{"componentChunkName":"component---src-templates-blog-post-template-js","path":"/blog/2026-08-03-17-29-nathalie-broodcoorens-ein-interview-mit-lars-david-kellner-masterarbeit-ueber-l","result":{"data":{"site":{"siteTitle":"Lars David Kellner","siteUrl":"https://larsdavidkellner.de"},"blogPage":{"title":{"_type":"localeString","de":"Blog","en":"blog"}},"post":{"id":"-11aaa9dd-ae7e-502f-9313-82a22b90bd2e","title":{"_type":"localeString","de":"Nathalie Broodcoorens: Ein Interview mit Lars David Kellner (Masterarbeit über L. Janaceks 'Auf verwachsenem Pfade', 7/2026)","en":"Nathailie Broodcoorens: An Interview with Lars David Kellner (master's thesis about L. Janacek's 'On an Overgrown Path', 7/2026)"},"headerImage":{"asset":{"fluid":{"base64":"data:image/png;base64,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","aspectRatio":1.2043010752688172,"src":"https://cdn.sanity.io/images/vt9wcfp7/production/ef553490c8bc75074623fb811328e191dcc321e0-672x558.png","srcSet":"https://cdn.sanity.io/images/vt9wcfp7/production/ef553490c8bc75074623fb811328e191dcc321e0-672x558.png?w=168&h=140&fit=crop 168w,\nhttps://cdn.sanity.io/images/vt9wcfp7/production/ef553490c8bc75074623fb811328e191dcc321e0-672x558.png?w=336&h=279&fit=crop 336w,\nhttps://cdn.sanity.io/images/vt9wcfp7/production/ef553490c8bc75074623fb811328e191dcc321e0-672x558.png 672w","srcWebp":"https://cdn.sanity.io/images/vt9wcfp7/production/ef553490c8bc75074623fb811328e191dcc321e0-672x558.png?fm=webp","srcSetWebp":"https://cdn.sanity.io/images/vt9wcfp7/production/ef553490c8bc75074623fb811328e191dcc321e0-672x558.png?w=168&h=140&fit=crop&fm=webp 168w,\nhttps://cdn.sanity.io/images/vt9wcfp7/production/ef553490c8bc75074623fb811328e191dcc321e0-672x558.png?w=336&h=279&fit=crop&fm=webp 336w,\nhttps://cdn.sanity.io/images/vt9wcfp7/production/ef553490c8bc75074623fb811328e191dcc321e0-672x558.png?fm=webp 672w","sizes":"(max-width: 672px) 100vw, 672px"}}},"publishedAt":"2026-08-03T15:29:00.000Z","_rawContent":{"_type":"localeRichTextWithMedia","de":[{"_key":"ecda8dc47f26","_type":"block","children":[{"_key":"57294454b72d0","_type":"span","marks":[],"text":"Nathailie Broodcoorens: Ein Interview mit Lars David Kellner"}],"markDefs":[],"style":"normal"},{"_key":"8f48e0779d0e","_type":"block","children":[{"_key":"07bb597c41a90","_type":"span","marks":[],"text":"\n\n"}],"markDefs":[],"style":"normal"},{"_key":"76aa563ad0e6","_type":"block","children":[{"_key":"f0dde85db1240","_type":"span","marks":[],"text":"Lars David Kellner ist ein deutscher Pianist, dessen Repertoire das gesamte Klavierwerk von Leoš Janáček umfasst. Seine 3-CD-Box mit sämtlichen Klavierwerken Janáčeks (2013) ist ein eindrucksvoller Beweis dafür. Seitdem hat er auch Aufnahmen aller Harmoniumkompositionen Janáčeks veröffentlicht (2025)."}],"markDefs":[],"style":"normal"},{"_key":"446b4b985329","_type":"block","children":[{"_key":"1323048dba290","_type":"span","marks":[],"text":"Kellner hat sich intensiv mit Janáčeks Musik auseinandergesetzt und dabei auf die Originalmanuskripte und die frühesten verfügbaren Quellen zurückgegriffen. Für seine Harmoniumaufnahmen verwendete der Künstler zwei verschiedene Instrumente: ein Saugwind-Harmonium und ein Druckwind-Harmonium. Durch die Nutzung ihrer unterschiedlichen klanglichen Eigenschaften versucht der Interpret, der Intention des Komponisten so nah wie möglich zu kommen und der reichen Klangpalette in Janáčeks Musik gerecht zu werden."}],"markDefs":[],"style":"normal"},{"_key":"ae7fd9789207","_type":"block","children":[{"_key":"c741efd292490","_type":"span","marks":[],"text":"Im Lichte meiner Recherchen war dieses Gespräch unglaublich bereichernd. Ich bin Lars David Kellner daher sehr dankbar für seine bereitwillige Zusammenarbeit."}],"markDefs":[],"style":"normal"},{"_key":"3c3ae3a9c3dd","_type":"block","children":[{"_key":"415c2ed2d6aa0","_type":"span","marks":[],"text":"\n\n"}],"markDefs":[],"style":"normal"},{"_key":"496acb05c114","_type":"block","children":[{"_key":"39b02fc547370","_type":"span","marks":[],"text":"NB: Meiner Ansicht nach ist Janáček ein Komponist, der es versteht, seine Gefühle auf außergewöhnlich direkte und nuancierte Weise in Musik umzusetzen. Da sich Ihre Aufnahmen durch ein bemerkenswertes Gespür für Atmosphäre und Ausdruck auszeichnen, möchte ich Ihnen gerne einige Fragen stellen, um meine künstlerische Auseinandersetzung mit seinem Werk zu vertiefen."