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Antonín Kohout obituary Antonín Kohout obituary
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Few musicians have realised their dreams as comprehensively as the great Czech cellist Antonín Kohout, who has died aged 93. He was the guiding spirit of the Smetana Quartet from its debut in 1945 to its dissolution in 1989; and as a teacher he nurtured such groups as the Panocha, Talich, Prazak, Kocian and Wihan Quartets, to whom he acted as an artistic counsellor just as he himself was helped by musicians of an earlier era. The Smetana Quartet gave countless performances all over the world – thousands of Smetana's First Quartet in E minor, From My Life, alone – and its recording career covered 40 years, from 78rpm sets through mono, stereo and quadraphonic LPs to compact discs. In 1972, before the advent of the CD, it made the very first classical recordings to employ digital technology, rather than the analogue method used until then for vinyl discs. The resulting LP of two Mozart quartets was released by the Japanese label Denon.Few musicians have realised their dreams as comprehensively as the great Czech cellist Antonín Kohout, who has died aged 93. He was the guiding spirit of the Smetana Quartet from its debut in 1945 to its dissolution in 1989; and as a teacher he nurtured such groups as the Panocha, Talich, Prazak, Kocian and Wihan Quartets, to whom he acted as an artistic counsellor just as he himself was helped by musicians of an earlier era. The Smetana Quartet gave countless performances all over the world – thousands of Smetana's First Quartet in E minor, From My Life, alone – and its recording career covered 40 years, from 78rpm sets through mono, stereo and quadraphonic LPs to compact discs. In 1972, before the advent of the CD, it made the very first classical recordings to employ digital technology, rather than the analogue method used until then for vinyl discs. The resulting LP of two Mozart quartets was released by the Japanese label Denon.
Born at Lubné, north-west of Brno in southern Moravia, Kohout studied with Karel Pravoslav Sadlo and could have had a solo career, but yearned for an ensemble to carry on the work of the great Bohemian Quartet from the earlier part of the century. In 1941, he met the violinist Vaclav Neumann in a student chamber orchestra at the Prague Conservatory. "Neumann invited me to join his amateur quartet," Kohout recalled. "I liked his ideas and we were both fond of Janacek." Much chopping and changing took place, under the eye of coach Josef Micka, before Jaroslav Rybensky, Lubomir Kostecky, Neumann and Kohout appeared for the first time as the Smetana Quartet at Prague Municipal Library on 6 November 1945.Born at Lubné, north-west of Brno in southern Moravia, Kohout studied with Karel Pravoslav Sadlo and could have had a solo career, but yearned for an ensemble to carry on the work of the great Bohemian Quartet from the earlier part of the century. In 1941, he met the violinist Vaclav Neumann in a student chamber orchestra at the Prague Conservatory. "Neumann invited me to join his amateur quartet," Kohout recalled. "I liked his ideas and we were both fond of Janacek." Much chopping and changing took place, under the eye of coach Josef Micka, before Jaroslav Rybensky, Lubomir Kostecky, Neumann and Kohout appeared for the first time as the Smetana Quartet at Prague Municipal Library on 6 November 1945.
"We wanted to be a Czech quartet," said Kohout. "Our ideal was the Czech character of Smetana's music." They began with his Second Quartet in D minor; then came Vitezslav Novak's Second; and, after the interval, Smetana's E minor."We wanted to be a Czech quartet," said Kohout. "Our ideal was the Czech character of Smetana's music." They began with his Second Quartet in D minor; then came Vitezslav Novak's Second; and, after the interval, Smetana's E minor.
In 1947, Neumann finally opted for conducting – he later headed the Czech Philharmonic – so Rybensky switched to viola and the brilliant Jiri Novak came in as leader. In 1949, by then affiliated to the Philharmonic, the Smetanas were inspired by the examples of the Kolisch Quartet, whom Kohout had heard before the war, when they were based in Vienna, and the Quartetto Italiano to learn their music by heart.In 1947, Neumann finally opted for conducting – he later headed the Czech Philharmonic – so Rybensky switched to viola and the brilliant Jiri Novak came in as leader. In 1949, by then affiliated to the Philharmonic, the Smetanas were inspired by the examples of the Kolisch Quartet, whom Kohout had heard before the war, when they were based in Vienna, and the Quartetto Italiano to learn their music by heart.
