Karel Svoboda is a phenomenon. His name may not be familiar to everyone, but countless people know his melodies: children who have grown up today, like children of today. Thanks to the many television series that Svoboda has helped shape: Pinocchio’s nose swings to its enormous length to his music, Wickie gets the best ideas for his notes and the humming Maja is allowed to cultivate her curiosity with the support of the Prague composer. He tells:
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I was supposed to be a dentist, but my parents made a huge mistake when they bought me a piano.
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Cinderella and the famous musical theme
Svoboda also helps out with the Cinderella. When the famous tones sound, the fans of the popular fairy tale film know that it starts again: Our heroine has to deal again with the prince, a lot of snow and above all with the three hazelnuts from which she makes various clothes. This topic appears again and again – but not in constant repetition.
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Lovely melancholy …
Svoboda varies, making full use of the dramatic quality of his composition. Where at first it appears almost lovely, it later unfolds its whole melancholy, even able to express Cinderella’s sometimes pitiful fate. Anyone standing in the material knows that the young woman is being played really badly at times by the nasty stepmother and her daughter.
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… and many musical facets
However, Svoboda does not want to limit the soundtrack to just one subject. There is medieval and hunting music inspired, and the stepmother is musically described as the monster that she is. The composer finds a cheerful melody when the prince and his friends want to catch the cinderella. This piece also illustrates that Svoboda has mastered the art of multiple use. Because it also appears in the television series “Wickie … and the strong men” from the 1970s.
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Karel Svoboda was not just a film music composer
All in all, the soundtrack to “Three Hazelnuts for Cinderella” appears to have been woven by hand. But that is exactly the great art of writing music that bites into the ear, yet adds to the images and does not displace them. But Karel Svoboda has not only been on the road as a film composer, has entered various terrains.
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Composing is something between heaven and earth, you have to concentrate all your ideas and emotions and let them flow into the music. I believe that personal experiences live on in music and are transferred to the audience.
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Karel Gott had tens of songs tailored to the golden voice by the composer of the same name, and Jiri Korn went in search of Yvetta under Svoboda’s guidance. The Verdi and Tchaikovsky admirer also rendered outstanding services to the musical.
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