Janacek is faithful to his technique of compodition joining little cells, sometimes evoking sounds of the nataure. This makes this sontat one of the most original ones of the tonal repertoire, together with Débussy's and Bartok's.
What beautiful exquisite music! I was so lucky to hear a live performance of this in a friend's apartment in Syudney a few years ago. A real discovery.
I am always confused by Janacek's music. It feels like an album of musical pictures. Some of those pictures are extremely evocative, maybe the most evocative music I know (I can visually imagine in detail the place that it describes), and some other ones just don't make any sense to me. I feel amazed and frustrated at the same time.
Lovely piece, but did anyone else get the impression the key signature didn't really fit the notes for a few passages? And yes I know about chromaticism, tonicization, temporary changes, etc., but a few rather lengthy sections were implying a tonic not even in the key signature.
Well, for example the first movement starts in A flat minor, which has got 7 flats in his key signature, but there are only five flats in the written key signature for pratical reasons: it is very difficult to remember to play an f-flat, or a c-flat, as they are enharmonically the same as e and b, so they are not present in the key signature, but you can find them right on the score, near each note when it is needed. It is not an uncommon technique, as you can also find it in Schubert's lied "Auf dem Wasser zu Singen".
Explication lumineuse! L'important est qu'on entende bien ce que Janacek a écrit et qu'importe l'armature ou l'armure (car on dit les deux en français).
And in some later pieces.............our boi Janaček completely DITCHES THE KEY SIGNATURES AS IF HE FORGOT THEIR EXISTENCE!!!!! Bartok, Khachaturian and Poulenc also did this a lot.
I can see why you think this version is academic. It is cooler and more relaxed than the Suk. But I could tell from the first 5 bars that I would hate the Suk version. His turgid, aggressive vibrato and sharp entrances are stunning. He plays as though he is angry. I could only get through the first movement in his version.
The one mass he wrote wasn't populist, nor particularly popular _in its day_ so do you imply Janáček was trying to be so here? That doesn't chime at all with, for example, the frank fellow we meet in the letters to Kamila Stosslova.
@@slateflash that is what I said😊 yes, it is difficult passage.. I know I know...the violinist which plays such a work must do it and must have a technic. But it is very fast, almost not to hear this little difference..
![เขามัทรี - เอ็กซ์ ศุภกฤต - จอนนี่มิวสิค [ Official MV ]](http://i.ytimg.com/vi/AS9ufKuQIVs/mqdefault.jpg)
Janacek is faithful to his technique of compodition joining little cells, sometimes evoking sounds of the nataure. This makes this sontat one of the most original ones of the tonal repertoire, together with Débussy's and Bartok's.
What beautiful exquisite music! I was so lucky to hear a live performance of this in a friend's apartment in Syudney a few years ago. A real discovery.
Beautifull interpretation
Intensa, emozionante interpretazione.
So pretty...magnificent
Dialog houslí s klavírem.Nástroje zpívají a hovoří.Neskutečná kompozice.Karel Klatt,básník,Btatislava.
The pianist Geoffrey Tozer introduced me to this piece in the 1980s.
Geoffrey was one of the greats
Ha idee spaventose, continue sorprese, atmosfere di totale solitudine
Second mvmt is one of the most beautiful things ever
wonderful...life drama...
Increíble
amazing
I am always confused by Janacek's music. It feels like an album of musical pictures. Some of those pictures are extremely evocative, maybe the most evocative music I know (I can visually imagine in detail the place that it describes), and some other ones just don't make any sense to me. I feel amazed and frustrated at the same time.
Lovely piece, but did anyone else get the impression the key signature didn't really fit the notes for a few passages? And yes I know about chromaticism, tonicization, temporary changes, etc., but a few rather lengthy sections were implying a tonic not even in the key signature.
Well, for example the first movement starts in A flat minor, which has got 7 flats in his key signature, but there are only five flats in the written key signature for pratical reasons: it is very difficult to remember to play an f-flat, or a c-flat, as they are enharmonically the same as e and b, so they are not present in the key signature, but you can find them right on the score, near each note when it is needed. It is not an uncommon technique, as you can also find it in Schubert's lied "Auf dem Wasser zu Singen".
Explication lumineuse! L'important est qu'on entende bien ce que Janacek a écrit et qu'importe l'armature ou l'armure (car on dit les deux en français).
You are right. Indeed, Janacek had a notion of tonality and tonal poles of his own, which is not the least of the attractiveness of his music.
@@martinogrosa2323 and in his Fourth Op.90 Impromptu, which is in A-flat, but the first section uses the minor mode
And in some later pieces.............our boi Janaček completely DITCHES THE KEY SIGNATURES AS IF HE FORGOT THEIR EXISTENCE!!!!! Bartok, Khachaturian and Poulenc also did this a lot.
Very good version
Nice
nobody plays this like Josef Suk. This version is very academic ...
I can see why you think this version is academic. It is cooler and more relaxed than the Suk. But I could tell from the first 5 bars that I would hate the Suk version. His turgid, aggressive vibrato and sharp entrances are stunning. He plays as though he is angry. I could only get through the first movement in his version.
@@a.austin320 It is his intent I think. This anger.
I don't like Suk's recordings and I have many
Dying for conic tonics, a mass for the media.
The one mass he wrote wasn't populist, nor particularly popular _in its day_ so do you imply Janáček was trying to be so here? That doesn't chime at all with, for example, the frank fellow we meet in the letters to Kamila Stosslova.
This is too sad.
Call me pedantic but i'm slightly peeved that the violinist is not really observing the correct rhythms at 10:15
What did she play incorrectly? Do you mean little accent at the end of passage? Which comes unhappy together with next "e flat"?
I am not sure in that speed
@@lubosschelepak7032 I mean that the eflats land on the first beat of the next bar instead of just before
@@slateflash that is what I said😊 yes, it is difficult passage.. I know I know...the violinist which plays such a work must do it and must have a technic. But it is very fast, almost not to hear this little difference..
12:43
weird piece