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Review of the concert-Guilmant Symfony in d Minor for Organ and Orchestra at Smatana Hall
Hudební rozhledy-Jan Hora

In Guilmant Symphony for Organ and Orchestra off, flamboyant virtuosity and temperament Organist Drahomíra Matznerová. Convincingly captured the dramatic moments of the first sentence and quick movement finals and while playing table organ was placed in the far corner of the stage, performing clearly dominated..
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Review of the concert with BRNO PHILHARMONIC February 2017 ,Magazine Harmonie-Robert Hugo
….At the end we could hear not so famous concert Symphony No.1 for the organ and orchestra by Alexander Guillmant, presented by an excellent soloist Drahomíra Matzner. I think that the soloist really enjoyed the concert including the briliant final sentence, which was felt by the conductor in a very lively pace. She managed perfectly not only with the fast passages which were brilliant but understendable, but also with the thrush free sentence. And what was maybe even more difficult – with the organ in the Besední house, which unfortunatelly are not specifically disposed for the French romantic music. Nevertheless they played an equal counterpart to the orchestra in her interpretation, and they could sound for me unexpectable romantic colours…

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DRAHOMÍRA MATZNEROVÁ AT THE CHURCH OF ST WENCESLAS
By Julius Hůlek Music Perspective
(Review of the Prague Spring concert held on 29 May 2011)

Bringing the Prague Organ Days to an altogether characteristic and fitting conclusion was a recital by Drahomíra Matznerová, dedicated moreover to the memory of her husband, the musicologist Michal Matzner, who died tragically last autumn. Underscoring the recital’s special meaning was the programming, consisting of a selection of works by famed organ virtuosos who have major anniversaries this year.

Aptly introducing the collection of truly wonderful compositions was a performance of the Toccata and Fugue in F Minor by Bedřich Antonín Wiedermann, a pioneer of modern Czech organ performance. With well-judged dynamic articulation of entrances, the performer allowed the rich musical density to unfold, and her musical resources, especially her brilliant technique, were put at the service of a conception evoking a broadly diverse palette of moods, including her appropriate choice of gradations of registration in the fugue. Characterized by obvious, interpretively sensitive descriptiveness was the following Consolation No. 4 in D-Flat Major by Franz Liszt, enhanced with a special character through agogic shaping and the choice of contrasting wistful lyricism. The Chorale on the Chorale “Hallelujah! Gott zu loben, bleibe meine Seelenfreud!” is a great work by the absolutely unique late romantic composer Max Reger. The performance of the composition unfolded in clearly audible and well differentiated sonic ranges, and it was impressive above all for its conceptual shaping, leading from chaos to the establishment of order and above all a feeling of triumph. We appreciate that the fugue basically avoided the temptation for flashy registration (except perhaps for the very end), and we would emphasize the Mrs. Matznerová’s determined commitment to the performance. In all respects, the concert was captivating, as was illustrated, among other things, by the impression from the sequence of the next two compositions – the calm, narrative tone of the Ballade en mode phrygien, op. 14 by Jehan Alain and the Toccata from the Suite, op. 5 by Maurice Duruflé, a piece with rather mysterious content that nonetheless reaches a climax in a celebratory mood. The Pastorale in A Major, op. 26 by Alexandre Guilmant served suitably as a break (although by no means episodic) before the final work, the three-movement Symphony No. 1 in D Minor, op. 42 by the same composer. Framing the entire work were passages in a triumphant mood, and the progress of the music was first enlivened by a melody with pastel coloration, as if from another world, then the pastoral mood gave way to dramatic unrest. Finally, virtuoso passagework, runs and figuration brusquely come to the fore, creating a truly monumental impression, with a stirring ascent to the conclusion, the performance of which made the impression that the “King of Instruments” had been conquered.

With her festival appearance, Drahomíra Matznerová convincingly demonstrated once again her wonderful performing abilities, especially for the interpretation of the romantic organ repertoire. Besides the specific programming features already mentioned, her recital showcased aspects of the art of organ music that unfortunately are presented very seldom. She was obviously absorbed in her performing, and she played with admirable dynamism (it was also possible to watch video of her playing projected on a screen) and unwavering verve. Her artistry bears the seal of mature deliberation and outstanding talent, promising much for the future. The final concert took place at the Church of Our Lady Victorious with a programme of organ compositions. Appearing with the organist Drahomíra Matznerová-Chvátalová was the youthful string orchestra Camerata Bohemia with the conductor Till Fabian Weser. The concert began with the brief but beautifully played Sinfonia in B Minor “Al Santo Sepolcro” by Antonio Vivaldi. The Organ Concerto by Francis Poulenc, a composition that is very different from his other works, followed without a pause. The entry of the organ in forceful dynamics juxtaposed against the hushed ending of the Vivaldi composition was enormously impressive. The soloist Drahomíra Matznerová-Chvátalová, who is intimately acquainted with the instrument at the church, played without the least bit of hesitation. The changing tone color of the organ was lovely, and the soloist played with precision even the rhythmically complicated passages with orchestra. The performance and the composition itself provided the concert’s finest moments

