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Journal articles on the topic 'Janáček'

Author: Grafiati

Published: 4 June 2021

Last updated: 28 February 2023

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1

Weiss, Jernej. "The Transcription of the Correspondence between Leoš Janáček (1854-1928) and Emerik Beran (1868-1940)." Musicological Annual 42, no. 1 (December 1, 2006): 147–64. http://dx.doi.org/10.4312/mz.42.1.147-164.

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Among the twenty-one preserved letters from Janáček to Beran, written during 1890 and 1928 in Czech, eight of Janáček’s letters and eight of Janáček’s postcards have been preserved, in addition to five official letters written during Beran’s pedagogical work at the Organ School in Brno. Among twenty-one of Beran’s letters to Janáček, written during 1914 and 1928 also in Czech, we can find eight of Beran’s letters and thirteen of Beran’s postcards, where in three of them, the place or time are not exactly given.

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2

Matthews, David. "Deal Festival: Pavel Novák." Tempo 58, no. 227 (January 2004): 59–60. http://dx.doi.org/10.1017/s0040298204250057.

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In describing the performance of three extraordinary pieces by the Czech composer Pavel Novák, I have to begin by declaring an interest in my capacity as Artistic Director of the Deal Summer Music Festival, at which he was a featured composer. Novák was born in Brno in 1957, and has achieved a high reputation in Moravia, where he is now acknowledged to be the leading composer of his generation. He is not yet well known outside the Czech Republic, although the Schubert Ensemble have commissioned three pieces from him – Lord, We Seek the Song of the Chosen for piano trio (1991); Royal Funeral Procession to Iona for piano quintet (1995); St Mary Variations for piano quartet (2000) – and have played them in Britain and abroad. Novák's teacher, Miloslav IÎtvan, was a pupil of Janáček's pupil Jaroslav Kvapil, and Novák, more than any other composer in Moravia, seems the true inheritor of the Janáček tradition. That tradition remains a vital force in Brno, partly because Janáček is the most local of composers and his music still, and in a vital way, haunts his home town with its Janáček Academy (where Novak studied), and the Janáček Theatre (where Novak played the oboe for a number of years in the opera orchestra) at which Janáček's operas are performed as nowhere else, players and singers alike attuned to the Moravian dialect; partly through the continuing vitality of Moravian folksong, whose spirit and melodic contours inform Novák's music as they did Janáček's.

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3

Mark, Christopher. "Janáček." Nineteenth-Century Music Review 6, no. 2 (November 2009): 159–61. http://dx.doi.org/10.1017/s1479409800003232.

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4

Zvara, Vladimír. "Leoš Janáček und die „slawische Katharsis“." Studia Musicologica 52, no. 1-4 (March 1, 2011): 219–30. http://dx.doi.org/10.1556/smus.52.2011.1-4.17.

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The expression “Slavic catharsis” was coined by Vladimír Helfert. The characterology of Slavic operatic figures may be obsolete, but his thoughts remain an interesting contribution to the history of the use of the Greek concept. Helfert intended to grasp the musico-dramatical idiom of Janáček’s operas where the element of “catharsis” is omnipresent. The work of Janáček suggests a new definition of “catharsis” in operatic music: more than a mere purification, it is to be understood as an insight in hidden truth.

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5

Wingfield, Paul. "Janáček's speech-melody theory in concept and practice." Cambridge Opera Journal 4, no. 3 (November 1992): 281–301. http://dx.doi.org/10.1017/s0954586700003803.

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No aspect of Janáček's operas has been publicised more widely than their alleged use of ‘speech melodies’. Indeed, most commentators now assume the a priori existence of speech melodies in the composer's operas. However, only John Tyrrell has explored the matter in depth, and many basic questions about Janáček's speech-melody theory and practice remain unanswered. What follows is an attempt to investigate in detail one of the most prominent, and most misrepresented, issues of Janáček opera analysis. A brief initial digression into the principal characteristics of spoken Czech is unavoidable.

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6

Procházková, Jarmila. "Permanent Values and Variability in Janáček´s Opinions on National and Regional Identity in Relation to Music." Polski Rocznik Muzykologiczny 19, no. 1 (December 1, 2021): 134–46. http://dx.doi.org/10.2478/prm-2021-0006.

