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{{short description|Czech composer (1854–1928)}}
{{redirect|Janáček|other people with the surname|Janáček (surname)}}
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{{Use dmy dates|date=July 2024}}
{{Infobox classical composer
| name          = Leoš Janáček
| image         = Leoš Janáček el 1914.png
| caption       = Janáček in 1914
| birth_place   = [[Hukvaldy]], [[Margraviate of Moravia|Moravia]], Austrian Empire
| birth_date    = {{birth date|1854|07|03|df=y}}
| death_date    = {{death date and age|1928|08|12|1854|07|03|df=y}}
| death_place   = [[Ostrava]], Czechoslovakia
| list_of_works = [[List of compositions by Leoš Janáček|List of compositions]]
| occupation    = {{hlist| Composer | [[Music theory|music theorist]] | [[Folkloristics|folklorist]] | publicist | teacher}}
| signature     = Leos Janacek signature.svg
}}

'''Leoš Janáček''' ({{IPA|cs|ˈlɛoʃ ˈjanaːtʃɛk|lang|Cs-Leos Janacek.ogg}};<ref>{{cite web |title=Janáček |url=https://www.collinsdictionary.com/dictionary/english/janacek |website=Collins Dictionary |access-date=29 August 2023}}</ref>{{sfn|Tyrrell|2006–2007|loc=Vol. 1|p=xxv}}<!-- please read this source before changing the stress in the IPA pronunciation --> 3 July 1854 – 12 August 1928) was a Czech<!-- Nationality is supported by sources. Anyone wishing to change to "Moravian" should take the matter to talk-page and gain consensus before changing. --> composer, [[Music theory|music theorist]], [[Folkloristics|folklorist]], publicist and teacher. He was inspired by [[Moravian folk music|Moravian]] and other [[Slavs|Slavic]] music, including Eastern European folk music, to create an original, modern musical style.

Born in [[Hukvaldy]], Janáček demonstrated musical talent at an early age and was educated in [[Brno]], Prague, [[Leipzig]], and Vienna. He then returned to live in Brno, where he married his pupil Zdenka Schulzová and devoted himself mainly to folkloristic research. His earlier musical output was influenced by contemporaries such as [[Antonín Dvořák]], but around the turn of the century he began to incorporate his earlier studies of national folk music, as well as his transcriptions of "speech melodies" of spoken language, to create a modern, highly original synthesis. The death of his daughter Olga in 1903 had a profound effect on his musical output; these notable transformations were first evident in the opera ''[[Jenůfa]]'' (often called the "Moravian national opera"), which premiered in 1904 in Brno.

In the following years, Janáček became frustrated with a lack of recognition from Prague, but this was finally relieved by the success of a revised edition of ''Jenůfa'' at the [[National Theatre (Prague)|National Theatre]] in 1916, which gave Janáček access to the world's great opera stages. Janáček's later works are his most celebrated. They include operas such as ''[[Káťa Kabanová]]'' and ''[[The Cunning Little Vixen]]'', the [[Sinfonietta (Janáček)|Sinfonietta]], the ''[[Glagolitic Mass]]'', the rhapsody ''[[Taras Bulba (rhapsody)|Taras Bulba]]'', two string quartets, and other chamber works. Many of Janáček's later works were influenced by Czech and Russian literature, his [[pan-Slavism|pan-Slavist]] sentiments, and his infatuation with [[Kamila Stösslová]].

After his death in 1928, Janáček's work was heavily promoted on the world opera stage by the Australian conductor [[Charles Mackerras]], who also restored some of his compositions to their original, unrevised forms. In his homeland he inspired a new generation of Czech composers including several of his students. Today he is considered one of the most important Czech composers, along with Dvořák and [[Bedřich Smetana]].

== Biography ==
=== 1854–1872: Early life and family ===
[[File:Hukvaldy, stará škola.jpg|thumb|The school in Hukvaldy, Janáček's birth house]]

Leoš Janáček, son of schoolmaster Jiří Janacek and [[Amálie Janáčková|Amalie (née Grulichová) Janáčková]], was born in [[Hukvaldy]], Moravia (then part of the [[Austrian Empire]]) on 3 July 1854.{{sfn|Drlíková|2004|p=7}} He was born with six surviving siblings, and baptised as Leo Eugen.{{sfn|Tyrrell|2006–2007|pp=30,134|loc=Vol. 1}} He was a gifted child in a family of limited means, and showed an early musical talent in choral singing. His father wanted him to follow the family tradition and become a teacher, but he deferred to Janáček's obvious musical abilities.{{sfn|Tyrrell|2006–2007|pp=33–35|loc=Vol. 1}}

In 1865, young Janáček enrolled as a ward of the foundation of the [[St Thomas's Abbey, Brno]], where he took part in choral singing under [[Pavel Křížkovský]] and occasionally played the organ.{{sfn|Drlíková|2004|p=33}} One of his classmates, [[František Neumann]], later described Janáček as an "excellent pianist, who played [[Ludwig van Beethoven|Beethoven]] symphonies perfectly in a piano duet with a classmate, under Křížkovský's supervision".{{sfn|Štědroň|1946|p=24}} Křížkovský found him a problematic and wayward student but recommended his entry to the Prague Organ School.{{sfn|Štědroň|1946|p=29}} Janáček later remembered Křížkovský as a great conductor and teacher.

=== 1873–1880: Education and early career ===
Janáček originally intended to study piano and organ but eventually devoted himself to composition. He wrote his first vocal compositions while choirmaster of the ''Svatopluk Artisan's Association'' (1873–1876).{{sfn|Drlíková|2004|p=13}} In 1874, he enrolled at the Prague organ school, under [[František Zdeněk Skuherský|František Skuherský]] and František Blažek.{{sfn|Černušák|Štědroň|Nováček|1963|p=557}} His student days in Prague were impoverished; with no piano in his room, he had to make do with a keyboard drawn on his tabletop.{{sfn|Štědroň|1946|p=32}} His criticism of Skuherský's performance of the Gregorian mass was published in the March 1875 edition of the journal ''Cecilie'' and led to his expulsion from the school, but Skuherský relented, and on 24 July 1875 Janáček graduated with the best results in his class.{{sfn|Štědroň|1946|p=31}}

On his return to Brno he earned a living as a music teacher, and conducted various amateur [[choir]]s. From 1876 he taught music at Brno's Teachers' Institute. Among his pupils there was Zdenka Schulzová, daughter of Emilian Schulz, the Institute director. She was later to be Janáček's wife.{{sfn|Černušák|Štědroň|Nováček|1963|p=557}} In 1876, he also became a piano student of Amálie Wickenhauserová-Nerudová, with whom he co-organized chamber concertos and performed in concerts over the following two years. In February 1876, he was voted Choirmaster of the ''Beseda brněnská'' Philharmonic Society. Apart from an interruption from 1879 to 1881, he remained its choirmaster and conductor until 1888.{{sfn|Drlíková|2004|p=19}}

From October 1879 to February 1880, he studied piano, organ, and composition at the [[Felix Mendelssohn College of Music and Theatre|Leipzig Conservatory]]. While there, he composed ''Thema con variazioni'' for piano in B-flat, subtitled ''Zdenka's Variations''.{{sfn|Drlíková|2004|pp=27, 29}} Dissatisfied with his teachers (among them [[Oscar Paul]] and Leo Grill), and denied a studentship with [[Camille Saint-Saëns]] in Paris, Janáček moved on to the [[University of Music and Performing Arts, Vienna|Vienna Conservatory]], where from April to June 1880, he studied composition with [[Franz Krenn]].{{sfn|Firkušný|2005|p=45}} He concealed his opposition to Krenn's neo-romanticism, but he quit [[Josef Dachs]]'s classes and further piano study after he was criticised for his piano style and technique.{{sfn|Štědroň|1946|p=55}} He submitted a violin sonata (now lost) to a Vienna Conservatory competition, but the judges rejected it as being "too academic".{{sfn|Štědroň|1946|p=57}} Janáček left the conservatory in June 1880, disappointed despite Franz Krenn's very complimentary personal report.{{sfn|Firkušný|2005|p=48}} One of his classmates and friends in Vienna was composer and pianist [[Josef Weiss]].<ref name="SO">{{cite journal|url=https://operaslovakia-sk.translate.goog/kosicki-bratia-weiss-a-bereny-v-berline-new-yorku-parizi-a-budapesti/?_x_tr_sl=sk&_x_tr_tl=en&_x_tr_hl=en&_x_tr_pto=sc|title=Košickí bratia Weiss a Berény v Berlíne, New Yorku, Paríži a Budapešti|date=25 November 2020|first=Agata|last= Schindler|journal=Opera Slovokia Magazine}}</ref>

