{"id":3775,"date":"2025-06-27T15:23:57","date_gmt":"2025-06-27T13:23:57","guid":{"rendered":"https:\/\/jan-dusek.com\/?page_id=3775"},"modified":"2025-11-12T12:26:04","modified_gmt":"2025-11-12T11:26:04","slug":"from-reviews","status":"publish","type":"page","link":"https:\/\/jan-dusek.com\/en\/from-reviews\/","title":{"rendered":"From Reviews"},"content":{"rendered":"\t\t
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From Reviews<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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From Reviews<\/h2>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t
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Memorial concert for Prof. Juraj Filas \u2013 15. 4. 2025<\/div>\nIn the opening Sonata, Du\u0161ek was able to demonstrate his virtuosity in his approach to both traditional and unconventional piano arrangements.\n
Juraj Filas: Sonata \"Amorosa\"<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tVojt\u011bch Moj\u017e\u00ed\u0161<\/span>KlasikaPlus.cz<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Czech Chamber Music Society \u2013 26. 11. 2025<\/div>\nPianist Jan Du\u0161ek began Jan\u00e1\u010dek's 1912 composition energetically, with a soft touch and interpretative confidence. Du\u0161ek performed the opening Andante with its characteristic short melodic lines naturally, balancing the stronger dynamics with delicate phrasing in the Molto adagio, which sounded truly \u2018Jan\u00e1\u010dek-esque\u2019. The pianist presented his expressive range in the charming Andantino with its song-like sequences, melodic fragments like cries reminiscent of a period of sadness and misunderstanding. The careful performance was occasionally burdened by pedalling, which detracted from the impressionistic delicacy, but the excellent Presto did not deny the pianist's mastery. The four-part cycle In the Mists is one of Jan\u00e1\u010dek's core compositions, in which he recounted his intimate experiences and feelings, and it is also his last major piano composition. Jan Du\u0161ek approached this work with skill, refined technique and understanding, and the audience's applause was clearly his reward.\n
Leo\u0161 Jan\u00e1\u010dek: In the Mists<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tMarta Tu\u017eilov\u00e1<\/span>KlasikaPlus.cz<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Czech Chamber Music Society \u2013 26. 11. 2025<\/div>\nJan Du\u0161ek provided excellent accompaniment throughout the song cycle, offering clear support for each song in capturing the conflicting inner feelings of two young people.\n
Leo\u0161 Jan\u00e1\u010dek: The Diary of One Who Disappeared<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tMarta Tu\u017eilov\u00e1<\/span>KlasikaPlus.cz<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Prague Philharmonic Choir \u2013 15. 12. 2018<\/div>\nJan Du\u0161ek, who turned Christ's age this year, wrote, at the initiative of Luk\u00e1\u0161 Vasilek, a non-Christmas Christmas composition for soloists, mixed choir and small instrumental ensemble Carmen ad cunas, a beautiful song based on the words of Jan of Jen\u0161tejn, Archbishop of Prague at the end of the 14th century. Mr Du\u0161ek could perhaps be described as a \u2018traditionalist\u2019, which would probably be perceived negatively by many of his generation, for whom musical installations, collages, video mapping and the negation of anything that smacks of tonality are \u2018in\u2019. (However, it would be interesting to find out whether the seekers of the musical Holy Grail of the 21st century would be able to process the Christmas message.\u263a) Du\u0161ek's creative take on the text \u2018The Virgin Mother dwells in the stable, singing wedding songs... Glory to God in the highest\u2019 is discreetly jubilant, unpretentious, free of all connotations and very, very melodic.\n
Jan Du\u0161ek: Carmen ad cunas<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tLubo\u0161 Stehl\u00edk<\/span>\u010casopis Harmonie<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Prague Philharmonic Choir \u2013 15. 12. 2018<\/div>\nThe encores included two Christmas songs, both arranged by Jan Du\u0161ek. Of course, the \u2018Christmas anthem\u2019 Narodil se Kristus P\u00e1n (Christ the Lord is Born) had to be played, but my favourite, Byla cesta, byla u\u0161lapan\u00e1 (There Was a Road, It Was Trampled), delighted me immensely. The arrangements were so sensitive and yet free in all respects that I couldn't help thinking how good it would be if Jan Du\u0161ek didn't stop at these two and created a modern yet traditional contribution to the versions by Lubo\u0161 Fi\u0161er, Jaroslav Kr\u010dek and Ji\u0159\u00ed Pavlica, for example.\n
