1:30 – 2:30pm, Sunday 4 November, Holy Trinity Cathedral
Miroslav arrived in Australia in 1968 as refugee from Czechoslovakia. He soon became a part of Sydney Jazz scene. He started working with the Daly -Wilson big band and with Marcia Hines’ band lead by Jackie Orszaczky.
In 1974 he joined the Jazz faculty at Sydney Conservatorium. 1978 formed Moontrane with Bob Bertles. In 1979 Miroslav joined the Bruce Cale orchestra. In 1981-82 Miroslav studied in USA at Indiana University and private studies in New York.
After returning to Sydney Miroslav joined Mark Simmonds’ Free Boppers, KMA Orchestra and Jackie Orszaczky’s Jump Back Jack. Miroslav is also a founding member of Ten Part Invention in 1986 with John Pochee, Roger Framton and Sandy Evans. He forms the ARIA awarded Wanderlust in 1992 .Through 1990s this group tours extensively in Australia,Asia and Europe.
In 1999 Miroslav joined the Jazz faculty at the ANU School of Music where he still lectures. Miroslav has performed with Emil Viclicky on several occasions in Prague and is excited to be performing at the Wangaratta Festival of Jazz and Blues in 2018!
The composer, pianist and jazzman Emil Viklický made an impressive debut in 1977 with his album V Holomóci . His synthesis of the modal approaches of jazz from the 1970 s was soon augmented by his study of Moravian folklore and, of course, the music of Leoš Janáček. His interest in this area culminated with his studies in Boston, and Viklický continued to inventively combine jazz influences with compositional techniques from the second half of the 20th century and gradually moved towards opera and other areas of classical music, becoming a symbol of the ideal conjunction of the two worlds of popular and classical music.
From the outset, the influence of Janáček encouraged him to make full use of the approaches of folk music – not only its melodies, modes and rhythms, but also its tonal qualities. He avoided the path taken by other composers, who since the time of Vítězslav Novák had wanted to improve folk music and enrich it harmonically by introducing the complex chords of post – Tristan harmony into a world where they didn’t belong. Even though this kind of fusion might result in interesting artistic syntheses, Janáček’s course proved to be a much more productive one. It fully respected the music’s simplicity, rawness and often seeming “primitivism”, and found in it a source for its own “verism, impressionism and expressionism”… Of course, the temptation for harmonic enrichment also existed in jazz and since the mid-20th century has had very notable representatives whom it would be difficult to overlook, and we will also hear it at some points of today’s recital – however, here it operates only as an additional source of inspiration. Janáček has been an inspirational figure for a long time now, and Emil Viklický arranges and, more importantly, creatively builds upon selected segments or units of his work. At the same time, his is not a superficial search for rhythmic ostinato and “snappy” structures which lead directly to jazz stylisation. On the contrary, he searches for cantilenas and harmonically, melodically and tectonically interesting areas. He produced a masterful response to Janáček’s Sinfonietta, focusing on a point which few people would have expected, and he did the same with passages from the second act of Jenůfa. Folklore connections are organically linked to the whole attempt at a synthesis of folklore, jazz and Janáček’s ideas which Emil Viklický has been developing since the late 1970 s. Over the past decade, however, the indisputable contribution of this contemporary composer and performer has also been enriched by his international career and the frequent presentation of these aspects among jazzmen and concert audiences in the West and collaboration with outstanding jazz musicians on concert stages and in studios on work of this kind ignited by Janáček’s legacy.
Emil Viklický piano
Miroslav Bukovsky trumpet