}],"markDefs":[],"style":"normal"},{"_key":"aefde904c18b","_type":"block","children":[{"_key":"13b039711c5e0","_type":"span","marks":[],"text":"Sie haben das erste Manuskript - wie ursprünglich vorgesehen - auf dem Harmonium eingespielt. Was hat Sie zu dieser Entscheidung bewogen? Stellen Sie einen Unterschied in der Intensität oder den Ausdrucksmöglichkeiten fest, wenn Sie auf dem Harmonium bzw. auf dem Klavier spielen? Und was bevorzugen Sie persönlich? Hoffen Sie vielleicht, einmal den gesamten Zyklus auf dem Harmonium einzuspielen?"}],"markDefs":[],"style":"normal"},{"_key":"55a165e69318","_type":"block","children":[{"_key":"4cd44fe9c00f0","_type":"span","marks":[],"text":"\n\n"}],"markDefs":[],"style":"normal"},{"_key":"9c5b78df73a5","_type":"block","children":[{"_key":"2695c95a9d960","_type":"span","marks":[],"text":"LDK: Als Leoš Janáček im Jahr 1900 seine ersten „Stimmungsbilder“ niederschrieb, die er später mit dem Titel „Auf verwachsenem Pfade“ überschreiben sollte, befand er sich offensichtlich in einem kompositorischen Spannungsfeld zwischen Harmonium und Klavier. Heute ist der „verwachsene Pfad“ eines der beliebtesten Werke des 20. Jahrhunderts. Während die frühen Stücke eindeutig auf das Harmonium ausgerichtet sind, vollzieht sich bei Janáček relativ rasch ein konzeptioneller Wechsel hin zum Klavier."}],"markDefs":[],"style":"normal"},{"_key":"636311e072e6","_type":"block","children":[{"_key":"5c690263f5530","_type":"span","marks":[],"text":""}],"markDefs":[],"style":"normal"},{"_key":"52e4a49ab8c2","_type":"block","children":[{"_key":"1481de8396730","_type":"span","marks":[],"text":"In musikwissenschaftlicher Hinsicht ist bekannt, dass die Entstehung dieses Kompendiums an Stücken äußerst komplex ist und sich über mehr als ein Jahrzehnt erstreckte. Es existieren zahlreiche Quellen aus unterschiedlicher Hand (Autographe und Abschriften), die verschiedene Fassungen und Bearbeitungsstadien dokumentieren."}],"markDefs":[],"style":"normal"},{"_key":"fff3602eb885","_type":"block","children":[{"_key":"1e431d53deb40","_type":"span","marks":[],"text":"\n\n"}],"markDefs":[],"style":"normal"},{"_key":"81b8960338b5","_type":"block","children":[{"_key":"9f5aa5f7e5110","_type":"span","marks":[],"text":"Nachdem ich als Konzertpianist vor mittlerweile über 10 Jahren dem Harmonium begegnet bin und mich seither mit diesem Tasteninstrument intensiv vertraut gemacht habe, lag es nahe, jene wie es in der Erstausgabe heißt „Kleine Kompositionen für Harmonium“ auch auf diesem Instrument zu realisieren. Dieses Unterfangen erwies sich als überaus lohnenswert und augenöffnend, da Klavier und Harmonium nicht nur grundlegend unterschiedlich funktionieren, sondern auch klanglich sehr unterschiedliche Hörerlebnisse ermöglichen. Dasselbe Tonmaterial auf zwei derart verschiedenartigen Tasteninstrumenten künstlerisch umzusetzen, stellte einen höchst spannenden künstlerischen Prozess dar."}],"markDefs":[],"style":"normal"},{"_key":"e825730f0830","_type":"block","children":[{"_key":"b7d0f27b45de0","_type":"span","marks":[],"text":""}],"markDefs":[],"style":"normal"},{"_key":"48bd9bbf4d0c","_type":"block","children":[{"_key":"b0b4c08f2cdb0","_type":"span","marks":[],"text":"Rückblickend lässt sich für mich feststellen, dass sich die Interpretation auf beiden Instrumenten gegenseitig befruchtet hat. Auf dem Kunstharmonium eröffnen sich expressive Möglichkeiten, die dem Klavier in dieser Art nicht zur Verfügung stehen. Andererseits erfordert das Spiel auf dem Harmonium – insbesondere durch das Fehlen des rechten Klavierpedals – eine ganz andere technische Herangehensweise, die gerade für Pianisten eine erhebliche Herausforderung darstellt. Ein sorgfältig gestaltetes Legato ist hier unabdingbar, und je größer die Hände, desto besser!"