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Works By Leos Janacek |
 | Description: | Schon in meiner Jugend faszinierte mich die Musik von LeosĚ? Janáček ¬â?? zunächst seine Vokalmusik, besonders seine Oper JenĹŻfa, die einen ungeschminkten Volkston und dessen radikale Authentizität so höchst avanciert in Kunstmusik verwandelt. Erst später entdeckte ich seine Klavierwerke und verstand auf einmal seine zentrale ästhetische Kategorie: LeosĚ? Janáček wollte eine Musik der Wahrheit schreiben. Reine Virtuosität war ihm fremd. Mir wurde klar, wie deutlich der böhmische Meister im Parteienstreit des 19. Jahrhunderts seine Position als Komponist fand: zwischen der Formalästhetik, die im Schlagwort des Wiener Kritikerpapstes Eduard Hanslick von der Musik als »tönend bewegte Form« fokussiert ist, und der Inhaltsästhetik von Berlioz, Schumann, Wagner und Bruckner, die selbst Poesie und Philosophie in Musik verwandelt. Bei Janáček ist zu spĂĽren, wie es in jeder Phrase um tief empfundenen Ausdruck geht, wie persönlich er GefĂĽhle, Hoffnungen und Enttäuschungen in seiner Musik reflektiert. Olena Kushpler - WORKS BY LEOS JANACEKOlena Kushpler writes: "Ever since my youth I have been fascinated by the music of Leos Janácek: initially by his vocal works, particularly Jenufa, an opera with an unadulterated 'peasant' tone of such radical authenticity that it transforms itself into avant-garde music. I only discovered Janácek's piano repertoire at a later date, and immediately grasped his basic aesthetic principle: he wanted to write a music of truth. Virtuosity for virtuosity's sake had no place in his approach. I understood that the Bohemian master staked out a clear position in the great musical debate of the 1800s. It raged, on the one hand, between formal aesthetics, which viewed music as "sonically moving forms" (in the words of Vienna critic doyen Eduard Hanslick), and, on the other hand, the musical content aesthetics of Berlioz, Schumann, Wagner, and Bruckner, who devoted their efforts to transforming poetry and even philosophy into music. In Janácek, I also feel that he strives to imbue each phrase with profound expression, thereby creating music that reflects his feelings, hopes, and disappointments. Janácek's music draws it's energy from contrasts, which can be violent at times: each piece contains moments of brilliant luminosity as well as dramatic conflict. I view his piano cycle On An Overgrown Path as a clearly autobiographical work that reflects the experiences and moods he encountered in real life. The death of his daughter Olga led to profound despair, and the titles of individual pieces reflect how a father's thoughts revolved around the memories of his lost child. Our Evenings, A Blown-Away Leaf, and Words Fail are all individual pieces that foreshadow the tragedy to come. The cycle culminates in The Barn Owl Has Not Flown Away!, and we can note that folk belief viewed the barn owl as an ominous messenger of death." |  | Manufacturer No.: |
AVI8553084 |
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