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A Great Czech Composer Comes Into His Own: Leos Janacek
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14832 |
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Section : |
THE ARTS
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10 / 1988 |
2,165 Words |
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Andrew Clark
Andrew Clark is a broadcaster and critic living in Switzerland. |
Sixty years ago the celebrated Czech composer Leos Janacek died at the age of seventy-four. Most musical anniversaries provide a useful occasion for reassessment, and none more so than Janacek's, for the operatic world is still coming to terms with the astonishing flood of creativity that characterized his final decade.
To describe Janacek as idiosyncratic is an understatement. His music, instrumentation, and choice of librettos bear little resemblance to the work of any composer before or after him. Known for most of his life as a conductor, organist, and teacher in the Moravian town of Brno, he had to wait until his third opera, Jenufa, was performed in Prague and Vienna in 1916 and 1918 before he won any form of national or international recognition. This success at the age of sixty-two, combined with the formation of the Czechoslovak republic and the development of a friendship with a married woman less than half his age, gave him the confidence to write a series of new works, shaping the creative pattern of his final ten years. Between 1917 and 1928, Janacek completed The Adventures of Mr. Broucek and wrote four other operatic master pieces (Katya Kabanova, The Cunning Little Vixen, The Makropoulos Affair, and From the House of the Dead), as well as important non operatic works such as the Sinfonietta, the Glagolitic Mass, and several chamber works.
Janacek's early works belong to the nineteenth-century world of Dvorak and Smetana. From Jenufa onward, his own unmistakable mature style developed, with music based on short bursts of melody, strongly rhythmic, rooted in the brusque repetitive phrases of his own language, growing form simple tonal and harmonic origins into powerful emotional climaxes. He was the first Czech
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