Press Release: Essential Sixth-Tones. Alois Hába’s Visionary Legacy and a New Sixth-Tone Harmonium in Two Prague Concerts
Publikováno: 16.9.2026
Ostrava, September 17, 2026 // The inauguration of a new sixth-tone harmonium – a replica of the historic instrument built in the 1930s for one of the most audacious operas by visionary composer and pioneer Alois Hába, Thy Kingdom Come (1937–1942) – will take place in Prague as part of two concerts: on November 5 at the National Museum’s Historic Building and on November 12 at DOX+. The construction of the new instrument was funded by the Czech Ministry of Culture, building on the long-standing care of the National Museum – Czech Museum of Music for the unique historic original and its use by musicians and composers. The historic harmonium returned to the concert stage in 2018 at NODO / New Opera Days Ostrava, thanks in large part to pianist Miroslav Beinhauer. His performances sparked extraordinary interest among audiences and composers, and the instrument soon began travelling across Europe. Dozens of contemporary composers have since written new works for it, creating a growing repertoire that can now continue to develop thanks to the new replica.
“After all, even my neighbour’s dog Hector is not confined to the Western European tonal system.” A. Hába
There are very few composers in the history of music whose work has helped establish a new vision of composition. Alois Hába (1893–1973) was one of them, introducing the concept of dividing the octave into more than twelve semitones. Hába’s division of the octave into quarter-tones and sixth-tones did not fade into obscurity, as some more conservative members of the public had expected; on the contrary, it is becoming increasingly relevant today. What was an exceptional and daring step in his time is now a widely accepted concept of microtonal music, which over the past quarter-century has become an increasingly compelling compositional technique worldwide, particularly among younger generations of composers.
Alois Hába had long dreamed of a new, freer kind of music. In the early 20th century, Prague’s musical scene – and the Prague Conservatory in particular – had an international reputation, to which Hába’s extensive contacts and pioneering work contributed significantly. For his sixth-tone opera, he needed an instrument capable of realizing this unconventional system. The harmonium was built by August Förster based on plans Hába had obtained from composer Ferruccio Busoni. The “anthroposophical” opera, however, remained unperformed after its completion, and the instrument itself disappeared from active musical life for many decades. Its performance history began anew in 2018, when, thanks to the Ostrava Center for New Music and the National Moravian-Silesian Theatre, Hába’s monumental opera Thy Kingdom Come (The Unemployed) was performed at NODO / New Opera Days Ostrava more than 80 years after its completion. Under the direction of French conductor Bruno Ferrandis, the sixth-tone harmonium from the collection of the Czech Museum of Music was also heard in public for the first time. The National Museum – Czech Museum of Music has since supported the instrument’s continued artistic use and the development of new repertoire.
From Last-Minute Substitute to Virtuoso: The Sixth-Tone Harmonium and Its New Repertoire
In 2018, Miroslav Beinhauer (1993) took on the sixth-tone harmonium as a last-minute substitute for a pianist who was unable to perform. With only a few weeks to prepare, he had to master an entirely new way of playing and even moved to Prague, as the instrument could only be practiced at the museum. Fascinated by its possibilities, Beinhauer soon began devoting himself to the instrument and working closely with the National Museum – Czech Museum of Music, which houses the historic harmonium. Since 2018, the museum has facilitated its scholarly and artistic use, helping to bring the instrument back to life and enabling the creation of new repertoire.
The harmonium soon began appearing on concert stages and attracting composers, who wrote new works for it in close collaboration with Beinhauer. Within a few years, a remarkable body of repertoire had emerged from composers around the world. But the historic instrument also has its limits. It is unique, fragile, and a museum object of significant historical value owned by the Czech Republic. Travelling abroad therefore involves considerable risk as well as a complex administrative process. The replica was created to ensure that the music written for the sixth-tone harmonium can continue to be performed beyond the museum that houses the historic original.
Building the New Instrument
“Our first idea was to approach August Förster, the company that still primarily builds pianos today. But they no longer had any information about the historic instrument or any plans they could work from,” says Miroslav Beinhauer. “The Second World War and the subsequent expulsion of Germans most likely played a role, as many of the company’s engineers were forced to leave.” After months of searching for a suitable builder, the project was entrusted to Prague-based organ builder and restorer Martin Poláček. Work on the new sixth-tone harmonium began in his workshop in 2024, with funding from the Czech Ministry of Culture. The project builds on the National Museum – Czech Museum of Music’s long-standing expertise and care for the historic original, as well as its work to bring the instrument back into performance. The new instrument is administered by the Czech Philharmonic, while the Ostrava Center for New Music and Miroslav Beinhauer hold an exclusive agreement for its concert use.
Prague to Witness a World First
The November concerts marking the inauguration of the new sixth-tone harmonium will open a new chapter in Alois Hába’s legacy. Presented under the title Essential Sixth-Tones, the series will feature two concerts, with most of the works receiving their world premieres and their composers in attendance. The first concert, on November 5 in the Pantheon of the National Museum’s Historic Building and co-presented by the National Museum, will focus on solo works for sixth-tone harmonium. Alongside a solo composition by Alois Hába, the program will feature world premieres by Petr Studený (Czech Republic), Judith Berkson (USA), Peter Ablinger (Austria), Adrián Demoč (Slovakia), and Phill Niblock (USA). The concert will be preceded by a panel discussion introducing the new instrument, with representatives of the National Museum, the instrument’s builder, and Petr Kotík, Artistic Director of the Ostrava Center for New Music. Miroslav Beinhauer will have both instruments at his disposal – the historic original and its newly built replica. The second concert, at DOX+ on 12 November, will present works for sixth-tone harmonium and orchestra by Marc Sabat (Canada/Germany), Klaus Lang (Austria), Ian Mikyska (Czech Republic), Miya Masaoka (USA/Japan), and Martin Smolka (Czech Republic). Miroslav Beinhauer will perform on the harmonium, joined by tenor Vojtěch Semerád as soloist. The performers will include the international ensemble Ostravská banda, conducted by Bruno Ferrandis and Petr Kotík.
Admission to the National Museum concert is for invited guests only. Tickets for the DOX+ concert on November 12 are now on sale through the SMS Ticket network, available via newmusicostrava.cz.
The concert at the Pantheon of the National Museum’s Historic Building is presented by the National Museum in cooperation with the Ostrava Center for New Music. The concert at DOX+ is presented by the Ostrava Center for New Music in cooperation with the DOX Centre for Contemporary Art.
We gratefully acknowledge the financial support of the Czech Ministry of Culture, the City of Prague, the City of Ostrava, the State Culture Fund, and other sponsors. We also thank Veronika and Libor Winkler and Hana and Martin Vohánka for their year-round support.