}],"markDefs":[],"style":"normal"},{"_key":"dcdb84e453ed","_type":"block","children":[{"_key":"9a3395029f550","_type":"span","marks":[],"text":""}],"markDefs":[],"style":"normal"},{"_key":"fb77cafa735c","_type":"block","children":[{"_key":"47d1bd9c01730","_type":"span","marks":[],"text":"Einige Stücke aus dem „verwachsenen Pfad“ waren Teil meiner Harmonium-Rezitale in der Saison 2025. In diesem Jahr, 2026, spiele ich den vollständigen Zyklus erneut auf dem Klavier. Ich folge immer konsequent der vom Komponisten vorgegebenen Instrumentierung: Aus der ersten Reihe des Zyklus sind lediglich fünf Stücke für das Harmonium geeignet: Sie erschienen in den ersten Druckausgaben 1901 und 1902. Die Idee, sämtliche Stücke der ersten Reihe auf dem Harmonium aufführen zu wollen, widerspräche der Intention des Komponisten."}],"markDefs":[],"style":"normal"},{"_key":"17e8ca8ef743","_type":"block","children":[{"_key":"f50918bf5c4b0","_type":"span","marks":[],"text":"\n\n"}],"markDefs":[],"style":"normal"},{"_key":"64958109a513","_type":"block","children":[{"_key":"c3c4791af2150","_type":"span","marks":[],"text":"NB: Der Zyklus ‘Auf verwachsenem Pfade’ wird oft mit dem Tod von Janáčeks Tochter Olga im Jahr 1903 in Verbindung gebracht. Gleichzeitig wissen wir, dass mehrere Stücke aus dem ersten Manuskript bereits um 1900 komponiert wurden. Glauben Sie, dass bei der Interpretation zwischen dem frühen Material und den späteren Ergänzungen unterschieden werden sollte? Ist Ihrer Meinung nach bereits im ersten Manuskript ein Gefühl von Drama oder Vorahnung vernehmbar?"}],"markDefs":[],"style":"normal"},{"_key":"9d07b1c75949","_type":"block","children":[{"_key":"b8ffbf5a35360","_type":"span","marks":[],"text":"LDK: Über Olga Janáčková wissen wir, dass sie zeitlebens kränklich war. Dies muss Leoš Janáček stark belastet haben, und selbstverständlich beeinflussen derartige familiäre Umstände auch das musikalische Schaffen."}],"markDefs":[],"style":"normal"},{"_key":"72441091d8b7","_type":"block","children":[{"_key":"28bbe2bca0ff0","_type":"span","marks":[],"text":"Ich selbst nehme in allen Stücken aus dem „verwachsenen Pfad“ eine gewisse Trauer wahr. Dieses sagen wir mal „dunkle Element“ hält irgendwie die komplette Reihe zusammen - die Stücke bilden dadurch trotz ihrer vielfältigen musikalischen Stilmittel eine homogene Einheit."}],"markDefs":[],"style":"normal"},{"_key":"9fe191824402","_type":"block","children":[{"_key":"43092c02a1480","_type":"span","marks":[],"text":"\n\n"}],"markDefs":[],"style":"normal"},{"_key":"8619685eb082","_type":"block","children":[{"_key":"1ec27b9898480","_type":"span","marks":[],"text":"NB: Wie gehen Sie angesichts dieses biografischen Aspekts an den gesamten Zyklus heran? Sind Sie der Meinung, dass Vorkenntnisse über den biografischen Hintergrund notwendig sind, um dieses Werk vollständig zu verstehen? Sehen Sie das Werk eher als ein in sich geschlossenes Ganzes oder als eine Sammlung eigenständiger, fast tagebuchartiger Miniaturen? Und würden Sie es als programmatisch, autobiografisch oder eher psychoanalytisch charakterisieren? Die oft beschreibenden, poetischen Titel wurden der Klavierfassung erst später hinzugefügt. Inwieweit beeinflussen diese Elemente Ihrer Meinung nach die Interpretation und das emotionale Erlebnis?"}],"markDefs":[],"style":"normal"},{"_key":"90ae0b54e999","_type":"block","children":[{"_key":"75abb22ea8e70","_type":"span","marks":[],"text":"LDK: Es kann sicher vorteilhaft sein, die biografischen Umstände eines Komponisten zu kennen. Mit diesem erweiterten Blickwinkel kann ein musikalisches Werk oft besser eingeordnet werden."}],"markDefs":[],"style":"normal"},{"_key":"b634452d0c13","_type":"block","children":[{"_key":"5439e97407f60","_type":"span","marks":[],"text":"Im Falle von Leoš Janáček und seinem Zyklus „Auf verwachsenem Pfade“ sehe ich gewisse formale Parallelen zu den „Kinderszenen“ von Robert Schumann: Für den konzertanten Vortrag lassen sich ein einzelnes Stück oder wenige Stücke ohne Weiteres aus dem Verbund herauslösen; zugleich entfaltet jedoch auch die Aufführung der vollständige Reihe einen besonderen Reiz. Aus dem Schriftwechsel Janáčeks wissen wir, dass seine Stücke – ganz ähnlich wie bei Schumann – zunächst als reine „Stimmungsbilder“ konzipiert waren. Erst später erhielt die Sammlung den bekannten übergeordneten Titel, und in einem weiteren Schritt folgte die Benennung der einzelnen Stücke. Ist es also nun doch nicht „Programmmusik“? Meines Erachtens kommt es nicht wirklich darauf an, was zuerst da war, der Titel oder die Musik, sondern darauf, ob die Musik auf etwas Außermusikalisches bezogen wird und so verstanden werden soll."