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Leoš Janáček (1854–1928)

Teoksen Jenůfa [sound recording] tekijä

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Tietoja tekijästä

Leos Janacek was born in Moravia, part of the Czech Republic. At the age of 10, he was placed at the Augustine monastery in Brno as a chorister. For two years (1872--74), he was a student at Brno Teachers Training College and at the Organ School in Prague, where he studied organ with Skuhersky. He näytä lisää later took lessons in composition with L. Grill at the Leipzig Conservatory. From 1879 to 1880, Janacek studied with Franz Krenn at the Vienna Conservatory. A year later, he returned to Brno, where he conducted the Czech Philharmonic Orchestra. Between 1919 and 1925, Janacek taught at the Conservatory of Brno. Many Czech composers of younger generations were his students. Janacek began composing music early in his life in many genres, including choral works, orchestral music, chamber music, and piano music. However, it was not until the 1916 production of his opera Jeji Pastorkyna (Her Foster Daughter), known more widely as Jenufa, that his importance as a composer was realized in the music world. Many of Janacek's operas were based on important Russian literary works. Kat'a Kabanova (1921) and From the House of the Dead (1938) are two such operas. Janacek also believed in the artistic importance of folk songs. He collected a number of folk songs in his native Moravia. Janacek is considered the most important modern Czech composer. In addition to Jenufa, his works include the symphonic poem Taras Bulba (1918) and the Glagolitic Mass (1926), a Latin text translated into Czech. During the last two decades of his life, Janacek was highly influenced by French impressionistic music. (Bowker Author Biography) näytä vähemmän
Image credit: Public domain. (Wikipedia)

Tekijän teokset

Jenůfa [sound recording] (1890) — Composer, Librettist — 28 kappaletta
Káťa Kabanová [libretto] (1988) — Säveltäjä — 24 kappaletta
String Quartets [sound recording] (1923) 21 kappaletta
V Mlhách (In the Mists) [score] (1982) 14 kappaletta
Sinfonietta, Op. 60 (Score) (1926) 13 kappaletta
Jenůfa [video recording] (1989) — Composer, Librettist — 12 kappaletta
Jenůfa [vocal score] (2003) — Composer, Librettist — 11 kappaletta
Glagolská mše (Glagolitic Mass) [sound recording] (1927) — Säveltäjä — 11 kappaletta
Jenůfa [libretto] (1908) — Librettist — 10 kappaletta
Glagolská mše (Glagolitic Mass) [full score] (2010) — Säveltäjä — 9 kappaletta
Janacek: Leaves from His Life (1982) 6 kappaletta
Piano Sonata 1.X.1905 4 kappaletta
Sinfonietta [sound recording] (1992) 4 kappaletta
From the House of the Dead [2007 film] (2008) — Säveltäjä — 3 kappaletta
The Makropulos case (2003) 3 kappaletta
Sonata for Violin and Piano (1981) 3 kappaletta
Works for Piano Solo [score] (1978) 3 kappaletta
Piano Works [score] 2 kappaletta
Jenůfa [full score] {version Brno, 1908} (1908) — Composer, Librettist — 2 kappaletta
Cunning Little Vixen [Blu-ray] (2013) 2 kappaletta
Choruses for Male Voices (2001) 2 kappaletta
Ecrits (2009) 2 kappaletta
Hukvaldské studánky (1954) 2 kappaletta
Sinfonietta / Glagolitic Mass [sound recording] (2008) — Säveltäjä — 1 kappale
The Eternal Gospel [sound recording] (2005) — Säveltäjä — 1 kappale
Violin Sonatas 1 kappale
Pieces for Piano (2008) 1 kappale
Things Lived and Dreamt [sound recording] — Säveltäjä — 1 kappale
Janáček : Jenůfa : 2021/22 [programme] (2021) — Säveltäjä — 1 kappale
Piano Works (2005) 1 kappale
For Accordion 1 kappale
Taras Bulba [score] (2008) 1 kappale
Janacek - Katia Kabanova (2010) 1 kappale
Ballada 1 kappale
Graduale 1 kappale
Quartets 5 & 7 1 kappale
Amarus 1 kappale
Vollständige Harmonielehre (2011) 1 kappale
Mass in E flat 1 kappale
Violin Sonata 1 kappale

Associated Works

Love Letters (1996) — Avustaja — 180 kappaletta

Merkitty avainsanalla

Yleistieto

Kanoninen nimi
Janáček, Leoš
Virallinen nimi
Janacek, Leo Eugen
Syntymäaika
1854-07-03
Kuolinaika
1928-08-12
Sukupuoli
male
Kansalaisuus
Czechoslovakia
Maa (karttaa varten)
Czech Republic
Syntymäpaikka
Hukvaldy, Moravia, Austro-Hungary
Kuolinpaikka
Ostrava, Czechoslovakia
Asuinpaikat
Brno, Czech Republic
Ammatit
composer
folklorist
Organisaatiot
Brno Conservatory

