{"id":17669,"date":"2025-07-06T12:37:08","date_gmt":"2025-07-06T04:37:08","guid":{"rendered":"https:\/\/www.rs-event.sg\/main\/?p=17669"},"modified":"2025-07-06T12:37:17","modified_gmt":"2025-07-06T04:37:17","slug":"karel-kosarek-makes-a-spectacular-singapore-debut-with-petrof-pianos","status":"publish","type":"post","link":"https:\/\/www.rs-event.sg\/main\/2025\/07\/06\/karel-kosarek-makes-a-spectacular-singapore-debut-with-petrof-pianos\/","title":{"rendered":"Karel Ko\u0161\u00e1rek makes a Spectacular Singapore Debut with Petrof Pianos"},"content":{"rendered":"\n

European Piano Sound Concert Series 2025 | 4 July 2025, Victoria Concert Hall<\/h2>\n\n\n\n

The evening of 4 July 2025 at Victoria Concert Hall marked several exciting firsts for Singapore\u2019s classical music scene\u2014and a significant moment for the European Piano Sound Concert Series. Making his Singapore recital debut, Czech pianist Karel Ko\u0161\u00e1rek stepped in for his compatriot Jan Schulmeister, who was unfortunately indisposed. It was not only Ko\u0161\u00e1rek\u2019s first visit to Singapore, but also the first concert appearance of a Petrof piano on a major local stage. For audiences more familiar with the sheen of Berlin- or Vienna-built grands, the Bohemian-crafted Petrof offered something different: a warm, earthy tone and generous resonance that proved an ideal match for Ko\u0161\u00e1rek\u2019s thoughtfully curated program, which explored Czech identity, Romantic poetry, and jazzy flair. It became immediately clear why Ko\u0161\u00e1rek is so highly regarded in Czechia.<\/p>\n\n\n\n

Ko\u0161\u00e1rek opened with Bed\u0159ich Smetana\u2019s Sko\u010dn\u00e1<\/em> (Hop Dance), instantly setting the tone for a recital that was both rooted in tradition and full of life. The piece, drawn from Czech folk dance, was animated with syncopations and buoyant rhythms that Ko\u0161\u00e1rek played with infectious charm. Rather than simply mimicking rustic melodies, Smetana wove them into classical form\u2014an approach Ko\u0161\u00e1rek brought out with both vitality and refinement, making the piece feel like a village celebration sprung to life on stage.<\/p>\n\n\n

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Karel Ko\u0161\u00e1rek addresses the audience briefly at his Singapore debut recital at the Victoria Concert Hall, 4 July 2025<\/figcaption><\/figure><\/div>\n\n\n

This exuberance gave way to a more introspective side of Smetana in the Fantasia on Czech Folk Songs<\/em>. A lesser-known gem, the Fantasia unfolds in ethereal waves. Here, Ko\u0161\u00e1rek allowed the music space to shimmer and breathe, drawing on the Petrof\u2019s tonal richness to create harp-like textures and luminous harmonies. The result was a soundscape full of lyricality and emotional resonance\u2014evoking images of serene riversides and foggy landscapes\u2014that lingered in the mind long after the final chord.<\/p>\n\n\n\n

He then transitioned to Smetana\u2019s Fantasia on Czech Folk Songs<\/em>, leading the audience on a more introspective and dreamlike detour. This rarely performed work reveals a side of Smetana that is more like a musical dreamer than a nationalist, weaving together fragments of folk melodies with a rhapsodic touch. Ko\u0161\u00e1rek eloquently conveyed its sense of wonder, particularly in the harp-like textures that shimmered through the Petrof\u2019s rich, earthy resonance. The performance painted a captivating soundscape, evoking images of  foggy landscapes and serene riverside villages, making this an unexpected and tender highlight.<\/p>\n\n\n

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It was clear from this recital why Ko\u0161\u00e1rek is one of the most sought-after pianists in the Czech Republic.<\/figcaption><\/figure><\/div>\n\n\n

