Works of Leoš Janáček were always very close to me. I grew up listening to them , when I was a child I listened to his operas many times in the Janáček Theatre, where my father worked for years. I was therefore very excited to delve myself into the work of the Glagolitic Mass, and I am also sure that it is very good material to write a thesis. In the main part of this work I´m going to focus on comparing different interpretive approaches, because we can interpret Janáček´sworks in many different ways and it is hard to determine which is the right one. Me as a native of Brno, i inclined to the "Brno" tradition of interpreting master´s works. I´m very curious about all the different interpretations, above all Sir Charles Mackerras, who is credited with promoting the Janáček music in the world.

This thesis presents a complex of Janáček's opera The Makropulos Affair, covering its origin (and the genesis of opera in general), represents personality of Leoš Janáček from different perspectives and offers a didactic treatment of this theme. The work includes two layers - a theoretical and didactic. If we look at the text from a theoretical perspective, then here are about Janáček operas in terms of ideas, editing, production and inspiration of women. Further information on the general features of the libretto, practice, the role of stage manager, Janáček personality, his creative period, music and speech input field of prose to opera. Didactic point of view we see in the arrangement of this work and in quantities of information. The teacher can use the work as the basis for teaching, including the last chapter, which is dedicated only to the practical challenges and ideas. This thesis should help teachers, who want to focus on the opera or the personality of Leoš Janáček in the classroom.

The goal of this document is to demonstrate how Slovak folk music inspired creation of some early 20th century chamber, orchestral, and vocal-instrumental compositions. In examples drawn from works of Vítězslav Novák, Leoš Janáček and Béla Bartók the author analyzes the different ways of translating folk music idioms into the compositional language of these composers. The first of the introductory chapters presents an outline of distinctive features of Slovak folk music. It talks about the role of folk song in the life of Slovaks and its connection to social events in the villages. It also analyzes the relationship between language and music. The coexistence of modal and tonal music is emphasized and songs are divided into historical periods. In the second part of the introduction an historic overview of the influence of Slovak folk music in classical music is given. The chapter covers the first known occurrences of this influence in the collections of songs and dances from the Baroque era and the occasional references in the Classical and Romantic music. The impulses behind the wave of interest in Slovak folk music in the 20th century are also examined. The first chapter documents the influence of Slovak folk music on Vítězslav Novák. It describes his early career and his first encounters with Slovakia. The central part of this chapter consists of analysis of the symphonic poem In the Tatras, a work inspired by Slovakia and containing Slovak music references. The second chapter of this document is devoted to Leoš Janáček. His multifaceted approach to folk music included an intimate knowledge of people’s lifestyle, traditions, local dialects and speech patterns. The fruit of his research is documented in the song collection 26 Folk Ballads. The majority of these arrangements for voice and piano are of Slovak origin. The final chapter examines the personal and artistic ties of Béla Bartók to Slovakia. Bartók employed folk music elements in his compositions with a genius which made him a master of such compositional approach. The variety of ways by which Bartók used Slovak folk music is scrutinized in the analysis of Three Village Scenes.

This thesis addresses two principal operas by composer, Leoš Janáček. These are Jenůfa (1903) and The Cunning Little Vixen (1923). The author’s inspiration sources and the method of processing the selected subject are introduced herein. In both operas, L. Janáček is also the author of the libretto, which forms a link between these pieces. The information is drawn from ample Janáček literature and, of course, from music papers. The direction’s point of view is based upon the gained information regarding the pieces and upon the examination of some performance interpretations. With this thesis, I have verified that a thorough familiarity with the work is an absolute necessity for one’s own direction intention. It leads to realize the fact that one can create various interpretations of one piece when having a deep and stable understanding of it.

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Detta konstnärliga examensarbete berör Leoš Janáčeks pianoverk Im Nebel skrivet år 1912. Syftet var att som pianist tolka musiken på ett sätt som överensstämmer med min egen uppfattning av musiken efter att ha sett verket i olika ljus. Verket har närmats metodiskt genom ett noggrant musikaliskt analyserande, en flitig instudering och kontinuerliga uppspel i olika sammanhang. Detta parallellt med en introspektiv process i form av ett loggboksskrivande. Undersökningens resultat påvisar att den musikaliska analysen var viktig för att få en djupare förståelse av verket. Inblicken i Janáčeks unika tonspråk parallellt med kunskap om tonsättarens liv gav nya fördjupade tolkningsmöjligheter. Genom att sträva efter att hitta de olika klangfärgerna i musiken och genom att framföra verket med en interpretation som lutar mer åt det poetiska hållet har jag slutligen fått en djupare förståelse för verket. / <p>Leoš Janáčeks,Im Nebel für klavier 1912.</p><p>Ilektra Oikonomi, piano</p><p>Ljudinspelning ifrån pianoafton i Nathan Milsteinsalen 19/4/23</p>

Die Herausgabe von 62 Briefen der Universal Edition an soll also diesen vorbereitenden Prozess der Anerkennung Janáčeks in der Nachkriegszeit beleuchten sowie die Transformation von Janáčeks Werk. Diese Seite der Korrespondenz wird hier zum ersten Mal veröffentlicht.

We compare the features of drama and libretto, based on the text The Makropulos Affair by Karel Čapek (drama) and Leoš Janáček (libretto). We would like to show not only common dramatic features, but also the specific librettist features, which Janáček used by transformation Čapek's drama into opera libretto. We demonstrated, that dramatic features are in libretto at the level of structure and the specific librettist features are at the level of story, single figures and its constellation. The analysis confirmed the preliminary hypotheses.

The purpose of this paper is to document the results of the research required to conscientiously prepare a performance of The Diary of One Who Vanished, by Leos Janacek. Too often, vocalists and instrumentalists alike find themselves in a performance not knowing the bare essentials needed to produce an acceptable performance. Research is necessary in the following areas: life history of the composer as well as historical and political conditions of his surroundings, compositional style of the composer and specific tools which he used in the composition of the music to be performed and, if the composition is vocal, a thorough investigation of the text. Only after a complete study in these areas can a performance of any music be intelligently given.

No description available.