=== 1881–1899: Folkloristic work and early compositions ===
[[File:Brno-Veveří - Neoklasicistní vila na nároží Kounicovy a Smetanovy ulice.jpg|thumb|Former organ school in Brno. Janáček lived in a small house in the garden of the villa. His garden house is today's Leoš Janáček Memorial.]]
Janáček returned to [[Brno]]{{sfn|Drlíková|2004|p=31}} where, on 13 July 1881, he married his young pupil, Zdenka Schulzová.{{sfn|Drlíková|2004|p=33}}

In 1881, Janáček founded and was appointed director of the organ school, and held this post until 1919, when the school became the [[Brno Conservatory]].{{sfn|Drlíková|2004|p=33}} In the mid-1880s, Janáček began composing more systematically. Among other works, he created the ''Four male-voice choruses'' (1886), dedicated to Antonín Dvořák, and his first opera, ''[[Šárka (Janáček)|Šárka]]'' (1887–1888).{{sfn|Vysloužil|2001|p=224}} During this period he began to collect and study folk music, songs and dances. In the early months of 1887, he sharply criticized the comic opera ''The Bridegrooms'', by Czech composer [[Karel Kovařovic]], in a ''Hudební listy'' journal review: "Which melody stuck in your mind? Which motif? Is this dramatic opera? No, I would write on the poster: 'Comedy performed together with music', since the music and the libretto aren't connected to each other".{{sfn|Štědroň|1946|pp=111–112}} Janáček's review apparently led to mutual dislike and later professional difficulties when Kovařovic, as director of the [[National Theatre (Prague)|National Theatre in Prague]], refused to stage Janáček's opera ''[[Jenůfa]]''.{{sfn|Štědroň|1946|p=112}}{{sfn|Drlíková|2004|p=41}}

From the early 1890s, Janáček led the mainstream of folklorist activity in [[Moravia]] and [[Silesia]], using a repertoire of folk songs and dances in orchestral and piano arrangements. Many of the tunes he used had been recorded by him but a second source was [[Františka Xavera Běhálková|Xavera Běhálková]] who sent him 70 to 100 tunes that she had gathered from around the [[Haná]] region of [[central Moravia]].{{sfn|Simeone|Tyrrell|Němcová|1997|p=250}}

Most of his achievements in this field were published in 1899–1901 though his interest in folklore would be lifelong.{{sfn|Procházková|2006|p=380}} His compositional work was still influenced by the declamatory, dramatic style of [[Bedřich Smetana|Smetana]] and [[Antonín Dvořák|Dvořák]]. He expressed very negative opinions on German neo-classicism and especially on [[Richard Wagner|Wagner]] in the ''Hudební listy'' journal, which he founded in 1884.{{sfn|Firkušný|2005|p=62}} The death of his second child, Vladimír, in 1890 was followed by an attempted opera, ''Beginning of the Romance'' (1891) and the [[cantata]] ''[[Amarus]]'' (1897).

=== 1900–1915: Difficult years ===
[[File:Jenůfa - the only well-preserved page of the score.jpg|thumb|upright=0.9|The only preserved page of the autograph manuscript of Janáček's ''[[Jenůfa]]'']]
[[File:Leóš Janáček (1904).png|thumb|upright=0.9|Janáček in 1904]]
In the first decade of the 20th century, Janáček composed choral church music including ''[[Our Father (cantata)|Otčenáš]]'' (Our Father, 1901), ''Constitues'' (1903) and ''Ave Maria'' (1904). In 1901, the first part of his piano cycle ''[[On an Overgrown Path]]'' was published and gradually became one of his most frequently-performed works.{{sfn|Zahrádka|2006|p=XI}} In 1902, Janáček visited Russia twice. On the first occasion he took his daughter Olga to [[Saint Petersburg]], where she stayed to study Russian. Only three months later, he returned to Saint Petersburg with his wife because Olga had become very ill. They took her back to [[Brno]], but her health worsened.{{sfn|Tyrrell|2006–2007|loc=Vol. 1|pp=525–542}}

Janáček expressed his painful feelings for his daughter in a new work, his opera ''[[Jenůfa]]'', in which the suffering of his daughter had transfigured into Jenůfa's.<ref name=PlumleyBio>{{cite web|url=http://www.leosjanacek.com/biography.htm|title=Janáček: a brief biography|access-date=15 September 2008|last=Plumley|first=Gavin|archive-date=18 September 2008|archive-url=https://web.archive.org/web/20080918064958/http://www.leosjanacek.com/biography.htm|url-status=dead}}</ref> When Olga died in February 1903, Janáček dedicated ''Jenůfa'' to her memory. The opera was performed in Brno in 1904,{{sfn|Sehnal|Vysloužil|2001|p=183}} with reasonable success, but Janáček felt this was no more than a provincial achievement. He aspired to recognition by the more influential Prague opera, but ''Jenůfa'' was refused there (twelve years passed before its first performance in Prague).<ref>{{cite book |title=Káťa Kabanová |last=Tyrrell |first=John |author-link=John Tyrrell (musicologist)|year=1982 |publisher=Cambridge University Press |location=Cambridge |isbn=978-0-521-29853-7 |page=[https://archive.org/details/leosjanacekkat00tyrr/page/2 2] |url=https://archive.org/details/leosjanacekkat00tyrr |url-access=registration}}</ref> Dejected and emotionally exhausted, Janáček went to [[Luhačovice]] spa to recover. There he met Kamila Urválková, whose love story supplied the theme for his next opera, ''[[Destiny (Janáček)|Osud]]'' (''Destiny'').<ref>{{Cite journal|last=Tyrrell|first=John|author-link=John Tyrrell (musicologist)|year=1972|title=Janáček's ''Fate''|journal=[[The Musical Times]]|volume=113|issue=1547|pages=34–37|doi=10.2307/957619|jstor=957619}}</ref>

In 1905, Janáček attended a demonstration in support of a Czech university in Brno, where the violent death of František Pavlík, a young joiner, at the hands of the police inspired his piano sonata, ''[[1. X. 1905]]'' (''From The Street'').{{sfn|Drlíková|2004|p=67}} The incident led him to further promote the anti-German and anti-Austrian ethos of the ''Russian Circle'', which he had co-founded in 1897{{sfn|Černušák|Štědroň|Nováček|1963|p=558}} and which would be officially banned by the Austrian police in 1915.{{sfn|Drlíková|2004|p=81}} In 1906, he approached the Czech poet [[Petr Bezruč]], with whom he later collaborated, composing several choral works based on Bezruč's poetry. These included ''Kantor Halfar'' (1906), ''Maryčka Magdónova'' (1908), and ''70.000'' (1909).<ref>{{cite journal |last1=Závodský |first1=Artur |title=Petr Bezruč a Leoš Janáček |journal=Sborník prácí filozofické fakulty Brněnské univerzity |date=1981 |volume=D |issue=28 |pages=32–33 |url=https://digilib.phil.muni.cz/_flysystem/fedora/pdf/108143.pdf |access-date=24 August 2023}}</ref>

Janáček's life in the first decade of the 20th century was complicated by personal and professional difficulties. He still yearned for artistic recognition from Prague.{{sfn|Vysloužil|2001|p=225}} He destroyed some of his works, others remained unfinished. Nevertheless, he continued composing, and would create several remarkable choral, chamber, orchestral and operatic works, the most notable being the 1914 cantata, ''Věčné evangelium'' (''The Eternal Gospel''), ''[[Pohádka]]'' (''Fairy tale'') for 'cello and piano (1910), the 1912 piano cycle ''V mlhách'' (''[[In the Mists]]''), his [[Violin Sonata (Janáček)|violin sonata]], and his first symphonic poem ''Šumařovo dítě'' (''A Fiddler's Child''). His fifth opera, ''Výlet pana Broučka do měsíce'' (''[[The Excursions of Mr. Brouček to the Moon and to the 15th Century]]''), composed from 1908 to 1917, has been characterized as the most "purely Czech in subject and treatment" of all of Janáček's operas.<ref>{{cite journal|last=Shawe-Taylor|first=Desmond|author-link=Desmond Shawe-Taylor (music critic)|title=The Operas of Leoš Janáček|journal=[[Proceedings of the Royal Musical Association]]|pages=49–64|volume=85|date=1958|doi=10.1093/jrma/85.1.49}}{{subscription required}}</ref>

