drum band Jumping Drums, however, the most unique is the dialogue with ALTAI KAI band which uses the guttural singing technique.

Jiří Pavlica then comments on the origin of the project which ranks among the most important in his production so far. “I deal with building of bridges across apparently non-compatible things perhaps for the whole of my musical career. The project of “Chvění” is the next logical part of this orientation. The specific impulse was the offer of Prague Symphony Orchestra concerning writing something untraditional for them. I have thought up this suite of dialogues in which I have deliberately incorporated the representatives of distant musical expressions to prove that they can also understand each other. ”

The first performance was very well received and inspired the preparation of another two performances. The CD includes the recording of joint performance in Janáček Theater in Brno on 23.04.2007. Eleven pieces are divided into four pillar parts (The Poetic Dialogue, The Dialogue with the past, The Ethnic dialogue and The Dialogue with hope). The texts include the poems by Jan Skácel, Vladimír Holan, Jiří Brabec or 14th century Old Church Slavonic text etc. In the foreword, Jiří Pavlica comments on the basic ideas and inspirations of the four parts of the whole album.

"The Poetic dialogue took its inspiration from the poems by Vladimír Holan and Jan Skácel who, in their time, were partners in poetic dialogues, among other dialogues. They were striving for the dignity and meaning of language, which has nowadays become so devalued. For the initial dialogue, the polarity of verses “that which does not tremble is not steady...”and “my fault, your fault...”can be considered crucial.

The Dialogue with the past is based on the archaic Old Slavonic and Old Czech literary documents of the 9th and 14th centuries respectively. It is fascinating to see how wise, tolerant and timeless St. Cyril-Constantin is in his defense of the Old Slavonic language as the fourth language of the [Christian] liturgy. Admirable in the same way is the need to capture the history of the nation in written form as expressed in the chronicle of Dalimil.

The Ethnic dialogue carries inspiration in the form of throat aliquot singers from Altai; at the same time, the singers remind us of the equal existence of other worlds different to ours. The dialogue also introduces acoustic principles which are typical for traditional Altai vocals.

The Dialogue with hope embodies a final idea which says that there is hope for everybody always, including a personal dialogue, which in the hands of the author may lead to several music variants of the same text, as is evident in the case of the poem A Pebble on the Hand."

The Album includes 50 minutes of music and will be cased in a luxurious booklet which is similar for instance to the limited edition of CD by Traband or Mater by Iva Bitová and will be decorated with illustrations by Jaroslav Šerých.

drum band Jumping Drums, however, the most unique is the dialogue with ALTAI KAI band which uses the guttural singing technique.

Jiří Pavlica then comments on the origin of the project which ranks among the most important in his production so far. “I deal with building of bridges across apparently non-compatible things perhaps for the whole of my musical career. The project of “Chvění” is the next logical part of this orientation. The specific impulse was the offer of Prague Symphony Orchestra concerning writing something untraditional for them. I have thought up this suite of dialogues in which I have deliberately incorporated the representatives of distant musical expressions to prove that they can also understand each other. ”

The first performance was very well received and inspired the preparation of another two performances. The CD includes the recording of joint performance in Janáček Theater in Brno on 23.04.2007. Eleven pieces are divided into four pillar parts (The Poetic Dialogue, The Dialogue with the past, The Ethnic dialogue and The Dialogue with hope). The texts include the poems by Jan Skácel, Vladimír Holan, Jiří Brabec or 14th century Old Church Slavonic text etc. In the foreword, Jiří Pavlica comments on the basic ideas and inspirations of the four parts of the whole album.

"The Poetic dialogue took its inspiration from the poems by Vladimír Holan and Jan Skácel who, in their time, were partners in poetic dialogues, among other dialogues. They were striving for the dignity and meaning of language, which has nowadays become so devalued. For the initial dialogue, the polarity of verses “that which does not tremble is not steady...”and “my fault, your fault...”can be considered crucial.

The Dialogue with the past is based on the archaic Old Slavonic and Old Czech literary documents of the 9th and 14th centuries respectively. It is fascinating to see how wise, tolerant and timeless St. Cyril-Constantin is in his defense of the Old Slavonic language as the fourth language of the [Christian] liturgy. Admirable in the same way is the need to capture the history of the nation in written form as expressed in the chronicle of Dalimil.

The Ethnic dialogue carries inspiration in the form of throat aliquot singers from Altai; at the same time, the singers remind us of the equal existence of other worlds different to ours. The dialogue also introduces acoustic principles which are typical for traditional Altai vocals.

The Dialogue with hope embodies a final idea which says that there is hope for everybody always, including a personal dialogue, which in the hands of the author may lead to several music variants of the same text, as is evident in the case of the poem A Pebble on the Hand."

The Album includes 50 minutes of music and will be cased in a luxurious booklet which is similar for instance to the limited edition of CD by Traband or Mater by Iva Bitová and will be decorated with illustrations by Jaroslav Šerých.