Leos Janacek (Czech pronunciation: ['leoS 'jana:tSek], baptised Leo Eugen Janacek; 3 July 1854 - 12 August 1928) was a Czech composer, musical theorist, folklorist, publicist and teacher. He was inspired by Moravian and other Slavic folk music to create an original, modern musical style.
Until 1895 he devoted himself mainly to folkloristic research and his early musical output was influenced by contemporaries such as Antonin Dvorak. His later, mature works incorporate his earlier studies of national folk music in a modern, highly original synthesis, first evident in the opera Jenufa, which was premiered in 1904 in Brno. The success of Jenufa (often called the "Moravian national opera") at Prague in 1916 gave Janacek access to the world's great opera stages. Janacek's later works are his most celebrated. They include operas such as Kata Kabanova and The Cunning Little Vixen, the Sinfonietta, the Glagolitic Mass, the rhapsody Taras Bulba, two string quartets, and other chamber works. Along with Antonin Dvorak and Bedrich Smetana, he is considered one of the most important Czech composers.


== Biography ==


=== Early life ===

Leos Janacek, son of schoolmaster Jiri (1815-1866) and Amalie (nee Grulichova) Janackova (1819-1884), was born in Hukvaldy, Moravia (then part of the Austrian Empire). He was a gifted child in a family of limited means, and showed an early musical talent in choral singing. His father wanted him to follow the family tradition, and become a teacher, but deferred to Janacek's obvious musical abilities. In 1865 young Janacek enrolled as a ward of the foundation of the Abbey of St. Thomas in Brno, where he took part in choral singing under Pavel Krizkovsky and occasionally played the organ. One of his classmates, Frantisek Neumann, later described Janacek as an "excellent pianist, who played Beethoven symphonies perfectly in a piano duet with a classmate, under Krizkovsky's supervision". Krizkovsky found him a problematic and wayward student but recommended his entry to the Prague Organ School. Janacek later remembered Krizkovsky as a great conductor and teacher.
Janacek originally intended to study piano and organ but eventually devoted himself to composition. He wrote his first vocal compositions while choirmaster of the Svatopluk Artisan's Association (1873-76). In 1874 he enrolled at the Prague organ school, under Frantisek Skuhersky and Frantisek Blazek. His student days in Prague were impoverished; with no piano in his room, he had to make do with a keyboard drawn on his tabletop. His criticism of Skuhersky's performance of the Gregorian mass was published in the March 1875 edition of the journal Cecilie and led to his expulsion from the school - but Skuhersky relented, and on 24 July 1875 Janacek graduated with the best results in his class. On his return to Brno he earned a living as a music teacher, and conducted various amateur choirs. From 1876 he taught music at Brno's Teachers Institute. Among his pupils there was Zdenka Schulzova, daughter of Emilian Schulz, the Institute director. She was later to be Janacek's wife. In 1876 he also became a piano student of Amalie Wickenhauserova-Nerudova, with whom he co-organized chamber concertos and performed in concerts over the next two years. In February 1876, he was voted choirmaster of the Beseda brnenska Philharmonic Society. Apart from an interruption from 1879 to 1881, he remained its choirmaster and conductor until 1888.
From October 1879 to February 1880 he studied piano, organ, and composition at the Leipzig Conservatory. While there, he composed Thema con variazioni for piano in B flat, subtitled Zdenka's Variations. Dissatisfied with his teachers (among them Oscar Paul and Leo Grill), and denied a studentship with Camille Saint-Saens in Paris, Janacek moved on to the Vienna Conservatory, where from April to June 1880 he studied composition with Franz Krenn. He concealed his opposition to Krenn's neo-romanticism, but he quit Josef Dachs's classes and further piano study when he was criticised for his piano style and technique. He submitted a violin sonata (now lost) to a Vienna Conservatory competition, but the judges rejected it as "too academic". Janacek left the conservatory in June 1880, disappointed despite Franz Krenn's very complimentary personal report. He returned to Brno where on 13 July 1881, he married his young pupil Zdenka Schulzova.