=== 1916–1928: Breakthrough and masterworks ===
In 1916, he started a long professional and personal relationship with theatre critic, dramatist and translator [[Max Brod]].{{sfn|Drlíková|2004|p=83}}<ref>C Susskind, ''Janáček and Brod''. Yale University Press, 1985, {{ISBN|0-300-03420-2}}</ref> In the same year, ''Jenůfa'', revised by Kovařovic, was finally accepted by the National Theatre. Its performance in Prague in 1916 was a great success, and brought Janáček his first acclaim.<ref>{{cite AV media notes|last=Štědroň|first=Miloš|translator=Ted Whang|title=Jenůfa (Brno Janáček Opera Chorus and Orchestra, conductor [[František Jílek]])|others=Leoš Janáček|type=CD|publisher=[[Supraphon]]|id=SU 3869-2|location=Prague|year=2006}}</ref>{{sfn|Sehnal|Vysloužil|2001|pp=184, 185}}

[[Image:Kamila Stösslová in 1917.jpg|thumb|Kamila Stösslová with her son Otto in 1917]]
Following the Prague première, he began a relationship with singer Gabriela Horváthová, which led to his wife Zdenka's attempted suicide and their "informal" divorce.<ref name=PlumleyBio />{{sfn|Přibáňová|2007|p=8}} A year later (1917), he met [[Kamila Stösslová]], a young married woman 38 years his junior, who was to inspire him for the remaining years of his life. He conducted an obsessive and (on his side at least) passionate correspondence with her, of nearly 730 letters.{{sfn|Drlíková|2004|p=99}} From 1917 to 1919, deeply inspired by Stösslová, he composed ''[[The Diary of One Who Disappeared]]''. As he completed its final revision, he began his next 'Kamila' work, the opera ''[[Káťa Kabanová]]''.{{sfn|Tyrrell|2006–2007|loc=Vol. 2}}{{page needed|date=August 2023}}

In 1920, Janáček retired from his post as director of the [[Brno Conservatory]] but continued to teach until 1925.{{sfn|Drlíková|2004|p=91}} In 1921, he attended a lecture by the Indian philosopher-poet [[Rabindranath Tagore]] and used a Tagore poem as the basis for the chorus ''[[The Wandering Madman]]'' (1922).{{sfn|Simeone|Tyrrell|Němcová|1997|p=148}}  In the early 1920s, Janáček completed his opera ''[[The Cunning Little Vixen]]'', which had been inspired by a serialized novella by [[Rudolf Těsnohlídek]] in the newspaper [[Lidové noviny]].<ref>{{cite book |title=The Dictionary of the Opera |last=Osborne |first=Charles |page=[https://archive.org/details/dictionaryofoper00osbo/page/87 87] |year=1983 |publisher=Simon & Schuster |isbn=0-671-49218-7 |url=https://archive.org/details/dictionaryofoper00osbo/page/87 }}</ref>

In Janáček's 70th year (1924), his biography was published by Max Brod, and he was interviewed by [[Olin Downes]] for ''[[The New York Times]]''.{{sfn|Drlíková|2004|p=99}} In 1925, he retired from teaching but continued composing and was awarded the first honorary doctorate to be given by [[Masaryk University]] in Brno. In the spring of 1926, he created his [[Sinfonietta (Janáček)|Sinfonietta]], a monumental orchestral work, which rapidly gained wide critical acclaim. In the same year, he went to England at the invitation of [[Rosa Newmarch]]. A number of his works were performed in London, including his first string quartet, the wind sextet ''Youth'', and his violin sonata.{{sfn|Drlíková|2004|p=109}} Shortly after, and still in 1926, he started to compose a setting to an [[Old Church Slavonic]] text. The result was the large-scale orchestral ''[[Glagolitic Mass]]''.<ref name="glagolitic">{{cite web|title=''Mša glagolskaja''|url=http://www.leosjanacek.com/glagolitic.htm|website=leosjanacek.com|access-date=19 April 2012|archive-date=30 March 2012|archive-url=https://web.archive.org/web/20120330045329/http://www.leosjanacek.com/glagolitic.htm|url-status=dead}}</ref>

The world première of Janáček's lyrical [[Concertino (Janáček)|Concertino]] for piano, two violins, viola, clarinet, French horn and bassoon took place in [[Brno]] in 1926.<ref name="Grove-Janacek">{{Cite Grove |first=John |last=Tyrrell |title=Janáček, Leoš |id=14122 }}</ref> Around the same time, Janáček began work on a comparable chamber work for an even more unusual set of instruments, the [[Capriccio (Janáček)|Capriccio]] for piano left hand, flute, two trumpets, three trombones and tenor tuba, was written for pianist [[Otakar Hollmann]], who lost the use of his right hand during World War I. It premièred in Prague on 2 March 1928.{{sfn|Simeone|Tyrrell|Němcová|1997|pp=235–236}}

[[File:Leos Janacek hrob.jpg|thumb|upright|Janáček's grave, in [[Brno]]]]

In 1927 – the year of the Sinfonietta's first performances in New York, Berlin and Brno – he began to compose his final operatic work, ''[[From the House of the Dead]]'', the third act of which would be found on his desk after his death. In January 1928, he began his second string quartet, the ''[[String Quartet No. 2 (Janáček)|Intimate Letters]]'', his "manifesto on love". Meanwhile, the Sinfonietta was performed in London, Vienna and Dresden. In his later years, Janáček became an international celebrity. He became a member of the [[Akademie der Künste|Prussian Academy of Arts]] in Berlin in 1927, along with [[Arnold Schoenberg]] and [[Paul Hindemith]].{{sfn|Drlíková|2004|p=113}}{{sfn|Vysloužil|2001|p=227}}

=== Death and funeral ===
In August 1928, he took an excursion to [[Štramberk]] with Kamila Stösslová and her son Otto, but caught a chill which developed into pneumonia. He died on 12 August 1928 in [[Ostrava]], at the sanatorium of Dr. L. Klein, at the age of 74. He was given a large public funeral that included music from the last scene of his ''Cunning Little Vixen''. He was buried in the Circle of Honour at the [[Brno Central Cemetery]].{{sfn|Drlíková|2004|p=119}}

== Personality ==
[[File:Janacek with wife.jpg|thumb|Janáček with his wife Zdenka, in 1881]]
[[File:Oga Janáčková 2509.jpg|thumb|Olga Janáčková]]
Janáček worked tirelessly throughout his life. He led the organ school, was a professor at the teachers institute and grammar school in Brno, and collected transcriptions of folk songs, conversations and animal vocalisations,<ref name="Zahradka">{{cite web |last1=Zahrádka |first1=Jiří |title=How Janáček created |url=https://www.leosjanacek.eu/en/how-he-created/ |website=leosjanacek.eu |access-date=25 August 2023}}</ref> all while composing. From an early age, he presented himself as an individualist and his firmly formulated opinions often led to conflict. He unhesitatingly criticized his teachers, who considered him a defiant and anti-authoritarian student, yet his own students found him to be strict and uncompromising. [[Vilém Tauský]], one of his pupils, described his encounters with Janáček as somewhat distressing for someone unused to his personality and noted that Janáček's characteristically staccato speech rhythms were reproduced in some of his operatic characters.{{sfn|Tyrrell|Mackerras|2003|p=16}} In 1881, Janáček gave up his leading role with the ''Beseda brněnská'', as a response to criticism, but a rapid decline in ''Beseda''<nowiki>'</nowiki>s performance quality led to his recall in 1882.{{sfn|Firkušný|2005|p=57}}

