In five years after a premiere "¤рэр …Ёюѕёър" the composer addresses to the plot prompted by Karelian Capek "РЁхфё=тю ¦ръЁюяѕыюёр" which too would be easy for treating in a tonality satirical. But in the letter to the friend Janachek will confess that the heroine of an opera causes in it any pity. Three hundred years has lived thanking "ІыхъёшЁѕ ьюыюфюё=ш" Elina Makropulos, has lived senselessly, aimlessly. But here it at last line. Possibly, movable by sympathy for Eline Makropulos, Janachek has written an agonal monologue of the heroine shaking on force. A genre "РЁхфё=тю ¦ръЁюяѕыюёр" it is very original and does not hold in usual frameworks. Perhaps, is the closest to it definition "ёр=шЁшёхёър фЁрьр". approaches
Shortly before this opera, in 1923, Janachek has created one of charming products "¤Ёшъы¦ёхэш -шёшёъш-яыѕ=ютъш" under R.Teshnohlideka's fantastic story. In "-шёшёъх-яыѕ=ютъх" action develops in two parallel numbers: in a human society and in fauna. Accordingly, each character is as though duplicated. To charming girl Terinke there corresponds Lisichka-bystroushka, to the pastor - a badger, the Rejneke-fox - hunter Garashta, lesnichihe - an owl etc.
On "¤Ёшъы¦ёхэш ь -шёшёъш-яыѕ=ютъш" it is possible to judge how well knew and loved the nature of Janachek. Here as if nature voices are sounded. But in "-шёшёъх-яыѕ=ютъх" it is a question not about zvukopodrazhanii, and of the remarkable realistic letter of the composer-animal painter admired with cleanliness, poetry and truthfulness of a life of inhabitants of wood. "¤Ёшъы¦ёхэш -шёшёъш-яыѕ=ютъш" - a deep and witty musical fairy tale for adults.
Such is the short review of nine operas taking the central place in a creative heritage of Leosha Janachka and playing a considerable role in the history of musical theatre of the XX-th century.
And in other genres he has created great skill products, especially, when music embodied considerable plots and images. So, in 1918 already mentioned three-private rhapsody "КрЁрё …ѕыіср" has been written; for a symphonic orchestra - product of bright patriotic sounding. The patriotic idea is put and in a basis "…ырэшчъющ срыырф№" (1920), an epoch reviving event gusitskih wars. Philanthrophies its ballad for an orchestra "-ш= vagrant ьѕч№ърэ=р" are full; (1917) and "-эхтэшъ шёёхчэѕт°хую" (1919) - a vocal cycle for the tenor, a contralto and a piano which in the ending three female voices sounding, as an echo join.
In 1926 Janachek creates Simfoniettu in commemoration of VIII sports holiday of Czechoslovakia. The grandiose structure of an orchestra including 12 pipes, 4 trombones and 3 tubas, urged to embody images of the native earth in its flowering, pleasure and vital force of people living on it. Simfonietta (lasting about 25 minutes) became most popular of compositions of Janachka in repertoire of the majority of orchestras of the world.
... When the glory to the musician of enormous endowments, the tireless composer, the teacher, the public figure, the patriot, at last, has come? When tens its scores left an imprisonment, from desktop boxes where without movement they have spent so much years?
It happens only in 1918 when the Czechoslovak republic was formed also. Then the name of Janachka which have received popularity after the Prague and Viennese premieres "+хэѕ¶№" left, at last, on world open space.
Last ten years of a life of Janachek has spent in Prague where has moved in 1918, having taken a place of the professor of conservatory.
Enamoured in a life in all its higher and most ordinary displays, he only in it searched and found all impulses for the creativity. To it knowing as the music role in moral creation of the sincere world is great, sickened any pseudo-trues of a modernism. And in vain some biographers frightened neprivychnostju, sharpness of other accords, reproach great pravdoljubtsa with a modernism. A life about which wrote Janachek, such sufferings so hands in entreaty about justice hopelessly lasted quite often filled that near to these discords of the validity the sharpest accords of Janachka seem excessively soft, only directing imagination in the world where a God way there have taken place Jenufa, both Katya Kabanova, and prisoners of the Siberian penal servitude.
Till the end of days of Janachek did not let go a pencil, remaining the person to whom, on V.Asafeva's expression, "фю the death it was possible to be in number ьюыюф№§".
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