Janáček - Pohádka - Rostropovich / Britten

Leoš Janáček
Pohádka
I. Con moto - Andante
II. Con moto - Adagio
III. Allegro
Mstislav Rostropovich
Benjamin Britten
Live recording, Aldeburgh, 27.VI.1967

[@notaire2]

Wunderschöne live Aufführung dieses einzigartigen Meisterwerks im veränderlichen Tempo mit tiefem Ton des Cellos und glänzendem Klang des Klaviers. Die intime und perfekt vereinigte Dialog zwischen den beiden Virtuosen ist immer noch unvergleichlich. Echt wertvolle Aufnahme!

[@davidrehak3539]

Leoš Janáček:Pohádka (Tündér mese) 1.Con moto - Andante 00:00 2.Con moto - Adagio 04:54 3.Allegro 08:48 Msztyiszlav Rosztropovics-gordonka Benjamin Britten-zongora

[@gerardbegni2806]

I ma not surprised to hear an isolated genius as Birtten playing so well he piano part of this celle/piano Pohadka by this other isolated genius, Janacek.

[@simonvaughan6017]

I wonder how familiar Britten was with Janáček's operas.

[@gerardbegni2806]

@@simonvaughan6017 Well, since he was familiar with Janacek's chamber music and a fanatic of opera comosition, it is impossible to imagine that he left aside Janacek's opéras. In my opinion, the is some kind of distanced influence .in the musical style and in some form of relaism, in spite of the fact that britten's relaism has most oftenmysterious relationships with some kind of mysterious background, while Janacek's realism is more immediate.

[@simonvaughan6017]

@@gerardbegni2806 I was thinking more about whether there was a performance tradition for Janáček's operas in Britain at that time and about the availability of recordings and scores. I know that the Edinburgh Festival promoted Czech music from the 1950s, so perhaps there were opportunities for Britten to hear Janáček's music (I believe he didn't care much for listening to gramophone records).

[@simonvaughan6017]

It was only with Charles Mackerras's recordings of Janáček's operas (made after Britten's death) that they became widely known in the UK.

[@gerardbegni2806]

@@simonvaughan6017 You are certainly right. You know rhe rich British musical life better than I do. However, I think that we cannot mix 'usual' music lovers such as you and me who attend operas and liten to records and a composer who feels some kind of synergy with another one; knows music publishers and has no problem to gat orcheral scores, which is enough for him. For sure, he will not wait for an opera rendering or disc publication to study h the works he is intesyted in.