His married life, settled and calm in its early years, became increasingly tense and difficult following the death of his daughter, Olga, in 1903. Years of effort in obscurity took their toll, and almost ended his ambitions as a composer: "I was beaten down", he wrote later, "My own students gave me advice – how to compose, how to speak through the orchestra".{{sfn|Přibáňová|2007|p=8}} Success in 1916 – when [[Karel Kovařovic]] finally decided to perform ''Jenůfa'' in Prague – brought its own problems. Janáček grudgingly resigned himself to the changes forced upon his work. Its success brought him into Prague's music scene and the attentions of soprano {{ill|Gabriela Horvátová|cs}}, who guided him through Prague society. Janáček was enchanted by her. On his return to Brno, he appears not to have concealed his new passion from Zdenka, who responded by attempting suicide.{{sfn|Zemanová|2002|pp=130–132}} That Christmas, after Janáček suspected Zdenka of sending Horvátová an anonymous letter, Zdenka tried to instigate a divorce, but the couple agreed to settle for an "informal" divorce. From then on, until Janáček's death, they lived separate lives in the same household.{{sfn|Zemanová|2002|pp=134–135}} Eventually Janáček lost interest in Horvátová.{{sfn|Zemanová|2002|p=236}}

In 1917, he began his lifelong, inspirational and unrequited passion for [[Kamila Stösslová]], who neither sought nor rejected his devotion.{{sfn|Přibáňová|2007|p=9}} Janáček pleaded for first-name terms in their correspondence. In 1927, she finally agreed and signed herself "{{lang|cs|Tvá Kamila}}" (Your Kamila) in a letter, which Zdenka found. This revelation provoked a furious quarrel between Zdenka and Janáček, though their living arrangements did not change – Janáček seems to have persuaded her to stay.{{sfn|Přibáňová|2007|p=9}} In 1928, the year of his death, Janáček confessed his intention to publicize his feelings for Stösslová. [[Max Brod]] had to dissuade him.{{sfn|Přibáňová|2007|p=10}} Janáček's contemporaries and collaborators described him as mistrustful and reserved, but capable of obsessive passion for those he loved. His overwhelming passion for Stösslová was sincere but verged upon self-destruction.{{sfn|Přibáňová|2007|p=10}} Their letters remain an important source for Janáček's artistic intentions and inspiration. His letters to his long-suffering wife are, by contrast, mundanely descriptive. Zdenka seems to have destroyed all hers to Janáček. Only a few postcards survive.{{sfn|Přibáňová|2007|p=10}}

== Style ==
{{see also|List of compositions by Leoš Janáček}}
In 1874, Janáček became friends with [[Antonín Dvořák]], and began composing in a relatively traditional Romantic style. After his opera ''[[Šárka (Janáček)|Šárka]]'' (1887–1888), his style absorbed elements of [[Moravia]]n and [[Slovakia|Slovak]] [[folk music]].

His musical assimilation of the rhythm, [[pitch contour]] and inflections of normal Czech speech (specifically [[Moravian dialects]]) helped create the very distinctive vocal [[melody|melodies]] of his opera ''[[Jenůfa]]'' (1904), whose 1916 success in Prague was the turning point in his career. In ''Jenůfa'', Janáček developed and applied the concept of "speech melodies" ({{langx|cs|nápěvky mluvy}}) to build a unique musical and dramatic style quite independent of "Wagnerian" dramatic method. He studied the circumstances in which "speech melodies" changed, the psychology and temperament of speakers and the coherence within speech, all of which helped render the dramatically truthful roles of his mature operas, and became one of the most significant markers of his style.<ref name="Zahradka" />{{sfn|Firkušný|2005|pp=91–92}} Janáček took these stylistic principles much farther in his vocal writing than [[Modest Mussorgsky]], and thus anticipates the later work of [[Béla Bartók]].{{sfn|Samson|1977|p=67}} The stylistic basis for his later works originates in the period of 1904–1918, but Janáček composed most of his output – and his best known works – in the last decade of his life.{{sfn|Vysloužil|2001|p=227}}

{{Listen|type=music|image=none|help=no
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| title       = Violin Sonata, 2nd movement
| description = Composed in 1914, performed with success in England in the 1920s
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Much of Janáček's work displays great originality and individuality. It employs a vastly expanded view of [[tonality]], uses unorthodox chord spacings and structures, and often, [[mode (music)|modality]]: "there is no music without [[key (music)|key]]. [[Atonality]] abolishes definite key, and thus tonal [[modulation (music)|modulation]].... Folksong knows of no atonality."{{sfn|Hollander|1963|p=[https://archive.org/details/jeosjanacek000673mbp/page/n132 119]}} Janáček features [[accompaniment]] figures and patterns, with (according to [[Jim Samson]]) "the on-going movement of his music...similarly achieved by unorthodox means; often a discourse of short, 'unfinished' [[phrase (music)|phrases]] comprising constant repetitions of short [[motif (music)|motifs]] which gather momentum in a cumulative manner."{{sfn|Samson|1977|p=67}} Janáček named these motifs "{{lang|cs|sčasovky}}" (singular {{lang|cs|sčasovka}}) in his theoretical works. "{{lang|cs|Sčasovka}}" has no strict English equivalent, but [[John Tyrrell (musicologist)|John Tyrrell]], a leading specialist on Janáček's music, describes it as "a little flash of time, almost a kind of musical capsule, which Janáček often used in slow music as tiny swift motifs with remarkably characteristic rhythms that are supposed to pepper the musical flow."{{sfn|Tyrrell|Mackerras|2003|p=13}} Janáček's use of these repeated motifs demonstrates a remote similarity to minimalist composers ([[Charles Mackerras]] called Janáček "the first minimalist composer").<ref name=glagolitic />

== Inspiration ==
=== Folklore ===
Janáček was deeply influenced by folklore and Eastern European folk music, and by [[Moravian folk music]] in particular, but not by the pervasive, idealized 19th century romantic folklore variant. He took a realistic, descriptive and analytic approach to the material.<ref name=autogenerated9>{{cite AV media notes|title=Janáček: Moravian Folk Poetry in Songs (Martina Pecková, Tomáš Král, Ivo Kahánek)|year=1994|first=Miloš|last=Štědroň|translator-first=Ivan|translator-last=Vomáčka|page=8|type=CD |publisher=[[Supraphon]]|id=SU 4183-2|location=Prague|language=cs,en|url=https://www.supraphon.com/album/108572-janacek-moravian-folk-songs}}</ref>{{sfn|Sehnal|Vysloužil|2001|p=175}} Moravian folk songs, compared with their Bohemian counterparts, are much freer and more irregular in their metrical and rhythmic structure, and more varied in their melodic intervals.{{sfn|Zemanová|2002|p=61}} In his study of Moravian modes, Janáček found that the peasant musicians did not know the names of the modes and had their own ways of referring to them. He used the term "Moravian modulation" to describe the harmonic progression I–{{flat}}VII,{{sfn|Steinmetz|2021|page=42}} which he considered a general characteristic of this region's folk music.{{sfn|Zemanová|2002|p=61}}

Janáček partly composed the original piano accompaniments to more than 150 folk songs, respectful of their original function and context,<ref>{{cite book|title=Moravská lidová poezie v písních|trans-title=Moravian Folk Poetry in Songs|last=Janáček|first=Leoš|chapter=Foreword|year=1994|publisher=[[Bärenreiter]]|location=Prague|language=cs,de|id=H 4570}}</ref> and partly used folk inspiration in his own works, especially in his mature compositions.<ref name="autogenerated9"/> His work in this area was not stylistically imitative; instead, he developed a new and original musical aesthetic based on a deep study of the fundamentals of folk music.<ref name="autogenerated9"/>

