Janacek - In The Mists
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- Опубліковано 9 вер 2024
- Composer: Leoš Janáček (3 July 1854 - 12 August 1928)
Work Title: In the Mists
Performer: Mikhail Rudy (piano)
0:10 - I. Andante
3:26 - II. Molto adagio
7:38 - III. Andantino
10:10 - IV. Presto
In the Mists (Czech: V mlhách) is a piano cycle by Czech composer Leoš Janáček, the last of his more substantial solo works for the instrument. It was composed in 1912, some years after Janáček had suffered the death of his daughter Olga and while his operas were still being rejected by the Prague opera houses. All four parts of the cycle are largely written in "misty" keys with five or six flats; characteristic of the cycle are the frequent changes of meter. Czech musicologist Jiří Zahrádka compared the atmosphere of the cycle to impressionist works, in particular those of Claude Debussy. The première took place on December 7, 1913, when Marie Dvořáková played it at a concert organized by the choral society Moravan in Kroměříž.
On January 24, 1914, the cycle had its first public performance at the third concert of the Organ School in Brno by pianist Marie Dvořáková, teacher of the school.
Janácek revealed a very private and sensitive side of his musical personality when he composed In the Mists, a collection of four pieces for solo piano. Written in the winter of 1912-1913, the work came four years after the composer's much longer collection, On an Overgrown Path. In the Mists has an feeling of introspection about it, as it were an entry in the composer's musical "journal"; it lives up to its name by maintaining an air of distance, as if the piano were at times lost in a bank of clouds. In the Mists is not a showcase for pianistic pyrotechnics -- in fact it makes few technical demands of the performer -- but it requires a light, rhapsodic touch and close attention to the halting nature of its delicate phrases.
The first piece (andante cantando) features a simple, yet haunting, theme that is notable for its occasional tonal ambivalence; the underlying accompaniment - fluid, but constantly in motion -- adds an element of impatience. A more turbulent contrasting section juxtaposes a rigid, chorale-like figure, against a wave of ascending scales to create dramatic tension.
A nebulous, permissive quality pervades the second piece (molto adagio) of the set, which seems to grant the performer free rein over interpretation. A quiet, noble theme and a much faster, rhythmically ambiguous figure alternate in a somewhat conversational manner - though at times their interaction seems more competitive than polite.
The main tune of the third piece (andantino) - a simple, yet beautiful seven-bar melody in G-flat major - is almost the sole focus of this short piece. It is stated in a number of keys, making its way through a graceful harmonic arch, before a brief melodic digression prepares the way for a restatement in the original key.
Reminiscent of an extemporaneous Gypsy doina, the melodies of the fourth piece fluctuate widely in pace and mood. The left hand, which plays a rather obsessive two-note figure, figure behaves like a strummed chord at the start of a doina, wherein the soloist (right hand) adds melodic flourishes.
Sources:
en.wikipedia.o...
www.allmusic.c...
Source videos:
1st & 2nd movements: • Janacek - In The Mists...
3rd & 4th movements: • Janacek - In The Mists...
0:10 - I. Andante
3:26 - II. Molto adagio
7:38 - III. Andantino
10:10 - IV. Presto
Everyone's talking about the first piece but that third one is😍
*Update* : I'm studying it for my piano diploma now!! Really love it
The first, so hunting, mysterious, a longing memory...
Genius
Stunningly great music - the final descent of the first piece, where after so much pain and darkness, comes a ray of shy hope, is more moving than I can say.
Rudy is an underappreciated legend of the piano, what a beautiful touch he has!
this totally defies convention given the time it was written. what a sonic feast and abject pianistic challenge. severely underappreciated imo
Abject is not the correct adjective if you'll check a dictionary.
@@bernicerogers2383 great thanks
Bravo!!! Superb rendition.
I am currently learning the third one. Great piece. It is expressive and pretty ominous. I printed the sheet music after I heard it.
You printed it ?
@@bbwnpat yep, I don’t have a tablet. I’m pretty old for a 21 year old🤣
@@alecrechtiene558 i was curious where you printed it from. Do you have a link?
II Reminds me of Scriabin prelude no 10 in C sharp minor.
1:55 we get some Chopin
No one is talking about my favorite one, 4th piece 😥
6:08 hm, Rudy skips a measure.
😢😢😢
For G8:
Start: 0:10
Repeat: 0:45
B Section: 1:19
Rubato: 1:40
C Section: 1:55
A Section Repeat: 2:19
Coda: 2:52
why are keys with many flats 'misty' ?
because they're not sharp...
As someone with synesthesia, I can confirm flat-minor keys are very dark indeed in colour. They're just dark, misty and clouded in a shroud, particularly bb minor, eb minor and ab minor.
They're not, all keys sound the same in equal temperament. Some musicians have rather active imaginations though.
@@gorgolyt Wrong.
@@maxgregorycompositions6216 You don't think musicians 'have rather active imaginations'? (!)