Leos Janacek, Zdravas Maria. Leos Janacek (1854 - 1928), maestro checo nacido en Hukvaldy. Tuvo un reconocimiento internacional cuando ya tenía cierta edad. Se formó en Brno donde pronto tuvo interés …More
Leos Janacek, Zdravas Maria.
Leos Janacek (1854 - 1928), maestro checo nacido en Hukvaldy. Tuvo un reconocimiento internacional cuando ya tenía cierta edad. Se formó en Brno donde pronto tuvo interés por la música popular y su transcripción. En 1904 fue representada su obra más famosa, la ópera "Jenufa" que fue plenamente aceptada unos años más tarde. Otras óperas del maestro hicieron de él una persona de fama internacional, que rápidamente trascendió fuera de su país natal. Otras famosas obras suyas son la "Sinfonietta" y la llamada "Misa Glagolítica". Igualmente, otras obras suyas son de una peculiaridad especial. Sin dudarlo, estamos en presencia de un gran maestro reconocido por todos pero quizá un punto infravalorado por el gran público.
Del maestro Janacek te ofrezco hoy su obra titulada Zdravas Maria, es decir, "Ave María". Está compuesta para soprano o tenor, violín, coro y piano u órgano. Fue compuesta en 1904. En este caso, Janacek pone música a la traducción checa del Ave María. Es una obra delicada, muy bella, y de una sutileza especial. Sin ser una obra de campanillas, merece la pena que esta original obra sea tenida en consideración. El maestro Janacek acude a una instrumentación especial (que serían los medios que tendría a mano en ese momento) en la que las voces acompañan a los instrumentos y viceversa. Todo un descubrimiento.
La interpretación es la de Andrew Carwood (tenor), Aline Nassif (violín), Clive Driskill-Smith (piano) y el Choir of the Christ Church Cathedral de Oxford dirigido por Stephen Darlington.
LEOŠ JANÁČEK
(* 3.7.1854 Hukvaldy + 1928)
Janáček was born in a small moravian village . He was the ninth of the village schoolmaster's 13 children. At the age of eleven, Janáček came to Brno to study. He was sent to a foundation of the Augustinian 'Queen's' Monastery in Old Brno which took poor but musically gifted boys and trained them in music. Janáček's talent was nourished by the prominent choirmaster Pavel Křížkovský there. After completing his basic schooling he trained as a teacher at the pedagogical institute and, except for a period at the Skuherský Organ School in Prague, he spent 1872-79 largely as a schoolteacher and choral conductor in Brno. In 1879 he attended the Leipzig Conservatory to study composition under the supervision of Leo Grill. He also attended the Vienna Conservatory but left after three months because of an argument with his music supervisor. Janáček's entire activity was centred on Brno. He became a music teacher at the pedagogical institute, in 1881 he founded a college of organists which he directed until 1920. In 1884 Janáček founded a musical journal Hudební listy. He extended his experience as a choirmaster in the Brno Beseda, where he built up the great tradition of that musical body. He was a cofounder of the Russian Club and the Friends of Art Club in Brno; he was also Conservator of the museum. He was also musical editor of Moravské listy (Moravian Folia), contributed to Lidové Noviny (People's News), and published theoretical studies and articles. In 1881 he married one of his piano students, Zdenka Schulzová, but this marriage was not easy - mainly because of Janáček's interest in other women (Gabriela Horvátová, Kamila Stösslová). Janáček also devoted himself to collecting and publishing Moravian folk songs and dances for which he wrote original arrangements, and composed a range of valuable studies. His interest in ethnography led him to study popular speech and create "melodies of speech". He was studying and recording common speech not only for their musical content, but with an eye for all which might affect the speaker: environment, age, experience of life, grief, joy, a hard life. Janáček didn't really come into his prime until very late on in his life. He was 50 when his first really successful operaJejí pastorkyňa (Her Stepdaughter), better known as Jenůfa which is his third opera after Šárka (1887, rev.1888, 1918-19, 1925) and Počátek románu (The Beginning of a Romance, 1891, rev.1892) was performed in Brno. But outside Moravia he was almost unknown. He was unsuccessful at getting Jenůfaperformed in Prague until 1916 and as such it wasn't until he was into his sixties that Janáček really became famous. The head of the opera section of the Prague National Theatre refused the work for twelve years. But when, finally, he decided to produce Jenůfa, he did so splendidly, and thus at least partly compensated Janáček for his undeserved disappointment during the most painful years of his life. During the long period of composition of Jenůfa (1894-1903, rev.1907, 1908, 1915), he sought his own musical expression in composition, and finished it under extremely tragic circumstances, when his young daughter Olga was dying. WithJenůfa, inspired by Gabriela Preissová's play of the same name, Janáček rethought his approach to opera and to composition in general. He largely abandoned the number opera, integrated folksong firmly into his music and formulated that theory of …
Leos Janacek (1854 - 1928), maestro checo nacido en Hukvaldy. Tuvo un reconocimiento internacional cuando ya tenía cierta edad. Se formó en Brno donde pronto tuvo interés por la música popular y su transcripción. En 1904 fue representada su obra más famosa, la ópera "Jenufa" que fue plenamente aceptada unos años más tarde. Otras óperas del maestro hicieron de él una persona de fama internacional, que rápidamente trascendió fuera de su país natal. Otras famosas obras suyas son la "Sinfonietta" y la llamada "Misa Glagolítica". Igualmente, otras obras suyas son de una peculiaridad especial. Sin dudarlo, estamos en presencia de un gran maestro reconocido por todos pero quizá un punto infravalorado por el gran público.
