WQXR 0127 15: 20 (2026)
取自維基百科，自由的百科全書
萊奧什·雅納切克的第二弦樂四重奏《親密書信》創作於1928年。其靈感源自於他與卡米拉·斯托斯洛娃（Kamila Stösslová）之間長久而深厚的精神友誼。斯托斯洛娃是一位已婚女性，比他小38歲。這首作品被譽為雅納切克的「愛情宣言」。 [1]
背景
《親密書信》四重奏是雅納切克受波希米亞四重奏委約創作的第二部作品。 1923年，波希米亞四重奏曾委託雅納切克為他們創作兩首弦樂四重奏，第一首就是他的《克魯採奏鳴曲》四重奏。
作品標題「親密書信」（捷克語：Listy důvěrné）由作曲家本人命名。這首作品旨在反映他與卡米拉·斯托斯洛娃（Kamila Stösslová）的戀情。斯托斯洛娃比他小四十歲，兩人交往期間互通了七百多封信件。他在一封信中寫道：
「我很好奇我的《親密書信》會如何呈現。這是我的第一首作品，音符中閃耀著我們共同經歷的所有美好回憶。每一個音符背後都有你，鮮活、有力、充滿愛意。你身體的芬芳，你吻的光芒——不，其實是我的吻。我的音符都在親吻你。它們熱情地呼喚你。」[2]2]。
這首四重奏的靈感來自1927年8月19日他們在盧哈科維採的初吻，其最初名為《情書》（Listy milostné）。這首作品不僅獻給了斯托斯洛娃，作曲家還在遺囑中附加了一項條款，規定她將獲得全部版稅。另一部對四重奏產生重要影響的作品是茲德涅克·菲比赫的鴻篇巨制鋼琴組曲《Nálady, dojmy a upominky》（情緒、印象與回憶）。這部由376首樂曲組成的鴻篇巨制，記錄了菲比赫與他摯愛的繆斯女神阿涅茲卡·舒爾佐娃之間的浪漫情緣。約瑟夫森引用雅納切克的一封信，信中他將自己與施特斯洛娃的關係比作菲比赫與施特斯洛娃的關係，並誓言要將她融入他的四重奏音樂之中。 [2]
作品於1928年9月11日首演，即雅納切克去世一個月後。演出者是摩拉維亞四重奏。 [1]
Leoš Janáček's String Quartet No. 2 "Intimate Letters" was written in 1928. It was inspired by his long and spiritual friendship with Kamila Stösslová, a married woman 38 years his junior. It has been referred to as Janáček's "manifesto on love".[1]
Background
The "Intimate Letters" quartet was the second quartet to be composed on a commission from the Bohemian Quartet who, in 1923, had asked Janáček to compose two string quartets for them. The first of these was his "Kreutzer Sonata" quartet.
The title "Intimate Letters" ("Listy důvěrné" in Czech) was given by the composer himself. The composition was intended to reflect the character of his relationship with Kamila Stösslová, who was forty years younger than the composer, and with whom he exchanged more than 700 letters during the course of their relationship. He wrote to her in one of these letters:
- "I'm curious how my 'Intimate Letters' will work. It's my first composition whose notes glow with all the dear things that we've experienced together. You stand behind every note, you, living, forceful, loving. The fragrance of your body, the glow of your kisses – no, really of mine. Those notes of mine kiss all of you. They call for you passionately."[2]
The inspiration for the quartet, which was originally entitled Listy milostné, or Love Letters, was their first kiss at Luhacovice on August 19, 1927. Not only is the work dedicated to Stösslová, but the composer added a codicil to his will stipulating that she receive all of the royalties. Another important influence on the quartet is Zdeněk Fibich's monumental piano cycle Nálady, dojmy a upominky (Moods, Impressions and Reminiscences). This ambitious work of 376 pieces chronicles the romance between Fibich and his beloved muse Anezka Schulzová. Janáček, in a letter quoted by Josephson, compared his relationship with Stösslová to Fibich's, and vowed to embody her in the music of his quartet.[2]