Franz Liszt\u2019s Sonetto 104<\/em> and Sonetto 123 del Petrarca<\/em> brought a shift from the rustic to the poetic. Based on 14th-century sonnets by Petrarch\u2014one expressing anguish, the other serene love\u2014these pieces showcase Liszt\u2019s deep engagement with literary and spiritual ideas, and his pianistic poetry. The fervent Sonetto 104<\/em> was voiced with exceptional clarity; its top melody line truly sang through the hands of this masterful performer. Ko\u0161\u00e1rek\u2019s control on the voicing allowed the audience to keenly feel the longing Liszt portrayed. The more tranquil Sonetto 123<\/em>, often considered one of Liszt\u2019s most meditative works, was delivered with graceful restraint. Ko\u0161\u00e1rek\u2019s phrasing gave the music a gentle, unhurried pace, allowing each harmony to settle naturally and capture the quiet depth at the heart of the piece.<\/p>\n\n\n\n

After the intermission, the recital boldly turned toward the 20th century, and with it, a delightful surge in pace and character. Bohuslav Martin\u016f\u2019s Three Czech Dances<\/em>, composed in 1926, brilliantly reflects a composer caught between his beloved Czech roots and his adopted home in Parisian exile. Beneath their folk surface, a pulse of urban life and playful rhythmic twists emerged. The first dance, Obkro\u010d\u00e1k<\/em>, elegantly blended the charm of its folk roots with a smattering of jazz touches, while the Dup\u00e1k<\/em> felt remarkably relatable, akin to navigating a crowded train commute or bustling city streets, full of detours and narrow escapes. The final Polka<\/em> bounced with an irregular, buoyant energy, much like the determined effort of meeting a busy work day packed with deadlines on little sleep but still managing it quite decently, albeit with a few close calls. It was absolutely charming and infectious.<\/p>\n\n\n\n

Then came the pieces that truly bridged the concert’s “Bohemia to Broadway” theme. George Gershwin\u2019s Preludes for Piano<\/em> may need little introduction, but Ko\u0161\u00e1rek performed them with a theatrical flair that brought their origins \u2014 steeped in the rhythms and harmonies of 1920s jazz \u2014 into the spotlight. These pieces show how Gershwin took the sounds of jazz and brought them into the concert hall \u2014 much like how Chopin once turned the waltz into something elegant and expressive, without losing its charm.Ko\u0161\u00e1rek brought the slow preludes to life with a smooth, smoky warmth, while the fast ones danced with energy and playful charm. Each one felt like its own little story \u2014 full of personality and flair.<\/p>\n\n\n\n

And just when you thought the programme couldn\u2019t get any more adventurous, Friedrich Gulda\u2019s Play Piano Play No. 9<\/em> and Prelude & Fugue<\/em> took things to a whole new level. A classical rebel through and through, Gulda once faked his own death \u2014 partly to poke fun at the snobbery of the classical world, and partly to draw attention to his trailblazing crossover work. Ko\u0161\u00e1rek clearly had fun with these pieces, bringing out their quirky charm and rhythmic bite. The Fugue<\/em> was especially memorable: its counterpoint followed all the rules, but danced to its own beat \u2014 full of syncopation, sly turns, and jazzy flair. With effortless style, Ko\u0161\u00e1rek reminded us that great music doesn\u2019t have to stay in one box \u2014 it can groove, surprise, and still be brilliantly played.<\/p>\n\n\n

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Karel Ko\u0161\u00e1rek gave a delightful and spirited performance on the Petrof Grand Piano P237 Monsoon at the Victoria Concert Hall. 4 July 2025<\/figcaption><\/figure><\/div>\n\n\n

