Saving One Who Was Dead / Little Crusader, by The Havels / Irena & Vojtech Havlovi

Saving One Who Was Dead / Little Crusader

by The Havels / Irena & Vojtech Havlovi

supported by

Jakub Knera The duo's austerity creates a skilfully crafted dialogue with silence, and the album resonates acoustically (as it was recorded in a church in Milan) and emotionally with the listener. The result is a collection of sounds that is simple but extremely poignant, whether they resort to minimalism, all-encompassing organ, or the pure sound of a piano.

More: thequietus.com/articles/32149-czech-music-guide-tomas-niesner-irena-and-vijtech-havlovi-gurun-gurun Favorite track: Intervals Of Waiting.

sounds and silence Beautiful, soothing piece of music. Thank You!

Alex Ruder / Hush Hush Records thumbnail

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Includes unlimited streaming of Saving One Who Was Dead / Little Crusader via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.

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1.	Saving One Who Was Dead 12:04	buy track
2.	Intervals Of Waiting 04:12	buy track
3.	Words Into Distance 05:42	buy track
4.	Little Crusader 11:40	buy track
5.	A Father's Quest 05:32	buy track
6.	Absence Of The Loved One 04:43	buy track

about

Music for movies by Václav Kadrnka

"Absence of the loved one is a theme running through both films, but during the creative process we never discuss with the Havels the themes, symptoms or attributes of the characters. We do not specify any meanings. Our collaboration is intuitive, based on interconnectedness. We neither explain things to each other nor analyse. From the outset we have a common goal: to quieten the viewers’ perception, to attune them to certain vibrations by visual, musical and acoustic repetitions, thus enabling them to focus on every tiny detail, every subtle aesthetic quality, so that by the end of the film they have a sense of reconciliation. In fact it is a state similar to meditation or prayer. The aim is being shown Mercy. Each time, the linking of the filmed images with Irena and Vojtech’s music has uncovered a new quality that we have named: a commentary on eternity. Characters cease to be determined by their senses, psychological motivations, or the times they live in. They find liberation in the stream of eternal time."

/Václav Kadrnka

"We would like to thank all our friends, sound engineers and musicians. The main thanks goes to director Václav Kadrnka, his family and all his collaborators for the precious opportunity to assist them in creating both films.

We have worked on our music for the film Saving One Who Was Dead for three years. We met with Václav, discussed the screenplay while it was being born and many other things. We have gradually prepared several working versions that included compositions for piano, Indonesian gamelan, gongs, Tibetan bowls, bells and mini-bells. Yet, step by step, we made it simpler and simpler and eventually
only kept violas da gamba, organ and chanting. Everything else was redundant. We made most of the recordings of the compositions for viola da gamba in a church in Prague. The composition for organ was
recorded in Milan where we performed a concert shortly before the pandemic arrived in December 2019. We tried to record it in various churches in Bohemia but it was not until the church in Milan that we
found the best sounding organ.

As for Little Crusader, we recorded the music for the film after it was completed. We had several versions and used the piano version for this album. Together with Václav, we searched for instruments that would work the best for this Medieval story. Eventually, we opted for harmonium with simple chanting which accompanies the character little boy Jenik. Violas da gamba intertwine, move close and then apart from each other the same way as paths of little boy Jenik and his father who is searching for him. Simple chanting and Tibetan bowl accompany scenes with little boy Jenik’s mother who awaits them at home. Trombone and saxophone are like metal swords and the knights’ armor. Violoncello and viola da gamba walk in the rhythm of horse’s hooves, in the rhythm of heartbeat of both the horse and his rider – a father searching for his lost son."

/ Irena and Vojtěch Havlovi

credits

released February 11, 2022

Recorded in Prague, Berlin and Milan

Recorded by Milan Jílek, Otmar Průša, Radek Horák, Jonny Zoum,
Attila Faravelli, Irena and Vojtěch Havlovi

Thanks to Nadine and Tom Michelberger, Vincent Moon, Bryce Dessner, Michele Lori, Enrico Gilardi, Rabih Beaini, Martin Radoš, Jonny Nash, Hana and Dana Hiller, Jaromír Šlápota, Michael Vlček, Naďa and Jaroslav Charvátovi, Václav Částka

Design: Ondřej Šmerda, font: Vera Bon Jour

www.siriusfilms.eu www.havlovi.wz.cz

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The Havels / Irena & Vojtech Havlovi image

The Havels / Irena & Vojtech Havlovi Prague, Czechia

"In the Havel's music you can easily hear a repetitive pulse, a music of
recurring motifs inspired by minimalism. It is significant that Vojtěch and
Irena combine the free inspiration of the minimalists (as well as
traditional music of Asia and Africa) with a deeply Central European
instrument: the baroque viola da gamba." Pavel Klusak ... more

havlovi.wz.cz

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