The Essay - Janacek etc.

[makropulos]

Apologies for the self-promotion, but The Essay on Friday (9:45 p.m.) is about Janáček's Sinfonietta and may be of interest (I recorded it just after Christmas). It's one of a mini-series of 'Little Secrets of Great Works'. The link is here (available after broadcast):

https://www.bbc.co.uk/programmes/m0028k5n

[AuntDaisy]

Looking forward to hearing this, esp. "the bells".

[smittims]

Some conductors use a glockenspiel, some tubular bells;as with Sibelius 4th there seems to be disagreement as to the composer's intentions. I prefer bells myself. I think this is possibly the only orchestral work to require two bass trumpets as well as two euphoniums (euphonia?). It's an old favourite of mine since the old Pye/Mackerras recording. I look forward to the programme.

[french frank]

Apologies for the self-promotion, but The Essay on Friday (9:45 p.m.) is about Janáček's Sinfonietta and may be of interest (I recorded it just after Christmas). It's one of a mini-series of 'Little Secrets of Great Works'. The link is here (available after broadcast):

https://www.bbc.co.uk/programmes/m0028k5n

The valuable service of the forum. I shall make an exception and tune in - it sounds like exactly what I used to look for from R3. Don't apologise for self-promotion, makropulos - we know what to expect from you!

[Ein Heldenleben]

I’ll be listening. Thanks to Crown Court this must be most well known Janacek piece in existence.

Its one of the very few pieces by him that Janacek that R3 comes near overplaying.

Which leads me to a question - why is the piano work On An Overgrown Path so little played compared to say L’Île Joyeuse which is on all the time? It’s an absolute masterpiece and , unlike the latter , within the amateur playability range. I guess it’s just not flashy enough but it’s enormously subtle. Although not “finger “ difficult there are plenty of interpretative and sonority challenges.

[makropulos]

Some conductors use a glockenspiel, some tubular bells;as with Sibelius 4th there seems to be disagreement as to the composer's intentions. I prefer bells myself. I think this is possibly the only orchestral work to require two bass trumpets as well as two euphoniums (euphonia?). It's an old favourite of mine since the old Pye/Mackerras recording. I look forward to the programme.

Ah - the question of what sort of bells (glock/tubular bells) remains a vexed one, though there's not much doubt that Janáček meant a glockenspiel (as Jaroslav Vogel wrote in his biography – he was also present at the 1926 premiere and reviewed it). The terminology is only uncertain because of the translation of the instruments from Czech to Italian. I'm actually writing a whole book about the Sinfonietta at the moment which goes into things like this in detail. But in the little 'Essay' talk, what I talk about is more the possible inspiration for the bells – as you'll hear. I think you must be right about it being the only work in the repertoire to require two bass trumpets and two tenor tubas.

[makropulos]

I’ll be listening. Thanks to Crown Court this must be most well known Janacek piece in existence.

Its one of the very few pieces by him that Janacek that R3 comes near overplaying.

Which leads me to a question - why is the piano work On An Overgrown Path so little played compared to say L’Île Joyeuse which is on all the time? It’s an absolute masterpiece and , unlike the latter , within the amateur playability range. I guess it’s just not flashy enough but it’s enormously subtle. Although not “finger “ difficult there are plenty of interpretative and sonority challenges.

I've no idea why the Overgrown Path pieces don't get broadcast more often – particularly as you can make very attractive selections from them to fit particular time slots. I've certainly nothing against L'isle joyeuse (it's my favourite of all Debussy's piano works) but I agree that the Overgrown Path should be mined a bit more often! Wonderful, strange and intimate music.

[french frank]

Its one of the very few pieces by him that Janacek that R3 comes near overplaying.

Which leads me to a question - why is the piano work On An Overgrown Path so little played compared to say L’Île Joyeuse which is on all the time?

His piano works are among my favourites. I'd checked yesterday: L'isle joyeuse has 'only' been played 17 times in the last 12 months (last on yesterday morning), or once every 3 weeks. Bits of In the Mists have been played 6 times. Bits of the Sinfonietta have been played 19 times, though only 4 times in its entirety. Bits of On an Overgrown Path, each lasting less than 4 mins, have been played 10 times. They are all separate pieces but it would be good to hear more than an isolated section at any one time.

