Ivan Siller Illuminates Slovak Modernism in Juraj Benes’s Old Boys Anthology (1983)

Reviews

Ivan Šiller delivers a masterful interpretation of Juraj Beneš’s ‘Old Boys Anthology’, highlighting ten Slovak composers through expressive, stylistically diverse movements. His nuanced performance bridges homage and innovation, revealing the suite’s rich emotional and historical depth.

Ivan Šiller’s interpretation of Old Boys Anthology. Piano Suite No. 2 (1983) is a deeply introspective solo piano journey that pays homage to ten Slovak composers who navigated the artistic and political constraints of their time. Across its ten movements, the suite captures a spectrum of stylistic influences, from Baroque counterpoint to avant-garde sonorities, all channeled through Beneš’s distinctive compositional voice.

Šiller’s performance is marked by clarity, sensitivity, and a deep understanding of Beneš’s musical language. His nuanced phrasing and textural control bring each movement’s character into sharp relief, revealing not only the tributes to individual composers but also Beneš’s own unique voice—a fusion of reverence and reinterpretation.

Prelúdium (M. B.)

The suite opens with Prelúdium, a piece that alludes to the music of Miro Bázlik. Beneš blends Baroque prelude structures with expressive Romanticism, reflecting Bázlik’s dual identity as a traditionalist and an innovator. Šiller’s touch is both precise and lyrical, emphasizing the intricate harmonic language while maintaining a flowing, meditative quality.

Balada (T. S.)

Drawing from the melancholic lyricism of Tadeáš Salva, Balada unfolds with a deeply expressive quality. Šiller’s interpretation highlights the contrast between moments of quiet introspection and passages of dramatic intensity, evoking the emotional depth that defines Salva’s musical voice.

Impromptu (J. M.)

This movement embodies Jozef Malovec’s free-spirited approach to composition. The improvisatory character is captured through fluid phrasing and rhythmic flexibility. Šiller navigates the piece’s shifting moods effortlessly, balancing its playful spontaneity with its reflective undercurrents.

Air (I. P.)

A transcription of Ivan Parík’s Autumn Herd, this piece places melodic purity at its center. Šiller’s careful articulation allows each phrase to emerge with crystalline clarity, mirroring the poetic and understated nature of Parík’s music.

Pochod (I. Z.)

Ilja Zeljenka’s playful approach to rhythm is on full display in Pochod, which infuses march-like motifs with irony and wit. Šiller brings out the humor in the sharply accented passages while maintaining the underlying structure with firm control.

Reminiscencia (J. H.)

Referencing Bach, Messiaen, and Suchoň, this movement reflects Juraj Hatrík’s lifelong dedication to music education. Šiller’s restrained, introspective reading of Reminiscencia allows the echoes of these great composers to unfold naturally, emphasizing the philosophical depth of Beneš’s tribute.

Canone (J. S.)

A nod to Jozef Sixta, Canone is a rigorous study in counterpoint, demanding exceptional precision. Šiller’s execution is disciplined and articulate, bringing out the intricate layers of interwoven melodic lines while maintaining an organic sense of musical flow.

Berceuse (L. K.)

Inspired by Ladislav Kupkovič’s post-avant-garde simplicity, Berceuse exudes warmth and intimacy. Its rocking rhythms and gentle harmonic shifts create a lullaby-like atmosphere, which Šiller renders with a delicate, almost weightless touch.

Echo (P. K.)

A tribute to Peter Kolman’s experiments with sound and silence, Echo plays with resonance and spatial perception. Šiller’s careful control of tone and timing gives the piece an almost meditative quality, allowing its subtle shifts in color to emerge gradually.

Postludium (R. B.)

Closing the suite, Postludium reflects Roman Berger’s philosophical outlook on music. With its contemplative pacing and evolving harmonic textures, the piece invites introspection. Šiller’s interpretation emphasizes its meditative qualities, providing a fitting conclusion to the suite’s journey through memory, homage, and reinvention.

Overall Impression

Old Boys Anthology. Piano Suite No. 2 (1983) is more than a set of musical portraits—it is a dialogue between tradition and innovation, shaped by Beneš’s distinctive compositional approach. Ivan Šiller’s performance brings out both the individuality of each tribute and the coherence of the suite as a whole. His refined technique and interpretative depth ensure that the album is not just a retrospective but a living, breathing exploration of Slovak musical heritage.