In 1881, Janacek founded and was appointed director of the organ school, and held this post until 1919, when the school became the Brno Conservatory. In the mid-1880s Janacek began composing more systematically. Among other works, he created the Four male-voice choruses (1886), dedicated to Antonin Dvorak, and his first opera, Sarka (1887-88). During this period he began to collect and study folk music, songs and dances. In the early months of 1887 he sharply criticized the comic opera The Bridegrooms, by Czech composer Karel Kovarovic, in a Hudebni listy journal review: "Which melody stuck in your mind? Which motif? Is this dramatic opera? No, I would write on the poster: 'Comedy performed together with music', since the music and the libretto aren't connected to each other". Janacek's review apparently led to mutual dislike and later professional difficulties when Kovarovic, as director of the National Theatre in Prague, refused to stage Janacek's opera Jenufa.
From the early 1890s, Janacek led the mainstream of folklorist activity in Moravia and Silesia, using a repertoire of folksongs and dances in orchestral and piano arrangements. Most of his achievements in this field were published in 1899-1901 though his interest in folklore would be lifelong. His compositional work was still influenced by the declamatory, dramatic style of Smetana and Dvorak. He expressed very negative opinions on German neo-classicism and especially on Wagner in the Hudebni listy journal, which he founded in 1884. The death of his second child, Vladimir, in 1890 was followed by an attempted opera, Beginning of the Romance (1891) and the cantata Amarus (1897).


=== Later years and masterworks ===
In the first decade of the 20th century Janacek composed choral church music including Otcenas (Our Father, 1901), Constitutes (1903) and Ave Maria (1904). In 1901 the first part of his piano cycle On an Overgrown Path was published, and gradually became one of his most frequently performed works. In 1902 Janacek visited Russia twice. On the first occasion he took his daughter Olga to St.Petersburg, where she stayed to study Russian. Only three months later, he returned to St. Petersburg with his wife because Olga was very ill. They took her back to Brno, but her health was worsening. Janacek expressed his painful feelings for his daughter in a new work, his opera Jenufa, in which the suffering of his daughter became Jenufa's. When Olga died in February 1903, Janacek dedicated Jenufa to her memory. The opera was performed in Brno in 1904, with reasonable success, but Janacek felt this was no more than a provincial achievement. He aspired to recognition by the more influential Prague opera, but Jenufa was refused there (twelve years passed before its first performance in Prague). Dejected and emotionally exhausted, Janacek went to Luhacovice spa to recover. There he met Kamila Urvalkova, whose love story supplied the theme for his next opera, Osud (Destiny).

In 1905 Janacek attended a demonstration in support of a Czech university in Brno, where the violent death of Frantisek Pavlik (a young joiner) at the hands of the police inspired his 1. X. 1905 piano sonata. The incident led him to further promote the anti-German and anti-Austrian ethos of the Russian Circle, which he had co-founded in 1897 and which would be officially banned by the Austrian police in 1915. In 1906 he approached the Czech poet Petr Bezruc, with whom he later collaborated, composing several choral works based on Bezruc's poetry. These included Kantor Halfar (1906), Marycka Magdonova (1908), and Sedmdesat tisic (1909). Janacek's life in the first decade of the 20th century was complicated by personal and professional difficulties. He still yearned for artistic recognition from Prague. He destroyed some of his works - others remained unfinished. Nevertheless, he continued composing, and would create several remarkable choral, chamber, orchestral and operatic works, the most notable being the 1914 Cantata Vecne evangelium (The Eternal Gospel), Pohadka (Fairy tale) for cello and piano (1910), the 1912 piano cycle V mlhach (In the Mist) and his first symphonic poem Sumarovo dite (A Fiddler's Child). His fifth opera, Vylet pana Broucka do mesice, composed from 1908 to 1917, has been characterized as the most "purely Czech in subject and treatment" of all of Janacek's operas.
In 1916 he started a long professional and personal relationship with theatre critic, dramatist and translator Max Brod. In the same year Jenufa, revised by Kovarovic, was finally accepted by the National Theatre; its performance in Prague (1916) was a great success, and brought Janacek his first acclaim. He was 62. Following the Prague premiere, he began a relationship with singer Gabriela Horvathova, which led to his wife Zdenka's attempted suicide and their "informal" divorce. A year later (1917) he met Kamila Stosslova, a young married woman 38 years his junior, who was to inspire him for the remaining years of his life. He conducted an obsessive and (on his side at least) passionate correspondence with her, of nearly 730 letters. From 1917 to 1919, deeply inspired by Stosslova, he composed The Diary of One Who Disappeared. As he completed its final revision, he began his next 'Kamila' work, the opera Kata Kabanova.

