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Topic: Kamila Stosslova

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	My Dear Beloved Riddle of Life' - New York Times
		The existence of the correspondence between Janacek and Stosslova was known for a long time to a few of their friends and to Janacek scholars, but its publication in Czech had to wait, first for reasons of discretion and then possibly of censorship, until 1990.
		She was vacationing there with her husband, David Stossel, a dealer in antiques, and Janacek, who was then living in an arid, formal arrangement with his wife, seems to have been partly attracted by the spectacle of the young couple's marital concord.
		At first, he imagined that Kamila belonged to him in some ineffable but binding way; then, that she was his true wife.
	query.nytimes.com /gst/fullpage.html?res=990CEFD61739F932A05754C0A962958260&sec=&pagewanted=all (1449 words)

	Guardian Unlimited Books \| Review \| Flesh and fantasy
		Whatever the reality of their relationship (she was happily married with two sons, a woman in her 20s, musically uneducated), Kamila was the muse who inspired almost all the works of his late years.
		Kamila was a romantic, erotic focus for the renewal of energy which public recognition brought.
		Kamila inadvertently seized Janácek's attention when he heard her.
	books.guardian.co.uk /review/story/0,12084,1146434,00.html (1197 words)

	Glagolitic Mass - Wikipedia, the free encyclopedia
		Janáček was a strong supporter of pan-Slavism, and this mass has been viewed as a celebration of Slavic culture.
		It is also, unsurprisingly, connected to Kamila Stösslová, Janáček's great love.
		Janáček had extensive experience working with choirs, as well as writing a large amount of choral music, and this work is his finest in the genre.
	en.wikipedia.org /wiki/Glagolitic_Mass (366 words)

	String quartet No. 2 (Janáček) - Wikipedia, the free encyclopedia
		The "Intimate Letters" quartet was the second to be composed after a request from the Bohemian Quartet who, in 1923, requested Janáček to compose two string quartets for them.
		Unusually for a classical work, the nickname "Intimate Letters" ("Listy důvěrné" in Czech) was given by the composer, as it was inspired by his long and spiritual friendship with Kamila Stosslova, a married woman 40 years his junior.
		The viola assumes a prominent role throughout the composition, as this instrument is intended to personify Kamila.
	en.wikipedia.org /wiki/String_quartet_No._2_(Jan%C3%A1%C4%8Dek) (251 words)

	From the House of the Dead - Wikipedia, the free encyclopedia
		It was the composer's last opera, premiered two years after his death on 12 April 1930 in Brno.
		Janáček worked on this opera knowing that it would be his last, and for it he broke away from the habit he had developed of creating characters modeled on his love interest Kamila Stösslová (although the themes of loneliness and isolation can clearly be seen as a response to her indifference to his feelings).
		There are, in fact, almost no female characters, and the setting, a Siberian prison, offers up a large ensemble cast instead of one or several prominent leads.
	en.wikipedia.org /wiki/From_the_House_of_the_Dead (304 words)

	Leos Janacek
		Although it is clear that Kamila Stösslová and the other melancholic heroines Janáček wished to associate with her influenced the creation of the character of Katěrina, in general the work was written in isolation.
		[Kamila] embodied central aspects of the muse, a notion evident in the voluminous correspondence of Janáček and by the recurring elements within his works.
		And yet she has often been dismissed as a potential inspiration source; she was undereducated, not terribly attractive, rather large and hardly had the intellect to satisfy someone as astute as Janáček.
	www.gavinplumley.co.uk /geneva.htm (3307 words)

	A pale echo of passion \| Theatre \| Stage \| Arts \| Telegraph
		Impertinent perhaps to speculate on whether he, too, had a romantic muse to fire his work, like Janáček with Kamila Stosslova, but if he did, she doesn't appear to have helped the Irish dramatist much.
		She is played by the achingly lovely Rosamund Pike, who doesn't seem the least bit surprised that a composer who has been dead for almost 80 years appears to be willing to help her with her thesis.
		Janáček, he suggests, deliberately invented a passion for Kamila to kick-start his creative juices, transforming her into "something immeasurably greater, of infinitely more importance, than the quite modest young woman she in fact was".
	www.telegraph.co.uk /arts/main.jhtml?xml=/arts/2006/07/06/bmspencer06.xml (697 words)

