Representation: WORLD

"Musicista dall'innata cantabilità, sorretta da una cavata di grande profondità e da un'intonazione vibrante e sicura, a Špaček sembra andare un po' stretto lo stile del Mozart più saldamente ancorato alla tradizione settecentesca quale è quello dei giovanili concerti per violino. La sua visione, comunque bilanciata nei passi concertati con l'orchestra, si libera appieno nelle tre cadenze alla fine di ogni movimento, con una libertà nel fraseggio che sarebbe parsa inaudita ai tempi dell'autore, ma oggi apprezzabile nel suo anelito a una rivisitazione in chiave contemporanea di una prassi esecutiva talvolta paludata in un eccessivo rigore filologico. Nell'attesa di ascoltarlo ancora in un opus magnum dell'Otto-Novecento non abbiamo potuto non riconoscere la sua versatilità anche nei due bis concessi a una sala trascinata dalla sua esuberanza giovanile e dal suo sorriso aperto, in grado di contagiare i presenti con l'entusiasmo di far musica. Tra uno sbalorditivo Ysaÿe (Les furies) con la sua ripetuta citazione del Dies irae e un più angelico Bach (Sarabanda dalla seconda partita in re minore) si fa strada la convinzione di trovarsi di fronte a un nome che potrà essere uno dei protagonisti assoluti del concertismo dei prossimi anni." - L'Ape musicale, 3 June 2017

"Das Violinkonzert in A-Dur ist Wolfgang Amadeus Mozarts meistgespieltes Violinkonzert. Man hat es von vielen großartigen Interpreten gehört, aber Josef Spacek braucht keinen Vergleich zu scheuen. Wunderbar einfühlsam gestaltete er die Übergänge und kontrastierenden Teile im dritten Satz und die langen, gesanglichen Bögen des zweiten, ohne dabei in Pathos zu verfallen. Intonationsmäßig durchaus heikle Stellen in den schnellen Sätzen kamen sicher und klangschön, und das Orchester trug das Seine bei: intensiv in den Tutti-Passagen, dezent und transparent in der Begleitung." - Nachrichten.at, 5 October 2016

"He played Mendelssohn’s Violin Concerto with great sensitivity and admirable technical poise. ... Vaughan Williams’s The Lark Ascending may have been a way of ensuring full houses, but Spaček played it with a beguiling simplicity." - The Guardian, 23 April 2015

" ... während der glänzende junge Geiger Josef Špaček Josef Suks rhapsodische g-Moll-Fantasie mit singender Brillanz erfüllte – Jubel allenthalben." - Die Presse, 20 March 2015

"Glänzend realisiert wurde der anspruchsvolle Solopart (Suk Fantasie, Op. 24) von dem jungen Josef Špaček. Dafür gab es lang anhaltenden Beifall."  - Luxemburger Wort, 16 December 2014

"It was Špaček's energy that gave life to the already elegant composition and it was just mesmerising to watch his deft handling of the instrument. The composition’s nature allows the violinist to shine and Špaček utilises this chance to the fullest, bringing the instrument — in his case, a violin made in 1855 — to the fore, describing, with every note, the “quiet rapture and poetic beauty” of this 1845 work.
" - New Straits Times, 12 April 2014

"Though there will always be a special place for the recording by David Oistrakh, for whom it (Prokofiev Violin Sonata no. 1 - ed.) was written, Josef Špaček has the measure of this strange, dark work and all its technical demands. ... Špaček and Sekera are very much on home ground with Janáček's Sonata, taking it much less forcefully than some performers do and reaching into the music, past the typically abrupt gestures, to its lyrical centre. The melodic elegance is there for the finding, together with a distinct undertow of melancholy." - Gramophone, Awards Issue 2013

"Never mind the superb technical accomplishment of Špaček's playing, it's the musical and interpretative achievement that is so impressive here." - International Record Review, October 2013 

“Un vrai musicien (A true musician)” - Le Soir

“He played with sweet tone, deliberate phrasing and vigor in the rollicking Hungarian-style third movement.” - New York Times

"... his high-charisma playing was fueled by priceless musical comprehension." - Philadelphia Inquirer

Josef Špaček

Violin

Josef Špaček has gradually established himself as one of the most accomplished violinists of his generation. He studied with Itzhak Perlman at The Juilliard School in New York, Ida Kavafian and Jaime Laredo at the Curtis Institute of Music in Philadelphia, and with Jaroslav Foltýn at the Prague Conservatory. He was laureate of the International Queen Elisabeth Competition in Brussels, and won top prizes at the Michael Hill International Violin Competition in New Zealand, the Carl Nielsen International Violin Competition in Denmark and the Young Concert Artists International Auditions in New York.

