| Revision as of 16:21, 18 December 2004 editNoahjz (talk | contribs)13 editsm typo correction← Previous edit | Revision as of 20:16, 23 December 2004 edit undoFlamurai (talk | contribs)Extended confirmed users5,682 edits Pohádka, not cello sonataNext edit → | ||
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| '''Leoš Janáček''' (], ] – ], ]) was a ] ]. He is particularly remembered for his ]l piece '']'' and for his ]s, and is thought of as the greatest Czech composer of the early ]. | '''Leoš Janáček''' (], ] – ], ]) was a ] ]. He is particularly remembered for his ]l piece '']'' and for his ]s, and is thought of as the greatest Czech composer of the early ]. | ||
| Janáček was born in ] in ], the son of a schoolmaster. As a boy, he sang in the ] of the ] in ]. He later went to ] to study ], and made a living as a music teacher. He also ] various amateur ]s. In 1881, he moved back to Brno, and founded the Organ School there, which was later to become the Brno Conservatory. | Janáček was born in ] in ], the son of a schoolmaster. As a boy, he sang in the ] of the ] in ]. He later went to ] to study ], and made a living as a music teacher. He also ] various amateur ]s. In ], he moved back to Brno, and founded the Organ School there, which was later to become the Brno Conservatory. | ||
| As a young man, Janáček became friends with ], and began composing in a relatively traditional ] style, but after his opera '']'' (1881), his style began to change. He made a study of ]n ] and used elements of it in his own music. He especially focused on studying and reproducing the ] and the ] contour and inflections of normal Czech speech, which helped in creating the very distinctive vocal ] in his opera '']'' (1904). Going much farther than ] and anticipating the later work of ] in such styles, this became a distinguishing feature of his vocal writing (Samson 1977). When ''Jenůfa'' was given in Prague in 1916, it was a great success, and brought Janáček real acclaim for the first time. He was 62 at the time, and began to compose the pieces he is now best known for, what many consider his, belatedly, mature style. A year later, he met ], a young woman who who was a profound inspiration to him for the remaining years of his life. | As a young man, Janáček became friends with ], and began composing in a relatively traditional ] style, but after his opera '']'' (]), his style began to change. He made a study of ]n ] and used elements of it in his own music. He especially focused on studying and reproducing the ] and the ] contour and inflections of normal Czech speech, which helped in creating the very distinctive vocal ] in his opera '']'' (]). Going much farther than ] and anticipating the later work of ] in such styles, this became a distinguishing feature of his vocal writing (Samson 1977). When ''Jenůfa'' was given in Prague in ], it was a great success, and brought Janáček real acclaim for the first time. He was 62 at the time, and began to compose the pieces he is now best known for, what many consider his, belatedly, mature style. A year later, he met ], a young woman who who was a profound inspiration to him for the remaining years of his life. | ||
| His work is ], though a vastly expanded tonality, and marked by unorthodox spacings, often making use of ]: "there is no music without ]. ] abolishes definite key, and thus tonal ]....Folksong knows of no atonality." (Hollander 1963) He uses ] figures and patterns prominently, with, according to Jim Samson, "the on-going movement of his music...similarly achieved by unorthodox means—often a discourse of short, 'unfinished' ] comprising constant repetitions of short ]s which gather momentum in a cumulative manner." (Samson 1977) | His work is ], though a vastly expanded tonality, and marked by unorthodox spacings, often making use of ]: "there is no music without ]. ] abolishes definite key, and thus tonal ]....Folksong knows of no atonality." (Hollander 1963) He uses ] figures and patterns prominently, with, according to Jim Samson, "the on-going movement of his music...similarly achieved by unorthodox means—often a discourse of short, 'unfinished' ] comprising constant repetitions of short ]s which gather momentum in a cumulative manner." (Samson 1977) | ||
| The operas '']'' (1921), '']'' (1924), '']'' (1926) and '']'' (after a ], premiered in 1930, after his death) are regarded by many commentators as his finest works. The ] Sir ] has become particularly closely associated with them. | The operas '']'' (]), '']'' (]), '']'' (]) and '']'' (after a ], premiered in ], after his death) are regarded by many commentators as his finest works. The ] Sir ] has become particularly closely associated with them. | ||
| Other well known pieces by Janáček include the ''Sinfonietta'', the '']'' (the text written in ]) and his two ]s. These pieces and the above mentioned four late operas were all written in the last decade of Janáček's life. He died in ]. | Other well known pieces by Janáček include the ''Sinfonietta'', the '']'' (the text written in ]) and his two ]s. These pieces and the above mentioned four late operas were all written in the last decade of Janáček's life. He died in ]. | ||
