant late works is normally his 1992-1993 oratorio Posvatna znameni (Sacred Icons). Despite declining wellness from a heart stroke in his last years, Eben continued to be busy, composing mainly body organ and choral functions. He passed away in Prague on Oct 25, 2007.