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Abstract Leoš Janáček (1854–1928) was one of those composers whose work was in many respects closely connected with current social events and yet it carried a deep and timeless ethical message. Janáček’s activity as an artist, teacher and organiser reflected changes in the political and cultural paradigm disseminated in the European countries in the course of more than six decades. He himself went through an interesting inner development resulting from his studies, artistic and life experience, as well as his empathy related not only to his narrow individual but also a wider collective space. His relative isolation from the official artistic establishment of Prague gave him an opportunity to formulate his original views on the European, national, and regional identity. In addition to various literary forms, music composition remained his fundamental means of expression. In this context, this paper will attempt to define the basic directions in Janáček´s dynamic evolution and the areas in which his key values and priorities remained constant.

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7

McKee, David. "Jenůfa. Leoš Janáček." Opera Quarterly 7, no. 4 (1990): 185–87. http://dx.doi.org/10.1093/oq/7.4.185.

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8

McKee, David. "Osud. Leoš Janáček." Opera Quarterly 9, no. 2 (1992): 156–59. http://dx.doi.org/10.1093/oq/9.2.156.

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9

Dumitriu, Leonard. "Speech melodies and “pinning down” the present in essays by Leoš Janáček and Milan Kundera." Artes. Journal of Musicology 25, no. 1 (April 1, 2022): 82–92. http://dx.doi.org/10.2478/ajm-2022-0006.

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Abstract I ask myself the question: can those who compose music be called interpreters? Not of their own work but of the sonorities they imagine while writing. When composers take over (note on staves or record with technical means) sonorities from the environment, which they then use in their works, are they or not interpreters, in the sense of translating what they hear? Should we only mention Vivaldi and Haydn or, closer to us, Messiaen and Stockhausen, composers of all times have used, translated, interpreted the sounds of nature in their works. That is what the Czech Leoš Janáček does also, only that, by registering ambiental sonorities, he has a further goal, unlike the others: pinning down the present time. This idea is revolutionary in music, so it has drawn many researchers’ attention. A privilege of music, interpretation wears in literature the coat of exegesis. A great contemporary thinker, Milan Kundera is the author of the essay Testaments betrayed, in which he compares literature with music, having as references, among other writers, Hemingway and Kafka, which he joins with the great composers Stravinsky and Janáček. Fascinated by his fellow citizen’s musical-ontological concept, he dedicates the fifth part of the study to him, entitled Á la recherche du présent perdu. The study presents the way in which Janáček pins down the past in an own essay, Smetanova dcera (Smetana’s daughter), where he uses his renowned nápěvky mluvy (speech melodies). The result is amazing: through the daughter’s voice, one seems to hear the father, the great Bedřich Smetana’s voice in a fragment of life resurrected after time has passed. Kundera asks questions and formulates answers, interpreting, translating Janáček’s concept. This work does not interpret, but brings to the knowledge of the interested musicians aspects which, although belonging to renowned Czech intellectuals, enrich and embellish the spirituality of the world.

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10

Steinmetz, Karel. "Miloš Štědroň: Můj Janáček : k osmdesátinám muzikologa a skladatele." Musicologica Brunensia, no. 1 (2022): 5–16. http://dx.doi.org/10.5817/mb2022-1-1.

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The study explains how research on Janáček was enriched by Miloš Štědroň, an important musicologist and composer and one of the most important music scientists of today, dealing with the work of Leoš Janáček. Other Štědroň's activities in the field of scientific and artistic work which have lasted for almost sixty years, are recalled as well.

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11

Pines, Roger. "Káť'á Kabanova Leoš Janáček." Opera Quarterly 9, no. 2 (1992): 133–36. http://dx.doi.org/10.1093/oq/9.2.133.

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12

HUNT, CHRISTOPHER. "The Life of Leoš Janáček." Opera Quarterly 6, no. 3 (1989): 86–92. http://dx.doi.org/10.1093/oq/6.3.86.

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13

Zahrádka, Jiří. "Leoš Janáček, Karel Kovařovic and Její pastorkyňa." Musicologica Olomucensia 33, no. 1 (December 12, 2021): 41–59. http://dx.doi.org/10.5507/mo.2021.003.

