Josef Špaček

Violin

Praised for his remarkable range of colours, his confident and concentrated stage presence, his virtuosity and technical poise as well as the beauty of his tone Josef Špaček has gradually emerged as one of the leading violinists of his generation. His performances of a wide range of repertoire demonstrate his “astonishing articulation and athleticism” (The Scotsman) and  “a richness and piquancy of timbre.” (The Telegraph).

Read more

Praised for his remarkable range of colours, his confident and concentrated stage presence, his virtuosity and technical poise as well as the beauty of his tone Josef Špaček has gradually emerged as one of the leading violinists of his generation. His performances of a wide range of repertoire demonstrate his “astonishing articulation and athleticism” (The Scotsman) and  “a richness and piquancy of timbre.” (The Telegraph).

Forthcoming highlights include debuts with the Gewandhausorchester Leipzig and Semyon Bychkov, the Orchestre National de Lille and Jan-Willem de Vriend, concerts with Sinfonia Varsovia and Marta Gardolińska in Warsaw and Brussels, a concerto and recital tour in China, as well as returns to the Dresdner Philharmonie and Kahchun Wong, the Czech Philharmonic Orchestra and Tomáš Netopil, the Berner Symphoniker and Anna Sułkowska-Migoń, the Macao Orchestra and Lio Kuokman, the Symphoniker Hamburg and Jiří Rožeň and the Bochumer Symphoniker and Giuseppe Mengoli,

Recent highlights include highly successful debuts with the Chicago Symphony Orchestra and Jakub Hrůša (“his steely technique handling the angular bonhomie as surely as the passing lyrical strains. In the Andante, Špaček rendered the lovely main theme with a beguiling tenderness and sweetness of tone that recalled Suk, his illustrious predecessor.” – CCR), with the Atlanta Symphony Orchestra and Nathalie Stutzmann, the Dutch Radio Philharmonic Orchestra and Tomáš Netopil, as well as a residency with the Residentie Orchestra The Hague with Anja Bihlmaier and Jun Märkl. He also returned to the Verbier Festival for a performance of the Barber concerto with the Verbier Festival Junior Orchestra and James Gaffigan and chamber music concerts with among others Yunchan Lim, Kian Soltani, Pablo Ferrández, Lucas Debargue, Edgar Moreau, Lars Anders Tomter and Blythe Teh Engstroem.

With cellist Timotheos Gavriilidis-Petrin and pianist George Xiaoyuan Fu he forms the Trio Zimbalist. The trio regularly tours in the US and Europe. Their first CD release with piano trios of Weinberg, Auerbach and Dvořák received high accolades from the international press, including Gramophone Magazine’s Editor’s Choice in March 2024, describing the album as “miraculously fresh,” “imaginative,” and “inventive”.

In September 2023 Supraphon released Josef’s recording of Martinů’s Concerto for violin, piano and orchestra, violin sonata no. 3 and Five Short Pieces with pianist Miroslav Sekera and the Prague Radio Symphony Orchestra, conducted by Petr Popelka. The BBC Music Magazine commented that “Špaček and Sekera are virtuosic in the opening movement and searching in the Adagio. There’s a special piquancy in their Scherzo, and all these elements are combined in the finale, where Špaček’s violin tone has shining poise.”

Previous recordings for the Supraphon label are an album with cellist Tomáš Jamník, featuring works for violin and cello by Janáček, Martinů, Schulhoff and Klein; his highly praised recording of the violin concertos of Dvořák and Janáček, coupled with the Fantasy of Suk, with the Czech Philharmonic Orchestra conducted by Jiří Bělohlávek and a recital disc with works for violin and piano by Smetana, Janáček and Prokofiev with pianist Miroslav Sekera. Other recordings include an album with works for violin solo and violin and piano by H.W. Ernst (Naxos) and an early CD with the complete Sonatas for solo violin by Eugène Ysaÿe.

Other orchestras he appears with include the Orchestre de Paris, Rundfunk-Sinfonieorchester Berlin, Bamberger Symphoniker, Scottish Chamber Orchestra, Academy of St. Martin in the Fields, Deutsches Symphonie-Orchester Berlin, WDR Sinfonieorchester, Konzerthausorchester Berlin, Czech Philharmonic Orchestra, Tonhalle-Orchester Zürich, Helsinki Philharmonic Orchestra, Orchestre Philharmonique du Capitole de Toulouse, Orchestra Sinfonica Nazionale della RAI Torino, Tokyo Metropolitan Symphony Orchestra, Deutsche Radio Philharmonie, SWR-Symphonieorchester, Netherlands Philharmonic Orchestra, Rotterdam Philharmonic Orchestra, Orchestre Philharmonique de Luxembourg, Orchestre Philharmonique de Monte-Carlo, Taipei Symphony Orchestra and the Symfonieorkest Vlaanderen.

