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Once thought to be a provincial composer of only passing interest to eccentrics, Leos Jan谩cek (1854-1928) is now widely acknowledged as one of the most powerful and original creative figures of his time. Banned for all purposes from the Prague stage until the age of 62, and unable to make it even out of the provincial capital of Brno, his operas are now performed in dynamic productions throughout the globe. This volume brings together some of the world’s foremost Jan谩cek scholars to look closely at a broad range of issues surrounding his life and work. Representing the latest in Jan谩cek scholarship, the essays are accompanied by newly translated writings by the composer himself.


The collection opens with an essay by Leon Botstein who clarifies and amplifies how Max Brod contributed to Jan谩cek 鈥榮 international success by serving as 鈥減oint man鈥� between Czechs and Germans, Jews and non-Jews. John Tyrrell, the dean of Jan谩cek scholars, distills more than thirty years of research in 鈥淗ow Jan谩cek Composed Operas,鈥� while Diane Paige considers Jan谩cek’s liason with a married woman and the question of the artist’s muse. Geoffrey Chew places the idea of the adulterous muse in the larger context of Czech fin de si猫cle decadence in his thoroughgoing consideration of Jan谩cek’s problematic opera Osud. Derek Katz examines the problems encountered by Jan谩cek’s satirically patriotic 鈥淓xcursions of Mr. Broucek鈥� in the post-World War I era of Czechoslovak nationalism, while Paul Wingfield mounts a defense of Jan谩cek against allegations of cruelty in his wife’s memoirs. In the final essay, Michael Beckerman asks how much true history can be culled from one of Jan谩cek’s business cards.


The book then turns to writings by Jan谩cek previously unpublished in English. These not only include fascinating essays on Naturalism, opera direction, and Tristan and Isolde, but four impressionistic chronicles of the 鈥渟peech melodies鈥� of daily life. They provide insight into Jan谩cek’s revolutionary method of composition, and give us the closest thing we will ever have to the 鈥渉eard鈥� record of a Czech pre-war past-or any past, for that matter.