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14

Pines, Roger. "The Cunning Little Vixen. Leoš Janáček." Opera Quarterly 11, no. 2 (1995): 201–4. http://dx.doi.org/10.1093/oq/11.2.201.

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15

Tyrrell, John. "Leoš Janáček ed. by Jiří Zahrádka." Notes 73, no. 4 (2017): 773–77. http://dx.doi.org/10.1353/not.2017.0065.

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16

Floyd, James Michael. "The Janáček Compendium by Nigel Simeone." Notes 79, no. 3 (March 2023): 415–17. http://dx.doi.org/10.1353/not.2023.0015.

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17

Weiss, Jernej. "The forgotten correspondence between two friends: Leoš Janáček (1854-1928) and Emerik Beran (1868-1940)." Musicological Annual 41, no. 1 (December 1, 2005): 91–98. http://dx.doi.org/10.4312/mz.41.1.91-98.

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Bohemia and Moravia were sending their musically talented sons into the world for nearly three hundred years thereby earning the title of Europe's conservatorium. A wave of Czech musicians also reached Slovenia in the second half of the 19th century, where they decisively contributed to the growth of the young Slovene musical culture as composers, music performers and music pedagogues and thereby, to the passage from the musically-inspired dilettantism into a gradual high quality and quantity increase in the musical work in Slovenia. One of the latter is certainly Emerik Beran, who maintained close and friendly contacts with his former professor at the Brno Organ School, Leoš Janáček, through letters of correspondence of a private nature, even after moving from his birth town Brno in Moravia to Maribor in Slovenia in 1898. The correspondence between Janáček and Beran gives us valuable insight into their musical ambitions, relations to other colleagues, the functioning of musical institutions and the cultural and political climate of those times. Janáček and Beran maintained very good relations throughout their letter-exchange period (from 1890 to 1928) and their correspondence provides evidence of several instances of mutual generosity as they helped each other in their careers.

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18

Fuller, Michael, and John Green. "Theological Themes in the Operas of Janáček." Modern Believing 40, no. 4 (October 1999): 56–64. http://dx.doi.org/10.3828/mb.40.4.56.

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19

Vejvodová, Veronika. "Zdeněk Fibich as Viewed by Leoš Janáček." Musicologica Olomucensia 12, no. 1 (December 11, 2010): 273–80. http://dx.doi.org/10.5507/mo.2010.031.

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20

John K. Novak. "Janáček beyond the Borders (review)." Notes 67, no. 1 (2010): 129–30. http://dx.doi.org/10.1353/not.2010.0041.

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21

Simeone, Nigel. "Sinfonietta für Orchester by Leoš Janáček, and: Taras Bulba: Rhapsodie für Orchester by Leoš Janáček, and: Zápisník zmizelého = The Diary of One Who Disappeared = Tagebuch eines Verschollenen by Leoš Janáček." Notes 76, no. 4 (2020): 639–44. http://dx.doi.org/10.1353/not.2020.0056.

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22

Burgard, Andrew M., and Michael Beckerman. "Janáček, Back from the House of the Dead." Journal of the American Musicological Society 63, no. 3 (2010): 703–15. http://dx.doi.org/10.1525/jams.2010.63.3.703.

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23

Čechovič, Tomáš, Zuzana Gerhátová, and Martin Kendra. "Proposal Transport Services of the Airport Leoš Janáček Ostrava." Transport technic and technology 16, no. 2 (December 1, 2020): 16–20. http://dx.doi.org/10.2478/ttt-2020-0010.

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Abstract The article deals with the issue of transport service of Leoš Janáček Airport in Ostrava utilizing public passenger transport. The topicality of the issue is the seasonal operation of the airport. The article aims to adapt the airport traffic service to passengers and airport staff. The number of connections will be dimensioned using the formula of transport services, which is based on the potential of transport services in the area. This methodology has been used on lines connecting residential areas but has never been used on lines connecting the city centre the airport.

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24

Čechovič, Tomáš, Zuzana Gerhátová, and Martin Kendra. "Proposal Transport Services of the Airport Leoš Janáček Ostrava." Transport technic and technology 16, no. 2 (December 1, 2020): 16–20. http://dx.doi.org/10.2478/ttt-2020-0010.