Josef Špaček collaborates with eminent conductors such as Jakub Hrůša, Semyon Bychkov, Manfred Honeck, Thomas Adès, Krzysztof Urbański, James Gaffigan, James Conlon, Maxim Emelyanchev, the late Jiří Bělohlávek, Petr Popelka, Thomas Søndergård, Cornelius Meister, Michael Sanderling, David Zinman, Eliahu Inbal, Tomáš Netopil, Pietari Inkinen, Marc Albrecht, Aziz Shokhakimov, Christian Vasquez, Sylvain Cambreling, Jahja Ling  and Lio Kuokman.

He equally enjoys giving recitals and playing chamber music and is a regular guest at festivals and in concert halls throughout Europe (among others at the Rudolfinum in Prague, the Konzerthaus in Vienna, the Muziekgebouw aan ‘t IJ in Amsterdam, the Kronberg Academy, the Evian Festival, the Rosendal Festival, the Kaposfest and at Schloß Elmau), Asia and the USA (among others at Kennedy Center, Washington D.C., 92Y in New York,  La Jolla in San Diego, the ChamberFest Cleveland and the Nevada Chamber Music Festival).

June 2024 saw the first edition of his own chamber music festival, the Troja Festival, in Prague.

Other chamber music partners include Gil Shaham, Kian Soltani, James Ehnes, Clemens Hagen, Julian Steckel, Gerhard Oppitz, Noah Bendix-Balgley, Máté Szücs, Miroslav Sekera, Tomáš Jamník, Federico Colli, Sharon Kam, Kristóf Baráti, Zoltan Fejervari and Suzana Bartal.

Josef Špaček 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.

He served as concertmaster of the Czech Philharmonic Orchestra, the youngest in its history, until the end of the 2019/20 season and has since devoted himself exclusively to his solo career.

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

He lives in Prague with his wife and their three children. In his spare time he enjoys cycling.

Representation

General Management: Nymus Artists
Germany, Austria, Switzerland: Intermusica
Spain & Latin America: Diamond Artists
Japan: Amati Tokyo
China: Armstrong Music and Arts

 

Links & downloads

http://www.josefspacek.com

bio (en)

Concerts

  • November 24, 2024, 11:00 am
    Hamburg, Germany
    Laeiszhalle
    Symphoniker Hamburg
    Conductor: Jiří Rožeň
    Dvořák – Violin Concerto in a minor, op. 53

    https://www.symphonikerhamburg.de
  • November 28, 2024, 8:00 pm
    Lille, France
    Auditorium du Nouveau Siècle
    Orchestre National de Lille
    Conductor: Jan-Willem de Vriend
    Mozart – Violin Concerto no. 5 in A major, KV 219

    https://www.onlille.com
  • November 29, 2024, 8:00 pm
    Utrecht, Netherlands
    TivoliVredenburg
    Orchestre National de Lille
    Conductor: Jan-Willem de Vriend
    Mozart – Violin Concerto no. 5 in A major, KV 219

    https://www.onlille.com
  • December 3, 2024, 8:00 pm
    Lille, France
    Auditorium du Nouveau Siècle
    Orchestre National de Lille
    Conductor: Jan-Willem de Vriend
    Mozart – Violin Concerto no. 5 in A major, KV 219

    https://www.onlille.com
  • December 4, 2024, 8:00 pm
    Valenciennes, France
    Le Phénix
    Orchestre National de Lille
    Conductor: Jan-Willem de Vriend
    Mozart – Violin Concerto no. 5 in A major, KV 219

    https://www.onlille.com
  • December 5, 2024, 8:30 pm
    Laon, France
    Maison des Arts et des Loisirs
    Orchestre National de Lille
    Conductor: Jan-Willem de Vriend
    Mozart – Violin Concerto no. 5 in A major, KV 219