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North Bohemia Philharmonic (Teplice) – Concert Review

A concluding return of the festival to Teplice-Rafael Brom, Hudební rozhledy, 8/2013

The closing symphonic concert of the 49^th-annual Ludwig van Beethoven Festival (26 June) was performed by the North Bohemia Philharmonic (Teplice) under the baton of the Bavarian conductor Franz Schottky. The concert opened with Verdi’s overture to the opera Nabucco played at an unexpectedly cautious tempo, which transformed this introduction to an opera – and an Italian opera at that – into something uncommonly pensive and rather remote from its original purpose.
The second work on the programme was the Symphony in D Minor, op. 45 by Alexandre Guilmant. Drahomíra Matznerová handled the difficult situation with tempos à la Celibidache with the wisdom of Solomon – she assumed the leading role, and the performance of Guilmant’s work deservedly became a highpoint of the festival. Matznerová drew a wide range of expression from her instrument, evoking many variants of Romantic imagery, and this monumental, sonically rich Romantic work with lovely dance-like passages sounded forth in all its beauty in the extraordinarily favorable acoustics of the Teplice concert hall. Although the condition of the instrument forced the soloist to make some adjustments to the registration, she filled the space of the hall with surging organ sound with very attentive orchestral support, changing over to cheerful solo passages, then later some pleasing sounds and a victorious cadenza, enchanting piano passages, and a majestic, triumphant conclusion. In this piece, the North Bohemia Philharmonic (Teplice) gave of its very best, bringing off Guilmant’s music successfully. It was Drahomíra Matznerová who de facto took control of the careful structuring of the music’s tempos, the broad range of dynamics, and the diversity of expression, and not only of her own instrument. After the appreciative ovation, she played the Toccata for Organ by Léon Boëllmann as an encore.
After the interval, the orchestra performed the Symphony No. 5 in E Minor, op. 64 by Pyotr Ilyich Tchaikovsky, but the elements conspired against the performance, especially the unprecedentedly hot weather that was plaguing the country even that late in the evening. The orchestra, which had been reveling in colorful, particularly lively tempos during the previous piece, slowed down noticeably, and the conductor returned the music to the vein of the philosophical Nabucco with which the concert began. Especially the last part of the symphony suffered from the chosen tempo.
Finally, to give a summary of some basic information about the whole festival presented by the North Bohemia Philharmonic (Teplice) under the patronage of the City of Teplice, in the course of a month a total of more than 60 artists and 10 ensembles presented themselves, coming from not only the Czech Republic, but also Slovakia, Germany, Italy, the USA, Spain, Poland, Switzerland, Austria, China, and Russia. The festival belongs to the Czech Association of Music Festivals, and the parties most responsible for its financing were the City of Teplice, Ústí nad Labem Region, the State Culture Fund of the Czech Republic, and the individual towns where the concerts took place.

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OLOMOUC ORGAN FESTIVAL (review)

Richard Pogoda-Hudební Rozhledy

When the Olomouc organ expert Antonín Schindler got approval in the 1960s for renovation of the Baroque organ in the Church of St Maurice built by Engler, the city in central Moravia acquired a truly royal instrument. The number of organ pipes was increased from 2,361 to more than 8,000, making it the largest organ in Czechoslovakia. The massive, five-manual console with hundreds of stops is impressive even at first glance.

Such an instrument attracted the interest of organists, and this gave the city leaders the idea of establishing a new tradition. Since 1969, not only performers, but also, above all, the music-loving public have had the opportunity of attending the International Organ Festival, and the 45^th-annual festival is now taking place. The endless possibilities for the instrument’s registration allow for programming covering a broad range of styles, so as the years went by (especially after the societal changes that took place in 1989), compositions began to appear in the repertoire that could not have been heard there earlier.

Again this year, the festival organizers were not afraid to present a wide range of genres. This was especially the case with the fifth and final concert featuring Thierry Escaich, organist at the Church of Saint-Étienne-du-Mont in Paris and professor of organ and improvisation at the Paris Conservatory, who presented the music of César Franck and Olivier Messiaen, rarely heard in Czech churches, along with the addition of his own compositions. The programming for the fourth concert of the series, held on 9 September, was also adventurous: the concert’s subtitle was “Music of Two Worlds” – classical and jazz.

Please let me take you on a short excursion back into history. Approximately seventy years ago, the popular pianist and entertainer Fats Walter would occasionally play church organs to give more ‘weight’ to his music. He had the feeling that his music was not getting adequate attention from classical music lovers. Now, the exact opposite was the case. The space inside the Church of St Maurice was filled with arrangements of Gospel tunes and evergreens that undoubtedly would have filled the old man with joy.

Drahomíra Matznerová made her first appearance performing at the festival in Olomouc. Already at the afternoon rehearsal, it was obvious that she greatly enjoys making music. Before the actual concert, she showed no sign of any nervousness. She gave a confident, spirited account of frequently performed works by B. A. Wiederman, Max Reger, and Maurice Duruflé. Especially the Toccata (1933) by the French master is an enormously difficult work in terms of both technique and expression. The image shown thanks to a camera system must have pleased the audience, because the challenging bass figures were transformed into an enchanting ballet of black slippers on the organ pedals.