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AbstractThe article deals with the issue of transport service of Leoš Janáček Airport in Ostrava utilizing public passenger transport. The topicality of the issue is the seasonal operation of the airport. The article aims to adapt the airport traffic service to passengers and airport staff. The number of connections will be dimensioned using the formula of transport services, which is based on the potential of transport services in the area. This methodology has been used on lines connecting residential areas but has never been used on lines connecting the city centre the airport.

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25

Gerlach, Reinhard. "Leoš Janáček und die Erste und Zweite Wiener Schule." Die Musikforschung 24, no. 1 (September 21, 2021): 19–34. http://dx.doi.org/10.52412/mf.1971.h1.2075.

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26

Thomas, Christopher J. "Počátek románu (The Beginning of a Romance). Leoš Janáček." Opera Quarterly 3, no. 1 (1985): 172–73. http://dx.doi.org/10.1093/oq/3.1.172.

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27

Simeone, Nigel. "From the House of the Dead by Leoš Janáček." Notes 77, no. 2 (2020): 323–27. http://dx.doi.org/10.1353/not.2020.0116.

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28

Josephson, Nors S. "Cyclical Structures in the Late Music of Leoš Janáček." Musical Quarterly 79, no. 2 (1995): 402–20. http://dx.doi.org/10.1093/mq/79.2.402.

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29

Lehner, Petr, Petr Konečný, and Ryszard Walentyński. "Example of analysis of climatic data series with respect to the testing of reinforcement concrete corrosion in a climate chamber." MATEC Web of Conferences 313 (2020): 00037. http://dx.doi.org/10.1051/matecconf/202031300037.

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The paper presents a possible statistical evaluation of the climate data, namely temperature and relative humidity, with respect to the rapid evaluation of the risk of reinforced concrete corrosion in the laboratory conditions. Data on temperature and humidity from Leoš Janáček Ostrava Airport over the last ten years are analysed. The processed data will be used as the set up for the climate chamber where the concrete samples with steel rods will be placed.

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30

Tyrrell, John. "From Rubinstein to Rebikov: influences of Russian composers on Janáček." Musicological Annual 51, no. 2 (June 17, 2015): 99–118. http://dx.doi.org/10.4312/mz.51.2.99-118.

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The article examines Leoš Janáček’s knowledge of the music of four Russian composers (Rubinstein, Tchaikovsky, Musorgsky and Rebikov) may have influenced him and assesses the basis and extent of any discernible influence.

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31

Pearl, Jonathan. "Eavesdropping with a Master: Leoš Janáček and the Music of Speech." Empirical Musicology Review 1, no. 3 (2006): 131–65. http://dx.doi.org/10.18061/1811/24010.

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32

WINGFIELD, PAUL. "UNLOCKING A JANÁČEK ENIGMA: THE HARMONIC ORIGINS OF KUDRJÁŠ'S ‘WAITING’ SONG." Music and Letters 75, no. 4 (1994): 561–75. http://dx.doi.org/10.1093/ml/75.4.561.

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33

Conway, Paul. "Recent discs of Egon Wellesz." Tempo 59, no. 233 (June 21, 2005): 76–78. http://dx.doi.org/10.1017/s0040298205240251.

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EGON WELLESZ: Vorfrühling; Leben, Traum und Tod; Lied der Welt; Sonette der Elizabeth Barrett Browning; Ode an die Musik; Vision; Symphonischer Epilog. Regina Klepper (sop), Sophie Koch (mezzo), Deutsches Symphonie-Orchester Berlin, c. Roger Epple. Capriccio 67077.WELLESZ: Symphonies Nos. 1 and 8; Symphonischer Epilog. Radio Symphonieorchester Wien, c. Gottfried Rabl. CPO 999998-2.WELLESZ: Symphonies Nos. 2 and 9. Radio Symphonieorchester Wien, c. Gottfried Rabl. CPO 999997-2.WELLESZ: Prosperos Beschwörungen; HONEGGER: Symphony No. 5; STRAVINSKY: Le Sacre du printemps; JANÁČEK: Sinfonietta; WEBERN: Passacaglia; Six Movements op. 6; BERG: Der Wein; SCHOENBERG: Pelleas und Melisande; SCHMIDT: Symphony No. 2. Vienna Philharmonic c. Haitink, Ansermet, Markevitch, Kubelik, Mehta, Dorov, Bohm, Leinsdorf. Andante AND4080.