In 1920 Janacek retired from his post as director of the Brno Conservatory, but continued to teach until 1925. In 1921 he attended a lecture by the Indian philosopher-poet Rabindranath Tagore, and used a Tagore poem as the basis for the chorus The Wandering Madman (1922). At the same time he encountered the microtonal works of Alois Haba. In the early 1920s Janacek completed his opera The Cunning Little Vixen, which had been inspired by a serialized novella in the newspaper Lidove noviny.
In Janacek's 70th year (1924) his biography was published by Max Brod, and he was interviewed by Olin Downes for The New York Times. In 1925 he retired from teaching, but continued composing and was awarded the first honorary doctorate to be given by Masaryk University in Brno. In the spring of 1926 he created his Sinfonietta, a monumental orchestral work, which rapidly gained wide critical acclaim. In the same year he went to England at the invitation of Rosa Newmarch. A number of his works were performed in London, including his first string quartet, the wind sextet Youth, and his violin sonata. Shortly after, and still in 1926, he started to compose a setting to an Old Church Slavonic text. The result was the large-scale orchestral Glagolitic Mass. Janacek was an atheist, and critical of the organised Church, but religious themes appear frequently in his work. The Glagolitic Mass was partly inspired by the suggestion by a clerical friend, and partly by Janacek's wish to celebrate the anniversary of Czechoslovak independence.

In 1927 - the year of the Sinfonietta's first performances in New York, Berlin and Brno - he began to compose his final operatic work, From the House of the Dead, the third Act of which was found on his desk after his death. In January 1928 he began his second string quartet, the Intimate Letters, his "manifesto on love". Meanwhile, the Sinfonietta was performed in London, Vienna and Dresden. In his later years, Janacek became an international celebrity. He became a member of the Prussian Academy of Arts in Berlin in 1927, along with Arnold Schoenberg and Paul Hindemith. His operas and other works were finally performed at the world stages. In August 1928 he took an excursion to Stramberk with Kamila Stosslova and her son Otto, but caught a chill, which developed into pneumonia. He died on 12 August 1928 in Ostrava, at the sanatorium of Dr. L. Klein. He was given a large public funeral that included music from the last scene of his Cunning Little Vixen, and was buried in the Field of Honour at the Central Cemetery, Brno.


