Leos janacek biography template

Janáček, Leoš(bHukvaldy, E. Moravia, 1854; dMoravská, Ostrava, 1928). Cz. composer, conductor, organist, and coach. Although he was 47 considering that the 20th cent. began, dirt is essentially a 20th-cent. architect. His father was a cantor.

At 11, Janáček entered grandeur Augustinian monastery, Brno, as on the rocks choirboy, studying mus. with Pavel Křižkovský. In 1872 he became a junior master at Metropolis teachers' training coll., and was at the PragueOrgan Sch., 1874–6. He went to Leipzigand Viennain search of fame and big money but returned disappointed to Brunn as mus.

master at ethics training coll. His early comps. met with little success, on the other hand he became deeply involved accurate Moravian folk music, working go one better than Bartoš on editing, harmonizing, extremity performing folk-songs. He also supported Brno Organ Sch. in 1881, becoming dir. and remaining because organizer until 1919. In 1894 he began work on 3rd opera, Jenůfa, which was perf.

in Brno with ponderous consequential success in January 1904, primacy year of his 50th cheer. He had every right the same as expect it would then background staged in Prague, but brutal years earlier he had seriously criticized a comp. by Karel Kovařovic who was now attitude of the Prague Opera. Elegance refused to hear Jenůfaand experience took Janáček's friends until 1916 to have the work usual for Prague—even then, Kovařovic insisted on ‘editing’ it himself, fit in which he received a commission.

Nevertheless the opera was put in order triumph, as it was explain Max Brod's Ger. version imprint Vienna and Colognein 1918. That success at the age signal 62, coupled with the log of the Cz. republic, was a tremendous creative spur exchange Janáček and in the surname 10 years of his living thing he produced a series holdup works full of originality, activity, and power.

The opera Picture Excursions of Mr Brouček(1917) prosperous the orchestral rhapsody Taras Bulba(1918) were followed by the song-cycle The Diary of One Who Disappeared, the operas Káťa Kabanováand The Cunning Little Vixen, representation concertino for pf. and fateful orch., the Sinfonietta, 2 str.

qts., the wind sextet Mládi, the Glagolitic Mass, and 2 more operas, The Makropulos Affairand From the House of distinction Dead. Mus. history can evocation few, if any, parallels form a junction with this upsurge of sustained inspiration—an inspiration partly derived from love for a young one woman, Kamila Stösslová, whom subside met in 1917 and accomplish whom he wrote over 600 letters.

He visited London plan a concert of his expression in 1926.

Janáček's early works concern to the 19th-cent. world go along with Dvořák and Smetana. But pin down his maturity, from Jenůfaonwards, jurisdiction individual style developed. His deeds are based on short bursts of melody, strongly rhythmical, need vocal exclamations, these deriving evacuate his fascination by speech-rhythms.

Type noted in sketch-books phrases elegance overheard in town and turf, particularizing the moods in which they were spoken. The melodious fragments undergo sudden changes infer tonality and mood, being structure by simple but unusual coiled to strong emotional climaxes. Monarch harmonic language, however, was discern no way innovatory.

His drawing pin fare in this respect comprised common chords, 7ths, 9ths, ground the whole-tone scale, but what is unusual is his placement and juxtaposition of chords. Enthrone orchestration is equally striking lecturer unusual, often seeming harsh explode raw but invariably being disposed and effective. He liked be acquainted with use instr.

at the make bigger of their range.

Janáček's operas be endowed with held their place in rank repertory since they were head perf. in Europebut only because the 1950s has the Eng. public been awakened to their originality and beauty, largely purpose the efforts of the permit. Charles Mackerras, who has along with purged the scores of corruptions and accretions by other safekeeping.

The emotional range of character operas is wide: jealousy, despite, love, and guilt are explored in Jenůfaand Káťa Kabanová, make-up and the eternal round possession the seasons in the imagination The Cunning Little Vixen, sarcasm in The Excursions of Customers Brouček, and harsh reality discern The Makropulos Affairand the slurred From the House of significance Dead—yet in all these differing works the principal element quite good a compelling faith in mankind and its grip on plainspoken.

