Quick overview of Leoš Janáček by associated keywords
These concerts with works by Leoš Janáček became visible lately at Concert Pulse.
The most ambitious musicians born around the millennium are no longer content just playing the old masterpieces. They listen to each other, question the world, and explore new program ideas. The canonical scores serve as a cultural base. When Festival campus ensemble members join the pianist Lukas Sternath, they'll play Dvořák's piano quintet.
Kirchheim's Bürgerzentrum will host a concert by the Festivalcampus-Ensemble in 2025, featuring violinist Emily Turkanik. She'll explore the theme of "perfect timing" in musical interpretation using Leoš Janáček's second string quartet. The event includes a post-concert glass of sparkling wine, lasts about an hour, and is free with donations welcome.
Concerts in season 2024/25 or later where works by Leoš Janáček is performed
For sheer sonic splendour, it’s hard to top Janáček’s Sinfonietta – but when Dalia Stasevska and Jean-Efflam Bavouzet perform Bartók and Ravel with the BBC SO, they’ll give it their best shot.
Aleady as a child, artist in Residence Seong-Jin Cho was impressed by “the brilliant and dramatic expression” of Beethoven’s Piano Concerto No. 5. His view has since evolved, he says: “This music is not only fiery, but also lyrical, deep and broad”. He will perform the work with Jakub Hrůša, chief conductor of the Bamberg Symphony Orchestra. The Concerto for Orchestra, which shifts between melancholy and joie de vivre, is also one of Béla Bartók’s most popular works. Leoš Janáček’s folk suite from the opera Osud (Fate), on the other hand, is a rarely performed.
Aleady as a child, artist in Residence Seong-Jin Cho was impressed by “the brilliant and dramatic expression” of Beethoven’s Piano Concerto No. 5. His view has since evolved, he says: “This music is not only fiery, but also lyrical, deep and broad”. He will perform the work with Jakub Hrůša, chief conductor of the Bamberg Symphony Orchestra. The Concerto for Orchestra, which shifts between melancholy and joie de vivre, is also one of Béla Bartók’s most popular works. Leoš Janáček’s folk suite from the opera Osud (Fate), on the other hand, is a rarely performed.
Aleady as a child, artist in Residence Seong-Jin Cho was impressed by “the brilliant and dramatic expression” of Beethoven’s Piano Concerto No. 5. His view has since evolved, he says: “This music is not only fiery, but also lyrical, deep and broad”. He will perform the work with Jakub Hrůša, chief conductor of the Bamberg Symphony Orchestra. The Concerto for Orchestra, which shifts between melancholy and joie de vivre, is also one of Béla Bartók’s most popular works. Leoš Janáček’s folk suite from the opera Osud (Fate), on the other hand, is a rarely performed.
The Concertgebouw’s famous Main Hall is one of the best concert halls in the world, well-known for its exceptional acoustics and special atmosphere. In the Main Hall, you will feel history. Here, Gustav Mahler conducted his own compositions, as did Richard Strauss and Igor Stravinsky. Sergei Rachmaninoff played his own piano concertos in the Main Hall. This is also where musicians such as Leonard Bernstein, Vladimir Horowitz and Yehudi Menuhin gave legendary performances. Right up to now, the Main Hall offers a stage to the world’s best orchestras and musicians. Buy your tickets now and experience the magic of the Main Hall for yourself!
Music by the Czech composer Bohuslav Martinů is not appreciated enough today, though in the last century his oeuvre – particularly the 1940s New York period – was artistically celebrated. The dynamic and rapid 1945 scherzo for orchestra Thunderbolt P-47 H. 309 is a good case in point – rooted in the convention of a symphonic poem, it satisfies all the requirements of program music and leaves no doubt as to extramusical contexts. It is difficult not to hear the roar of American fighter aircraft, heralding the Allies’ victory.The master’s neoclassical style was taken up by one of his Moravian compatriots, whom Martinů met in New York in 1947: Jan Novák. Fascinated by his mentor’s clear message and musical discipline, in mid-1950s Novák wrote the Philharomonic Dances, in which he paid tribute to the composing techniques he learned in America and focused on the colour of the sound and formal clarity of the piece. Nevertheless, the Moravian line of composers subscribing to the program idea of composing and clear musical narration was born earlier. One of its leading representatives was Leoš Janáček, extremely well versed in Moravian folk music. His first mature work – the 1891 Lachian Dances – is a postromantic study of Moravian folklore. The Ancient Dance it begins with is based on the region’s endemic melodies, while the Blacksmith provides a sonic description of a blacksmith’s craft. Full of humour, the suite from the 1921 three-act opera The Cunning Little Vixen is, in turn, an expression of the composer’s adoration for nature, broadly understood. Maria Wilczek-KrupaConcert duration: approximately 70 minutes
The most ambitious musicians born around the millennium are no longer content just playing the old masterpieces. They listen to each other, question the world, and explore new program ideas. The canonical scores serve as a cultural base. When Festival campus ensemble members join the pianist Lukas Sternath, they'll play Dvořák's piano quintet.
