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In the mists janacek essay lee;

Christian Thielemann is regarded by many Germans as the next Herbert von Karajan - in both ambition and ability. A spate of reactionary utterances has made him less welcome abroad but on home turf, as conductor of the Munich Philharmonic and a fixture at Bayreuth, Thielemann receives what are described as ‘torrential ovations’ for his high voltage performances. The Beethoven overture on this live recording is unforgettably intense, the textures stretched to Nurofen point before the maestro administers lyrical resolution. More than any living conductor, Thielemann adjusts tempo relations to produce what can, with poor judgement, resemble demagoguery – and in Brahms does just that. Having encouraged a sleeve-note interviewer to imagine that he ‘comes very close to Brahms’ compositional aesthetic’, Thielemann bends vital elements of the symphony into a row of Versailles mirrors, polished to a high gleam but distorting any human image. Nowhere is his manipulation more obvious than in the finale when, instead of letting the big tune emerge mysteriously from mists, he slows and dims the orchestra to a standstill and then thumps out the rhetoric like a national revivalist. Not a performance for the nervous.

and discuss the in the mists janacek essay lee The text below is excerpted from 10 Things You ..

JANACEK: GLAGOLITIC MASS; TARAS BULBA Soloists/Rundfunk Sinfonieorchester & Chor Berlin/Pentatone PTC 5186388 SACD An absolute winner. This ear-tickling SACD offers some of the most celebrated works by Leoš Janaček. The Glagolitic Mass is one of the great modern choral pieces, with its dramatic organ sections, while the ‘rhapsody for orchestra’ Taras Bulba (with its unique, very personal chaacrter) is a calling-card piece for the composer. The wide-ranging super audio recording mode offers a degree of aural realism not to be found in any rival medium, but is shown to particular advantage in large-scale orchestral choral pieces – which is very much the case with these masterpieces by Janacek. Every detail is present, from the most delicate touch of orchestration to the most overwhelming of climaxes. If Janowski does not find the final ounce of Czech-inflected drama in the pieces in the fashion in which Charles Mackerras did (and the organ, though spectacular, perhaps lacks the attack of that on the Mackerras disc), few will complain given the quality of the recording which — at a stroke — becomes definitive.

Naxos - Janacek: On the Overgrown Path - In the Mists - 1.X.1905

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Based in Prague and newly installed as BBC New Generation Artists, the Pavel Haas Quartet take their name from a star pupil of Leos Janacek’s who was sent to Terezin in 1941 and killed at Auschwitz. This pairing of the old master’s love-drenched first string quartet with two intense scores by his unfortunate protege is imaginative in more ways than the obvious. Janacek’s late quartet is filled with yearnings for his improbable muse, a plump Jewish housewife, Kamila Stoesslova. Haas’s one-movement first quartet is explicitly Judaic, melancholic at first before swelling into affectionate melodic reminiscences. His third quartet, dated 1938, is a technical marvel, full of confidence and clever intertwinings of Jewish and Czech themes, oblivious to the imminent Munich betrayal and the disaster that lies ahead. The young Prague ensemble address this music on merit, without a hint of sentimental retrospect. The sheer brio of their playing invests all three works with such vigour and narrative momentum that they sound like a first performance, fresh off the page.

Mood music by four Czechs – Janacek, Suk, Martinu and, least known, Pavel Haas, a Janacek pupil who died in Auschwitz. Valesova, a professor at London's Guildhall, comes up with unpublished Janacek sheets from the archives, including a letter to his dead daughter. Extraordinary stuff, magically played.

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Janacek Piano Music: On an Overgrown Path; In the Mists; Piano Sonata/Radoslav Kvapil WiMP

Nice idea to group sonatas for violin and piano by Janacek, Szymanowski, Enesco and Bartok on one disc. Not so nice to put the mikes so close you can almost hear the players sweat. The playing is over-gestural, flicking abruptly from loud to mute.

The busy French composer, born 1961, conducts his commissions from Cleveland, Montreal and Tokyo, all with a Janacek connection. The variations are on a theme from the Czech composer’s piano suite, In the Mists; there is also a Sinfonietta and something called Rocks Under Water. Unfailingly tonal and ‘‘atmospheric’’ in double-inverted commas, the disc sounds like a pitch for a movie soundtrack.

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Lebrecht CD of the Week - Classical Music, Classical …

Debutante Ivana Gavric, Sarajevo born and Cambridge educated, has a rare intuition for the autumnal regrets of Janacek’s In the Mists. She is devoting the next year to Janacek studies in Banff, Canada, The rest of her recital disc of Schubert, Liszt and Rachmaninov is, comparatively, less arresting.

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The Janacek chamber orchestra play a somewhat superfluous arrangement of the composer’s second string quartet. An expansion of Martinu’s sextet is scarcely more convincing. But an early Janacek suite and a study for string orchestra by Pavel Haas are gripping.

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The second quartet, dated 1968, opens with nocturnal Bartók rustlings but its language is aphoristic, precise, fragmented and, in its particular way, beautiful as a Beckett play. A modern masterpiece, its unexpected conjunctions startle and intrigue the ear even on third hearing. The filler in this disc is a rarity – a 1950 Andante and Allegretto drawn from the Janacek sound world.

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The Amsterdam Sinfonietta (dir. Candida Thompson) play taut transcriptions of 1920s string quartets by Pavel Haas and Erwin Schulhoff, both furrowing between Janacek’s sound world and Alois Haba’s. Tough to play but a tonic for the ears. Dvorak’s serenade for strings comes off slushy by comparison.

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Bohuslav Martinu has dropped so far below the radar that he has lost parity with such compatriots as Janacek, Suk and Smetana. A victim of fluctuating fashions, he is a composer of great elegance, constant invention and, sometimes, excessive serenity. Too many opus numbers – more than 400 – make it hard for musicians to present him with any expectation of public familiarity, even in his own country. Much of his work is left to gather dust.

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