}],"markDefs":[],"style":"normal"},{"_key":"75f29c1453cd","_type":"block","children":[{"_key":"6417b2b19d4e0","_type":"span","marks":[],"text":""}],"markDefs":[],"style":"normal"},{"_key":"be73d6c5540e","_type":"block","children":[{"_key":"13758c46f2500","_type":"span","marks":[],"text":"Jedenfalls sind die nachträglichen Titulierungen meiner Meinung nach nur als verbale Annäherungen zu verstehen – als Versuche, die komplexe musikalische Aussage in Worte zu fassen. Letztlich kann aber nur die Musik selbst jene Ausdrucksebene erschließen, die sich der sprachlichen Fixierung entzieht."}],"markDefs":[],"style":"normal"},{"_key":"d76223cc51d9","_type":"block","children":[{"_key":"747b711da4db0","_type":"span","marks":[],"text":"\n\n"}],"markDefs":[],"style":"normal"},{"_key":"5195b5d84049","_type":"block","children":[{"_key":"35865d74b49c0","_type":"span","marks":[],"text":"Und zum Stichwort „psychoanalytisch“: Meiner Meinung nach ist das Komponieren immer Ausdruck des inneren Erlebens, der eigenen Seele. Jede musikalische Gestaltung trägt Spuren psychischer Prozesse in sich, ob bewusst oder unbewusst. Letztendlich ist auch die Interpretation durch den Instrumentalsolisten eine psychische Deutung der Komposition, geprägt von dessen eigener Erfahrungswelt und Empfindung. Das Werk des Komponisten wird dadurch zur Projektionsfläche – sowohl für den Interpreten als auch für den Hörer, der seinerseits Bedeutungen hineinliest und emotional darauf reagiert."}],"markDefs":[],"style":"normal"},{"_key":"ec68efa7dd69","_type":"block","children":[{"_key":"48651de0b3a90","_type":"span","marks":[],"text":"\n\n"}],"markDefs":[],"style":"normal"},{"_key":"58f77b397d91","_type":"block","children":[{"_key":"e898c6148b7e0","_type":"span","marks":[],"text":"NB: Die Musik selbst zeichnet sich durch markante Kontraste aus: Lyrische und poetische Momente werden von unberechenbaren Rhythmen und bisweilen unerwarteten Harmonien unterbrochen. Wie interpretieren Sie diese Spannungen?"}],"markDefs":[],"style":"normal"},{"_key":"355ef4ad68a2","_type":"block","children":[{"_key":"7fab60cc24df0","_type":"span","marks":[],"text":"LDK: Das ist eine sehr treffende Beschreibung der musikalischen Stilmittel in der Klaviermusik von Leoš Janáček. Ergänzen würde ich noch ein gewisses impulsives Element, das bisweilen bewusst ruppig in seine Musik einfällt. Gerade solche klanglichen Zuspitzungen sind ein charakteristischer Bestandteil seiner musikalischen Sprache."}],"markDefs":[],"style":"normal"},{"_key":"bd712428dc0f","_type":"block","children":[{"_key":"3f30a1733a640","_type":"span","marks":[],"text":"Gleich im ersten Stück sehen wir das exemplarisch vor Augen geführt: Nach dem Anfangsteil ereignet sich quasi ohne Vorankündigung eine Art musikalischer Gewittersturm, der an plötzlich einsetzenden Hagel erinnert, der vom Himmel prasselt – eine klangliche Geste von unmittelbarer, beinahe schroffer Eindringlichkeit."}],"markDefs":[],"style":"normal"},{"_key":"e82288017728","_type":"block","children":[{"_key":"b6a3197274840","_type":"span","marks":[],"text":"Aber Janáček bedient sich natürlich keineswegs ausschließlich derart heftiger Ausdrucksmittel: Im Stück „So unendlich bange“ begegnet uns vielmehr eine ganz andere Qualität: Hier scheint das Pochen des Herzens in eindringlich-subtiler und unnachahmlicher Weise vertont worden zu sein. Diese Gegenüberstellung verdeutlicht einmal mehr die feine Differenziertheit und expressive Bandbreite seiner Tonsprache."