| Jaroslav Uhlíř - Statistika |
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Benátská noc - Malá Skála
25.7.2008
Green stage
- fotky z festu zde:
http://mathes.rajce.idnes.cz/08.07.24.-27._Be
natska_noc_-_Mala_Skala/
Tags : pohádky |
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Affichage : 2798
Durée : 123 s |
| Jaroslav Hutka, 2004 |
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Pozvánka pro přátele folku na Folkové
léto v srpnu 2008, kde přivítáme mimo
jiné Michala Knébla, Jirku Mížu, Mílu
Fuxu, Pepu Streichla, Jana Kryla, Vladimíra
Mertu, Vojtu Kiďáka Tomáška, Jakuba Nohu,
skupinu Sekvoj, Kapitána Kida, Milana
Dvořáka, Jirku Konvrzka a další.
Informace prostřednicvím internetové
adresy vladamikulec@volny.cz
Tags : Jaroslav Hutka 2004 |
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Affichage : 3631
Durée : 92 s |
| Orchestr Jaroslava Ježka (Jaroslav Ježek Orch.)-Bugatti Step |
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Jaroslav Ježek (1906-1942) was a Czech
composer. The almost blind Ježek studied
composition under Josef Suk and Alois Hába
at the Prague Conservatory. When Ježek met
playwrights/comedians Jan Werich and Jiří
Voskovec, leaders of the Osvobozene Divadlo
(Liberated Theatre) in Prague, he took up the
post as main composer and conductor. During
the next decade, he composed incidental
music, songs, dances, ballets for the
grotesque political satirical plays of
Voskovec and Werich. Many of his songs are
still hugely popular in the Czech Republic.
In addition to his other musical pursuits,
Ježek evidently was fascinated by American
jazz. Between 1929 and 1936, possibly
earlier, he organized and conducted an
orchestra featuring his original jazz
compositions and arrangements. Billed
variously as "Ježek's Jazz" and "Ježkův
swingband" they recorded for the Czech
Ultraphon label, making some of the most
original hot music in Europe. The piece
presented here is his best-known work. It
was recorded for the abovementioned Ultraphon
label in 1930, in a brilliant version by the
composer's own jazz band. The virtuosic
piano solo is by Harry von Noé.
Tags : Bugatti Step Orchestr Jaroslava Ježka Jaroslav Ježek Orchestra 78RPM |
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Affichage : 15133
Durée : 162 s |
| Art of Photography - Jaroslav Rössler |
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Jaroslav Rössler was undoubtedly one of the
most important representatives of Czech
avant-garde photography during the 1920s and
1930s. On an international scale his works
rank among the most progressive examples of
the use of abstract art and Constructivism in
photography.
The beginning of Rössler's career is closely
linked with Frantisek Drtikol, a classic name
in Czech photography, in whose studio he
trained between 1917-1920 and worked as an
assistant for 5 years. The first influences
from Drtikol are clear in Rössler's early
work as seen through his subject matter,
Symbolist drawings and his use of the bromoil
printing process. Yet already in 1919
Rössler embarked on other style
experimentation as in his work, Opus 1, where
he uses constructivist elements in his
composition. In the early 1920s he created
several works which show minimal objects and
forms that relish in abstraction like images
from a few other photographic artists of his
day such as Paul Strand, Alvin Langdon
Coburn, Man Ray or Francis Joseph Brugière.
This period of Rössler's creativity is
typical for the fusion of diverse styles.
Elements in Rössler's photographs and
drawings are not only inspired by Symbolism,
Pictorialism and Expressionism, yet in works
devoid of literary content he clearly is
experimenting with cubistic and
constructivist ideas. He showed an
exceptional talent for reducing depicted
reality to elementary lines and shapes for
constructing a new reality. He photographed
simple objects against a backdrop of black
and white cardboard and paper; he gave
spherical form to light through long
exposures. He used multiple images, produced
photo-montages and enhanced fragments by
drawing black lines between several
photographs.
From 1927 to 1935 Rössler lived with his
wife, Gertruda and daughter Sylva in Paris,
where he worked in different photography
studios. The Eiffel Tower and other Paris
structures became the subject of series of
contructivist photographs and photo-montages.
During this period he also used photo-grams,
diagonal compositions, multiple negatives and
lettering to create modern advertising. After
his return to Prague in 1935 Jaroslav
Rössler had a small studio where he produced
only a few works in the way of photographs
and photo-montages and in 1949, a collection
of drawings. In the mid 1950s he once again
began a prolific period of working with
photo-montages, collages, still-lives and
even in the 1960s, abstract colour
transparencies.
In the 1970s Jaroslav Rössler's work began
to receive recognition through the work of
several Czech art historians who were able to
introduce his work to an international
audience. His work has since been included in
numerous international group shows and small
one-man exhibitions. He is represented in
several Czech museum collections and
international collections including the
J.Paul Getty Museum, Santa Monica; Museum
Folkwang, Essen and the Museum of Fine Arts,
Houston to name a few.
"Jaroslav Rössler: photographs, collages,
drawings" has been supported through Dogwood
Projects, Frankfurt am Main and the Embassy
of the Czech Republic, Bonn. It is a
collaboration with the u(p)m, the Museum of
Decorative Arts in Prague and curated by
Vladimír Birgus and Jan Mlcoch.
http://www.ffi-frankfurt.de/e_archive_roessle
r.htm
http://www.galerieart.cz/index.html
Music: "Opus 4", Art Of Noise.
http://www.amazon.com/Best-Art-Noise/dp/B0000
03MU8
http://www.lyricstime.com/art-of-noise-opus-4
-lyrics.html
http://en.wikipedia.org/wiki/Art_of_Noise
Tags : Art Photography Jaroslav Rössler Opus Of Noise |
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Affichage : 944
Durée : 118 s |
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