=== Russia ===
Janáček's deep and lifelong affection for Russia and Russian culture represents another important element of his musical inspiration.<ref name=Krombholc>{{cite AV media notes |title=Leoš Janáček: Katya Kabanova (Prague National Theatre, Jaroslav Krombholc)|page=6 |type=CD |publisher=Supraphon |id=108016-2612 |location=Prague }}</ref> In 1888 he attended the Prague performance of [[Pyotr Ilyich Tchaikovsky|Tchaikovsky]]'s music, and met the older composer. Janáček profoundly admired Tchaikovsky, and particularly appreciated his highly developed musical thought in connection with the use of Russian folk motifs.{{sfn|Štědroň|1946|p=132}} Janáček's Russian inspiration is especially apparent in his later chamber, symphonic and operatic output.<ref name=Krombholc /> He closely followed developments in Russian music from his early years, and in 1896, following his first visit to Russia, he founded a ''Russian Circle'' in Brno. Janáček read Russian authors in their original language. Their literature offered him an enormous and reliable source of inspiration, though this did not blind him to the problems of Russian society.<ref name=Krombholc /> He was twenty-two years old when he wrote his first composition based on a Russian theme: a melodrama, ''Death'', set to [[Mikhail Lermontov|Lermontov's]] poem. In his later works, he often used literary models with sharply contoured plots.<ref name=Krombholc /> In 1910 Zhukovsky's ''Tale of Tsar Berendei'' inspired him to write the ''Fairy Tale for Cello and Piano''. He composed the rhapsody ''Taras Bulba'' (1918) to [[Nikolai Gogol|Gogol's]] short story, and five years later, in 1923, completed his first string quartet, inspired by [[Leo Tolstoy|Tolstoy's]] ''[[The Kreutzer Sonata|Kreutzer Sonata]]''. Two of his later operas were based on Russian themes: ''Káťa Kabanová'', composed in 1921 to [[Alexander Ostrovsky]]'s play ''The Storm'', and his last work, ''From the House of the Dead'', which transformed [[Fyodor Dostoevsky|Dostoevsky]]'s vision of the world into an exciting collective drama.<ref name=Krombholc />{{rp|7}}

=== Other composers ===
One of Janáček's early influences was Antonín Dvořák,{{sfn|Sehnal|Vysloužil|2001|p=175}} whom he always deeply admired and to whom he dedicated some of his works. He rearranged part of Dvořák's [[Moravian Duets]] for mixed choir with original piano accompaniment. In the early years of the 20th century, Janáček became increasingly interested in the music of other European composers. His opera ''Destiny'' was a response to another significant and famous work in contemporary Bohemia – ''[[Louise (opera)|Louise]]'', by the French composer [[Gustave Charpentier]].{{sfn|Tyrrell|1991–1992|p=108}} The influence of [[Giacomo Puccini]] is apparent particularly in Janáček's later works, for example in his opera ''Káťa Kabanová''. Although he carefully observed developments in European music, his operas remained firmly connected with Czech and Slavic themes.{{sfn|Tyrrell|1991–1992|p=156}}

== Publications ==

Janáček published music theory works, essays and articles over a period of fifty years, from 1877 to 1927. He wrote and edited the {{lang|cs|Hudební listy}} journal, and contributed to many specialist music journals, such as ''Cecílie'', ''Hlídka'' and ''Dalibor''. He also completed several extensive studies, as {{lang|cs|Úplná nauka o harmonii}} (The Complete Harmony Theory), {{lang|cs|O skladbě souzvukův a jejich spojův}} (On the Construction of Chords and Their Connections) and {{lang|cs|Základy hudebního sčasování}} (Basics of Musical ''Sčasování'').{{sfn|Janáček|2007|p=677}} In his essays and books, Janáček examined various musical topics, forms, melody and harmony theories, dyad and triad chords, counterpoint (or "opora", meaning "support") and devoted himself to the study of the mental composition.{{sfn|Janáček|2007|pp=677–678}} His theoretical works stress the Czech term "sčasování", Janáček's specific word for rhythm, which has relation to time ({{lang|cs|čas}} in Czech), and the handling of time in music composition.{{sfn|Janáček|2007|p=676}} He distinguished several types of rhythm (''sčasovka''): "{{lang|cs|znící}}" (sounding) – meaning any rhythm, "{{lang|cs|čítací}}" (counting) – meaning smaller units measuring the course of rhythm; and "{{lang|cs|scelovací}}" (summing) – a long value comprising the length of a rhythmical unit.{{sfn|Janáček|2007|pp=676–677}} Janáček used the combination of their mutual action widely in his own works.<ref>{{cite journal |last1=Steinmetz |first1=Karel |title=Janáček's theoretical views on ''sčasování'' and their projections in his compositional practice |journal=Hudební věda |date=2020 |volume=57 |issue=3 |pages=291–326 |url=https://kramerius.lib.cas.cz/view/uuid:9c1f778a-8761-4f83-a5c2-7b0662c26d8e?article=uuid:c765e8a9-b708-4afd-90ef-46949de8d9f6 |access-date=25 August 2023 |issn=0018-7003}}</ref>

As well as his contributions to music journals, Janáček also wrote essays, reports, reviews, feuilletons, articles and books, regularly contributing such content to local newspapers in Brno.{{sfn|Janáček|1982|p=25}} His work in this area comprises around 380 individual items. Janáček's literary legacy represents an important illustration of his life, public work and art.{{sfn|Janáček|2003|p=iii}}

=== Selected writings ===

A selection of Janáček's many publications is given below.<ref name="writings">{{Cite web |title=Leoš Janáček Published Writings |website=leosjanacek.eu |publisher=TIC Brno |url= https://www.leosjanacek.eu/en/published/ |access-date=25 August 2023 }}</ref>{{sfn|Tyrrell|2006–2007|pp=963–971|loc=Vol. 1}}
{{Div col|colwidth=45em|rules=yes}}
*{{lang|cs|O dokonalé představě dvojzvuku}} (On the Perfect Image of the Dyad Chord) (1885–1886)
*{{lang|cs|Bedřich Smetana o formách hudebních}} (Bedřich Smetana: On Musical Forms) (1886)
*{{lang|cs|O představě tóniny}} (On the Idea of Key) (1886–1887)
*{{lang|cs|O vědeckosti nauk o harmonii}} (On the Scientificity of Harmony Theories) (1887)
*{{lang|cs|O trojzvuku}} (On the Triad) (1887–1888)
*{{lang|cs|Slovíčko o kontrapunktu}} (A Word on Counterpoint) (1888)
*{{lang|cs|Nový proud v teorii hudební}} (A New Trend in Music Theory) (1894)
*{{lang|cs|O skladbě souzvukův a jejich spojův}} (On the Construction of Chords and Their Progressions) (1896)
*{{lang|cs|Moderní harmonická hudba}} (Modern Harmonic Music) (1907)
*{{lang|cs|Můj názor o sčasování (rytmu)}} (My Opinion of "sčasování" (Rhythm)) (1907)
*{{lang|cs|Z praktické části o sčasování (rytmu)}} (On "sčasování" From practice) (1908)
*{{lang|cs|Váha reálních motivů}} (The Weight of Real Motifs) (1910)
*{{lang|cs|O průběhu duševní práce skladatelské}} (On the Course of Mental Compositional Work) (1916)
*{{lang|cs|Úplná nauka o harmonii}} (A Complete Theory of Harmony) (1920)
{{Div col end}}

== Folk music research ==
[[Image:Janáček collecting folksongs.jpg|thumb|Janáček collecting folksongs on 19 August 1906 in [[Strání]]]]  
Janáček came from a region characterized by its deeply rooted [[folk culture]], which he explored as a young student under Pavel Křížkovský.{{sfn|Procházková|2006|p=381}} His meeting with the folklorist and dialectologist [[František Bartoš (folklorist)|František Bartoš]] (1837–1906) was decisive in his own development as a folklorist and composer, and led to their collaborative and systematic collections of folk songs.{{sfn|Procházková|2006|p=381}} Janáček became an important collector in his own right, especially of [[Lach dialects|Lachian]], [[Moravian Slovakia]]n, [[Moravian Wallachia]]n and Slovakian songs. From 1879, his collections included transcribed speech intonations.{{sfn|Procházková|2006|p=382}} He was one of the organizers of the ''Czech-Slavic Folklore Exhibition'', an important event in Czech culture at the end of 19th century. From 1905 he was President of the newly instituted ''Working Committee for Czech National Folksong in Moravia and Silesia'', a branch of the Austrian institute ''Das Volkslied in Österreich'' (Folksong in Austria), which was established in 1902 by the Viennese publishing house [[Universal Edition]]. Janáček was a pioneer and propagator of [[ethnography|ethnographic]] photography in Moravia and Silesia.{{sfn|Procházková|2006|p=383}} In October 1909 he acquired an [[Thomas Edison|Edison]] phonograph and became one of the first to use phonographic recording as a folklore research tool. Several of these recording sessions have been preserved, and were reissued in 1998.<ref>{{cite web |url=http://gnosis.cz/GBrno/detail.php?nid=GM010&ntyp=1 |title=Nejstarší nahrávky moravského a slovenského zpěvu 1909–1912 |archive-url=https://web.archive.org/web/20070826100402/http://www.gnosis.cz/GBrno/detail.php?nid=GM010&ntyp=1 |archive-date=26 August 2007 |access-date=18 March 2012 |publisher=Gnosis Brno |language=cs}}</ref>