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34

Barlow, Jill. "London, King's Place: Nico Muhly and Alvin Curran." Tempo 67, no. 266 (October 2013): 82–83. http://dx.doi.org/10.1017/s004029821300096x.

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Born in Vermont in 1981, and raised in Rhode Island, then based in New York, the young post-minimalist composer Nico Muhly was, at the age of 20, commissioned by the Juilliard School to write Music in Transition for versatile pianist Bruce Brubaker. Later Brubaker and Muhly created a performance piece ‘involving electronic commentaries and “graffiti” overlaid on live performances of piano sonatas by Haydn’, to quote the Kings Place programme notes for Muhly's new piece Drones and Piano, which received its UK première on 19 May, with Brubaker at the keyboard. Again fragments of Haydn are used, ‘as well as lexia from John Adams’ Phrygian Gates, Janáček, … along with the eighth hymn by Thomas Tallis'.

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35

Paige, Diane M. "Janáček: Years of a Life. Volume I (1854–1914): The Lonely Blackbird (review)." Notes 64, no. 1 (2007): 71–72. http://dx.doi.org/10.1353/not.2007.0125.

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36

CHEW, GEOFFREY. "The Adventures of "The Cunning Little Vixen": Leoš Janáček, Max Brod and their Predecessors." Austrian Studies 17, no. 1 (2009): 113–32. http://dx.doi.org/10.1353/aus.2009.0007.

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37

Christensen, Allan C. "Creating/Vanishing: The Gypsy Muse in Works by Arnold, Kalda, Janáček, and Vaughan Williams." Mosaic: a journal for the interdisciplinary study of literature 45, no. 3 (2012): 165–83. http://dx.doi.org/10.1353/mos.2012.0035.

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38

Čurda, Martin. "‘From the Monkey Mountains’: The Body, the Grotesque and Carnival in the Music of Pavel Haas." Journal of the Royal Musical Association 141, no. 1 (2016): 61–112. http://dx.doi.org/10.1080/02690403.2016.1151235.

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ABSTRACTIt has been claimed that Pavel Haas's string quartet ‘From the Monkey Mountains’ (1925) demonstrates the composer's alignment with the ‘Western’ musical avant-garde of the 1920s. However, Haas's avant-garde affiliations remain largely unexplained, as does the influence of Leoš Janáček, with whom Haas studied. Combining the methods of music analysis, semiotics and discourse analysis, I explain how Haas reconciled Janáčekian compositional technique with the ideas underpinning the contemporary Czechoslovak avant-garde movement known as Poetism. Focusing particularly on notions of the body, the grotesque and carnival, I propose an interpretative framework for and a reading of Haas's quartet ‘From the Monkey Mountains’. In doing so, I also illuminate the aesthetic and cultural context of Haas's music from the 1920s, which has received little attention in previous scholarship.

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39

Lister, Rodney. "Proms 2004: Turnage, Bingham, Sheng, Silk Road, Henze." Tempo 59, no. 231 (January 2005): 47–49. http://dx.doi.org/10.1017/s0040298205270055.

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In fulfillment of a commission from the BBC for a work in commemoration of the 75th anniversary of the BBC Symphony Chorus, Mark-Anthony Turnage produced Calmo, an untypically quiet and gentle work for chorus with handbells – and, what has become something of a signature instrument for him, desk bells. The text of the work consists of the words ‘Dona nobis pacem’ and their translations in several languages. It is dedicated to the memory of Turnage's friend Sue Knussen. Calmo's intense eloquence was enhanced by its brevity, and, both despite and because of it, stood out in a program of music for chorus, harp, and organ by an assortment of older and newer Czech and British Composers, including Janáček, MacMillan, Holst, and Eben, presented by the BBC Symphony Chorus, conducted by Stephen Jackson.