And then, the eagerly anticipated culmination: Gershwin\u2019s iconic Rhapsody in Blue<\/em>, in its powerful solo piano version. This work, originally written in a remarkable rush (famously, partly on a train journey), stands as one of the most iconic American concert pieces of the 20th century. Yet, in the hands of a Czech pianist playing a Czech piano in a concert hall in Singapore, it somehow sounded fresh and uniquely vibrant again. Ko\u0161\u00e1rek’s interpretation was vivid, bold, and brimming with character. The famous clarinet glissando\u2014that glorious, notoriously “unplayable on piano” effect\u2014was reimagined as a shimmering run. The big themes rang out with a brassy swagger, and any slight imperfections only added to the authentic, joyfully spontaneous spirit in which the piece was first “dashed off.” It was theatrical, unapologetic, thrilling!<\/p>\n\n\n\n

To the delight of the audience, Ko\u0161\u00e1rek returned for two encores: the exuberant Sabre Dance Boogie<\/em> by Louis Busch, and a charming Poetic Polka in G Minor<\/em> by Smetana, offering a final, delightful nod to his homeland that brought the evening full circle. The warmth and enthusiasm in the hall were a clear sign that both the artist and his uniquely curated program had made a significant impact on the audience.<\/p>\n\n\n\n

In a concert landscape where many recitals typically follow a familiar mold, Karel Ko\u0161\u00e1rek\u2019s program, “From Bohemia to Broadway,” truly stood out. It dared to mix Romanticism, national identity, jazz, and a healthy dose of rebellious fun. Ko\u0161\u00e1rek brought a unique perspective \u2013 a vivid reminder that music doesn\u2019t always need rigid structure or borders, even when it\u2019s deeply rooted in one\u2019s own culture. Sometimes, it just needs a compelling storyteller, and a fantastic pianist, to bring those stories to life. Karel Ko\u0161\u00e1rek\u2019s Singapore debut with Petrof made for a truly memorable night indeed.<\/p>\n\n\n\n

This concert was presented by Cristofori Music Singapore, and organised by True Music Singapore, with the support of the Embassy of the Czech Republic in Singapore.<\/p>\n\n\n\n

For more updates on the European Sound Concert Series, be sure to follow True Music Singapore on Facebook<\/a> and Instagram<\/a>, and for a peek at Petrof pianos, head over to their main showroom in Singapore at the Cristofori Academy of Fine Arts (CAFA)<\/a> @ One Holland Village, or visit the Piano Megastore at Blk 3014 Bedok Industrial Park E<\/a> and Shenton Way<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

European Piano Sound Concert Series 2025 | 4 July 2025, Victoria Concert Hall The evening of 4 July 2025 at<\/p>\n","protected":false},"author":4,"featured_media":17670,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[102,1],"tags":[],"class_list":["post-17669","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles","category-past-events"],"_links":{"self":[{"href":"https:\/\/www.rs-event.sg\/main\/wp-json\/wp\/v2\/posts\/17669","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.rs-event.sg\/main\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.rs-event.sg\/main\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.rs-event.sg\/main\/wp-json\/wp\/v2\/users\/4"}],"replies":[{"embeddable":true,"href":"https:\/\/www.rs-event.sg\/main\/wp-json\/wp\/v2\/comments?post=17669"}],"version-history":[{"count":1,"href":"https:\/\/www.rs-event.sg\/main\/wp-json\/wp\/v2\/posts\/17669\/revisions"}],"predecessor-version":[{"id":17671,"href":"https:\/\/www.rs-event.sg\/main\/wp-json\/wp\/v2\/posts\/17669\/revisions\/17671"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.rs-event.sg\/main\/wp-json\/wp\/v2\/media\/17670"}],"wp:attachment":[{"href":"https:\/\/www.rs-event.sg\/main\/wp-json\/wp\/v2\/media?parent=17669"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.rs-event.sg\/main\/wp-json\/wp\/v2\/categories?post=17669"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.rs-event.sg\/main\/wp-json\/wp\/v2\/tags?post=17669"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}