Kirchheim's Bürgerzentrum will host a concert by the Festivalcampus-Ensemble in 2025, featuring violinist Emily Turkanik. She'll explore the theme of "perfect timing" in musical interpretation using Leoš Janáček's second string quartet. The event includes a post-concert glass of sparkling wine, lasts about an hour, and is free with donations welcome.
Janáček’s hilarious satire about art, lunar travel, nationalism – and sausages.
Our musicians come together several times each season not only in large symphonic formations, but also as the Konzerthaus Chamber Orchestra - this time led by our first concertmaster Sayako Kusaka, who is also the ensemble's artistic director. They choose the pieces for their concerts themselves. A string quartet with „sonata“ in its nickname? To avoid any confusion: Tolstoy's story „The Kreutzer Sonata“, which is about Beethoven's famous violin sonata, inspired Leoš Janáček to write his first string quartet in 1923. Apparently the literature had a very inspiring effect, as he completed it within an astonishing nine days. Both works, Janáček's quartet and Beethoven's sonata, can also be heard in this larger instrumentation after Dvořák's short lyrical „Nachtstück“ for string orchestra.
In the Recital Hall this week, you will hear the 'other side' of Mahler: works for just a few musicians. In two Sunday Morning Concerts, these come together with those by contemporaries and friends. Today, Thomas Beijer plays a brand new work, his own arrangement of the serene slow movement from the Fourth Symphony.Thomas Beijer, winner of the Dutch Music Prize 2022, is a pianist as well as a composer. Moreover, he enjoys making arrangements of existing music to make it accessible to his instrument. In this Sunday Morning Concert, he performs his version of the 'Ruhevoll (poco adagio)' from the Fourth Symphony. In it, Mahler paints his picture of a peaceful journey from the earthly to the heavenly. A beautiful combination with Stimme des Abends by befriended composer Zemlinsky. This is one of the 4 Fantasien über Gedichte von Richard Dehmel that Beijer performs. Works by Brahms and Janáček will also be heard.
For lovers of chamber music the Recital Hall is the venue of choice. You can hear the musicians breathe and you can practically touch them. This hall is also cherished by musicians for its beautiful acoustics and direct contact with the audience. In the Recital Hall you can hear the best musicians of our time. Buy your tickets now and experience the magic of the Recital Hall for yourself!
The Vienna Philharmonic, pianist Igor Levit and conductor Thomas Adès: each of these names alone promises world class artistry. What kind of concert will be the outcome when the three performers join forces? The Austrian Standard wrote of the orchestra’s last concert with Levit that »they were not only on the same wavelength, they were literally surfing on a wave of energy«. For the Hamburg International Music Festival, they have put together a programme full of (positive!) surprises that is well off the beaten track. The classical prelude is a symphony by Joseph Haydn, followed by Thomas Adès’ piano concerto, which has already been performed around 60 times since its premiere in 2019 – a remarkable amount for a contemporary work. Given the fame that the multi-talented British composer enjoys, this success is hardly surprising. A New York Times critic wrote about the premiere of the concerto: »As ever, the craft is astounding, the orchestration ceaselessly brilliant. The voice is wholly his own — dissonant, offbeat, whiplash, wry — even as it whispers to musics past. This breathless concerto comes across as zesty and accessible. But don’t be fooled. Just below the surface, the music sizzles. I can’t wait to hear it again.« Adès, whose music is full of musical echoes from baroque to jazz yet refuses to follow any dogmas, sets the tone for the second half of the concert featuring Leoš Janácek, whose musical language around a century ago was equally undogmatic. His rhapsody »Taras Bulba« sets Nikolai Gogol’s tragic tale of the same name about a father and his two sons to music. So vividly that a film inevitably unfolds in the mind’s eye of the listener. By way of a prelude, two miniatures pay tribute to Pierre Boulez as the spotlighted composer of the International Music Festival.
For lovers of chamber music the Recital Hall is the venue of choice. You can hear the musicians breathe and you can practically touch them. This hall is also cherished by musicians for its beautiful acoustics and direct contact with the audience. In the Recital Hall you can hear the best musicians of our time. Buy your tickets now and experience the magic of the Recital Hall for yourself!
Concert Pulse