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40

Wingfield, Paul. "Janáček's ‘Lost’ Kreutzer Sonata." Journal of the Royal Musical Association 112, no. 2 (1987): 229–56. http://dx.doi.org/10.1093/jrma/112.2.229.

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On 18 July 1896 the 41-year-old Leoš Janáček left his native village of Hukvaldy in north-eastern Moravia to visit Russia. At the end of the first day of travelling he noted in his copy of František Vymazal's Rusky v devíli úlohách (Russian in Nine Lessons; Telč, 1896): 12. hod. v noci Granica. Konečně cítím stát slovanský! … Jací šohaji, čistí, úhlední, úslužní, způsobní při dráze. S úzkostí jel jsem Haličí. A ted' mi tak veselo: probuzení, vykříšení! Otroctví setřásám. Vyjíždíme - Rusko!(12 o'clock at night Granilsa. At last I can sense what it feels like to be in a Slav state! … These railwaymen are such fine lads' clean, tidy, obliging, polite. As I travelled across Galicia I was full of anxiety. Now I am light-hearted: awakening, resurrection! I shake off slavery Off we go - Russia!)

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41

Gafijczuk, Dariusz. "Resonant Topographies: Central Europe’s Paradoxical Middle." Theory, Culture & Society 29, no. 3 (May 2012): 52–71. http://dx.doi.org/10.1177/0263276411426580.

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The article employs music to describe the dynamics of Central European identity at the turn of the 20th century. Conceptually, the analysis is based on the notion of cultural resonance and the distinction between political territories, which isolate identity, and cultural landscapes which let it escape. This theoretical understanding is derived from the acoustic philosophy and musical practice of two Central European composers, Leoš Janáček and Béla Bartók. Exemplified here is artistic ‘extra-territorial’ identity, which is indeed how Theodor Adorno at one point referred to the ‘peripheral’ sound coming from the region. This process of identity construction amplifies paradoxical middle spaces, which Jean Luc Nancy describes evocatively as a cultural mêlée. The vitality of cultural resonance is fuelled by this primary contact with mundane reality and the ‘navigational hesitation’ underpinning identity and its many trajectories.

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42

O'Neill, Desmond. "EXPLORING THE NARRATIVE OF AGING THROUGH MUSIC." Innovation in Aging 6, Supplement_1 (November 1, 2022): 242. http://dx.doi.org/10.1093/geroni/igac059.961.

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Abstract With increasing interest in exploring narratives of aging through literary/oral sources, a less prominent area of inquiry has been possibilities afforded by narratives inherent in music across the life-span and into later-life. Two possible areas of interest are the arc of development and change over the life-course, and inherent content of the music. The latter element is less prominent in narrative analysis, providing a potentially rich field of discovery. While popular song parallels these possibilities, further opportunities arise from instrumental, orchestral and operatic music, allied to strengths in musicological analysis. Later compositions whose elements provide insights into life course review (Shostakovich Viola Sonata and Metamorphosen, Richard Strauss) as well as romantic love in later life across generations (The Cunning Little Vixen, Leos Janáček). The analysis will seek to delineate to possible avenues of interpretation of musicological analysis in understanding the phenomenology and opportunities arising from aging.

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43

Tutter, Adele. "Text As Muse, Muse As Text: Janáček, Kamila, and the Role of Fantasy in Musical Creativity." American Imago 72, no. 4 (2015): 407–50. http://dx.doi.org/10.1353/aim.2015.0021.

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44

Janáčková, Libuše. ""Jsem rád, že noty budou v pořádku." : Leoš Janáček a Břetislav Bakala – vzájemný vztah dvou umělců." Musicologica Brunensia 48, no. 1 (2013): 63–70. http://dx.doi.org/10.5817/mb2013-1-8.

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45

Venn, Edward. "ADÈS AND SONATA FORMS." Tempo 75, no. 298 (October 2021): 20–40. http://dx.doi.org/10.1017/s0040298221000371.