}],"markDefs":[],"style":"normal"},{"_key":"1def8fac2e7a","_type":"block","children":[{"_key":"08d8aa39e00d0","_type":"span","marks":[],"text":"\n\n"}],"markDefs":[],"style":"normal"},{"_key":"86a654169d4b","_type":"block","children":[{"_key":"7b7f38b2c2090","_type":"span","marks":[],"text":"Die Vielgestaltigkeit von Janáčeks Werken – insbesondere im „verwachsenen Pfad“ – stellt zweifellos hohe Anforderungen an den Interpreten. Die unterschiedlichen Ausdrucksebenen auf dem jeweiligen Instrument differenziert, stilistisch präzise und zugleich musikalisch überzeugend darzustellen, erweist sich als eine große künstlerische Herausforderung und gleichzeitige Freude."}],"markDefs":[],"style":"normal"},{"_key":"bb19c1e4c690","_type":"block","children":[{"_key":"2827956a20bc0","_type":"span","marks":[],"text":"\n\n"}],"markDefs":[],"style":"normal"},{"_key":"6fafb5dd46f5","_type":"block","children":[{"_key":"461a3dd478020","_type":"span","marks":[],"text":"NB: Janáčeks Musik ist oft schwer zu verstehen und gilt als „ziemlich bizarr“. Teilen Sie diese Meinung?"}],"markDefs":[],"style":"normal"},{"_key":"67707516860d","_type":"block","children":[{"_key":"ffdd066599c10","_type":"span","marks":[],"text":"LDK: Ich habe den Eindruck, dass sich so mancher Pianist mit der Musik von Leoš Janáček schwer tut, weil der Zugang zu seiner sehr spezifischen Tonsprache offenbar nicht unmittelbar gegeben ist."}],"markDefs":[],"style":"normal"},{"_key":"aa4929e754c5","_type":"block","children":[{"_key":"a44e2089fc960","_type":"span","marks":[],"text":"Für mich hingegen erschien diese Musik stets als außerordentlich plausibel, beinahe so, als wäre sie ein Teil meiner eigenen musikalischen Empfindung. In meiner Jugend, als ich mit 11 Jahren Janáčeks Werke das erste Mal spielte, verfügte ich natürlich noch nicht über jenes Hintergrundwissen, auf das ich heute zurückgreifen kann – und dennoch sprach die Musik unmittelbar für sich selbst."}],"markDefs":[],"style":"normal"},{"_key":"c6ee87540fa5","_type":"block","children":[{"_key":"bba9cc947d1b0","_type":"span","marks":[],"text":"Die poetischen Titel des „verwachsenen Pfades“ waren für mich auch damals eher geistige Anregungen als festlegende Deutungen."}],"markDefs":[],"style":"normal"},{"_key":"055a34d651f9","_type":"block","children":[{"_key":"4cb0fdee395d0","_type":"span","marks":[],"text":"\n\n"}],"markDefs":[],"style":"normal"},{"_key":"f8e142b5e609","_type":"block","children":[{"_key":"d3f8441ca9920","_type":"span","marks":[],"text":"NB: Abschließend würde mich Ihre persönliche Beziehung zu diesem Werk interessieren. Hat sich Ihre Interpretation im Laufe der Zeit verändert? Was hat Sie Ihre intensive Auseinandersetzung mit dieser Musik gelehrt, sowohl über das Werk selbst als auch über Ihre eigene Gefühlswelt? Und glauben Sie, dass Zuhörer im Allgemeinen einen Bezug zu den Emotionen herstellen können, die Janáček hier zum Ausdruck bringt?"}],"markDefs":[],"style":"normal"},{"_key":"8e9622e36c97","_type":"block","children":[{"_key":"073bcb3a50d50","_type":"span","marks":[],"text":"LDK: Leoš Janáčeks Klavierzyklus „Auf verwachsenem Pfade“ gehört zu den ersten größeren Werken, die ich in den 1980er Jahren gemeinsam mit meinem tschechischen Klavierlehrer erarbeitet habe. Seither begleitet mich dieses Werk und ich spiele es auch nach Jahrzehnten noch regelmäßig in meinen Konzerten."}],"markDefs":[],"style":"normal"},{"_key":"3200d10dd484","_type":"block","children":[{"_key":"89612973e3f00","_type":"span","marks":[],"text":"Der Zyklus ist inzwischen tief im Langzeitgedächtnis verankert, sodass ich ihn jederzeit „spontan“ zur Aufführung bringen kann. Trotzdem unterliegt meine Interpretation einem fortwährenden Wandel – ebenso, wie sich das Leben selbst stetig verändert. Diese Haltung entspricht im Übrigen auch einer künstlerischen Vorstellung Janáčeks, nämlich der Stimmung eines jeden einzelnen Momentes spontan nachgeben zu können und ihm entsprechend musikalischen Ausdruck zu verleihen."}],"markDefs":[],"style":"normal"},{"_key":"afd75ef2492e","_type":"block","children":[{"_key":"1119c8addd530","_type":"span","marks":[],"text":"Diesem Impuls folge ich bewusst; jede Aufführung fühlt sich dadurch neu und in gewisser Weise anders an. Es bleibt für mich eine spannende Perspektive zu beobachten, auf welche inneren und äußeren Pfaden mich dieses Werk in den kommenden Jahrzehnten noch führen wird."