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| ==Janáček's music in film== | ==Janáček's music in film== | ||
| A film that draws extensively from Janáček's (mostly non-vocal) music is ] (1988, after a novel by ]), amongst others: | A film that draws extensively from Janáček's (mostly non-vocal) music is '']'' (], after a novel by ]), amongst others: | ||
| * '']'', from the piano ] '']'' (1st series) is more or less Tereza's (]) theme music: heard the first time she appears on the screen, and after recurring several times also accompanying the final scene of the film. | * '']'', from the piano ] '']'' (1st series) is more or less Tereza's (]) theme music: heard the first time she appears on the screen, and after recurring several times also accompanying the final scene of the film. | ||
| * '']'' , especially the final movement, which generally accompanies scenes of insecurity or imminent danger. | * '']'' , especially the final movement, which generally accompanies scenes of insecurity or imminent danger. | ||
| * '']'' |
* '']'' | ||
| * ''Pohádka'' (''Fairy Tale'') for cello and piano | |||
| ==Source== | ==Source== | ||
| *Samson, Jim (1977). ''Music in Transition: A Study of Tonal Expansion and Atonality, 1900 |
*Samson, Jim (1977). ''Music in Transition: A Study of Tonal Expansion and Atonality, 1900–1920'', p.67. New York: W.W. Norton & Company. ISBN 0393021939. | ||
| **Hollander, Hans (1963). ''Janáček'', p.119. London. | **Hollander, Hans (1963). ''Janáček'', p.119. London. | ||
Revision as of 20:16, 23 December 2004
Leoš Janáček (July 3, 1854 – August 12, 1928) was a Czech composer. He is particularly remembered for his orchestral piece Sinfonietta and for his operas, and is thought of as the greatest Czech composer of the early 20th century.
Janáček was born in Hukvaldy in Moravia, the son of a schoolmaster. As a boy, he sang in the choir of the monastery in Brno. He later went to Prague to study music, and made a living as a music teacher. He also conducted various amateur choirs. In 1881, he moved back to Brno, and founded the Organ School there, which was later to become the Brno Conservatory.
As a young man, Janáček became friends with Dvořák, and began composing in a relatively traditional romantic style, but after his opera Sárka (1881), his style began to change. He made a study of Moravian folk music and used elements of it in his own music. He especially focused on studying and reproducing the rhythm and the pitch contour and inflections of normal Czech speech, which helped in creating the very distinctive vocal melodies in his opera Jenůfa (1904). Going much farther than Modest Mussorgsky and anticipating the later work of Béla Bartók in such styles, this became a distinguishing feature of his vocal writing (Samson 1977). When Jenůfa was given in Prague in 1916, it was a great success, and brought Janáček real acclaim for the first time. He was 62 at the time, and began to compose the pieces he is now best known for, what many consider his, belatedly, mature style. A year later, he met Kamila Stösslová, a young woman who who was a profound inspiration to him for the remaining years of his life.
His work is tonal, though a vastly expanded tonality, and marked by unorthodox spacings, often making use of modality: "there is no music without key. Atonality abolishes definite key, and thus tonal modulation....Folksong knows of no atonality." (Hollander 1963) He uses accompaniment figures and patterns prominently, with, according to Jim Samson, "the on-going movement of his music...similarly achieved by unorthodox means—often a discourse of short, 'unfinished' phrases comprising constant repetitions of short motives which gather momentum in a cumulative manner." (Samson 1977)
The operas Kátya Kabanová (1921), The Cunning Little Vixen (1924), The Makropulos Affair (1926) and From the House of the Dead (after a novel by Dostoevsky, premiered in 1930, after his death) are regarded by many commentators as his finest works. The conductor Sir Charles Mackerras has become particularly closely associated with them.
Other well known pieces by Janáček include the Sinfonietta, the Glagolitic Mass (the text written in Old Church Slavonic) and his two string quartets. These pieces and the above mentioned four late operas were all written in the last decade of Janáček's life. He died in Ostrava.
Janáček's music in film
A film that draws extensively from Janáček's (mostly non-vocal) music is The Unbearable Lightness of Being (1988, after a novel by Milan Kundera), amongst others:
- The Madonna of Frýdek, from the piano cycle On an Overgrown Path (1st series) is more or less Tereza's (Juliette Binoche) theme music: heard the first time she appears on the screen, and after recurring several times also accompanying the final scene of the film.
- 2nd string quartet ("Intimate Letters") , especially the final movement, which generally accompanies scenes of insecurity or imminent danger.
- violin sonata
- Pohádka (Fairy Tale) for cello and piano
Source
- Samson, Jim (1977). Music in Transition: A Study of Tonal Expansion and Atonality, 1900–1920, p.67. New York: W.W. Norton & Company. ISBN 0393021939.
- Hollander, Hans (1963). Janáček, p.119. London.