	musica vivendi - Projektinfo
		Kamila Stösslová ist es, die durch ihr Wesen den Komponisten Leos Janácek zu seiner letzten und produktivsten Schaffensperiode inspiriert hat, darunter auch das 2.
		In seinen Briefen beschreibt Janácek seiner Muse, welche Gefühle für sie in seiner Musik Ausdruck gefunden haben.
		Dieser Briefwechsel zwischen Poesie und Bodenständigkeit wird von den beiden Schauspielern Martina Gedeck (Kamila Stösslová) und Hanns Zischler (Leos Janácek) vorgetragen.
	www.musicavivendi.de /seite4_10.html (399 words)

	Káťa Kabanová - Wikipedia, the free encyclopedia
		It was based on The Storm, a play by Alexander Ostrovsky, and largely inspired by Janáček's love for Kamila Stösslová.
		This is often considered his first "mature" opera, despite the fact that he was 67 when it was premiered.
		Káťa Kabanová is a clear response to Janáček's feelings for Kamila, and the work is dedicated to her
	en.wikipedia.org /wiki/K%C3%A1%C5%A5a_Kabanov%C3%A1 (251 words)

	Leos Janacek
		But as John Tyrrell writes in his introduction to the English edition of the letters that although they are ‘the most important source for the understanding of Janáček’s emotional and creative life in the last twelve years’, apart from their musicological significance ‘they contain a great love story’.
		As with Janáček’s obsession with Kamila Urválková and his affair with Gabriela Horvátová (the Kostelnička for the Prague premiere of Jenůfa) there were recriminations at home, and his dealings with his wife became increasingly strained.
		Not long after that letter was written Janáček was in Hukvaldy, his country home, where Kamila and her children came to visit.
	www.leosjanacek.co.uk /stosslova.htm (1093 words)

	Leos Janacek: A Master Czech Composer
		It also marked the beginning of his involvement with Kamila Stosslova, whom he met at a resort during a holiday trip.
		Janacek's wife tolerated it, as did Stosslova's husband, and Stosslova herself, while flattered by the attentions of a celebrity, seems to have been somewhat indifferent to Janacek's music.
		These quartets are like nothing else in the literature, with jagged lines, emotional changes and contrasts, and an intensity that challenges both the technical competence of the players and their ability to project dramatic states.
	www.worldandi.com /subscribers/feature_detail.asp?num=24053 (2545 words)

	Leos Janacek
		The independence of Czechoslovakia in 1918, after the end of the war was an important step for a profoundly patriotic man. On an emotional front though meeting with Kamila Stösslová in the spa town of Luhačovice in 1917 was to prove decisive.
		Throughout his life of domestic fireworks we see there are two things which influenced him profoundly, over and over again: a sense of place, and a sense of those whom he loved and who loved him.
		The impact of Kamila Stösslová cannot be emphasised enough when considering the great operas of his maturity.
	www.leosjanacek.co.uk /biography.htm (1107 words)

	Leos Janacek
		Yet the real catalyst which inspired this unprecedented creative outburst was Janácek’s incurable obsession with a married woman 38 years younger than himself: Kamila Stosslova, a simple Jewish woman whom the composer had met in the spa town of Luhacovice in 1917.
		In the last year of his life his feelings towards her appear to have intensified still further, as it was then that he starting keeping a special 'Kamila diary'.
		It is a sad irony that Janacek's love for Kamila Stosslova, which had given his composing an electrifying impetus and his life a whole new meaning, would lead indirectly to his death.
	www.classicfm.com /Article.asp?id=251275&spid=9975 (1468 words)

	Metropolitan Opera International Radio Broadcast Information Center - Opera Archive (Site not responding. Last check: 2007-10-14)
		Working hard on the score in February 1920, the composer told Kamila how he repeatedly reminded himself that Kat’a had an extremely gentle disposition: “I am afraid that she would melt, indeed dissolve, if the sun shone on her fully”...
		Kamila Stoesslova, the prototype for Janacek’s Kat’a, was a married woman 40 years the composer’s junior, and though their strong spiritual attraction seems never to have been consummated, Janacek wrote not only “Kat’a Kabanova,” but also the song cycle “The Diary of One Who Vanished” and both his string quartets with Kamila in mind.
		Kamila seems to have represented to Janacek the right of a woman to love whom she wishes -- to choose her happiness, like Kat’a, according to her heart and not according to small-town morality...
	archive.operainfo.org /broadcast/operaTeaching.cgi?id=&language=1&material_id=416 (3489 words)