== Criticism ==
[[File:Janáček, Kovařovic, kunc507.jpg|thumb|upright|Janáček with [[Karel Kovařovic]] and [[Jan Kunc]] in Summer 1917]]
Czech musicology at the beginning of the 20th century was strongly influenced by Romanticism, in particular by the styles of Wagner and Smetana. Performance practices were conservative, and actively resistant to stylistic innovation. During his lifetime, Janáček reluctantly conceded to Karel Kovařovic's instrumental rearrangement of ''Jenůfa'', most noticeably in the finale, in which Kovařovic added a more "festive" sound of trumpets and French horns, and doubled some instruments to support Janáček's "poor" instrumentation.{{sfn|Ort|2005|p=60}} The score of ''Jenůfa'' was later restored by [[Charles Mackerras]], and is now performed according to Janáček's original intentions.<ref name="Grove-Jenufa">{{Cite Grove|first=John |last=Tyrrell |title=Jenůfa |id=O006921}}</ref>

Another important Czech musicologist, [[Zdeněk Nejedlý]], a great admirer of Smetana and later a communist Minister of Culture, condemned Janáček as an author who could accumulate a lot of material, but was unable to do anything with it. He called Janáček's style "unanimated", and his operatic duets "only speech melodies", without polyphonic strength.{{sfn|Ort|2005|p=63}} Nejedlý considered Janáček rather an amateurish composer, whose music did not conform to the style of Smetana. According to Charles Mackerras, he tried to destroy Janáček professionally.{{sfn|Tyrrell|Mackerras|2003|p=9}} In 2006 Josef Bartoš, the Czech aesthetician and music critic, described Janáček as a "musical eccentric" who clung tenaciously to an imperfect, improvising style, but Bartoš appreciated some elements of Janáček's works and judged him more positively than Nejedlý.<ref>''Fenomén Janáček včera a dnes'' (2006), pp. 219–220</ref>

Janáček's friend and collaborator [[Václav Talich]], former chief-conductor of the [[Czech Philharmonic]], sometimes adjusted Janáček's scores, mainly for their instrumentation and dynamics; some critics sharply attacked him for doing so.<ref>{{cite AV media notes|title=Leoš Janáček; Josef Suk: Taras Bulba, Ripening|year=2005 |chapter=Janáček Carves with a Knife; Suk Draws with the Most Delicate Pen |page=8 |type=CD |publisher=Supraphon |id=SU-3823-2 |location=Prague }}</ref> Talich re-orchestrated ''Taras Bulba'' and the Suite from ''Cunning Little Vixen'' justifying the latter with the claim that "it was not possible to perform it in the [[Prague National Theatre]] unless it was entirely re-orchestrated". Talich's rearrangement rather emasculated the specific sounds and contrasts of Janáček's original, but was the standard version for many years.{{sfn|Tyrrell|Mackerras|2003|p=11}} Charles Mackerras started to research Janáček's music in the 1960s, and gradually restored the composer's distinctive scoring. The critical edition of Janáček's scores is published by the Czech ''Editio Janáček''.<ref>{{Cite web |title=Editio Janáček |url=https://www.editiojanacek.eu |access-date=10 June 2024 |website= |publisher=Editio Janáček}}</ref>

== Legacy ==
[[File:Leos Janacek relief.jpg|thumb|upright=1.1|Janáček relief, by Julius Pelikán, at [[Olomouc]]]]

Janáček belongs to a wave of [[20th-century classical music|twentieth-century composers]] who sought greater realism and greater connection with everyday life, combined with a more all-encompassing use of musical resources. His operas, in particular, demonstrate the use of "speech"-derived melodic lines, folk and traditional material, and complex modal [[musical argument]].{{sfn|Sehnal|Vysloužil|2001|pp=174-177}} He would also inspire music theorists (among them [[Jaroslav Volek]]) to place modal development at the same level of importance as [[harmony]] in music.{{sfn|Steinmetz|2021|}} Along with Dvořák and Smetana, he is generally considered one of the most important Czech composers.{{sfn|Černušák|Štědroň|Nováček|1963|p=559}}

The operas of his mature period, ''[[Jenůfa]]'' (1904), ''[[Káťa Kabanová]]'' (1921), ''[[The Cunning Little Vixen]]'' (1924), ''[[The Makropulos Affair (opera)|The Makropulos Affair]]'' (1926) and ''[[From the House of the Dead]]'' (after a [[The House of the Dead (novel)|novel by Dostoevsky]] and premièred posthumously in 1930) are considered his finest works.{{sfn|Kundera|2004|p=43}} The Australian conductor Sir [[Charles Mackerras]] became very closely associated with Janáček's operas.<ref name="Guardian-Moss05">{{Cite news |title=The modest maestro |last=Moss |first=Stephen |newspaper=[[The Guardian]] |date=20 August 2005 |url= https://www.theguardian.com/music/2005/aug/20/classicalmusicandopera |access-date=25 August 2023}}</ref>

{{anchor|String quartets}}Janáček's chamber music, while not especially voluminous, includes works which are widely considered twentieth-century classics, particularly his two [[string quartet]]s: [[String Quartet No. 1 (Janáček)|Quartet No. 1, "The Kreutzer Sonata"]] inspired by [[The Kreutzer Sonata|the Tolstoy novella]], and the [[String Quartet No. 2 (Janáček)|Quartet No. 2, "Intimate Letters"]]. [[Milan Kundera]] called these compositions the peak of Janáček's output.{{sfn|Kundera|1996|p=180}}

Janáček established a school of composition in Brno. Among his notable pupils were [[Jan Kunc]], [[Václav Kaprál]], [[Vilém Petrželka]], [[Jaroslav Kvapil (composer)|Jaroslav Kvapil]], [[Osvald Chlubna]], [[Břetislav Bakala]] and [[Pavel Haas]]. Most of his students neither imitated nor developed Janáček's style, which left him no direct stylistic descendants. According to Milan Kundera, Janáček developed a personal, modern style in relative isolation from contemporary modernist movements but was in close contact with developments in modern European music. His path towards the innovative "modernism" of his later years was long and solitary, and he achieved true individuation as a composer around his 50th year.{{sfn|Kundera|1996|p=180}}{{sfn|Kundera|2004|p=70}}

[[File:Musik Meile Wien, Leoš Janáček (26).jpg|thumb|left|Star on the ''Musik Meile Vienna'' [''Music Mile Vienna'']]]
Sir [[Charles Mackerras]], the Australian conductor who helped promote Janáček's works on the world's opera stages, described his style as "... completely new and original, different from anything else ... and impossible to pin down to any one style".{{sfn|Tyrrell|Mackerras|2003|pp=7–8}} According to Mackerras, Janáček's use of whole-tone scale differs from that of [[Claude Debussy|Debussy]], his folk music inspiration is absolutely dissimilar from Dvořák's and Smetana's, and his characteristically complex rhythms differ from the techniques of the young [[Igor Stravinsky|Stravinsky]].{{sfn|Tyrrell|Mackerras|2003|p=8}}

The French conductor and composer [[Pierre Boulez]], who interpreted Janáček's operas and orchestral works, called his music surprisingly modern and fresh: "Its repetitive pulse varies through changes in rhythm, tone and direction." He described his opera ''From the House of the Dead'' as "primitive, in the best sense, but also extremely strong, like the paintings of [[Fernand Léger|Léger]], where the rudimentary character allows a very vigorous kind of expression".<ref>{{Cite web |url=http://www.musicweb-international.com/sandh/2007/Jan-Jun07/janacek3105.htm |title=Janáček, ''From the House of the Dead''|access-date=8 January 2009 }}</ref>