    https://www.onlille.com
Show next concerts
Show less

Reviews

“Zwischen den Ouvertüren und der Fünften steht Dvoráks Violinkonzert zwar auf seltsam verlorenem Posten. Aber wen sollte dies stören angesichts…” →“Zwischen den Ouvertüren und der Fünften steht Dvoráks Violinkonzert zwar auf seltsam verlorenem Posten. Aber wen sollte dies stören angesichts der Herrlichkeiten, die Josef Špacek da auf seiner Guarneri entfaltet, von Manze auf Rosen gebettet vom innig singenden, ausgelassen tanzenden, zärtlich liebkosenden, duftig schmeichelnden Gewandhausorchester? Im Kopfsatz fällt Špacek, mitgerissen von der unwiderstehlichen Schönheit seiner Partie, hin und wieder noch mit der Eins in den Takt. Aber mit jeder Phrase wird sein Spiel freier, musikantischer, beseelter. Virtuoser werden muss es nicht. Kann es gar nicht. Die Intonation von Špaceks Silberton ist makellos, die Natürlichkeit seiner Bögen atemberaubend. Einfach hinreißend ist seine Zugabe: Dvoráks federleichte 7. Humoreske, zum Welthit gemacht von den Comedian Harmonists und Fritz Wunderlich, in einer StreichquartettVersion, fein begleitet von den Gewandhaus-Kollegen Frank-Michael Erben, Luke Turrell und Valentino Worlitzsch. Ein phänomenaler Geiger. 38 wird Špacek in der kommenden Woche. Sein Debüt beim Gewandhausorchester war längst überfällig. Drum darf der Jubel im Saal als kollektive Wiedereinladung verstanden werden.” ←
– Leipziger Volkszeitung, 12/10/2024
“In this revival, soloist Josef Špaček, in his CSO debut, dispatched Martinu’s often flamboyant concerto with scintillating flair and disarming…” →“In this revival, soloist Josef Špaček, in his CSO debut, dispatched Martinu’s often flamboyant concerto with scintillating flair and disarming ease. Even with its distinctive folk roots, the work’s incisive rhythms and spare harmonies often put one in mind of Stravinsky’s Violin Concerto, which had premiered in 1931. In Špaček’s hands, the technical brilliance of this still barely known work was infectious, and from the CSO, Hrůša drew energy in sparkling torrents. Špaček, 37 years old and a former concertmaster of the Czech Philharmonic, then topped his remarkable exhibition with an encore whirl through Aleksey Igudesman’s aptly titled “Funk the String,” which churns a playful little backbeat into a wild ride of mind-blowing virtuosity. And once again the violinist was showered with whoops of delight.” ←
– Chicago on the aisle, 17/03/2024
“Making his CSO debut, Josef Špaček proved a sterling solo advocate for this strange yet oddly endearing score. The Czech…” →“Making his CSO debut, Josef Špaček proved a sterling solo advocate for this strange yet oddly endearing score. The Czech violinist was fully in synch with the motoric opening movement, his steely technique handling the angular bonhomie as surely as the passing lyrical strains. In the Andante, Špaček rendered the lovely main theme with a beguiling tenderness and sweetness of tone that recalled Suk, his illustrious predecessor. The soloist vaulted through the rough-road bravura of the crazed finale, Špaček and Hrůša ratcheting up the tempo and intensity to a slam-bang coda.” ←
– Chicago Classical Review, 15/03/2024
Show more reviews
“Josef Špaček was the soloist with the BBC Philharmonic, in a performance that was marked by soulfully lyrical expression and…” →“Josef Špaček was the soloist with the BBC Philharmonic, in a performance that was marked by soulfully lyrical expression and an approach from him and the orchestra that made every phrase sing.” ←
– theartsdesk.com, 22/04/2024
“The programme sandwiched Beethoven’s Violin Concerto conducted by Joshua Weilerstein and played by Josef Spacek, a man who fully justifies…” →“The programme sandwiched Beethoven’s Violin Concerto conducted by Joshua Weilerstein and played by Josef Spacek, a man who fully justifies his reputation as a rising star, giving a virile reading that knew when to be lyrical but kept moving.” ←
– classical-musik.uk, 05/04/2023
“Warum Hrůša international als Experte fürs Böhmische gefeiert wird, verstand man vor allem in der zweiten Hälfte des knapp siebzigminütigen,…” →“Warum Hrůša international als Experte fürs Böhmische gefeiert wird, verstand man vor allem in der zweiten Hälfte des knapp siebzigminütigen, ohne Pause durchgespielten Programms. In der ersten stiehlt ihm hingegen der Solist des Abends die Show. Der Geiger Josef Špaček würzt Antonín Dvořáks Violinkonzert op. 53 nämlich mit jener so schwierig zu dosierenden Prise musikantischem Übermut, der auch schon einmal fünfe gerade sein lässt, aber umso mitreissender die folkloristischen Wurzeln von Dvořáks herrlichen Melodien offenlegt. Bei den elegischen Kantilenen auf der G- und der D-Saite kommt im Mittelsatz noch ein Schuss Melancholie dazu. Das Tonhalle-Orchester braucht ein wenig, um auf dieselbe glühende Betriebstemperatur zu kommen, das Tutti klingt anfangs etwas erdenschwer.” ←
