Kalabis, Viktor (1923 - 2006) )
Es autor de las siguientes obras
Piano Sonata No. 1, Op. 2, dedicated “To my dear mother” (1947)
Here already at the very beginning, Kalabis formulates his aesthetic criteria which he maintained all his life: “…my roots are in tradition which I want to expand, keeping the traditional means and putting them into new contexts. These ensure from the dynamism of my life, i.e. from the present, the contemporary.”
Cuarteto n 2 op 19 (col)
Dedicado a la muerte de su Padre
String Quartet No. 2, Op. 19, 14′ – 16′
This work, consisting of a Prologue, Dramma and Epilogue, a form later often used by Kalabis, is dedicated to his father and written under the shadow of his nearing death.
Cuarteto n 5 (In Memory of Marc Chagal) op 63 (col)
String Quartet No. 5 (“In Memory of M. Chagall”), Op. 63, 22′, Schott (1984)
“To be a Jew is a Fate and a way of thinking,” said Kalabis. Setting aside all inspirations by folklore or religious music, Kalabis in this work goes to the very core of Jewish soul. Vitality, tenderness, grief and tears, playfulness alongside deep philosophy, fiddlers playing their hearts out on roofs and in the skies, all this is expressed in this quartet, inspired by Marc Chagall’s paintings “Over Vitebsk” and “The Green Fiddler” and dedicated to him.
Cuarteto n 6 (In Memory of Bohuslav Martin) op 68 (col)
String Quartet No. 6 (“In Memory of B. Martinu”), Op. 68, 16′ – 17′, EBP (1988)
Dedication: “To the memory of Bohuslav Matrinu”. Kalabis’s commentary: “A sincere affinity and respected inspired this work…there is no citing or paraphrasing of Martinu’s works, nor do I try to emulate his style. It is the sunny, human quality, the genuine purity of both his work and his person, which was at the core of my inspiration.”
También tiene una Cantata llamada
“The War” for mixed choir, flute, cimbalon (piano) on folk poetry, Op. 45, 18′, CHF
Sinfonía n 1
dedicada a sus Padres
Symphony No. 1, Op. 14, 36′, EPB (1956-7)
This symphony opens a new era in Kalabis’s work. He dedicated it to his parents, but also, through the anagram “H-Re-A-D-E-C” to his beloved town Jindrichuv Hradec. The alleged citation of the choral to St. Wenceslas was very much used against this work and made further performances impossible. Now this remarkable work stands in the shadow of his later, much better known symphonies and symphonic works.
Sinfonía n 2 "Pacis" (col)
Symphony No. 2 “Sinfonia pacis”, Op. 18, 27′, EPB (1961-2) (col)
This is one of Kalabis’s most famous compositions. The Caribbean crisis with humanity on the brink of atomic war, shook his as it shook all of the world. The menacing quiet of the opening Passacaglia, the blind furiosity of the Scherzo the dirge of the slow movement is followed in the Finale by an unfinished, slowly deconstructed Fugue form which, over clanging of bells, a simple children’s ditty evolves. Sergiu Celibidache pronounced the work “one of the greatest Symphonies of the 20th century”. Critics in the western world were enthusiastic, the Wiener Zeitung for example called it “…half prayer, half apocalypse…”. Only between 1963-1971 it was played in Warsaw, Graz Festival, Vienna, Dresden, Budapest, Durban, Munster, Reykjavik, Adelaide and finally by the Berlin Philharmony. In this work Kalabis for the first time consciously uses the quintola of repeated notes, which in his works is a symbol of death.
Tristium - Concierto Fantasia para viola y cuerdas
Basado en la Trauermusic de Hindemith
Tristium, his twelve-minute tribute strongly modelled on Hindemiths Trauermusik.
Tristium, Fantasia Concertante for viola and string orchestra, Op. 56, 10′ – 13′, CHF (1981)
A dear friend of the family, Kalabis’s former schoolmate underwent a strenuous fight with cancer, which in the end, was lost. It is so full of poignancy, of futile struggle between life and death, of alternating hope and despair one cannot but be deeply moved by it.