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FLORIAN NOACK 25
Did you also preserve the authenticity of the folklore in the two
Lachian
Dances
by Janácek, which you again present in your own transcription?
There too, my choices changed over time. At first I looked at Bedřich Smetana,
whose monumental output is admirably written for the piano. Czech music is very
rich in this repertory, but I found that his very pianistic style was still underpinned
by a profoundly Austro-German musical structure.
That’s why I finally decided to launch into the unknown again and transcribe
orchestral pieces by Janáček, namely the second and fifth of the
Lachian Dances
.
These pieces have an authentically Czech flavour, and the two pieces are similar
in that they are both based on repetitions of very short motifs. The orchestral
texture is particularly rich, and it was at once difficult and stimulating to realise a
transcription.
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