Leoš Janáček: On an Overgrown Path (arranged by: Richard Dünser)

Leoš Janáček On an Overgrown Path
On an Overgrown Path

Leoš Janáček: On an Overgrown Path (arranged by: Richard Dünser)

Scored for:
for ensemble / chamber orchestra
Leoš Janáček
Richard Dünser (2017)
1 2 3 1 - 2 0 0 0 - hp, vln(2) vla(2) vc(2) cb(1)
Instrumentation details:
cor anglais
clarinet in A
basset horn
bass clarinet in Bb
1st horn in F
2nd horn in F
1st violin
2nd violin
1st viola
2nd viola
1st violoncello
2nd violoncello
double bass
Im Auftrag von Ensemble Kontrapunkte
Michaela Girardi herzlichst gewidmet
More Less

The complete perusal score (PDF-preview)

Work introduction

The piano cycle Po zarostlém chodní?ku (On an Overgrown Path) was composed by Leoš Janá?ek in the years between 1900 and 1909. The short pieces titled:

1. Our evenings
2. A blown-away leaf
3. Come with us!
4. The Frýdek Madonna
5. They chattered like swallows
6. Words fail!
7. Good night!
8. Unutterable anguish
9. In tears
10. The barn owl has not flown away!

“contain distant memories. They are so dear to me that it seems I will never forget them.” This was written in a letter by Janá?ek in 1912. Memories of farewells, love songs and lullabies, bitterness and disappointment, weeping, of a letter that has been finally put aside, …, and a premonition of death – in the motif of the barn owl in the final piece – are the poetic starting points for the compositions. There are no motivic, thematic developments, merely moods, contrasts, stirring harmonies and turns, themes – which, like the rhythms, seem inspired by Moravian folk music but transformed entirely – , and sound, an autobiography in sound, an overgrown path of memories, a path along which the journey began at the beginning of the 20th century and was continued by me at the beginning of the 21st century with my transcription of this cycle into the sound world of a large ensemble or chamber orchestra. The fact that this is far more than merely an arrangement in the traditional sense and rather a (present-day) act of re-composition stems from my deep conviction that for this project (and actually for all instrumentation) being restricted to a level that is merely technical or purely philological can neither prove worthy of the spirit of the original composition, nor create a living work of art. The love of the original work and its composer demands a fresh creative approach to the process.

Richard Dünser

World première

Musikverein, Wien (AT)
Ensemble Kontrapunkte
Peter Keuschnig

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