== Personality ==

Janacek worked tirelessly throughout his life. He led the organ school, was a Professor at the teachers institute and gymnasium in Brno, collected his "speech tunes" and was composing. From an early age he presented himself as an individualist and his firmly formulated opinions often led to conflict. He unhesitatingly criticized his teachers, who considered him a defiant and anti-authoritarian student. His own students found him strict and uncompromising. Vilem Tausky, one of his pupils, described his encounters with Janacek as somewhat distressing for someone unused to his personality, and noted that Janacek's characteristically staccato speech rhythms were reproduced in some of his operatic characters. In 1881, Janacek gave up his leading role with the Beseda brnenska, as a response to criticism, but a rapid decline in Beseda's performance quality led to his recall in 1882.
His married life, settled and calm in its early years, became increasingly tense and difficult following the death of his daughter, Olga, in 1903. Years of effort in obscurity took their toll, and almost ended his ambitions as a composer: "I was beaten down", he wrote later, "My own students gave me advice - how to compose, how to speak through the orchestra". Success in 1916 - when Karel Kovarovic finally decided to perform Jenufa in Prague - brought its own problems. Janacek grudgingly resigned himself to the changes forced upon his work. Its success brought him into Prague's music scene and the attentions of soprano Gabriela Horvatova, who guided him through Prague society. Janacek was enchanted by her. On his return to Brno, he appears not to have concealed his new passion from Zdenka, who responded by attempting suicide. Janacek was furious with Zdenka and tried to instigate a divorce, but lost interest in Horvatova. Zdenka, anxious to avoid the public scandal of formal divorce, persuaded him to settle for an "informal" divorce. From then on, until Janacek's death, they lived separate lives in the same household.
In 1917 he began his lifelong, inspirational and unrequited passion for Kamila Stosslova, who neither sought nor rejected his devotion. Janacek pleaded for first-name terms in their correspondence. In 1927 she finally agreed and signed herself "Tva Kamila" (Your Kamila) in a letter, which Zdenka found. This revelation provoked a furious quarrel between Zdenka and Janacek, though their living arrangements did not change - Janacek seems to have persuaded her to stay. In 1928, the year of his death, Janacek confessed his intention to publicise his feelings for Stosslova. Max Brod had to dissuade him. Janacek's contemporaries and collaborators described him as mistrustful and reserved, but capable of obsessive passion for those he loved. His overwhelming passion for Stosslova was sincere but verged upon self-destruction. Their letters remain an important source for Janacek's artistic intentions and inspiration. His letters to his long-suffering wife are, by contrast, mundanely descriptive. Zdenka seems to have destroyed all hers to Janacek. Only a few postcards survive.


== Style ==
In 1874 Janacek became friends with Antonin Dvorak, and began composing in a relatively traditional romantic style. After his opera Sarka (1887-1888), his style absorbed elements of Moravian and Slovak folk music.
His musical assimilation of the rhythm, pitch contour and inflections of normal Czech speech (Moravian dialect) helped create the very distinctive vocal melodies of his opera Jenufa (1904), whose 1916 success in Prague was to be the turning point in his career. In Jenufa, Janacek developed and applied the concept of "speech tunes" to build a unique musical and dramatic style quite independent of "Wagnerian" dramatic method. He studied the circumstances in which "speech tunes" changed, the psychology and temperament of speakers and the coherence within speech, all of which helped render the dramatically truthful roles of his mature operas, and became one of the most significant markers of his style. Janacek took these stylistic principles much farther in his vocal writing than Modest Mussorgsky, and thus anticipates the later work of Bela Bartok. The stylistic basis for his later works originates in the period of 1904-1918, but Janacek composed the majority of his output - and his best known works - in the last decade of his life.
Much of Janacek's work displays great originality and individuality. It employs a vastly expanded view of tonality, uses unorthodox chord spacings and structures, and often, modality: "there is no music without key. Atonality abolishes definite key, and thus tonal modulation....Folksong knows of no atonality." Janacek features accompaniment figures and patterns, with (according to Jim Samson) "the on-going movement of his music...similarly achieved by unorthodox means; often a discourse of short, 'unfinished' phrases comprising constant repetitions of short motifs which gather momentum in a cumulative manner." Janacek named these motifs "scasovka" in his theoretical works. "Scasovka" has no strict English equivalent, but John Tyrrell, a leading specialist on Janacek's music, describes it as "a little flash of time, almost a kind of musical capsule, which Janacek often used in slow music as tiny swift motifs with remarkably characteristic rhythms that are supposed to pepper the musical flow." Janacek's use of these repeated motifs demonstrates a remote similarity to minimalist composers (Sir Charles Mackerras called Janacek "the first minimalist composer").


