A Conversation with Bedřich Tylšar
by Zdeněk Divoký
We are sitting in a cozy cafe in Prague having a chat with Bedřich Tylšar (b. 1939), Czech horn player and pedagogue. Between the years 1965 and 2000, he and his brother Zdeněk (1945-2006) performed as a horn duo in famous concert halls around the world.
The list of concertos for two horns that they recorded (LPs and CDs) still remains exclusive and unique. Thanks to the two brothers, Czech classical horn pieces by Rosetti, Fiala, Rejcha, and Pokorny, together with those of world-renowned composers (Telemann, Vivaldi, L. Mozart, J. Haydn), became widely known.
I can remember listening to the first recording of the Vivaldi, Telemann, and Haydn double concertos by the Tylšar brothers (published on the Supraphon label), around 1973. I was a conservatory student, and the recording bewitched me on the spot; the easy subtlety of first horn by Zdeněk Tylšar, together with the agile distinctness of second horn by Bedřich, connected into a horn harmony of phenomenal delicacy.
At that time, I made my personal decision: I wanted to reach this ideal, to achieve the interpretations (by then members of the Czech Philharmonic), and above all, to master the horn.
Today we are talking together, and I ask:
ZD: You were two brothers, playing the same instrument and studying with the same teacher, Prof. František Šolc at the Janáček Music Academy in Brno, and later you both became members of the Czech Philharmonic orchestra. The connection is obvious; nevertheless, how did you begin performing double concertos?
BT: Sometime around 1962, I visited a music shop in Brussels, Belgium. Apart from sheet music, they also offered the possibility of listening to recordings. Suddenly, I heard two horns—I believe it was Haydn. I do not remember who was playing, but it was beautiful. I realized that these instruments blend together perfectly thanks to the abundance of harmonic overtones, and I decided to pursue this idea. I began to explore both Czech and foreign archives, contacted many colleagues (e.g., Edmond Leloir), and gathered the music. The entire 18th century proved to be very rich in this genre. The first performance with my brother was in Olomouc in 1964, and we played the Concerto in E-flat by Antonio Rossler-Rosetti.
ZD: The music in baroque and classical double concertos is sometimes very demanding from the technical point of view. Considering the fact that the original interpreters were playing on natural or inventions horns, it is obvious that their technique must have been excellent.
BT: Agreed. Whether we mention Houdek and Hampel, the representatives of baroque clarino style in Dresden (Germany), or later Palsa and Thürrschmid, then Nagel and Zwierzina in Oettingen-Wallerstein, the quality of their playing must certainly have been a great inspiration for the composers.
ZD: I would like to mention another early classical Czech composer, famous in Italy in the second half of 18th century, Josef Mysliveček (Mysliweczek, 1737-1781). He did not compose a horn concerto, but his sparkling Aria in Dis for coloratura soprano and horn with orchestra is a perfect example of the contemporary virtuoso style. Recently, I saw a new Czech film, Il Boemo, a biographical movie about Mysliveček, and this wonderful aria from the opera Bellerofonte is used there. Mysliveček’s compositions vary between baroque grandness and classical high spirit, resulting in a deep sense of beauty.
BT: Definitely. Mysliveček studied composition with František Václav Habermann (1706-1783), who was then a recognized composer. He composed horn parts in the German baroque style, similar to Bach, Händel, or Zelenka. Mysliveček adapted this style and added his own ideas.
ZD: Looking at old photos from your first concerts (around 1970), I can see that you and your brother both played Alexander 103 horns. This was not common in Czechoslovakia at that time, was it?
BT: Certainly not. The first generations of Czech horn players after WWII played instruments made by Knopf, Kruspe, or Josef Lídl. Luckily, during my time in Germany (two years as solo horn with the Munich Philharmonic, 1967 – 69), I met in person with Anton Alexander, executive of the Alexander company in Mainz. Soon after, we started to play the 103 models. Mr. Alexander often came to our concerts in Germany. I still highly value his friendship.
ZD: I would also like to remember your brother Zdeněk, my colleague in the Czech Philharmonic for more than 30 years. For me, he was the ideal of talent, energy, and musicality. When I entered the Czech Philharmonic in 1979, he was playing solo horn, and I started at the position of third horn.
At that time (1970-2000), we experienced an intense boom of recording, first LPs, later CDs. It was a worldwide trend, and the number of recording labels was huge. We recorded almost everything: sets of Mahler, Dvořák, numerous concertos, and operas. Then, it was quite normal to play seven hours a day: a three-and-a-half-hour rehearsal in the morning, a recording in the afternoon. Quite often, we even recorded on concert days, since we performed three concerts per week on Thursday, Friday, and Saturday. Zdeněk Tylšar was able to play everything without alternation, always performing everything by himself. Of course, apart from the orchestra, he had many personal solo projects, and double concerto and chamber ensemble performances. We can say, without exaggeration, that in his forty-year career he played virtually from morning until night.
BT: I remember I often had to deal with the paperwork on his behalf when several projects or foreign trips overlapped.
ZD: It has been a great pleasure to have this interview with you.
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Bedřich Tylšar (b. 1939), Czech horn player and pedagogue
"The brothers Bedrich and Zdenek Tylsar are the leading exponents of a long Czech tradition of French horn-playing. Both graduated from the Janáček Academy of Musical Arts and after winning prizes in prestigious competitions in Europe became members of the acclaimed Czech Philharmonic Orchestra."
