Janacek Studies (Cambridge Composer Studies) by Paul Wingfield

By Paul Wingfield

This can be the 1st significant set of essays at the Czech composer Leos Janá^Dvcek, extensively one of an important composers of the early 20th century. The essays care for various topics in relation to opera, symphonic poem, instrumental song, cultural context, reception, and Janá^Dvcek as tune theorist and analyst. a few issues, resembling the assets of his musical expressivity, narrative, and Jan^Dvacek as musical analyst and realist have hitherto got little realization, whereas different, extra traditional subject matters, akin to "speech melody" and Janá^Dvcek's ethnographic actions, are reappraised.

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125–30) is the enharmonic dark twin; and motivically, by the binding interjections of the five-note descending figure which flashes through the B material. This passage (bb. 121–30) sees the most serious of many errors of taste and of editorial discretion in Václav Sˇteˇpán’s edition of In the Mists: by conventionalising Janácˇek’s motivic strokes of lightning into a stock pianism, he shows a complete absence of the slightest appreciation of the composer’s aesthetic. In Janácˇek, not a note, not a gesture is rhetorical, is inertly for its own sake; every detail is to play for; every slightest instrumental or harmonic colour fires its particular charge into the structure.

24. The enharmonic ghosting of the A section of the piece continues past b. 17 into b. 19, of which the melodic span a 1–g 2 is identical to that of b. 6. The true correspondence is, however, between bb. 6). The longest of the pieces, an untitled movement for harmonium in C minor,5 sees a relaxation of the essentially binary structure so generous as to point towards the achievement of the first movement of the Sonata 4 5 particularly unfortunate edition of the unfinished piano piece, which conflates the ink and pencil texts, even though in many instances the pencil insertions constitute alternatives rather than additions to certain passages of the ink draft.

Xiv–xv). Bar numbers are those of Burghauser’s and Elisˇka’s edition. 1 differs from that of the published version of these bars. 1 Janácˇek, The Fiddler’s Child, violas, bb. 2 Janácˇek, The Fiddler’s Child, cellos and double basses, b. 3 Janácˇek, The Fiddler’s Child, bb. 139–41 The other prominent feature in Janácˇek’s presentation is the magistrate, whom he defines as follows: ‘The magistrate is all-powerful. He is omnipresent in the community; wherever he looks all bow to his will. While the cellos and basses measure his steps, the bass clarinet with the same motive expresses the fear he inspires, and the harshness of his judgment is heard on the trombones.

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