Page 42 - Weiss, Jernej, ur. 2018. Nova glasba v “novi” Evropi med obema svetovnima vojnama ?? New Music in the “New” Europe Between the Two World Wars. Koper/Ljubljana: Založba Univerze na Primorskem in Festival Ljubljana. Studia musicologica Labacensia, 2
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nova glasba v »novi« evropi med obema svetovnima vojnama
stitutes a central moment of timelessness in contrast to the otherwise busy
outer sections of the movement.
Janáček used the same device in the fifth movement of the same work
(bar 100) when the impetuous Più mosso, which has been driving the move-
ment towards a climax, is suddenly interrupted by a six-bar maestoso. Again
he used a wide-spread texture: growly thick trombones at the bottom, high
tremolo violins at the top against which a very high flute wanders down, al-
ternating and then combining with an E flat clarinet until swept away by a
return to the previous Più mosso as the music heads towards an exciting cli-
max with the return of the fanfares and its maestoso climax.
Example 4: Janáček: Památník pro Kamilu Stösslovou, ed. and transcribed by Jarmila
Procházková (Brno: Moravské zemské muzeum,1994).
One of Janáček’s more puzzling maestoso markings comes in the sec-
ond movement of his Second String Quartet “Listy důvěrné” [Intimate Let-
ters] at bar 60. Here a theme already heard fortissimo four bars earlier is
40
stitutes a central moment of timelessness in contrast to the otherwise busy
outer sections of the movement.
Janáček used the same device in the fifth movement of the same work
(bar 100) when the impetuous Più mosso, which has been driving the move-
ment towards a climax, is suddenly interrupted by a six-bar maestoso. Again
he used a wide-spread texture: growly thick trombones at the bottom, high
tremolo violins at the top against which a very high flute wanders down, al-
ternating and then combining with an E flat clarinet until swept away by a
return to the previous Più mosso as the music heads towards an exciting cli-
max with the return of the fanfares and its maestoso climax.
Example 4: Janáček: Památník pro Kamilu Stösslovou, ed. and transcribed by Jarmila
Procházková (Brno: Moravské zemské muzeum,1994).
One of Janáček’s more puzzling maestoso markings comes in the sec-
ond movement of his Second String Quartet “Listy důvěrné” [Intimate Let-
ters] at bar 60. Here a theme already heard fortissimo four bars earlier is
40