	Independent Online Edition > Features (Site not responding. Last check: 2007-10-14)
		In the composer's imagination, Stosslova, the young bourgeois mother, was reinvented as the sexually provocative Gypsy of the poems.
		And we shall probably never know the reason for Kamila's husband allowing the liaison to continue - except, perhaps to guess that for a stateless Jew born in Lvov, it was worth indulging the fantasies of a Czech celebrity.
		The works inspired by Kamila, from Katya to From the House of the Dead, are potent witnesses to the fire she ignited.
	enjoyment.independent.co.uk /music/features/article68304.ece (1478 words)

	CD Review
		This applies not only to his operas, which are among the supreme musical-theatrical works of our century, but also to his chamber music; even the two 'abstract' string quartets have more to do with spoken conversation, gestural behaviour, and ritual festivity than with art music in a concert hall.
		Autobiographical undertones are insiduous, given Janacek's obsessive affair with the relatively young Kamila Stosslova whom the composer, in several letters, explicitly equated with his imagined gypsy siren: though the real Kamila seems to have been a shade stodgy, lacking the gypsy Jefka's oncomingness and Cleopatra-like allure.
		Janacek tells the story - usually known in English as Diary of a Young Man who Disappeared - in a sequence of 22 songs, beginning with a group of eight in which the farmer sings of the wild one's stunning impact on him.
	www.mvdaily.com /articles/1999/05/nurture.htm (474 words)

	Decca Music Group - Composers (Site not responding. Last check: 2007-10-14)
		After the war, Janácek, who was well past 60, experienced a creative rebirth, thanks not only to his joy over the establishment of the Czechoslovak nation but also to his love for Kamila Stösslová, a married woman 38 years his junior.
		By the 1920s, he was indisputably his country's leading composer, and by the end of his life his works were finally beginning to attract attention abroad.
		In July 1928, Kamila Stösslová visited him at the cottage he had bought in Hukvaldy, his native village.
	www.deccaclassics.com /music/composers/janacek.html (556 words)

	STANDart:Karsten Sand Iversen
		Forholdet til Kamila vides at have været platonisk men sammenfaldende med en sen, rig blomstring i komponistens værk.
		Zdenka afviser dog kategorisk Kamilas rolle som muse: »Hans mægtige musikalske geni behøvede ikke en kvinde for at virke, det var arvet og i endnu højere grad skænket af Gud.« De ’intime breve’ bærer vidnesbyrd om det modsatte: at Janácˇek berusede sig i sin egen forelskelse og deraf skabte sin uforligneligt glødende musik.
		Det blev den sidste bitterhed i Zdenkas liv: at den skødesløse Kamila ikke sørgede for hendes uforsigtige Leosˇ, og at han ikke døde hos hende, med hende, som hun havde håbet.
	www.statsbiblioteket.dk /Standart/99-2/ZdenkaJanaacutec711kovaacute.html (1577 words)

	Leos Janacek
		That year he met Kamila Stösslová, the young wife of an antique dealer from Písek.
		And apart from the shopping lists to the Stössels (Kamila’s husband was a notorious fl-marketer) and the endless unanswered invitations to premieres and performances of his work, Janáček gives us as readers many clues to his working environment.
		Full details of how the piece was performed (in stagings and concert performances) as well as further details about revisions are given in the catalogue of Janáček's works.
	www.leosjanacek.com /diary.htm (1023 words)

	Página/12 (Site not responding. Last check: 2007-10-14)
		En sus primeras cartas a Kamila, que le fue presentada en 1917, Leos recurre a la autocompasión: “Me veo a mí mismo como uno de los seres más infelices”.
		Una sola vez Kamila visitó a Janácek en su casa.
		En el hospital, con Kamila junto a la cabecera de su cama, alcanzó a inscribir una última observación en el álbum que registraba sus encuentros: “Y te besé.
	www.pagina12.com.ar /2001/01-10/01-10-04/contrata.htm (689 words)