Highlights during the 2017/18/19 seasons include a return visit to the Netherlands Philharmonic Orchestra and Marc Albrecht, as well as debuts with the Orchestre Philharmonique du Capitole de Toulouse and Thomas Søndergård, the Bamberger Symphoniker and Manfred Honeck, the Helsinki Philharmonic Orchestra and Michael Sanderling, the Orchestre Philharmonique de Strasbourg and Aziz Shokhakimov, the Orchestre Philharmonique de Monte-Carlo and Tomáš Netopil, the Stavanger Symphony Orchestra and Christian Vasquez, the Symfonieorkest Vlaanderen and Daniel Blendulf and the Kyoto Symphony Orchestra and Lio Kuokman. He continues to appear as soloist of the Czech Philharmonic Orchestra for concerts conducted by Semyon Bychkov and Thomas Adès.

Previous highlights include subscription concerts with the Czech Philharmonic Orchestra and Valery Gergiev, a return visit to the Orchestra Sinfonica Nazionale della RAI Torino and James Conlon, his debut with the Rotterdam Philharmonic Orchestra and Jiří Bělohlávek, his Berlin debut with the Konzerthausorchester Berlin and Thomas Sanderling, his Amsterdam Concertgebouw debut with the Netherlands Philharmonic Orchestra and Thomas Søndergård, his Tokyo debut with the Tokyo Metropolitan Symphony Orchestra and Jakub Hrůša and debuts with the Orchestra di Padova e del Veneto and Gerard Korsten, the Sønderjylland Symphony Orchestra and Johannes Wildner and the Symfonieorkest Vlaanderen and Adrien Perruchon (recorded by Mezzo TV), as well as recital debuts in among others Kennedy Center in Washington D.C. and La Jolla, San Diego. He was also the soloist of the Czech Philharmonic Orchestra and Jiří Bělohlávek during their Asia tour.

In addition to the afore-mentioned orchestras Josef Špaček has appeared with orchestras across Europe, the US and Asia, such as the Philadelphia Orchestra, Prague Philharmonia, Orchestre Philharmonique du Luxembourg, Essener Philharmoniker, Tonkünstlerorchester Niederösterreich, Orchestre National de Belgique, Malaysian Philharmonic Orchestra, Orquesta Filarmónica de Málaga, Auckland Philharmonia Orchestra, Kansas City Symphony and Queensland Symphony Orchestra.

He collaborates with conductors such as the late Jiří Bělohlávek, Jakub Hrůša, Valery Gergiev, Christoph Eschenbach, Manfred Honeck, Semyon Bychkov, James Conlon, Asher Fisch, Roy Goodman, Eliahu Inbal, Jun Märkl, Thomas Søndergård, Thomas Sanderling, Giordano Bellincampi, Tomáš Netopil, Marco Angius and Rossen Milanov.  

Josef Špaček gives recitals and takes part in chamber music festivals in Europe (among others at the Rudolfinum in Prague, Konzerthaus in Vienna, Evian Festival, Kaposfest and Schloß Elmau), Asia and the USA (among others at Kennedy Center, Washington D.C., La Jolla, San Diego, ChamberFest Cleveland and Nevada Chamber Music Festival ).  

Supraphon released highly praised recordings of the violin concertos of Dvořák and Janáček, and of the Fantasy of Suk, with the Czech Philharmonic Orchestra conducted by Jiří Bělohlávek (among others “Recording of the week” of The Sunday Times, “Recording of the month and of the year” of MusicWeb International and 5* in Diapason), as well as a recital disc with works for violin and piano by Smetana, Janáček and Prokofiev with pianist Miroslav Sekera. In 2010 he recorded works by H.W. Ernst for Naxos. His first CD, which was released in 2006, includes a complete recording of the Sonatas for Solo Violin by Eugène Ysaÿe.  

He has served as concertmaster of the Czech Philharmonic Orchestra, the youngest in its history. The orchestra has named him “Associate Artist” as of January 2016. 

Josef Špaček performs on the ca. 1732 “LeBrun; Bouthillard” Guarneri del Gesù violin, generously on loan from Ingles & Hayday.

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