== Legacy ==
Janacek belongs to a wave of twentieth-century composers who sought greater realism and greater connection with everyday life, combined with a more all-encompassing use of musical resources. His operas in particular demonstrate the use of "speech"-derived melodic lines, folk and traditional material, and complex modal musical argument. Janacek's works are still regularly performed around the world, and are generally considered popular with audiences. He would also inspire later composers in his homeland, as well as music theorists, among them Jaroslav Volek, to place modal development alongside harmony of importance in music.

The operas of his mature period, Jenufa (1904), Kata Kabanova (1921), The Cunning Little Vixen (1924), The Makropulos Affair (1926) and From the House of the Dead (after a novel by Dostoyevsky and premiered posthumously in 1930) are considered his finest works. The Australian conductor Sir Charles Mackerras became very closely associated with Janacek's operas.
Janacek's chamber music, while not especially voluminous, includes works which are widely considered twentieth-century classics, particularly his two string quartets: Quartet No. 1, "The Kreutzer Sonata" inspired by the Tolstoy novel, and the Quartet No. 2, "Intimate Letters". Milan Kundera called these compositions the peak of Janacek's output.
The world premiere of Janacek's lyrical Concertino for piano, two violins, viola, clarinet, French horn and bassoon took place in Brno on 16 February 1926. It was also performed at the Frankfurt Festival of Modern Music in 1927 by Ilona Stepanova-Kurzova.
A comparable chamber work for an even more unusual set of instruments, the Capriccio for piano left hand, flute, two trumpets, three trombones and tenor tuba, was written for pianist Otakar Hollmann, who lost the use of his right hand during World War I. After its premiere in Prague on 2 March 1928, the Capriccio gained considerable acclaim in the musical world.
Other well known pieces by Janacek include the Sinfonietta, the Glagolitic Mass (the text written in Old Church Slavonic), and the rhapsody Taras Bulba. These pieces and the above-mentioned five late operas were all written in the last decade of Janacek's life.
Janacek established a school of composition in Brno. Among his notable pupils were Jan Kunc, Vaclav Kapral, Vilem Petrzelka, Jaroslav Kvapil, Osvald Chlubna, Bretislav Bakala, and Pavel Haas. Most of his students neither imitated nor developed Janacek's style, which left him no direct stylistic descendants. According to Milan Kundera, Janacek developed a personal, modern style in relative isolation from contemporary modernist movements but was in close contact with developments in modern European music. His path towards the innovative "modernism" of his later years was long and solitary, and he achieved true individuation as a composer around his 50th year.
Sir Charles Mackerras, the Australian conductor who helped promote Janacek's works on the world's opera stages, described his style as "... completely new and original, different from anything else ... and impossible to pin down to any one style". According to Mackerras, Janacek's use of whole-tone scale differs from that of Debussy, his folk music inspiration is absolutely dissimilar from Dvorak's and Smetana's, and his characteristically complex rhythms differ from the techniques of the young Stravinsky.
The French conductor and composer Pierre Boulez, who interpreted Janacek's operas and orchestral works, called his music surprisingly modern and fresh: "Its repetitive pulse varies through changes in rhythm, tone and direction." He described his opera From the House of the Dead as "primitive, in the best sense, but also extremely strong, like the paintings of Leger, where the rudimentary character allows a very vigorous kind of expression".
Janacek's life has featured in several films. In 1974 Eva Marie Kankova made a short documentary Fotograf a muzika (The Photographer and the Music) about the Czech photographer Josef Sudek and his relationship to Janacek's work. In 1983 the Brothers Quay produced a stop motion animated film, Leos Janacek: Intimate Excursions, about Janacek's life and work, and in 1986 the Czech director Jaromil Jires made Lev s bilou hrivou (Lion with the White Mane), which showed the amorous inspiration behind Janacek's works. In Search of Janacek is a Czech documentary directed in 2004 by Petr Kanka, made to celebrate the 150th anniversary of Janacek's birth. An animated cartoon version of The Cunning Little Vixen was made in 2003 by the BBC, with music performed by the Deutsches Symphonie-Orchester Berlin and conducted by Kent Nagano. A rearrangement of the opening of the Sinfonietta was used by the progressive rock band Emerson, Lake & Palmer for the song "Knife-Edge" on their 1970 debut album.
The Janacek Philharmonic Orchestra was established in 1954. Today the 116-piece ensemble is associated with mostly contemporary music but also regularly performs works from the classical repertoire. The orchestra is resident at the House of Culture Vitkovice (Dum kultury Vitkovice) in Ostrava, Czech Republic. The orchestra tours extensively and has performed in Europe, the U.S., Australia, Japan, South Korea, and Taiwan. Its current music director is Theodore Kuchar.


