Karel Ančerl

Karel Ančerl is a Czech leader , born with Tucapy (Bohemia) the April 11th 1908 and dead the July 3rd 1973 with Toronto

Biography

Beginnings

After studies of Violin, composition and direction of orchestra to the Conservatory of Prague of 1925 with 1929 where he is pupil of Alois Haba, he is noticed by the Czech big boss Václav Talich of which he will become the disciple. Hermann Scherchen makes his assistant of 1929 of it with 1931 with Berlin then with Munich.

It turns over in Czechoslovakia, acquires there a great notoriety with its direction of the jazz band of the Théâtre Released (1930 with 1933) but also of the Symphony orchestra of the radio of Prague (1933 with 1939). It also starts to direct the Czech Philharmonic orchestra of Václav Talich.

Terezin

During the occupation, at the beginning of the Second world war, the Nazis close the Libéré theater too judged avant-gardist. He is off-set with the Concentration camp of Theresienstadt which after the Conférence of Wannsee (1942) becomes a Ghetto for the old Jews, those which took part in the First World War or of the Jewish personalities which cannot be exiled easily.

Propaganda Nazi will make a film in this ghetto wanting to show the magnanimity of the occupying forces with respect to the Jews and berner the International commission of the Croix-Rouge. In this film Führer offers a city to the Jews; it was so beautiful in Terezin , Ančerl directs the artists instrumentalists or singers who are his/her companions: they are actors in false decorations. After this turning, their life will become more difficult: many will be interned with Auschwitz or in the camps of the east. Of another artists of Terezin will not survive: Viktor Ullmann, raises Arnold Schönberg, Gideon Klein, type-setter and pianist, Rudolf Karel large type-setter, Pavel Haas (raises Leoš Janáček) and other artists or instrumentalists high level.

With these very hard living conditions, the refuge in art and the intense artistic life that the inhabitants of the ghetto succeeded in preserving it moved away from despair and allowed him to preserve its dignity.

The Czech Philharmonic orchestra

Transferred to Auschwitz, Karel Ančerl escapes from it although it is very weakened (his wife and its son are gauzes there). It returns to Prague, takes again the direction of the Orchestra of the radio and directs the Orchestra of the Opera until in 1950. October 20th 1950 it takes the direction of the Czech Philharmonic orchestra as successor of Talich which was isolated for collaboration with the German occupant. It perennializes the action of Talich and the orchestra will become with Ancerl, one of best world. In this period of Cold war it is however necessary to await 1956 so that the orchestra can play abroad. There will remain about it the chief until in 1968.

After the Spring of Prague

With the events of 1968 and the Soviet occupation which follows, it chooses to persevere in its collaboration with the Symphony orchestra of Toronto. It directs last once the Czech Philharmonic orchestra in spring 1969. The largest soloists will play with him in Toronto. He dies of the continuations of a cancer in 1973.

Its art

Its direction of orchestra is refined until the transparency, very of limpid rigor, simplicity to make the partitions comprehensible and to discharge them from the interpretative tradition of other more famous chiefs, in this respect it is one of the largest leaders of the 20th century.

Among his pupils, one can count Zdenek Kosler (deceased in 1995), and Martin Turnovsky, both rewarded with the prestigious international Concours for young leaders for Besancon (1959 and 1960).

Absolute reference in the Czech repertory, in particular in imposing discs Martinů and Janáček, it supported its contemporaries such Jan Hanus or Miloslav Kabeláč. It gave us several interpretations of reference: let us quote the Rite of Spring of Stravinski in 1963, a version époustouflante, very great successes at Tchaïkovski and its striking down vision of Romeo and Juliette of Prokofiev.

Elements discographics

NB: the dates between brackets are the dates of registration.

Brahms, Symphony nº 1 (1962), Symphony nº 2 (1967) with the Czech Philharmonic orchestra;
Chostakovitch, Symphony n° 1 (1964), Symphony nº 5 (1961) with the Czech Philharmonic orchestra;
Dvořák, Symphony n° 6 (1966), Symphony n° 9 known as “of the new world” (1961) with the Czech Philharmonic orchestra;
Dvořák, Concerto for Violin (1960) with Josef Suk and the Czech Philharmonic orchestra;
Dvořák, Slavic Dances with the Orchestra of Gewandhaus of Leipzig
Dvořák, Requiem COp 89 (1964) with the choruses and the Symphony orchestra of the radio of Berlin, Elisabeth Rose (soprano), Gertraud Prenzlow (contralto), Peter Schreier (tenor) and Theo Adam (low);
Janáček, Sinfonietta (1961), Tarass Boulba (1961) with the Czech Philharmonic orchestra;
Mahler, Symphony n° 1 known as “Titan” (1964), Symphony n° 9 (1966) with the Czech Philharmonic orchestra;
Prokofiev, Alexandre Nevski (1962), Romeo and Juliette (1959) with the Czech Philharmonic orchestra;
Smetana, My Vlast (1963) with the Czech Philharmonic orchestra;
Stravinski, the Rite of Spring (1963), Symphony of psalms (1965) with the Czech Philharmonic orchestra.

External bonds

Discographie supplements of Karel Ančerl
Portrait of Karel Ančerl
the site of reference on Karel Ančerl

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