– Neue Zürcher Zeitung, 30/04/2021
“Mendelssohnʼs Violin Concerto in E minor gave Špaček an opportunity to show a brilliant combination of technical prowess and emotional…” →“Mendelssohnʼs Violin Concerto in E minor gave Špaček an opportunity to show a brilliant combination of technical prowess and emotional expression. Špaček walked a fine line in this performance, balancing tenderness with intelligence, reaching deep for feeling without slipping into sentimentality. His animated body language added flair to agile runs, as if he were gliding through the music. Netopilʼs expertise as an opera conductor came to the fore in the accompaniment. He and Špaček set up just a few feet apart, so they could watch and take cues from each other. The result was a seamless melding of style and sound, with the orchestra showcasing soulful solo work. Their romp to an effervescent finish added a satisfying sparkle.” ←
– Bachtrack, 22/12/2020
“There are plenty of technical hurdles in the concerto (Martinů no. 2), including a short cadenza in each movement, yet…” →“There are plenty of technical hurdles in the concerto (Martinů no. 2), including a short cadenza in each movement, yet Špaček dispatched all with effortless panache. He subtly illuminated the tough and serious first movement with shafts of light, convincingly sweetened his tone for the lyricism of the intermezzo-like Andante moderato, and gave a dazzling display in the exhilarating finale. Zinman ensured strong playing from the ASO, never letting the attention slip, whether in the sunny introduction of the Andante moderato, or the stern buildups in the first movement. Špaček clearly conquered the Antwerp audience and announced with a smile the composer of his encore: Eugène Ysaÿe, delighting us once more with a riveting account of the Danse rustique from his Fifth Sonata.” ←
– Bachtrack, 05/05/2019
““Is he any good?” my neighbour asked worriedly. “I really wanted to see Tetzlaff.” He was referring to violinist Josef…” →““Is he any good?” my neighbour asked worriedly. “I really wanted to see Tetzlaff.” He was referring to violinist Josef Špaček, standing in for an indisposed Christian Tetzlaff as just one of two replacement performers in the SCO’s vivid, energetic concert. Špaček might be a less starry name than Tetzlaff, but he clearly has a musical personality every bit as strong and distinctive – and yes, in a beautifully lyrical, sharply defined Violin Concerto by his compatriot Dvořák, he was very good indeed. Špaček took the outer movements at quite a lick, but he was almost nonchalant about the Concerto’s showy pyrotechnics. He summoned a remarkable range of colours from his strongly projected Guarneri “del Gesù” instrument, and he delivered an account of the folksy finale so buoyant and translucent that it was hard not to be swept up in its enthusiasm. His encore – the finale from Ysaÿe’s Second Sonata – only served to demonstrate further his astonishing articulation and athleticism.” ←
– The Scotsman, 17/03/2018
“Ce grand jeune homme vif et sympathique venait se confronter à l’un des concertos pour violon les plus exigeants du…” →“Ce grand jeune homme vif et sympathique venait se confronter à l’un des concertos pour violon les plus exigeants du répertoire romantique, celui d’Antonin Dvořák. … Les difficultés accumulées n’intimident visiblement pas Josef Špaček qui se lance dans ce défi avec une énergie, une volonté, une virtuosité sans faille, lesquelles mobilisent tout son corps. Le violoniste danse autant qu’il joue cette pièce, avec une élégance naturelle. La clarté de sa sonorité passe aisément celle d’un orchestre très présent et dirigé avec vigueur et relief par Thomas Søndergård. Le soliste occupe tout l’ambitus, jusqu’aux extrêmes aigus avec la même ardeur. Le premier volet de la partition, constitué de l’enchaînement des deux premiers mouvements, est ainsi parcouru comme un conte épique, alternant les épisodes dramatiques et les plages de nostalgie caractéristiques de la « mitteleuropa ». Le violoniste n’élude aucune des difficultés accumulées par le compositeur : doubles cordes, sons harmoniques, trilles diaboliques sont restitués avec panache. Le final, Allegro giocoso ma non troppo, est pris au pied de la lettre. Le soliste et l’orchestre dialoguent sur un rythme de danse d’une jubilation contagieuse. Jusqu’à cette coda conclusive qui semble libérer toute l’énergie accumulée. C’est une acclamation unanime qui salue la performance. Rappelé avec insistance, Josef Špaček offre un bis tout aussi virtuose : le final de la Sonate n° 2 d’Eugène Ysaÿe « Obsession », parcouru du thème obsédant du Dies Irae. Frisson assuré !”” ←
– Classictoulouse, 16/02/2018
“Musicista dall’innata cantabilità, sorretta da una cavata di grande profondità e da un’intonazione vibrante e sicura, a Špaček sembra andare…” →“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, 03/06/2017