== Criticism ==

Czech musicology at the beginning of the 20th century was strongly influenced by Romanticism, in particular by the styles of Wagner and Smetana. Performance practises were conservative, and actively resistant to stylistic innovation. During his lifetime, Janacek reluctantly conceded to Karel Kovarovic's instrumental rearrangement of Jenufa, most noticeably in the finale, in which Kovarovic added a more 'festive' sound of trumpets and French horns, and doubled some instruments to support Janacek's "poor" instrumentation. The score of Jenufa was later restored by Charles Mackerras, and is now performed according to Janacek's original intentions.
Another important Czech musicologist, Zdenek Nejedly, a great admirer of Smetana and later a communist Minister of Culture, condemned Janacek as an author who could accumulate a lot of material, but was unable to do anything with it. He called Janacek's style "unanimated", and his operatic duets "only speech melodies", without polyphonic strength. Nejedly considered Janacek rather an amateurish composer, whose music did not conform to the style of Smetana. According to Charles Mackerras, he tried to professionally destroy Janacek. Josef Bartos, the Czech aesthetician and music critic, called Janacek a "musical eccentric" who clung tenaciously to an imperfect, improvising style, but Bartos appreciated some elements of Janacek's works and judged him more positively than Nejedly.
Janacek's friend and collaborator Vaclav Talich, former chief-conductor of the Czech Philharmonic, sometimes adjusted Janacek's scores, mainly for their instrumentation and dynamics; some critics sharply attacked him for doing so. Talich re-orchestrated Taras Bulba and the Suite from Cunning Little Vixen justifying the latter with the claim that "it was not possible to perform it in the Prague National Theatre unless it was entirely re-orchestrated". Talich's rearrangement rather emasculated the specific sounds and contrasts of Janacek's original, but was the standard version for many years. Charles Mackerras started to research Janacek's music in the 1960s, and gradually restored the composer's distinctive scoring. The critical edition of Janacek's scores is published by the Czech Editio Janacek.


== Inspiration ==
Janacek's style draws on several sources.


=== Folklore ===
Janacek was deeply influenced by folklore, and by Moravian folk music in particular, but not by the pervasive, idealized 19th century romantic folklore variant. He took a realistic, descriptive and analytic approach to the material. Moravian folk songs, compared with their Bohemian counterparts, are much freer and more irregular in their metrical and rhythmic structure, and more varied in their melodic intervals. In his study of Moravian modes, Janacek found that the peasant musicians did not know the names of the modes and had their own ways of referring to them. He considered their Moravian modulation, as he called it, a general characteristic of this region's folk music.
Janacek partly composed the original piano accompaniments to more than 150 folk songs, respectful of their original function and context, and partly used folk inspiration in his own works, especially in his mature compositions. His work in this area was not stylistically imitative; instead, he developed a new and original musical aesthetic based on a deep study of the fundamentals of folk music. Through his systematic notation of folk songs as he heard them, Janacek developed an exceptional sensitivity to the melodies and rhythms of speech, from which he compiled a collection of distinctive segments he called "speech tunes". He used these "essences" of spoken language in his vocal and instrumental works. The roots of his style, marked by the lilts of human speech, emerge from the world of folk music.