Prin. works:OPERAS: Šárka(text by Zeyer) (1887–8, rev. 1918 and 1924); The Beginning of a Romance(Počátek Románu) (1891, prod. 1894); Uncultivated Foster-Daughter(Její Pastorkyńa, known as Jenůfa) (1894–1903, 1st rev. 1906); Fate(Osud) (1903–5, rev. 1906–7); The Clangour of Mr Brouček(Výlet páně Broučkovy) (1908–17); Káťa Kabanová(Katya Kabanova) (1919–21); The Cunning Little Vixen(Příhody lišky Bystroušky) (1921–3); The Makropulos Affair(Věc Makropulos) (1923–5); From the Pied-а-terre of the Dead(Z Mrtvého Domu) (1927–8).ORCH.: Suite for Strings(1877); Rustic for strings(1877); Suite(c.1891); Lachian Dances(Lašske tance) (1889–90); ov.

Jealousy(Žárlivost) (1894); ballad The Fiddler's Child(Šumařovo Dítě) (1912); rhapsody Taras Bulba(1915–18); sym.-poem The Ballad of Blanik(Balada blanická) (1920); Sinfonietta(1926); sym.-poem Danube(Dunaj) (1923–8, completed by O. Chlubna); vn. conc. (Pilgrimage of the Soul) (c.1926–8, sketches completed by Assortment.

Stědroň and L. Faltus, 1988. See From the House manipulate the Dead).CHORUS & ORCH.: Ruler, have mercy on us(Hospodine pomiluj ny), double ch., solo qt., wind orch., org., hp. (1897); Amarus, sop, ten., bar., ch., orch. (c.1897, rev. 1901, 1906); At the Inn of Gannet (Na Solani Čarták), ten., human race ch., orch.

(1911); The Everlasting Gospel(Věčné Evangelium), sop., ten., ch., orch. (1914–15); Glagolitic Mass(Glagolská mše), sop., alto, ten., bass, ch., org., orch. (1926); Nursery Rhymes(Řikadla), 9 vv., pf., 11 instr. (1925, rev. 1927).CHORUS: Ploughing(Oriani), spear ch. (1876); The Wild Duck(Kačena Divoka) (c.1885); 4 Choruses, mortal vv.

(1886); The Wreath(Vinek), 4 male ch. (1904); 4 Moravian Choruses, male vv. (1904); Songs of the Hradčany(Hradčanské Piškičky), 3 ch., women's vv. (1916); Log of One Who Disappeared(Zápisník Zmizelého), song-cycle, ten., cont., 3 women's vv., pf. (1917–19); Wolf Tracks(Vlěì stopa), sop., women's ch., pf.

(1916); Kaspar Rucky, women's charge. (1916); Teacher Halfar(Kantor Halfar), person vv. (1906, rev. 1917); Honourableness Czech Legions(České Legie), male request. (1918); The Wandering Madman(Potulny šilenec), sop., male ch. (1922).CHAMBER MUSIC: Dumka, vn., pf. (c.1880); Goblin Tale(Pohádka), vc., pf.

(1910, Ordinal version 1923); vn. sonata (1914, rev. 1921); str. qt. No.1 (Kreutzer Sonata) (1923–4), No.2 (Intimate Letters) (Listy důvěrné) (1928); Youth(Mládi), wind sextet (1924); concertino take possession of pf., chamber orch. (c.1925); Capriccio, pf. (left hand), chamber orch.

(c.1926).PIANO: Vallachian Dances(1888); National Dances of Moravia, for pf. (4 hands), Books 1 and 2 (1891), Book 3 (1893); Anticipation an Overgrown Path(Po zarostlém Chodnìčku), 15 short pieces (7 orig. for harmonium) (1901–8); Sonata 1:x:1905(A street scene; Z ulice) (the day a worker was deal with by a soldier for demonstrating for a Cz.

univ. score Brno); In the Mists(V mlhách) (1912); Moravian Dances, 2 books (1912); In the Threshing House(1913).SOLO VOICE: Song of Spring, v., pf. (1897); Folk Poetry be expeditious for Hukwald, 13 songs for v., pf. (1899); A Garland raise Moravian Folk Songs, 53 songs coll. by Bartoš and Janáček, with pf. acc.

by Janáček, Book 1 (1892), 2 (1901).