The Czech conductor, composer and writer [[Jaroslav Vogel]] wrote what was for a long time considered the standard biography of Janáček in 1958. It first appeared in German translation,<ref>''Leoš Janáček, Leben und Werk'', Artia, Prague, 1958</ref> and in the Czech original in 1963. The first English translation came out in 1962 and it was later re-issued, in a version revised by [[Karel Janovický]], in 1981. Charles Mackerras regarded it as his "Janáček bible".<ref>Cole, Hugo. 'Journeys to Self Discovery' in ''Country Life'', 24 December 1981, p 2246</ref>

Janáček's life has been featured in several films. In 1974 Eva Marie Kaňková made a short documentary ''Fotograf a muzika'' (The Photographer and the Music) about the Czech photographer [[Josef Sudek]] and his relationship to Janáček's work.<ref>{{Cite web |url=http://www.nostalghia.cz/dvd/txt/sudek_kf.php |title=Recenze DVD: Josef Sudek |access-date=8 January 2009 |publisher=Nostalghia.cz }}</ref> In 1983 the [[Brothers Quay]] produced a [[stop motion]] animated film, ''Leoš Janáček: Intimate Excursions'', about Janáček's life and work, and in 1986 the Czech director [[Jaromil Jireš]] made ''Lev s bílou hřívou'' (Lion with the White Mane), which showed the amorous inspiration behind Janáček's works.<ref>{{Cite web |url=http://www.csfd.cz/film/4837-lev-s-bilou-hrivou/ |title=Lev s bílou hřívou |access-date=8 January 2009 |publisher=Česká a slovenská filmová databáze |language=cs}}</ref> ''[[In Search of Janáček]]'' is a Czech documentary directed in 2004 by Petr Kaňka, made to celebrate the 150th anniversary of Janáček's birth. An animated cartoon version of ''[[The Cunning Little Vixen]]'' was made in 2003 by the [[BBC]], with music performed by the [[Deutsches Symphonie-Orchester Berlin]] and conducted by [[Kent Nagano]].<ref>{{Cite web |url=http://www.musicweb-international.com/classrev/2003/july03/Janacek_vixen_Cartoon.htm |title=Leoš Janáček: ''The Cunning Little Vixen''|access-date=8 January 2009 |publisher=music web-international.com }}</ref> A re-arrangement of the opening of the ''Sinfonietta'' was used by the progressive rock band [[Emerson, Lake & Palmer]] for the song [[Knife-Edge (Emerson, Lake & Palmer song)|"Knife-Edge"]] on their [[Emerson, Lake & Palmer (album)|1970 debut album]].<ref>{{cite book |last=Macan |first=Edward |title=Rocking the Classics: English Progressive Rock and the Counterculture|url=https://books.google.com/books?id=4U_NJpF_FmIC&pg=RA2-PT143 |publisher=[[Oxford University Press]] |year=1996 |page=253, n.&nbsp;35 |isbn=978-0-19-535681-6}}</ref>

The [[Janáček Philharmonic Orchestra]] was established in 1954.<ref>{{cite web|title=Janáček Philharmonic Orchestra, Ostrava|url=http://www.jfo.cz/index_eg.htm|publisher=official website|access-date=18 March 2012|archive-url=https://web.archive.org/web/20110718174229/http://www.jfo.cz/index_eg.htm|archive-date=18 July 2011}}</ref> Today the 116-piece ensemble is associated with mostly contemporary music but also regularly performs works from the classical repertoire. The orchestra is resident at the House of Culture [[Vítkovice (Ostrava)|Vítkovice]] (Dům kultury Vítkovice) in [[Ostrava]], Czech Republic. The orchestra tours extensively and has performed in Europe, the U.S., Australia, Japan, South Korea and [[Taiwan]].<ref>{{cite web|title=Ostrava Centre for New Music|url=http://www.newmusicostrava.cz/|access-date=3 July 2011}}</ref>

Asteroid [[2073 Janáček]], discovered in 1974 by [[Luboš Kohoutek]], is named in his honor.<ref>{{cite book|title=Dictionary of Minor Planet Names|pages=274–275|author=[[Lutz D. Schmadel]]|publisher=[[Springer Science+Business Media]]|date=2013|isbn=978-3-662-02804-9|chapter=(2073) Janáček}}</ref> The [[Haruki Murakami]] novel ''[[1Q84]]'' (2009/2010) uses Janáček's Sinfonietta as a recurring plot point. [[Ostrava]]'s [[Leoš Janáček Airport Ostrava|international airport]] was renamed after Janáček in November 2006.<ref>{{Cite web|url=http://www.airport-ostrava.cz/en/page-basic-information-business/|title=Basic information &#124; Ostrava Airport, a.s.|website=airport-ostrava.cz}}</ref>