The same was the case with the music from “across the seas,” when she was accompanied by the excellent playing of the trumpet player Miroslav Laštovka, a member of the orchestra of the Prague State Opera. The musical conception of the two performers gave no hint of any fake sentimentality in the Ave Maria by Astor Piazzolla or in Emil Viklický’s arrangement of the popular film hit song Over the Rainbow. The composition was premiered at last year’s PROMS festival. With his experience in the field of classical music, Viklický successfully avoided making a cheap, pandering arrangement. While he left snatches of Harold Arlen’s melody in the trumpet part, he did not let the organ part fall into the stereotypes of popular music. One might find something of Viklický’s experience with jazz in the wonderfully written bass line, but the dense clusters of tones and the sudden alternations with quiet, lyrical passages were attributes of modern music of the 21^st century.

When we add to that the Garneresque stride piano figures for the left hand, rarely heard on the classical organ, in the music of J. M. Michell, I have to say ‘hats off’ to Drahomíra Matznerová. The public showed its satisfaction by demanding two encores. Many members of the enthusiastic audience then pressed their way into the organ loft to thank the performers personally. Now who can explain why people say Olomouc audiences are conservative?

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The organist at the church where the Infant Jesus of Prague is kept goes occasionally to the pistol range (Gabriela Plačková)

Katolický týdeník, 49/2013

Drahomíra Matznerová Chvátalová works every weekday and holiday at the church where the Infant Jesus of Prague is kept, but in order to see her at work, you would have to go up into the organ loft. Since 1995, Drahomíra Matznerová has been the organist at the Church of Our Lady Victorious, and she played there for Pope Benedict XVI during his visit to Prague’s Infant Jesus.

Originally, she wanted to be a veterinarian, but chemistry did not turn out be one of her best subjects, so in the end, she decided to attend conservatory and play the organ. Her organ studies went well. “I didn’t completely fall in love with the organ until I began my studies, when I chose it as my instrument mostly in accordance with my father’s wishes,” says the organist. Already as a student, she would go out early in the morning to play for Holy Mass before her classes started. First, she played in St Anne’s Chapel at the Church of St James in Prague’s Old Town, then she played at the Capuchin Church at Prague Castle and also at the Loreta. “When I got the chance to play at Our Lady Victorious, I didn’t hesitate. It’s the dream of all organists to have their ‘own’ church and to play there regularly,” says the organist, who even started taking her children along with her right after they were born when she would go to play the organ. They would start by lying in a pram next to the organ, but when they started making noise during Mass, the organist had no choice but to put the pram in the stairwell leading to the tower. “My children are now six and nine years old, and when I play, they come with me. They also travel with me to concerts,” says Mrs. Matznerová.

At midnight, a duet is heard at Our Lady Victorious
For this year’s midnight Holy Mass at Our Lady Victorious, the church’s organist chose a midnight duet. At the church, one hears, for example, carols by Steckr or some of the Czech Christmas songs by Jakub Jan Ryba sung by soloists from the Olomouc Opera: Barbora Polášková (mezzo-soprano) and Petr Martínek (tenor) with organ accompaniment.
Besides regularly accompanying worship services, Drahomíra Matznerová, a graduate from Prof. Jaroslav Tůma’s studio at the Academy of Performing Arts, also gives concerts. The bulk of her repertoire consists of music of the Romantic and Modern eras, with an emphasis on French organ literature of the 19^th and 20^th centuries. “For the Romantic musical literature that I love, which is very melodious, the organ at Our Lady Victorious is ideal. It is a fine German Romantic organ from the 19^th century. There aren’t many organs like that in Prague,” says the organist, who has made recordings for Czech Radio and other labels, including a recording of premieres of works by major Czech composers such as Jiří Ropek, Jiří Laburda, and Emil Viklický. She regularly performs as a soloist in this country and abroad. In 2012 at the PROMS festival, together with the trumpet soloist Jan Hasenöhrl, she gave the world premiere of Emil Viklický’s Variations on Over The Rainbow.
I react to things by going to shooting range
Music is not, however, always the right way for the organist at Our Lady Victorious to react to things: “Whenever I want to clear my mind, I take my two weapons and go practice shooting at the range,” she says with a smile, adding that she had always been interested in shooting, so she got a gun permit nearly twenty years ago. She does not, however, have much time for this hobby of hers. She has to spend more time preparing for concerts. She practices at home on an electric organ, and she only rehearses at the church right before a concert. At present, she is preparing for two concerts: “This year I will be appearing again as a soloist with the North Bohemia Philharmonic in Teplice, and early next year I will be playing with the Prague Symphony Orchestra in Smetana Hall at the Municipal House in Prague,” said the organist concerning her concerts scheduled for the near future. Besides playing at the Church of Our Lady Victorious, she also plays at the ceremony hall of Prague’s New Town Hall.