The première of the work took place on 11 September 1928, a month after Janáček died. The composition was performed by the Moravian Quartet.[1]
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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.[45] 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.[46][page needed]
In 1920, Janáček retired from his post as director of the Brno Conservatory but continued to teach until 1925.[47] 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).[48] 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.[49]
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.[45] 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, 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.[50] 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.[51]
The world première of Janáček's lyrical Concertino for piano, two violins, viola, clarinet, French horn and bassoon took place in Brno in 1926.[52] Around the same time, Janáček began work on a comparable chamber work for an even more unusual set of instruments, the 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.[53]
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 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 Prussian Academy of Arts in Berlin in 1927, along with Arnold Schoenberg and Paul Hindemith.[54][55]
一年後（1917年），他遇到了比他小38歲的已婚女子卡米拉·斯托斯洛娃，她將成為他餘生創作的靈感來源。他與她保持著近730封信的通信，這些信件近乎痴迷，至少在他看來是充滿激情的。 [45] 1917年至1919年間，深受斯托斯洛娃的啟發，他創作了《失蹤者的日記》。在完成最終修訂後，他開始創作下一部以卡蜜拉為主題的作品——歌劇《卡塔·卡巴諾娃》。 [46][需要頁碼]
1920年，雅納切克從布爾諾音樂學院院長的職位上退休，但繼續任教至1925年。 [47] 1921年，他聆聽了印度哲學家兼詩人泰戈爾的講座，並以泰戈爾的一首詩為基礎創作了合唱曲《流浪的瘋子》（1922年）。 [48] 20世紀20年代初，雅納切克完成了歌劇《狡猾的小狐狸》，這部歌劇的靈感來自魯道夫·捷斯諾赫利德克在《人民報》上連載的小說。 [49]
1924年，雅納切克70歲，他的傳記由馬克斯·布羅德出版，並接受了《紐約時報》記者奧林·唐斯的採訪。 [45] 1925年，他從教職退休，但仍繼續作曲，並被布爾諾馬薩里克大學授予首個榮譽博士學位。 1926年春，他創作了鴻篇巨制《小交響曲》，這部作品迅速獲得了廣泛的讚譽。同年，他應羅莎·紐馬奇之邀前往英國。他的多部作品在倫敦上演，包括他的第一弦樂四重奏、管樂六重奏《青春》以及小提琴奏鳴曲。 [50] 不久之後，同樣在1926年，他開始為一首古教會斯拉夫語詩歌譜曲。最終的成果是大型管弦樂作品《格拉哥裡彌撒》。 [51]
雅納切克的抒情小協奏曲（為鋼琴、兩把小提琴、中提琴、單簧管、法國號和巴鬆管而作）於1926年在布爾諾舉行了世界首演。 [52]大約在同一時期，雅納切克開始創作一部類似的室內樂作品，樂器組合更為獨特－《隨想曲》（Capriccio），為鋼琴左手、長笛、兩支小號、三支長號和次中音大號而作。這部作品是為鋼琴家奧塔卡·霍爾曼（Otakar Hollmann）而作，他在第一次世界大戰中失去了右手的功能。作品於1928年3月2日在布拉格首演。 [53]
雅納切克的墓地位於布爾諾。
1927年，也就是《小交響曲》（Sinfonietta）在紐約、柏林和布爾諾首演的那一年，他開始創作他的最後一部歌劇作品《死屋手記》（From the House of the Dead），這部歌劇的第三幕在他去世後被發現於他的書桌上。 1928年1月，他開始創作他的第二部弦樂四重奏《親密書信》（Intimate Letters），這是他「關於愛的宣言」。同時，《小交響曲》在倫敦、維也納和德勒斯登上演。晚年，雅納切克成為國際名人。 1927 年，他與阿諾德·勳伯格和保羅·欣德米特一起成為柏林普魯士藝術學院的成員。 [54][55]
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Leoš Janáček | |
|---|---|
 Janáček in 1914 | |
| Born | 3 July 1854 |
| Died | 12 August 1928 (aged 74) Ostrava, Czechoslovakia |
| Occupations |
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| Works | List of compositions |
| Signature | |
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