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AbstractDespite an ever-expanding body of literature on Adès's engagement with the music of the past, his use of traditional formal models has attracted little critical comment. That which does exist privileges the relatively straightforward surface articulation of his musical forms over more nuanced accounts. In the case of Adès's sonata forms, this has had at least two consequences for our understanding of his music: first, that too strong an emphasis on syntactical groupings occludes what is happening discursively in the music; and second, that ‘textbook’ models are not the only formal tradition with which Adès's sonata forms engage. Rather, his sonatas bear traces of a rotational model that recalls the examples of Janáček and Sibelius. This article considers how Adès's sonata forms can be constituted not as neo-classical prefabrications but, a posteriori, as a practice that emerges across his career – from the Chamber Symphony and …but all shall be well to the Piano Quintet and Concerto for Piano and Orchestra – from an interaction between traditional syntactical groupings, thematic procedures and tonal plots.

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46

Anderson, Martin. "London, Royal Opera House, Covent Garden: Lorin Maazel's ‘1984’." Tempo 59, no. 234 (September 21, 2005): 45. http://dx.doi.org/10.1017/s0040298205280300.

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I have had occasion to be sniffy about Lorin Maazel's music in these pages before (Tempo No. 218), not least because of its sheer lack of profile, of any hint of individuality. So it was with exceedingly modest expectations that I took my seat for his first opera, 1984, the world-première run of which began on 3 May. Even so, I was disappointed: no ditchwater is as dull. The basic problem is the absence of any discernible personality in what Maazel writes: the musical language of1984 is a thin gruel boiled up from left-over Prokofiev, Copland, Bartók, Ravel, Janáček, whatever was lying around the mid-20th-century chopping-board of Maazel's memory as he put the piece together. Add a secondary deficit: there's absolutely no sense of dramatic tension – the work unfolds at the same plodding pace throughout. Now sprinkle with the kind of mistakes you might expect from a rookie operatic composer. The opening ‘Hate’ chorus, for example, revealed instantly what was going to be a recurrent difficulty: the scoring and an over-ambitious tempo combine to make the sung text difficult to understand. Maazel repeatedly doubles vocal lines in the orchestra, sacrificing their clarity.

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Conus, Céline. "Nicolas Donin, Un siècle d’écrits réflexifs sur la composition musicale. Anthologie d’auto-analyses, de Janáček à nos jours, Genève." Genesis, no. 50 (August 24, 2020): 183–85. http://dx.doi.org/10.4000/genesis.5007.

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48

Tyrrell, John. "Janáček Studies. Ed. Paul Wingfield. Cambridge, Eng.: Cambridge University Press, 1999. viii, 292 pp. Appendix. Notes. Index. Figures. Tables. $64.95, hard bound." Slavic Review 60, no. 2 (2001): 405–7. http://dx.doi.org/10.2307/2697289.

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Hill, A. Kori. "Florence B. Price, Florence Price: Violin Concertos. Er-Gene Kahng, violin; Ryan Cockerham, conductor; The Janáček Philharmonic Orchestra. Albany Records TROY1706, 2018." Journal of the Society for American Music 13, no. 4 (November 2019): 549–51. http://dx.doi.org/10.1017/s1752196319000452.

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Sandu-Dediu, Valentina. "Towards Modern Music in Romania." East Central Europe 30, no. 2 (2003): 1–19. http://dx.doi.org/10.1163/187633003x00117.

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AbstractToo little known in the West, modern Romanian scores are being gradually discovered nowadays, beginning with those of George Enescu. For decades underestimated as a creator, Enescu has been re-evaluated and recently recognized as an original and authentic representative of an Eastern European music school, comparable with JanáČek or Szymanowski. The Romanian music of the past fifty years, due to the political and ideological situation of Romania, similar to other countries of the ex-communist Eastern European bloc, has been isolated geographically but not aesthetically. The great diversity of modern or avant-garde trends in Western European and North American music is also present in the output of Romanian composers of the same period, combined in various degrees with autochthonous nuances. Originating primarily in the two major oral traditions, namely peasant folk music and religious Byzantine music, these have compelled Romanian composers to find their own musical language. However, Romanian composers coming of age in the second half of the 20th century took their first steps on a well-established territory, from the standpoint of composition, style, and aesthetics. A solid school of music - built on structural foundations that gave it a distinct language - had already been established in Romania in the first half of the 20th century. Therefore, the following essay is a chronological outline of the historical development of Romanian composition, a process governed primarily by the tension between national elements and global trends.

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