}],"markDefs":[],"style":"normal"}],"en":[{"_key":"3dcd2fe7c9f0","_type":"block","children":[{"_key":"ad80f3ee32ab0","_type":"span","marks":[],"text":"Nathailie Broodcoorens: An Interview with Lars David Kellner"}],"markDefs":[],"style":"normal"},{"_key":"bd377e10c917","_type":"block","children":[{"_key":"2bc908c34d440","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"7851d8c56ff9","_type":"block","children":[{"_key":"a2b89fbf25020","_type":"span","marks":[],"text":"Lars David Kellner is a German pianist whose focusing includes the complete piano works of Leoš Janáček. His 3-CD box set featuring all of Janáček’s piano works (2013) is an impressive testament to this. He has since also released recordings of all of Janáček’s harmonium compositions (2025)."}],"markDefs":[],"style":"normal"},{"_key":"86bf7ce9abfb","_type":"block","children":[{"_key":"03989d3b12df0","_type":"span","marks":[],"text":"Kellner has thoroughly studied Janáček’s music, drawing on the original manuscripts and the earliest available sources. For his harmonium recordings, the artist used two different instruments: a suction-wind harmonium and a pressure-wind harmonium. By making use of their differing tonal characteristics, the performer strives to stay as close as possible to the composer’s intent and to do justice to the rich palette of colors in Janáček’s music."}],"markDefs":[],"style":"normal"},{"_key":"9fde933d4aaf","_type":"block","children":[{"_key":"a580ebf23f5f0","_type":"span","marks":[],"text":"In light of my research, this conversation was incredibly enriching. I am therefore very grateful to Lars David Kellner for his willing cooperation."}],"markDefs":[],"style":"normal"},{"_key":"9cf01189174b","_type":"block","children":[{"_key":"206a463affb30","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"40e81316cefe","_type":"block","children":[{"_key":"bb7467714d480","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"7ddc249d1836","_type":"block","children":[{"_key":"389596c2cc9d0","_type":"span","marks":[],"text":"NB: In my view, Janáček is a composer who knows how to translate his feelings into music in an exceptionally direct and nuanced way. Since your recordings are characterized by a remarkable sense of atmosphere and expression, I would like to ask you a few questions to deepen my artistic research."}],"markDefs":[],"style":"normal"},{"_key":"23eaa4a4a50a","_type":"block","children":[{"_key":"7c1163ef43bd0","_type":"span","marks":[],"text":"You recorded the first manuscript on the harmonium, as originally intended. What motivated you to make this choice? Do you notice a difference in intensity or expressive possibilities between performing on the harmonium and on the piano? And which do you personally prefer? Do you perhaps hope to record the entire cycle on the harmonium?"}],"markDefs":[],"style":"normal"},{"_key":"54917d49a5ca","_type":"block","children":[{"_key":"e162542865e50","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"988e7c450448","_type":"block","children":[{"_key":"93d6b6854ca50","_type":"span","marks":[],"text":"LDK: When Leoš Janáček wrote down his first “Mood Pictures” in 1900—which he would later title “On an Overgrown Path”—he was evidently caught between the harmonium and the piano in his compositorial approach. Today, the “Overgrown Path” is one of the most popular works of the 20th century. While the early pieces are clearly oriented towards the harmonium, Janáček underwent a relatively quick conceptual shift in favour of the piano."}],"markDefs":[],"style":"normal"},{"_key":"f54806ade02c","_type":"block","children":[{"_key":"5108667246130","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"13d80429b204","_type":"block","children":[{"_key":"953782aca2ce0","_type":"span","marks":[],"text":"From a musicological perspective, it is well known that the creation of this collection of pieces was an intricate process that spanned more than a decade. There are numerous sources from various hands (autographs and copies) that document different versions and stages of revision."