== References ==
===Citations===
{{Reflist}}

=== Sources ===
{{refbegin|45em}}
* {{cite book|editor-last1=Černušák|editor-first1=Gracián|editor-last2=Štědroň|editor-first2=Bohumír|editor-last3=Nováček|editor-first3=Zdenko|title=Československý hudební slovník osob a institucí (A–L)|trans-title=Czechoslovak musical dictionary of persons and institutions|volume=I|year=1963|publisher=Státní hudební vydavatelství [State Music Publishing House]|location=Prague|language=cs, sk}}
* {{cite book|last=Drlíková|first=Eva|title=Leoš Janáček, Život a dílo v datech a obrazech|trans-title=Life and work in data and images|year=2004|publisher=Opus Musicum|location=Brno|isbn=978-80-903211-1-3|language=cs,en}}
* {{cite book |title=Fenomén Janáček včera a dnes. Sborník z mezinárodní hudebněvědné konference |year=2006 |publisher=Brno Conservatory |location=Brno |isbn=978-80-87005-00-2 |language=cs}}
* {{cite book|title=Janáčkův život|last=Firkušný|first=Leoš|author-link=Leoš Firkušný|year=2005|location=Prague|publisher=[[s.n.]]|language=cs}}
* {{cite book|last=Hollander|first=Hans|title=Janáček|translator=[[Paul Hamburger]]|year=1963|location=New York|publisher=St Martin's Press|url=https://archive.org/details/jeosjanacek000673mbp|url-access=limited }}
* {{cite book|last=Janáček|first=Leoš|editor1-last=Tauský|editor1-first=Vilém|editor1-link=Vilém Tauský|editor-last2=Tauský|editor2-first=Margaret|title=Leoš Janáček: Leaves from his Life|publisher=Kahn & Averill|location=London|year=1982|isbn=978-0800842994}} 
* {{cite book|last=Janáček|first=Leoš|editor1-first=Theodora|editor1-last=Straková|editor2-first=Eva|editor2-last=Drlíková|title=Literární dílo|trans-title=Literary Works|volume=1|year=2003|publisher=Editio Janáček|location=Brno|isbn=978-80-238-7250-7|language=cs}} (notes based on English summary)
* {{cite book|last=Janáček|first=Leoš|editor1=Leoš Faltus|editor2=Eva Drlíková|editor3=Svatava Přibáňová|editor4=Jiří Zahrádka|title=Teoretické dílo|trans-title=Theoretical Works I|volume=2|year=2007|publisher=Editio Janáček |location=Brno|isbn=978-80-904052-0-2|language=cs}} (notes based on English summary)
* {{cite book|last=Kundera|first=Milan|author-link=Milan Kundera|title=Testaments Betrayed|year=1996|publisher=Faber and Faber|location=London|isbn=978-0-571-17337-2}}
* {{cite book|last=Kundera|first=Milan|title=Můj Janáček|year=2004 |publisher=Atlantis |location=Brno |isbn=978-80-7108-256-9 |language=cs}}
* {{cite book|last=Ort|first=Jiří|title=Pozdní divoch. Láska a život Leoše Janáčka v operách a dopisech|trans-title=Late Savage. The love and life of Leoš Janáček in operas and letters|year=2005 |publisher=Mladá fronta |location=Prague |isbn=978-80-204-1256-0 |language=cs}}
* {{cite book|editor-last=Přibáňová|editor-first=Svatava|title=Thema con variazioni. Leoš Janáček, korespondence s manželkou Zdeňkou a dcerou Olgou|trans-title=... correspondence with wife Zdenka and daughter Olga|year=2007 |publisher=Editio Bärenreiter |location=Prague |isbn=978-80-86385-36-5 |language=cs}}
* {{cite book|last=Procházková|first=Jarmila|title=Janáčkovy záznamy hudebního a tanečního fokloru I|trans-title=Janáček's records of music and dance folklore I|year=2006 |publisher=Etnologický ústav AV ČR, Doplněk |location=Prague, Brno |isbn=978-80-85010-83-1 |language=cs}} (notes based on English summary)
* {{cite book|last=Samson|first=Jim|author-link=Jim Samson|title=Music in Transition: A Study of Tonal Expansion and Atonality, 1900–1920  |year=1977 |publisher=W. W. Norton & Company |location=New York |isbn=978-0-393-02193-6}}
* {{cite book|last1=Sehnal|first1=Jiří|last2=Vysloužil|first2=Jiří|title=Dějiny hudby na Moravě. Vlastivěda moravská|trans-title=History of music in Moravia. Moravian folklore|year=2001|publisher=Muzejní a vlastivědná společnost|location=Brno|isbn=978-80-7275-021-4|language=cs}}
* {{cite book|last1=Simeone|first1=Nigel|last2=Tyrrell|first2=John|author-link2=John Tyrrell (musicologist)|last3=Němcová|first3=Alena|title=Janáček's Works. A Catalogue of the Music and Writings of Leoš Janáček|year=1997|publisher=Clarendon Press|location=Oxford|isbn= 978-0-19-816446-3|url=https://books.google.com/books?id=XsgpuebI1vYC&q=leos+janacek}}
* {{cite journal|last=Steinmetz|first=Karel|title=Modalita u Janáčka z pohledu českých a slovenských muzikologů|trans-title=Janáček's modality from the point of view of Czech and Slovak musicologists|journal=Musicologica Brunensia|date=2021|volume=56|issue=2|pages=39–47|doi=10.5817/MB2021-2-4|hdl=11222.digilib/144817|s2cid=247336720 |url=https://digilib.phil.muni.cz/handle/11222.digilib/144817|access-date=25 August 2023|doi-access=free}}
* {{cite book|last=Štědroň|first=Bohumír|title=Janáček ve vzpomínkách a dopisech|trans-title=Janáček in memories and letters|year=1946|publisher=Topičova edice|location=Prague|language=cs}}
* {{cite book|last=Tyrrell|first=John|author-link=John Tyrrell (musicologist)|title=Česká opera|year=1991–1992 |publisher=Opus Musicum |location=Brno |isbn=978-80-900314-1-8 |language=cs}}
* {{cite AV media notes|last1=Tyrrell|first1=John|last2=Mackerras |first2=Charles|author2-link=Charles Mackerras|title=The Cunning Little Vixen, Sinfonietta, Schluck und Jau, Jealousy... |others=Leoš Janáček (Czech Philharmonic Orchestra, Charles Mackerras) |year=2003 |chapter=My Life With Janáček's Music (Sir Charles Mackerras in conversation with the Janáček specialist John Tyrrell)|page=13 |type=CD |publisher=Supraphon |id=SU 3739-2 |location=Prague }}
* {{cite book|last=Tyrrell |first=John|title=Janáček: Years of a Life. A two-volume biography of the composer|year=2006–2007 |publisher=Faber and Faber |location=London|isbn= 978-0-571-17538-3 |id= (Volume 1 – The Lonely Blackbird), (Volume 2 – Tsar of the Forests) }}
* {{cite book|last=Vysloužil|first=Jiří|title=Hudební slovník pro každého II|trans-title=Music dictionary for everyone II|year=2001|publisher=Lípa|location=Vizovice|isbn=978-80-86093-23-9|language=cs}}
* {{cite book|contributor-last=Zahrádka|contributor-first=Jiří|contribution=Preface|last=Janáček|first=Leoš|translator=Sarah Peters-Gráfová|title=Po zarostlém chodníčku|trans-title=On an Overgrown Path|type=Urtext|year=2006|publisher=Editio [[Bärenreiter]] |location=Prague|id=BA 9502}} ISMN M-2601-0365-8
* {{cite book |title= Janáček: A Composer's Life |last=Zemanová |first= Mirka |year=2002 |publisher= Northeastern University Press |location= Boston |isbn= 978-1-55-553549-0 |url= https://books.google.com/books?id=RPrZutBmaiUC }}
{{refend}}

==Further reading==
{{refbegin|45em}}
*{{cite book |title=Janáček and His World |editor-last=Beckerman |editor-first=Michael  |year=2003 |publisher=Princeton University Press |location=New York |isbn=978-0-691-11676-1|ref=none}}
*{{cite book|title=Janáček as Theorist|last=Beckerman|first=Michael|publisher=Pendragon Press|location=Stuyvesant, New York|year=1994|isbn=978-0-945193-03-6|ref=none}}
*{{cite book |title=The Operas of Leoš Janáček |last=Chisholm |first=Erik|author-link=Erik Chisholm|year=1971 |publisher=Pergamon Press |isbn=978-0-08-012854-2|ref=none}}
*{{cite book |last=Janáček|first=Leoš|editor1=Leoš Faltus|editor2=Svatava Přibáňová|editor3=Eva Drlíková|title=Souborné kritické vydání děl Leoše Janáčka|trans-title=Collected critical edition of the works of Leoš Janáčk|volume=1|year=2007|publisher=Editio Janáček|location=Brno|isbn=978-80-904052-0-2|language=cs|ref=none}}
* Štědroň, Miloš (1998). ''Leoš Janáček a hudba 20. století''. Brno: Nadace Universitas Masarykiana. {{ISBN|80-210-1917-4}}.
*{{cite book |title=Intimate Letters: Leoš Janáček to Kamila Stösslová |last=Tyrrell |first=John|author-link=John Tyrrell (musicologist)|year=2005 |publisher=Faber and Faber |location=London |isbn=978-0-571-22510-1|ref=none}}
*{{cite book |title=Janáček's operas – A documentary account |last=Tyrrell |first=John |year=1992 |publisher=Princeton University Press |location=Princeton |isbn=978-0-691-09148-8|ref=none}}
*{{cite book|title=My life with Janáček – The Memoirs of Zdenka Janáčková|editor-last=Tyrrell|editor-first=John |publisher=Faber & Faber|year=1998|location=London|isbn=978-0-571-17540-6|url=https://archive.org/details/mylifewithjanace00jana|via=[[Internet Archive]]|url-access=registration|ref=none}}
*{{cite book |title=Leoš Janáček: a biography |last=Vogel |first=Jaroslav |year=1997 |publisher=Academia |location=Prague |isbn=978-80-200-0622-6|ref=none}}
*{{cite book |title= Janácek's Uncollected Essays on Music |last=Zemanová |first= Mirka |year= 1989 |publisher=Marion Boyars |isbn= 978-0-71452-857-1|ref=none}}
{{refend}}

== External links ==
{{Wikiquote|Leoš Janáček}}
{{Commons category}}
* {{IMSLP|id=Janáček, Leoš}}
* {{IMDb name|0418443|Leos Janáček}}
* [http://www.leosjanacek.eu/en A detailed site on Leoš Janáček by Brno Tourist Information Office]
* [http://www.pytheasmusic.org/janacek.html Leoš Janáček at Pytheas Center for Contemporary Music]

{{Leoš Janáček}}
{{Musical nationalism}}
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{{DEFAULTSORT:Janacek, Leos}}
[[Category:Leoš Janáček| ]]
[[Category:1854 births]]
[[Category:1928 deaths]]
[[Category:19th-century Czech classical composers]]
[[Category:Folklorists from Austria-Hungary]]
[[Category:19th-century Czech male musicians]]
[[Category:20th-century Czech classical composers]]
[[Category:20th-century Czech male musicians]]
[[Category:Ballet composers]]
[[Category:Composers for piano]]
[[Category:Composers for pipe organ]]
[[Category:Czech folk-song collectors]]
[[Category:Czech opera composers]]
[[Category:Czech Romantic composers]]
[[Category:Deaths from pneumonia in Czechoslovakia]]
[[Category:Czech male opera composers]]
[[Category:People from Frýdek-Místek District]]
[[Category:Musicians from the Margraviate of Moravia]]
[[Category:Pupils of Carl Reinecke]]
[[Category:University of Music and Theatre Leipzig alumni]]
[[Category:Burials at Brno Central Cemetery]]
[[Category:19th-century musicologists]]
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[[Category:Composers from Austria-Hungary]]