Jan Du\u0161ek: Byla cesta & Narodil se Kristus p\u00e1n<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tLubo\u0161 Stehl\u00edk<\/span>\u010casopis Harmonie<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Prague Philharmonic Choir \u2013 15. 12. 2018<\/div>\nDu\u0161ek composed the Christmas song Carmen ad cunas (Song Above the Cradle) based on a Latin text by Jan of Jen\u0161tejn from the 14th century. In it, a mother sings the praises of her newborn child, gives him advice for the future, prophesies his greatness and exceptionality, and admires his beauty and physical perfection. Like any proud mother standing over a cradle... Nowhere does the name of the child Jesus or Mary appear, and so the work has not only a festive spiritual content, but also a deeply human dimension.\nThe music of the premiered song is gentle, appealing to the listener, natural and stylistically unpretentious. It is not modern, but neither does it strive for archaism, which the lyrics might suggest. At the beginning, there is a short quotation from the song Cht\u00edc, aby spal (To Sleep) by Michna z Otradovic, but otherwise you will probably not notice any other striking references to musical history.\n
Jan Du\u0161ek: Carmen ad cunas<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tSvatava Baran\u010dicov\u00e1<\/span>OperaPlus.cz<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Prague Philharmonic Choir \u2013 15. 12. 2018<\/div>\nJan Du\u0161ek wrote a short Christmas cantata entitled Carmen ad cunas, Song Above the Cradle, commissioned by the choir. It was premiered at the concert. He set the Latin verses of Jan of Jen\u0161tejn to music in a very rewarding, accessible, pastoral style, without resorting to pandering or arranging the language. The composition begins and ends with the exclamation Gloria, quietly ringing in the introduction and solemnly at the climax of the finale. It uses two flutes, an oboe, an English horn, two bassoons and a discreet triangle, giving the choir the opportunity to employ a wide dynamic and expressive range. The composer does not quote Christmas carols, but only hints at a few, and in his own words, he perceives the text not only as a hymn to the Virgin Mary and Jesus, but as the song of any mother who bends over her cradle and for whom her child is the most beautiful and best thing in the world. The choral song, which lasts less than ten minutes, can therefore be perceived not only as spiritual music, but also as more generally lyrical, intimate music. However, in this case, it was impossible to avoid the Christmas context given by the programme of the entire evening.\n
Jan Du\u0161ek: Carmen ad cunas<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tPetr Veber<\/span>KlasikaPlus.cz<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Concert by the Composition Department at JazzDock \u2013 15. 10. 2010<\/div>The author's own performance featured Jan Du\u0161ek's (born 1985) composition Movements, which is intended for a slightly prepared piano, sound track and live projection. The combination of Du\u0161ek's music, at times intensely expressive, at others melancholic or nostalgic, with Radek Do\u010dkal's live projection was very impressive. However, the music itself has a powerful charge, created by the interaction of several contrasting musical layers. The foundation is formed by an ostinato bass figure, perhaps \u2018borrowed\u2019 from Astor Piazzolla's song, which is quoted later in the composition, but played on the prepared strings of the piano. Although the bass figure disappears in several places, the composition retains the distinctive ringing sound of the prepared strings throughout. Another layer of this multi-layered composition is formed by rapid descending atonal runs or leaps from higher registers, another by the aforementioned Piazzolla song Balada para un loco, and yet another by gentle rustles, the sound of plucked strings or playing harmonics inside the piano \u2013 resulting in the most emotional piece of the evening.\n
Jan Du\u0161ek: Movements<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tMartin Ledvinka<\/span>A tempo revue<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Viktor Ullmann \u2013 CD Schwer ist's, das Sch\u00f6ne zu lassen<\/div>\nWe literally immerse ourselves in Ullmann's musical soul with each song, thanks in part to Jan Du\u0161ek's sensitive and thoughtful accompaniment.\n
Viktor Ullmann: P\u00edsn\u011b<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tMark\u00e9ta Vejvodov\u00e1<\/span>\u010casopis Harmonie<\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Tribute to Viktor Ullmann \u2013 25. 5. 2015<\/div>\nJan Du\u0161ek, on the other hand, confirmed the qualities that Irena Troupov\u00e1 spoke about in our interview before the concert. He brought out many interesting harmonic progressions from the piano parts. I also appreciated that he kept the grand piano open in such a small hall for piano accompaniment, yet managed to control the sound of the instrument in such a way that it supported Irena Troupov\u00e1's voice and helped to create a vivid sound impression.\n