}],"markDefs":[],"style":"normal"},{"_key":"bea1b965a633","_type":"block","children":[{"_key":"bce39786d3e70","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"d05975c8328c","_type":"block","children":[{"_key":"11748748299b0","_type":"span","marks":[],"text":"Having first encountered the harmonium over 10 years ago as a concert pianist and having since become thoroughly familiar with this keyboard instrument, it seemed natural to perform what the first edition calls “Small Compositions for the Harmonium” on this particular instrument as well. This endeavor proved to be extremely rewarding and eye-opening, as the piano and the harmonium not only differ fundamentally in how they work, but also offer very different auditory experiences. Performing the same musical material on two such dissimilar keyboard instruments was a highly exciting artistic process."}],"markDefs":[],"style":"normal"},{"_key":"e1b5d8bf0d0a","_type":"block","children":[{"_key":"422f154c6a660","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"57a327c3e883","_type":"block","children":[{"_key":"9ee5c9b10bfb0","_type":"span","marks":[],"text":"Looking back, I can say that the interpretation on both instruments has been mutually beneficial. The art harmonium opens up expressive possibilities that are not available to the piano in this way. On the other hand, playing the harmonium—especially due to the absence of the right piano pedal—requires a completely different technical approach, which presents a considerable challenge, particularly for pianists. A carefully executed legato is essential here, and the larger the hands, the better!"}],"markDefs":[],"style":"normal"},{"_key":"89278429dad6","_type":"block","children":[{"_key":"450d0261416b0","_type":"span","marks":[],"text":""}],"markDefs":[],"style":"normal"},{"_key":"a23a9f2dfca7","_type":"block","children":[{"_key":"809a943a15650","_type":"span","marks":[],"text":"Several pieces from the “Overgrown Path” were part of my harmonium recitals during the 2025 season. This year, 2026, I am performing the complete cycle again on the piano. I always strictly follow the instrumentation specified by the composer: From the first series of the cycle, only five pieces are suited to the harmonium; they appeared in the first printed editions of 1901 and 1902. The idea of performing all the pieces from the first series on the harmonium would contradict the composer’s intention."}],"markDefs":[],"style":"normal"},{"_key":"aee981ba8582","_type":"block","children":[{"_key":"ee563ec316330","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"3fce959db93b","_type":"block","children":[{"_key":"bca0e8f1adb20","_type":"span","marks":[],"text":"NB: The cycle 'On an Overgrown Path' is often associated with the death of Janáček’s daughter Olga in 1903. At the same time, we know that several pieces from the first manuscript were already composed around 1900. Do you think that, in interpretation, a distinction should be made between the early material and the later additions? In your opinion, is there already a sense of drama or foreboding present in the first manuscript?"}],"markDefs":[],"style":"normal"},{"_key":"8dc6f3b72cec","_type":"block","children":[{"_key":"532e620bc8110","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"ac03eb27b0f9","_type":"block","children":[{"_key":"34005e1544d50","_type":"span","marks":[],"text":"LDK: We know about Olga Janáčková that she was in poor health throughout her life. This must have weighed heavily on Leoš Janáček, and of course such family circumstances also influence one’s musical work."}],"markDefs":[],"style":"normal"},{"_key":"c3d75aeb9891","_type":"block","children":[{"_key":"aed63d3025600","_type":"span","marks":[],"text":"I myself perceive a certain sadness in all the pieces from the “Overgrown Path”. This, let’s call it, “dark element” somehow holds the entire series together—as a result, the pieces form a homogeneous whole despite their diverse musical stylistic devices."