Jäseniä

Kirja-arvosteluja

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Merkitty asiattomaksi
VPALib | Mar 6, 2019 |
Jenůfa was the work that launched Janáček’s operatic career. Leos Janacek wrote his opera Jenufa between 1896 and 1903. It wasn't until the 1970s that it began to dawn on the British consciousness that the Czech composer - previously known for a handful of orchestral pieces like the Sinfonietta - was one of the 20th century's greatest operatic composers.

Jenufa can seem melodramatic. It's a classic love triangle, complicated by the interjection of a religious fanatic, the Kostelnicka. Jenufa marked the beginning of Janacek's quest for what he called "speech melody". Although he moved further way from the format of conventional opera, with arias and duets, he developed one of the most personal and subtle melodic signatures in all music. He studied the speech patterns of mental patients, the noises of animals and birds, and he listened as carefully to traditional folk music as he did to the emerging contemporary school from western Europe. He wrote: "The spirit that infuses all life can be found near at hand, in ourselves, among people perfectly familiar to us, enchanti ng and piquant, arresting melodies and amazing scenes." That's why his music speaks more directly to modern audiences than any composer of his time.

This is a story of wild passion and fatal pride, in which love and forgiveness triumph only after great suffering--Janácek deals with compassion and redemption, rather than directly with religion. However, in portraying the life of a small Moravian village in the second half of the 19th century, he does tell us something about the religion and the way in which it permeated everyday life.

Thus the Kostelnicka (or Sextoness) has earned her title on account of looking after the small local church. She is also a trusted adviser, and enjoys a high social status in the community. But her desperate wish to save her stepdaughter's honor and future prospects leads to terrible heresy: "I will deliver the boy to God," she tells herself at the end of Act II, before setting off to drown the illegitimate child. Her reasoning has been twisted by her fear of the inevitable humiliation of both Jenufa and herself, and her pride has proved stronger than her faith.

Yet the Kostelnicka's fear of disgrace was genuine: in the rural communities of 19th-century Moravia, "fallen" girls had to endure horrific public humiliation, and they frequently remained social and economic outcasts for the rest of their lives. The contemporary village mores are tellingly described by Janácek's onetime colleague and fellow folklorist Frantisek Bartos in the preface to their 1899 book, Moravian Folk-songs Newly Collected: "The sensual, sexual love, ennobled by Christianity, has acquired the character of a moral idea, and in this idealized form it is the origin of the most beautiful love songs." But, writes Bartos, the necessary condition of the longing for the beloved which inspired such folk songs was "morality, strict discipline, and chastity. And, among our people, one minded and observed these most strictly."

Thus all transgressors against the stern social order and local customs invited harsh judgment. In one region of Moravia, according to Bartos, a pregnant girl would have her long hair cut off in public by the married women of the village; around the capital of Brno, when a pregnant girl was getting married, the village youths would mockingly carry a cradle behind the wedding procession. Elsewhere in southern Moravia the local shepherd would run the "fallen" girl through the village and crack the whip above her as the local community was returning from Mass.

Life in rural Moravia was far from joyless at the time. Dances and festivals abounded and the young would make merry. Yet young men, too, would invite criticism if they played the field too often, and seducers would rarely escape punishment. In the finale of Jenufa it is the vox populi, in the person of the Shepherdess, which pronounces the judgment on the handsome, feckless Steva: "No girl would marry him now, not even an honest Gypsy."

Only Laca's love overcomes all obstacles. To him, Jenufa--her beauty spoiled and her reputation tarnished--is still the girl he has always loved, and he doesn't even care about her forthcoming trial and the inevitable public scorn. "What is the world to us," he tells her, "if we can comfort one another?" At long last he wins Jenufa's heart: "This is that greater love, the love that pleases God," she responds.

