I didn't read Mr. Gerebens, but this seems interesting:

Christopher Webber <[log in to unmask]> wrote:

>This Olympian patronage would have infuriated Janacek, who fought tooth
>and nail to get his works off the concert platform and onto the place
>they really belong - the stage. Particularly in a work where the human
>parallels are everything.....

I read the discussion with Mr. Lampson upon Janacek - as I interpret you
- as a "stage composer" or not.  I think it is fair to say so that Janacek
had a great interest in the theatre, and also works which does not sort
under cathegory 'opera' is theatre in the sence of dealing with the drama
of life in a sought way.  Like rolling up the murder of some Robot in a
pianosonata, his intimate letters to Kamila Stoesslova, the newborn Czech
nation jubilating of vitality through 12 trumpets in the sinfonietta, and
all women in world history that were seduced to "Kreuzer"-Musik like in the
1st SQ.  I prefer the full opera to the fox-suite all times.....as it is in
the mans personality that everything he made - to me - communicates.  To me
it is a mystery how Bachs Clavier music BWV10134 is communicative - some
composers who didn't have closely the same technical skill in writing
puzzles can at least be communicative enough.  And that is a interesting
thing.  Puzzles ME.

Thank you, and let's refer to Manuel de Falla!

Mats Norrman
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