And getting back to The Essay, it's less about the choice of a particular piece of music as in the way it's being presented: played after a cursory announcement or, much more rarely, examined analytically as here.

[kernelbogey]

....
Which leads me to a question - why is the piano work On An Overgrown Path so little played compared to say L’Île Joyeuse which is on all the time? It’s an absolute masterpiece and , unlike the latter , within the amateur playability range. I guess it’s just not flashy enough but it’s enormously subtle. Although not “finger “ difficult there are plenty of interpretative and sonority challenges.

I love this work, especially Book I. Yes, 'Wonderful, strange and intimate music', Makropulos.

[Roger Webb]

..............I agree that the Overgrown Path should be mined a bit more often! Wonderful, strange and intimate music.

But for the full effect you must play it on the actual Overgrown Path!

My wife thinks I'm nuts, but if I know we're going to a place with musical associations I load up on music to be played appropriately.

When we did a comprehensive tour of Czechia (Moravia), visiting many composer houses (the Czechs do particularly well in having composer dwellings open to the public), I took music to play, both in the car, and when in a situation that demanded a particular piece, that was played. In the case of Janacek I was delighted to find that the local authority in Hukvaldy had created an 'Overgrown Path', known to have been one of Janacek's favourite walks - in fact so well-kept was it that it was no longer 'Overgrown'!

[Lordgeous]

I’ll be listening. Thanks to Crown Court this must be most well known Janacek piece in existence.

Its one of the very few pieces by him that Janacek that R3 comes near overplaying.

Which leads me to a question - why is the piano work On An Overgrown Path so little played compared to say L’Île Joyeuse which is on all the time? It’s an absolute masterpiece and , unlike the latter , within the amateur playability range. I guess it’s just not flashy enough but it’s enormously subtle. Although not “finger “ difficult there are plenty of interpretative and sonority challenges.

Crown Court? Enlighten please!

[Roger Webb]

Crown Court? Enlighten please!

Crown Court was a popular (lunchtime) TV program in the early 70s which attempted a 'realistic' dramatisation of a different case each day. The 4th movt. 'Allegretto' from Janacek's Sinfonietta was the music used for the opening credits.

[vinteuil]

In the case of Janacek I was delighted to find that the local authority in Hukvaldy had created an 'Overgrown Path', known to have been one of Janacek's favourite walks - in fact so well-kept was it that it was no longer 'Overgrown'!

... were the swallows chattering - and was the barn owl still there, not having flown away? I hope you weren't enduring unutterable anguish....

.

[Pulcinella]

Crown Court was a popular (lunchtime) TV program in the early 70s which attempted a 'realistic' dramatisation of a different case each day. The 4th movt. 'Allegretto' from Janacek's Sinfonietta was the music used for the opening credits.

I dread to think what Judge Judy used.

[Pulcinella]

Ah - the question of what sort of bells (glock/tubular bells) remains a vexed one, though there's not much doubt that Janáček meant a glockenspiel (as Jaroslav Vogel wrote in his biography – he was also present at the 1926 premiere and reviewed it). The terminology is only uncertain because of the translation of the instruments from Czech to Italian. I'm actually writing a whole book about the Sinfonietta at the moment which goes into things like this in detail. But in the little 'Essay' talk, what I talk about is more the possible inspiration for the bells – as you'll hear. I think you must be right about it being the only work in the repertoire to require two bass trumpets and two tenor tubas.

I wonder if it's in the Cambridge series, to complement this:

https://www.amazon.co.uk/Janacek-Glagolitic-Cambridge-Music-Handbooks/dp/0521389011/ref=sr_1_1?crid=8XZ7111MF7F2&dib=eyJ2IjoiMSJ9.iqevQB5i6jdpJEo3029254C9o5u7maS2tWIcM-IMxr7GjHj071QN20LucGBJIEps.a9IgrotSVSDcHZ5KL8NUsG971ZLo7zbYcAI4ghpty7s&dib_tag=se&keywords=Cambridge+glagolitic&qid=1741794298&s=books&sprefix=cambridge+glagolitic%2Cstripbooks%2C68&sr=1-1-catcorr