European Piano Sound Concert Series 2025 | 4 July 2025, Victoria Concert Hall

The evening of 4 July 2025 at Victoria Concert Hall marked several exciting firsts for Singapore’s classical music scene—and a significant moment for the European Piano Sound Concert Series. Making his Singapore recital debut, Czech pianist Karel Košárek stepped in for his compatriot Jan Schulmeister, who was unfortunately indisposed. It was not only Košárek’s 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 Košárek’s thoughtfully curated program, which explored Czech identity, Romantic poetry, and jazzy flair. It became immediately clear why Košárek is so highly regarded in Czechia.

Košárek opened with Bedřich Smetana’s Skočná (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 Košárek played with infectious charm. Rather than simply mimicking rustic melodies, Smetana wove them into classical form—an approach Košárek brought out with both vitality and refinement, making the piece feel like a village celebration sprung to life on stage.

Karel Košárek addresses the audience briefly at his Singapore debut recital at the Victoria Concert Hall, 4 July 2025

This exuberance gave way to a more introspective side of Smetana in the Fantasia on Czech Folk Songs. A lesser-known gem, the Fantasia unfolds in ethereal waves. Here, Košárek allowed the music space to shimmer and breathe, drawing on the Petrof’s tonal richness to create harp-like textures and luminous harmonies. The result was a soundscape full of lyricality and emotional resonance—evoking images of serene riversides and foggy landscapes—that lingered in the mind long after the final chord.

He then transitioned to Smetana’s Fantasia on Czech Folk Songs, 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. Košárek eloquently conveyed its sense of wonder, particularly in the harp-like textures that shimmered through the Petrof’s 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.

It was clear from this recital why Košárek is one of the most sought-after pianists in the Czech Republic.

Franz Liszt’s Sonetto 104 and Sonetto 123 del Petrarca brought a shift from the rustic to the poetic. Based on 14th-century sonnets by Petrarch—one expressing anguish, the other serene love—these pieces showcase Liszt’s deep engagement with literary and spiritual ideas, and his pianistic poetry. The fervent Sonetto 104 was voiced with exceptional clarity; its top melody line truly sang through the hands of this masterful performer. Košárek’s control on the voicing allowed the audience to keenly feel the longing Liszt portrayed. The more tranquil Sonetto 123, often considered one of Liszt’s most meditative works, was delivered with graceful restraint. Košárek’s 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.

After the intermission, the recital boldly turned toward the 20th century, and with it, a delightful surge in pace and character. Bohuslav Martinů’s Three Czech Dances, 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, Obkročák, elegantly blended the charm of its folk roots with a smattering of jazz touches, while the Dupák felt remarkably relatable, akin to navigating a crowded train commute or bustling city streets, full of detours and narrow escapes. The final Polka 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.

Then came the pieces that truly bridged the concert’s “Bohemia to Broadway” theme. George Gershwin’s Preludes for Piano may need little introduction, but Košárek performed them with a theatrical flair that brought their origins — steeped in the rhythms and harmonies of 1920s jazz — into the spotlight. These pieces show how Gershwin took the sounds of jazz and brought them into the concert hall — much like how Chopin once turned the waltz into something elegant and expressive, without losing its charm.Košárek 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 — full of personality and flair.

And just when you thought the programme couldn’t get any more adventurous, Friedrich Gulda’s Play Piano Play No. 9 and Prelude & Fugue took things to a whole new level. A classical rebel through and through, Gulda once faked his own death — partly to poke fun at the snobbery of the classical world, and partly to draw attention to his trailblazing crossover work. Košárek clearly had fun with these pieces, bringing out their quirky charm and rhythmic bite. The Fugue was especially memorable: its counterpoint followed all the rules, but danced to its own beat — full of syncopation, sly turns, and jazzy flair. With effortless style, Košárek reminded us that great music doesn’t have to stay in one box — it can groove, surprise, and still be brilliantly played.

Karel Košárek gave a delightful and spirited performance on the Petrof Grand Piano P237 Monsoon at the Victoria Concert Hall. 4 July 2025

And then, the eagerly anticipated culmination: Gershwin’s iconic Rhapsody in Blue, 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. Košárek’s interpretation was vivid, bold, and brimming with character. The famous clarinet glissando—that glorious, notoriously “unplayable on piano” effect—was 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!

To the delight of the audience, Košárek returned for two encores: the exuberant Sabre Dance Boogie by Louis Busch, and a charming Poetic Polka in G Minor 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.

In a concert landscape where many recitals typically follow a familiar mold, Karel Košárek’s program, “From Bohemia to Broadway,” truly stood out. It dared to mix Romanticism, national identity, jazz, and a healthy dose of rebellious fun. Košárek brought a unique perspective – a vivid reminder that music doesn’t always need rigid structure or borders, even when it’s deeply rooted in one’s own culture. Sometimes, it just needs a compelling storyteller, and a fantastic pianist, to bring those stories to life. Karel Košárek’s Singapore debut with Petrof made for a truly memorable night indeed.

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.

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