Viktor Ullmann: Songs<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tMark\u00e9ta Vejvodov\u00e1<\/span>\u010casopis Harmonie<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Viktor Ullmann \u2013 CD Schwer ist's, das Sch\u00f6ne zu lassen<\/div>\nShe was fortunate to be accompanied by Jan Du\u0161ek, who is an outstanding artist and can empathise with the spirit of music.\n
Viktor Ullmann: Songs<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tLynn Ren\u00e9 Bayley<\/span>The Art Music Lounge<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Eternal Hope Festival \u2013 22. 8. 2019<\/div>\nDu\u0161ek's performance revealed a deep understanding of the delicate tenderness that the composer wove into the work. This is hardly surprising, as the pianist has extensive experience with Karel's work and records his compositions for Czech Radio.\n
Rudolf Karel: Nokturno<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tLuk\u00e1\u0161 Pavlica<\/span>\u010casopis Harmonie<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Eternal Hope Festival \u2013 22. 8. 2019<\/div>\nOn the other hand, one cannot help but praise the pianist's emphasis on the jazz elements of the work, which he brought to the fore with appropriate accents, momentarily making one forget the original musical connotations of the piece. The musician also deserves praise for allowing all the conclusions to resonate until the very end, a practice that, surprisingly, is not entirely commonplace.\n
Pavel Haas: Suita op. 13<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tLuk\u00e1\u0161 Pavlica<\/span>\u010casopis Harmonie<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Prague Spring Festival \u2013 15. 5. 2018<\/div>\nAs on several recent occasions, Jan Du\u0161ek proved himself once again to be a discreet yet supremely competent and reliable partner to the soloist. His solo performances in compositions by Rudolf Karel and, in particular, Pavel Haas \u2013 as well as his ongoing interest in the piano works of Czech composers of this generation \u2013 also deserve great recognition.\n
Viktor Ullmann, Erwin Schulhoff, Hans Winterberg, Pavel Haas, Hans Kr\u00e1sa, Rudolf Karel<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tJarmila Gabrielov\u00e1<\/span>\u010casopis Harmonie<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Festival junger K\u00fcnstler Bayreuth \u2013 Goldkronach 14. 8. 2017<\/div>\nHowever, it was good that the programme gave pianist Jan Du\u0161ek the opportunity to showcase his outstanding skills as a piano virtuoso, thanks to two piano compositions by Pavel Haas and Viktor Ullmann.\n
Pavel Haas: Suita, Viktor Ullmann: Sonata n. 3<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tDer Neue Wiesentbote<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Festival junger K\u00fcnstler Bayreuth \u2013 Speinshart 20. 8. 2017<\/div>\nIn Speinshart, pianist Jan Du\u0161ek focused on a composer who also ended up in the gas chambers of Auschwitz. In Pavel Haas' Suite Op. 13, he brought to life the mysterious world of Pavel Haas in \u2018Praeludium\u2019 and \u2018Con molta espressione\u2019 through to the joyful moments of \u2018Danza\u2019. The sparkling piano playing continued with Ullmann's Piano Sonata No. 3. The audience was enchanted by the fascinating Allegro grazioso and finally delighted by Mozart's variations in Allegro grazioso.\n
Pavel Haas: Suita, Viktor Ullmann: Sonata n. 3<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tRobert Dotzauer<\/span>Onetz<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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BERG Orchestra \u2013 CD NuBERG 2008<\/div>\nIn my need to perceive the meaning of the text set to music, I was fully satisfied by Jan Du\u0161ek's six songs Chalomot jehudi\u00b4im. These are excellently constructed soprano parts with comprehensible accompaniment, audibly inspired by Middle Eastern melodies. To my ears, everything sounded natural and logical, and I also experienced feelings of beauty because I could follow the composer's wonderful engagement with the verses and their very intimate musical expression. Perhaps my only criticism would be that I would not have wasted so much contrast within the small sections in favour of contrast between the seven parts. The last words of the last song refer to a feeling of happiness. Yes, I felt happy.\n
Jan Du\u0161ek: Chalomot yehudi'im<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tOlga Je\u017ekov\u00e1<\/span>A tempo revue<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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BERG Orchestra \u2013 16. 10. 2008<\/div>\nAfter the intermission, the world premiere of Jan Du\u0161ek's Chalomot jehudi'im (Jewish Dreams) followed. The song cycle for soprano, wind and string instruments, and string orchestra, based on texts by Israeli poet Jehudi Amichai, was the highlight of Thursday's concert. The seven-part composition has the motto Love - loss of a loved one - death, war - peace, hope - despair. The composition has a pulsating rhythm, which to me personally is sometimes vaguely reminiscent of tango or a slow march, with the cantilena passages of the soprano alternating with occasional recitation or whispering. The composer uses sonic harmonies and clusters in the orchestra, and the whole piece is very impressive. The composer has succeeded in combining the music with the text and orchestrating it very well. All the soloists and the orchestra gave a performance worthy of praise - Alena Kellerov\u00e1 sang the soprano part excellently, as did I. Veny\u0161 on clarinet and J. Lupt\u00e1k on cello.\n