A new intensity and profundity in their playing compensated for the inevitable narrowing of their repertoire. Performing without printed parts lifted them on to an exalted plane: with no music stands in the way, they could sit closer together; and the memorising process helped them to get inside the music. In 1950, they visited Poland; and as the cultural thaw in the cold war began, they often acted as ambassadors. "We were known as the advance guard of the Czech Philharmonic," said Kohout. They first travelled to Britain in 1955.A new intensity and profundity in their playing compensated for the inevitable narrowing of their repertoire. Performing without printed parts lifted them on to an exalted plane: with no music stands in the way, they could sit closer together; and the memorising process helped them to get inside the music. In 1950, they visited Poland; and as the cultural thaw in the cold war began, they often acted as ambassadors. "We were known as the advance guard of the Czech Philharmonic," said Kohout. They first travelled to Britain in 1955.
When Rybensky quit at the end of that year, his successor was an inspired choice, the violinist and musicologist Milan Skampa, a Janacek expert.When Rybensky quit at the end of that year, his successor was an inspired choice, the violinist and musicologist Milan Skampa, a Janacek expert.
Within months, Skampa mastered the viola and its clef, committing a dozen quartets to memory, and in the spring of 1956 the Smetana Quartet re-emerged better than ever.Within months, Skampa mastered the viola and its clef, committing a dozen quartets to memory, and in the spring of 1956 the Smetana Quartet re-emerged better than ever.
The four now gave increasing attention to interpretation, striving to find the right style and sound for each work. Touring was arduous and they had to bring home hard currency, most of which was commandeered by the state management organisation, Pragokoncert. When outside Czechoslovakia, they were not paid their salaries. They gave up touring the US after 1969 but loved Japan and went almost every year to Britain, where they were much appreciated by audiences and the BBC. In 1973, they formed a string quintet with Josef Suk as first viola; and in 1974 they reverted to printed parts for most repertoire, playing only their Czech warhorses – Smetana, Dvorak, Janacek – from memory.The four now gave increasing attention to interpretation, striving to find the right style and sound for each work. Touring was arduous and they had to bring home hard currency, most of which was commandeered by the state management organisation, Pragokoncert. When outside Czechoslovakia, they were not paid their salaries. They gave up touring the US after 1969 but loved Japan and went almost every year to Britain, where they were much appreciated by audiences and the BBC. In 1973, they formed a string quintet with Josef Suk as first viola; and in 1974 they reverted to printed parts for most repertoire, playing only their Czech warhorses – Smetana, Dvorak, Janacek – from memory.
Each summer, at their country houses in Northern Bohemia, the Smetanas learned at least one new Czech work. They were prime movers in bringing Janacek's two quartets and Smetana's Second into the mainstream; and they were the first Czechs to win as much fame for the Viennese classics as for their native repertoire.Each summer, at their country houses in Northern Bohemia, the Smetanas learned at least one new Czech work. They were prime movers in bringing Janacek's two quartets and Smetana's Second into the mainstream; and they were the first Czechs to win as much fame for the Viennese classics as for their native repertoire.
Kohout, whose musical personality combined an almost peasant earthiness with the highest artistic ideals, taught at the Prague Academy of Musical Arts from 1967; but his influence spread much further. He reduced his activities in the mid-1990s and gave up teaching after his wife Marie died in 1998 – they had been childhood sweethearts. His elder daughter also predeceased him. He is survived by a son, a daughter and five grandchildren.Kohout, whose musical personality combined an almost peasant earthiness with the highest artistic ideals, taught at the Prague Academy of Musical Arts from 1967; but his influence spread much further. He reduced his activities in the mid-1990s and gave up teaching after his wife Marie died in 1998 – they had been childhood sweethearts. His elder daughter also predeceased him. He is survived by a son, a daughter and five grandchildren.
• Antonín Kohout, cellist, born 12 December 1919; died 15 February 2013 • Antonín Kohout, cellist, born 12 December 1919; died 15 February 2013
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