=== Russia ===
Janacek's deep and lifelong affection for Russia and Russian culture represents another important element of his musical inspiration. In 1888 he attended the Prague performance of Tchaikovsky's music, and met the older composer. Janacek profoundly admired Tchaikovsky, and particularly appreciated his highly developed musical thought in connection with the use of Russian folk motifs. Janacek's Russian inspiration is especially apparent in his later chamber, symphonic and operatic output. He closely followed developments in Russian music from his early years, and in 1896, following his first visit of Russia, he founded a Russian Circle in Brno. Janacek read Russian authors in their original language. Their literature offered him an enormous and reliable source of inspiration, though this did not blind him to the problems of Russian society. He was twenty-two years old when he wrote his first composition based on a Russian theme: a melodrama, Death, set to Lermontov's poem. In his later works, he often used literary models with sharply contoured plots. In 1910 Zhukovsky's Tale of Tsar Berendei inspired him to write the Fairy Tale for Cello and Piano. He composed the rhapsody Taras Bulba (1918) to Gogol's short story, and five years later, in 1923, completed his first string quartet, inspired by Tolstoy's Kreutzer Sonata. Two of his later operas were based on Russian themes: Kata Kabanova, composed in 1921 to Alexander Ostrovsky's play, The Storm: and his last work, From the House of the Dead, which transformed Dostoyevsky's vision of the world into an exciting collective drama.
Janacek always deeply admired Antonin Dvorak, to whom he dedicated some of his works. He rearranged part of Dvorak's Moravian Duets for mixed choir with original piano accompaniment. In the early years of the 20th century, Janacek became increasingly interested in the music of other European composers. His opera Destiny was a response to another significant and famous work in contemporary Bohemia - Louise, by the French composer Gustave Charpentier. The influence of Giacomo Puccini is apparent particularly in Janacek's later works, for example in his opera Kata Kabanova. Although he carefully observed developments in European music, his operas remained firmly connected with Czech and Slavic themes.


== Music theorist ==


=== Musicology ===
Janacek created his music theory works, essays and articles over a period of fifty years, from 1877 to 1927. He wrote and edited the Hudebni listy journal, and contributed to many specialist music journals, such as Cecilie, Hlidka and Dalibor. He also completed several extensive studies, as Uplna nauka o harmonii (The Complete Harmony Theory), O skladbe souzvukuv a jejich spojuv (On the Construction of Chords and Their Connections) and Zaklady hudebniho scasovani (Basics of Musical Scasovani). In his essays and books, Janacek examined various musical topics, forms, melody and harmony theories, dyad and triad chords, counterpoint (or "opora", meaning "support") and devoted himself to the study of the mental composition. His theoretical works stress the Czech term "scasovani", Janacek's specific word for rhythm, which has relation to time ("cas" in Czech), and the handling of time in music composition. He distinguished several types of rhythm (scasovka): "znici" (sounding) - meaning any rhythm, "citaci" (counting) - meaning smaller units measuring the course of rhythm; and "scelovaci" (summing) - a long value comprising the length of a rhythmical unit. Janacek used the combination of their mutual action widely in his own works.


=== Other writings ===
Leos Janacek's literary legacy represents an important illustration of his life, public work and art between 1875 and 1928. He contributed not only to music journals, but wrote essays, reports, reviews, feuilletons, articles and books. His work in this area comprises around 380 individual items. His writing changed over time, and appeared in many genres. Nevertheless, the critical and theoretical sphere remained his main area of interest.


== Folk music research ==

Janacek came from a region characterized by its deeply rooted folk culture, which he explored as a young student under Pavel Krizkovsky. His meeting with the folklorist and dialectologist Frantisek Bartos (1837-1906) was decisive in his own development as a folklorist and composer, and led to their collaborative and systematic collections of folk songs. Janacek became an important collector in his own right, especially of Lachian, Moravian Slovakian, Moravian Wallachian and Slovakian songs. From 1879, his collections included transcribed speech intonations. He was one of the organizers of the Czech-Slavic Folklore Exhibition, an important event in Czech culture at the end of 19th century. From 1905 he was President of the newly instituted Working Committee for Czech National Folksong in Moravia and Silesia, a branch of the Austrian institute Das Volkslied in Osterreich (Folksong in Austria), which was established in 1902 by the Viennese publishing house Universal Edition. Janacek was a pioneer and propagator of ethnographic photography in Moravia and Silesia. In October 1909 he acquired an Edison phonograph and became one of the first to use phonographic recording as a folklore research tool. Several of these recording sessions have been preserved, and were reissued in 1998.