Del maestro Janacek te ofrezco hoy su obra titulada Zdravas Maria, es decir, "Ave María". Está compuesta para soprano o tenor, violín, coro y piano u órgano. Fue compuesta en 1904. En este caso, Janacek pone música a la traducción checa del Ave María. Es una obra delicada, muy bella, y de una sutileza especial. Sin ser una obra de campanillas, merece la pena que esta original obra sea tenida en consideración. El maestro Janacek acude a una instrumentación especial (que serían los medios que tendría a mano en ese momento) en la que las voces acompañan a los instrumentos y viceversa. Todo un descubrimiento.
La interpretación es la de Andrew Carwood (tenor), Aline Nassif (violín), Clive Driskill-Smith (piano) y el Choir of the Christ Church Cathedral de Oxford dirigido por Stephen Darlington.
LEOŠ JANÁČEK
(* 3.7.1854 Hukvaldy + 1928)
Janáček was born in a small moravian village . He was the ninth of the village schoolmaster's 13 children. At the age of eleven, Janáček came to Brno to study. He was sent to a foundation of the Augustinian 'Queen's' Monastery in Old Brno which took poor but musically gifted boys and trained them in music. Janáček's talent was nourished by the prominent choirmaster Pavel Křížkovský there. After completing his basic schooling he trained as a teacher at the pedagogical institute and, except for a period at the Skuherský Organ School in Prague, he spent 1872-79 largely as a schoolteacher and choral conductor in Brno. In 1879 he attended the Leipzig Conservatory to study composition under the supervision of Leo Grill. He also attended the Vienna Conservatory but left after three months because of an argument with his music supervisor. Janáček's entire activity was centred on Brno. He became a music teacher at the pedagogical institute, in 1881 he founded a college of organists which he directed until 1920. In 1884 Janáček founded a musical journal Hudební listy. He extended his experience as a choirmaster in the Brno Beseda, where he built up the great tradition of that musical body. He was a cofounder of the Russian Club and the Friends of Art Club in Brno; he was also Conservator of the museum. He was also musical editor of Moravské listy (Moravian Folia), contributed to Lidové Noviny (People's News), and published theoretical studies and articles. In 1881 he married one of his piano students, Zdenka Schulzová, but this marriage was not easy - mainly because of Janáček's interest in other women (Gabriela Horvátová, Kamila Stösslová). Janáček also devoted himself to collecting and publishing Moravian folk songs and dances for which he wrote original arrangements, and composed a range of valuable studies. His interest in ethnography led him to study popular speech and create "melodies of speech". He was studying and recording common speech not only for their musical content, but with an eye for all which might affect the speaker: environment, age, experience of life, grief, joy, a hard life. Janáček didn't really come into his prime until very late on in his life. He was 50 when his first really successful operaJejí pastorkyňa (Her Stepdaughter), better known as Jenůfa which is his third opera after Šárka (1887, rev.1888, 1918-19, 1925) and Počátek románu (The Beginning of a Romance, 1891, rev.1892) was performed in Brno. But outside Moravia he was almost unknown. He was unsuccessful at getting Jenůfaperformed in Prague until 1916 and as such it wasn't until he was into his sixties that Janáček really became famous. The head of the opera section of the Prague National Theatre refused the work for twelve years. But when, finally, he decided to produce Jenůfa, he did so splendidly, and thus at least partly compensated Janáček for his undeserved disappointment during the most painful years of his life. During the long period of composition of Jenůfa (1894-1903, rev.1907, 1908, 1915), he sought his own musical expression in composition, and finished it under extremely tragic circumstances, when his young daughter Olga was dying. WithJenůfa, inspired by Gabriela Preissová's play of the same name, Janáček rethought his approach to opera and to composition in general. He largely abandoned the number opera, integrated folksong firmly into his music and formulated that theory of …