Katja Kabanowa

opera in three acts Opera in 3 acts (1921)

for soli and chamber orchestra

Short instrumentation: 2 1 1 1 - 2 1 1 0 - timp, perc, hp, str (mind. 4-4-2-2-1, max. 8-6-5-4-3)

Duration: 105'

Übersetzer: Norman Tucker, Max Brod, Eberhard Kloke

Textvorlage: Alexander Nikolajewitsch Ostrowski

Übersetzung der Textvorlage: Vincenc Cervinka

Libretto: Leoš Janáček

Bearbeitet von: Eberhard Kloke

Choir: The arranger decided not to use a choir. Most choral parts are transferred to the respective solo parts; a pre-recorded tape is recommended for the final tableau.

Roles:

Savjol Prokofjewitsch Dikoj

ein Kaufman (Bass); Boris Grigorjewitsch

sein Neffe (Tenor); Marfa Ignatjewna Kabanowa (Kabanicha)

eine reiche Kaufmannswitwe (Mezzosopran); Tichon Ivanytsch Kabanoff

ihr Sohn (Tenor); Katherina (Katja)

seine Frau (Sopran); Wanja Kudrjasch

Lehrer

Chemiker

Mechaniker (Tenor); Barbara

Pflegetochter im Hause Kabanoff (Mezzosopran); Kuligin

Freund des Kudrjasch (Bariton); Glascha & Fekluscha

Dienstboten (Mezzosopran)

Instrumentation details:

1st flute (+picc)

2nd flute (+picc, alto fl)

oboe (+c.a)

clarinet in Bb (+cl(A), bass cl(Bb))

bassoon (+cbsn)

1st horn in F

2nd horn in F

trumpet in Bb

trombone

timpani

percussion

harp

violin I (mind. 4, max. 8)

violin II (mind. 4, max. 6)

viola (mind. 2, max. 5)

violoncello (mind. 2, max. 4)

Double bass (mind. 1, max. 3)

Janácek - Katja Kabanowa für Soli und Kammerorchester

Contact us for more information: [email protected]

Work introduction

The central concern for a transcription of Janácek's Káta Kabanová for soli and chamber orchestra was to accommodate the music-theatrical structure of the piece (in the sense of the transparency Janácek's intended transparency "word - music").

By reducing the large orchestral apparatus to an ensemble of 25 players, the greatest possible transparency and audibility of sound should be achieved, which should accommodate both the filigree structure of Janácek's music as well as his speech melody, allowing for a more radical realization of speech and vocal nuance. An additional theatrical concentration and condensation could be achieved by abolishing the classical separation stage-audience-audience by placing the small orchestra on/next to/behind the stage - at least the orchestra pit could be dispensed with in favor of more variable orchestra positioning.

Eberhard Kloke