Nevertheless there are no violent ups and downs in Mr Hanus's work: his idiom includes constant elements, especially in melodics, rhythmics and instrumentation, which pass all phases of his composer's development. Hanuš's young production had its dominants in passionately pathetic, philosophic and patriotic aims, such his opera The Flames. The first post-war decade witnessed lyricism, near to national tradition (2nd Symphony, The Czech Year), since the late fifties have been evident a new tendency to a dramatic view of the world and a musically expressive innovation (3rd Symphony), reaching as far as the combination of traditional means of expression with the electronics (esp. in the opera The Torch of Prometheus).
The seventies and eighties are the period of synthesis of all his preceding advances, and their improved utilization. Jan Hanus has always aimed at emphasizing the great spiritual values of Czech and foreign cultures and thus we find in his compositions messages of the antiquity, the Renaissance, popular culture and also the stimulations from modern times. It holds good especially of his scenic work, cantata, chorus and song production, but of his many instrumental compositions as well, e.g. his Suita drammatica for string quartet is a preliminary study for the opera The Torch of Prometheus, based on the theme of Aischylos, Night Divertimento for two string trios is inspired by the poetry of Jaroslav Seifert, etc.
Jan Hanus's symphonies, too, in a way reflect the reality of the world and the human society. There are, however, even a number of compositions lacking outward stimulation: in those the author exploits his pure musical imagery and indulges in the pleasure and an absolutely independent and whole-hearted personal inspiration. He returned all the state awards in November 1989. Read more on Last.fm.
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