 The third ECM New Series release by András Schiff is his long-awaited 
recital recording of the piano music of Leoš Janácek  (1854-1928). He 
has been playing this music, to spell-binding effect, for many years. 
The Budapest-born pianist has long been interested in parallels between 
Janácek and Béla Bartok, and by the way in which Janácek drew upon 
Moravian folk roots, much as Bartók drew upon Hungarian, Romanian, 
Slovak and Transylvanian music. Each of these composers contributed to 
the national culture of his homeland by making evident what was already 
there, as well as by channelling it for differentiated artistic purpose.
 "These are healthy roots," Schiff told German arts magazine Ibykus, 
"from which one can take sustenance, and build upon."
The third ECM New Series release by András Schiff is his long-awaited 
recital recording of the piano music of Leoš Janácek  (1854-1928). He 
has been playing this music, to spell-binding effect, for many years. 
The Budapest-born pianist has long been interested in parallels between 
Janácek and Béla Bartok, and by the way in which Janácek drew upon 
Moravian folk roots, much as Bartók drew upon Hungarian, Romanian, 
Slovak and Transylvanian music. Each of these composers contributed to 
the national culture of his homeland by making evident what was already 
there, as well as by channelling it for differentiated artistic purpose.
 "These are healthy roots," Schiff told German arts magazine Ibykus, 
"from which one can take sustenance, and build upon."
Robert Cowan, writing in the CD booklet for the present release, also 
emphasises the life-affirming qualities of Janácek's piano music: "No 
matter how many times you listen to these gems, the sum effect of 
emotional engagement, wonderment and love of life is as lasting as one’s
 admiration for the music’s miniaturist construction. They are truly 
‘the world in a grain of sand’. Trawling the repertory for piano 
masterpieces from roughly the same period, only Bartók’s gnomic 
‘ethno-narratives’ (Out of Doors, Bagatelles, selected pieces from Mikrokosmos,
 etc) can claim anything like equal musical status. Janácek’s piano 
music anticipates the compressed keyboard tone poetry of such feted 
modern masters as György Kurtág and Arvo Pärt. They are, for the most 
part, honest fragments of personal biography, utterly uncompromising and
 securely grounded in the land of their birth. There is nothing 
contrived about them, absolutely no empty striving for effect, and yet 
their force of utterance is formidable. They confirm the mastery of a 
creative force who was, by turns, afflicted or infatuated by life." And 
definitively Czech: "His was an unlikely voice to represent a cultural 
identity for Czechoslovakia", the BBC Music Magazine remarked recently, 
"but it was an unlikely nation. The accent of Janácek's music is 
peculiar, the distinctive sound is somewhere deep in the provinces of 
the provinces..." (ECM Records)
 
 
 
 
 
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