	Guardian Unlimited \| Archive Search
		It was a love that obsessed him to the end, and the work that set this flood of new music going, exactly symbolising what he was feeling, was the song- cycle, The Diary of One Who Disappeared.
		The idea that these poems were genuinely written by a farmer's son added to the sharpness of their impact, thoug it was revealed as recently in 1997 that it was all a literary hoax devised by an obscure Moravian poet, Ozef Kalda - something that Czechs had long suspected from the craftsmanship of the writing.
		It was brilliantly produced some years ago by the English National Opera at the Coliseum, fully staged, as the Prologue to the opera Osud (Fate), but even that success failed to spark off recordings from any major company.
	www.guardian.co.uk /Archive/Article/0,4273,4319079,00.html (544 words)

	Liner Notes, Vol.1, 1996
		Janacek's second string quartet (1928) was inspired by his long and spiritual friendship with the beautiful Kamila Stosslova, a married woman 40 years his junior.
		The composition, with its unpredictable changes of texture, color and rhythm, was intended to reflect the character of their relationship as it was revealed in the more than 600 letters they exchanged.
		The composer caught a chill while hunting for the boy in the woods and quickly died of pneumonia.) The thematic material is largely based on the viola theme heard in the first movement.
	arizonachambermusic.org /96notes1.htm (1267 words)

	Söderström, Elisabeth
		In 1917 Janacek was holidaying in the spa resort of Luhacovice and there he met Kamila Stösslova, a beautiful but married woman who was 25 years old at the time (38 years younger than him).
		Their relationship was maintained at a 100 miles distance through Janacek’s frequent letters to Kamila.
		She did not much care for music, scarcely comprehend his stature as a composer and received his attentions with little understanding.
	www.cantabile-subito.de /Sopranos/Soderstrom__Elisabeth/hauptteil_soderstrom__elisabeth.html (743 words)

	Leos Janacek (1854-1928) (Site not responding. Last check: 2007-10-14)
		In 1917 Janacek was holidaying in the spa resort of Luhacovice, and there he met Kamila Stosslova (nee Neumannova) who was 25 years old at the time.
		He became infatuated with her, and she was the inspiration of his late masterpieces.
		Over 700 letters(¶) record his affection for Kamila, and his second string quartet called Intimate Letters first performed in 1928, after his death on 12th August, refers to their relationship.
	www.measure.demon.co.uk /docs/Janacek.html (1537 words)

	Sunday Herald (Site not responding. Last check: 2007-10-14)
		Divorce was followed by reconciliation and the couple somehow managed to stay together, but later in life Janacek contracted a passion for another woman, Kamila Stosslova, and began the correspondence which was to be the inspiration for the magnificent second string quartet, Intimate Letters.
		When Janacek was on his deathbed in 1928 Zdenka was not summoned, but she and Kamila were both present, the two women locked in a kind of affectionate combat for the soul of the dying musician.
		One wonders whether, as Janacek heard the sounds of their anguished contention, he was able to reach for one of his tiny note books and notate a speech melody that might have gone further in the direction of his other string quartet, the Kreutzer Sonata.
	www.sundayherald.com /print25988 (719 words)

	New Book on Leos Janacek Includes Work by Hartwick Professor
		The article, "The Captured Muse: Leos Janacek and Kamila Stosslova," examines the real and imaginary "feminine" in Janacek's aesthetics.
		Says Paige, "Like Kafka, who used his long distance correspondence with Felice Bauer as an impetus for his most creative period as a writer, Janacek attached idealized qualities to Kamila Stosslova, a married woman nearly half his age, as a means to realize his most provocative and successful works."
		Paige's approach is a complete re-examination of Janacek's working methods and creative outlook.
	www.hartwick.edu /x5388.xml (254 words)

	Amazon.de: Intimate Letters, Leos Janacek to Kamila Stosslova: English Books: Leos Janacek,Kamila Stosslova,John Tyrrell (Site not responding. Last check: 2007-10-14)
		Leos Janácek met Kamila Stösslová in 1917, when he was 63 and she was 25.
		Since both were married to others and lived in different cities, they interacted largely through their correspondence, which provides an incomparable view of one of the 20th century's quirkiest and most rewarding composers.
		Janácek's letters are filled with an ebullient poetry; he invented fanciful metaphors--to describe Kamila's breasts, his loneliness--and wove variations on them in letter after letter.
	www.amazon.de /exec/obidos/ASIN/0691036489 (463 words)

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