== Selected works ==
For the complete list see List of compositions by Leos Janacek.


=== Operas ===
Leos Janacek counts among the first opera composers who used prose for his libretti, not verse. He even wrote his own libretti to his last three operas. His libretti were translated into German by Max Brod.


=== Orchestral ===
The early orchestral works are influenced by Romantic style, and especially by orchestral works of Dvorak. In his later works, created after 1900, Janacek found his own, original expression.


=== Vocal and choral ===
Janacek's choral works, known particularly in the Czech Republic, are considered extremely demanding. He wrote several choruses to the words of Czech poet Petr Bezruc.


=== Chamber and instrumental ===
His string quartets are at the core of 20th-century classical music repertoire. Much of his other notable chamber music is written for unconventional ensembles.


=== Piano ===
Janacek composed his major piano works in a relatively short period of twelve years, from 1901 to 1912. His early Thema con variazioni (subtitled Zdenka's variations) is a student work composed in the styles of famous composers.


== Selected writings ==


== Media ==


== Janacek in literature ==
Janacek is the central character in David Herter's First Republic trilogy, comprising the novels On the Overgrown Path, The Luminous Depths and One Who Disappeared.
Janacek's Sinfonietta is referenced a number of times in Haruki Murakami's novel 1Q84.


== References ==


=== Notes ===


=== Sources ===


== Further reading ==
Zemanova, Mirka (1989). Janacek's Uncollected Essays on Music. Marion Boyars. ISBN 0-71452-857-9. 
Simeone, Nigel; Tyrrell, John; Nemcova, Alena (1997). Janacek's works. A catalogue of the music and writings of Leos Janacek. Oxford: Clarendon. ISBN 978-0-19-816446-3. 
Tyrrell, John (2005). Intimate Letters: Leos Janacek to Kamila Stosslova. London: Faber and Faber. ISBN 978-0-571-22510-1. 
Tyrrell, John (ed.) (1998). My life with Janacek - The Memoirs of Zdenka Janackova. London. 
Tyrrell, John (1992). Janacek's operas - A documentary account. Princeton: Princeton University Press. ISBN 0-691-09148-X. 
Beckerman, Michael (ed.) (2003). Janacek and His World. New York: Princeton University Press. ISBN 0-691-11676-8. 
Beckerman, Michael. Janacek as Theorist. Stuyvesant, New York: Pendragon Press. p. 1994. ISBN 0-945193-03-3. 
Vogel, Jaroslav (1997). Leos Janacek: a biography. Prague: Academia. ISBN 80-200-0622-2. 
Stedron, Milos (1998). Leos Janacek a hudba 20. stoleti. Brno: Nadace Universitas Masarykiana. ISBN 80-210-1917-4.
Tausky, Vilem and Margaret (1982). Leos Janacek: Leaves from his Life. Kahn & Averill, London. ISBN 1-871-08208-0. 
Vainiomaki, Tiina (2012). The Musical Realism of Leos Janacek: From Speech Melodies to a Theory of Composition. Acta Semiotica Fennica, 41. Suomen Semiotiikan Seura. ISBN 978-952-5431-36-0. ISSN 1235-497XDissertation. University of Helsinki. 


== External links ==
Free scores by Leos Janacek at the International Music Score Library Project
A detailed site on Leos Janacek created by Gavin Plumley
Leos Janacek on Find-A-Grave
Leos Janacek at the Internet Movie Database
Leos Janacek at Pytheas Center for Contemporary Music
Two Faces of Janacek. A Review of My Life with Janacek: the Memoirs of Zdenka Janackova. Translated and Edited by John Tyrrell