In Jenufa, Janácek draws our attention to some of humanity's highest moral ideals. Laca's love for Jenufa helps him overcome his destructive jealousy; Jenufa's compassion makes the Kostelnicka realise the extent of her pernicious pride, and her subsequent humility redeems her in Jenufa's eyes. At the time of writing his first operatic masterpiece, Janácek was no longer a believer. But compassion and redemption--essential parts of the Christian doctrine--are the cornerstones of Jenufa, and indeed of many of Janácek's subsequent stage works. It is also a story that emphasises the importance of the social background and group pressures and influences on family life and the development of intrapsychic and interpersonal conflict.
… (lisätietoja)
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Merkitty asiattomaksi
antimuzak | Feb 17, 2007 |

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Associated Authors

Gabriela Preissová Librettist, Original text
Charles Mackerras Conductor, Contributor
Nicholas John Series Editor
Pierre Boulez Conductor
Andrew Davis Conductor
Melly Still Director
Mason Bates Composer
Georges Bizet Composer
Edward Elgar Composer
Franz Liszt Composer
Edward Downes Translator
Otakar Kraus Translator
Alex De Jonge Contributor
Karel Brusack Contributor
Jaroslav Krejčí Contributor
Henrietta Bredin Picture research
Arnold Whittall Contributor
John Tyrrell Contributor
Norman Tucker Translator
Jan Smaczny Contributor
Cathy Peterson Discography
Karel Ančerl Conductor
Václav Neumann Conductor
Ladislav Elgr Števa Buryja, Tenor
Olaf Bar Actor
Christine Rice Mezzo-soprano
Nigel Simeone Contributor
Jennifer Johnston Mezzo-soprano
BBC Singers Performers
Flora Willson Contributor
Martin Handley Presenter
Petroc Trelawny Presenter
Ben Glassberg Conductor
Georgia Mann Presenter
Kirill Karabits Conductor
Dalibor Jedlička Vocals [Rychtář]
Petr Dvorský Vocals [Steva]
Elisabeth Söderström Vocals [Jenůfa]
Eva Randová Vocals [Kostelnička]
Jorma Silvasti Tenor vocals, Laca
Anja Silja Soprano vocals, Kostelnicka Buryjovka
Lucia Popp Vocals [Karolka]
Max Brod Translator
Bohumil Gregor Conductor
Marion McCullough Mezzo-soprano
Eryl Royle Soprano vocals
Libuše Domanínská Soprano vocals
Naděžda Kniplová Soprano vocals
Vera Soukopova Vocals [Pastuchyňa, Tetka]
Wieslav Ochman Vocals [Laca]
Jindra Pokorna Vocals [Barena]
Stepanka Jelinkova Soprano vocals [Jenufa]
Ivana Mixova Vocals [Rychtářcka]
Anita Boyd Cover designer
Leah-Marian Jones Mezzo-soprano vocals
Elizabeth Sikora Soprano vocals
Ivo Žídek Tenor vocals
Hugues Mousseau Translator
Rebecca Nash Soprano vocals
Vilém Přibyl Tenor vocals
Vaclav Zitek Vocals [Stárek]
Carole WILSON Mezzo-soprano vocals
Jaroslav Vogel Conductor
Gail Pearson Soprano vocals
Jerry Hadley Tenor vocals
Jonathan Fisher Baritone vocals
Bernard Haitink Conductor
Deryck Viney Liner notes [Libretto, English translation]
Jennifer Higgins Contralto vocals
Jana Jonasova Vocals [Jano]
Neal Davies Baritone
Jules Maidoff Illustrator
Elizabeth Vaughan Mezzo-soprano
Karita Mattila Soprano vocals
Sharon Krebs Translator
Jeremy White Bass vocals
Marie Mrázová Vocals [Stařenka Buryjovka]
Jonathan Veira Baritone vocals
Simon Rattle Conductor
Robert T. Jones Translator
Brian Large Director
Orpha Phelan Director
Marko Ivanovic Conductor
Derek Bailey Director
Peter Schneider Conductor
Robert Shaw Conductor
Mark Baker Steva Burya
Philip Langridge Laca Klemen
Nina Stemme Jenůfa
Nikolaus Lehnhoff Stage Producer
Will Hartmann Laca Klemen
Deborah Polaski Kostelnicka Buryja
Ingrid Tobiasson Grandmother Buryja
Hanna Schwarz Grandmother Buryjovka
Ivor Bolton Conductor
Mette Ejsing Grandmother Buryjovka
Viorica Cortez Grandmother Buryja
Éva Marton the Kostelnička
Jennifer Larmore Kostelnicka Buryjovka
Gitta-Maria Sjöberg the Kostelnička
Menai Davies Buryja, The Grand Mother
Nikolai Schukoff Steva Buryja
Christof Loy Stage director
Miroslav Dvorský Laca Klemen
Stephanie Braunschweig Stage director

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Teokset
259
Also by
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Jäseniä
792
Suosituimmuussija
#32,170
Arvio (tähdet)
4.0
Kirja-arvosteluja
2
ISBN:t
75
Kielet
8
Kuinka monen suosikki
1

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