Jan Du\u0161ek: Chalomot yehudi'im<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tJosef Po\u010depick\u00fd<\/span>A tempo revue<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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CD David Post \u2013 Concertino \u00e1 Cinque for Clarinet and String Quartet. Piano Quintet for Piano and String Quartet<\/div>\nPianist Jan Du\u0161ek is both fervent and incisive in the Quintet. \n
David Post: Piano Quintet<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tKen Meltzer<\/span>Fanfare<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Confessions Without Words \u2013 31. 5. 2009<\/div>\nJan Du\u0161ek pleasantly surprised me with the diversity and inventiveness of his music, based on polytonal combinations of fifth chords and colourful instrumentation.\n
Jan Du\u0161ek: Persons<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tJan Fila<\/span>A tempo revue<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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CD Hans Winterberg \u2013 Immer das letzte mal<\/div>\nPianist Jan Du\u0161ek is also excellent, playing the music with excellent feeling, which helps quite a bit.\n
Hans Winterberg: Songs<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tLynn Ren\u00e9 Bayley<\/span>The Art Music Lounge<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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CD Viktor Ullmann \u2013 Schwer ist's, das Sch\u00f6ne zu lassen<\/div>\nJan Du\u0161ek is her well-attuned colleague, who has few opportunities to indulge in postludes but sticks to the singer like glue.\n
Viktor Ullmann: Songs<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tJonathan Woolf<\/span>Music Web International<\/a><\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t
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Prague Spring Festival \u2013 15. 5. 2018<\/div>\nTroupov\u00e1's equal partner was the technically masterful pianist Jan Du\u0161ek, who also performed solo.\n
Viktor Ullmann, Pavel Haas, Erwin Schulhoff, Hans Kr\u00e1sa, Hans Winterberg, Rudolf Karel<\/div>\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t\tHelena Havl\u00edkov\u00e1<\/span>Hudebn\u00ed rozhledy<\/span><\/cite>\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
\n\t\t\t\t\t\t\t<\/i>\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t
\n\t\t\t\t\t\t\t<\/i>\t\t\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t\t
<\/div>\n\t\t\t\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

From Reviews From Reviews Memorial concert for Prof. Juraj Filas \u2013 15. 4. 2025 In the opening Sonata, Du\u0161ek was able to demonstrate his virtuosity in his approach to both traditional and unconventional piano… Read More »From Reviews<\/span><\/a><\/p>\n","protected":false},"author":3,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"elementor_theme","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","neve_meta_reading_time":"","_EventAllDay":false,"_EventTimezone":"","_EventStartDate":"","_EventEndDate":"","_EventStartDateUTC":"","_EventEndDateUTC":"","_EventShowMap":false,"_EventShowMapLink":false,"_EventURL":"","_EventCost":"","_EventCostDescription":"","_EventCurrencySymbol":"","_EventCurrencyCode":"","_EventCurrencyPosition":"","_EventDateTimeSeparator":"","_EventTimeRangeSeparator":"","_EventOrganizerID":[],"_EventVenueID":[],"_OrganizerEmail":"","_OrganizerPhone":"","_OrganizerWebsite":"","_VenueAddress":"","_VenueCity":"","_VenueCountry":"","_VenueProvince":"","_VenueState":"","_VenueZip":"","_VenuePhone":"","_VenueURL":"","_VenueStateProvince":"","_VenueLat":"","_VenueLng":"","_VenueShowMap":false,"_VenueShowMapLink":false,"_themeisle_gutenberg_block_has_review":false,"footnotes":""},"class_list":["post-3775","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/jan-dusek.com\/en\/wp-json\/wp\/v2\/pages\/3775","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jan-dusek.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/jan-dusek.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/jan-dusek.com\/en\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/jan-dusek.com\/en\/wp-json\/wp\/v2\/comments?post=3775"}],"version-history":[{"count":0,"href":"https:\/\/jan-dusek.com\/en\/wp-json\/wp\/v2\/pages\/3775\/revisions"}],"wp:attachment":[{"href":"https:\/\/jan-dusek.com\/en\/wp-json\/wp\/v2\/media?parent=3775"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}