}],"markDefs":[],"style":"normal"},{"_key":"3d07f329a18a","_type":"block","children":[{"_key":"1f74997fdbd90","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"d3f55f0cd729","_type":"block","children":[{"_key":"59654b1a81540","_type":"span","marks":[],"text":"NB: How do you approach the entire cycle in relation to this biographical detail? Do you think that prior knowledge of the biographical background is necessary to fully understand this work? Do you view the work more as a cohesive whole, or as a collection of autonomous, almost diary-like miniatures? And would you characterize it as programmatic, autobiographical, or rather psychoanalytic? The often descriptive, poetic titles were added only later to the piano version. To what extent do you think these elements influence the interpretation and the emotional experience?"}],"markDefs":[],"style":"normal"},{"_key":"6ac4408da1fe","_type":"block","children":[{"_key":"3f86f17e6e1b0","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"ac66c1977637","_type":"block","children":[{"_key":"0c4bbfa323240","_type":"span","marks":[],"text":"LDK: It can certainly be beneficial to be familiar with a composer’s biographical history. With this broader perspective, a musical work can often be better contextualized."}],"markDefs":[],"style":"normal"},{"_key":"70e6bf7ff7f7","_type":"block","children":[{"_key":"e6faca6b2ba80","_type":"span","marks":[],"text":"In the case of Leoš Janáček and his cycle “On an Overgrown Path”, I see certain formal parallels to Robert Schumann’s “Kinderszenen”: For a concert performance, a single piece or a few pieces can easily be extracted from the collection; at the same time, however, the performance of the complete set also has a certain appeal. From Janáček’s correspondence, we know that his pieces—much like Schumann’s—were initially conceived as pure “mood pictures”. It was only later that the collection received its well-known collective title, and in a subsequent step, the individual pieces were named. So is it not “program music” after all? In my view, it does not really matter which came first, the title or the music, but rather whether the music is related to something extramusical and is intended to be understood as such."}],"markDefs":[],"style":"normal"},{"_key":"075632d00c70","_type":"block","children":[{"_key":"ebd9f201e1940","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"55fd5bd11b4e","_type":"block","children":[{"_key":"9e4692cdcae60","_type":"span","marks":[],"text":"In any case, I believe that these retrospective titles should be understood merely as verbal approximations—as attempts to put the complex musical message into words. In the end, however, only the music itself can reveal the level of expression that is beyond the reach of linguistic description."}],"markDefs":[],"style":"normal"},{"_key":"ae9562d0eaa5","_type":"block","children":[{"_key":"21d650bd4b090","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"4a636cc9741d","_type":"block","children":[{"_key":"f4328f6bdbd70","_type":"span","marks":[],"text":"And on the keyword of “psychoanalytical”: In my opinion, composing is always an expression of inner emotions, of one’s own soul. Every musical composition bears traces of psychological processes, whether conscious or unconscious. Ultimately, the instrumental soloist’s performance is also a psychological interpretation of the composition, shaped by the performer’s own experiences and perceptions. The composer’s work thus becomes a projection screen—both for the performer and for the listener, who in turn reads meanings and reacts emotionally to it."}],"markDefs":[],"style":"normal"},{"_key":"6648340d0fac","_type":"block","children":[{"_key":"8a225ad59e610","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"18e06ea4b820","_type":"block","children":[{"_key":"f804dc56a9130","_type":"span","marks":[],"text":"NB: The music itself features striking contrasts: lyrical, poetic moments are interspersed with erratic rhythms and sometimes unexpected harmonies. How do you interpret these tensions?"}],"markDefs":[],"style":"normal"},{"_key":"c76619d6d385","_type":"block","children":[{"_key":"cbed5bde244d0","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"15caef4b60ed","_type":"block","children":[{"_key":"5a9473158eaa0","_type":"span","marks":[],"text":"LDK: That is a very fitting description of the musical stylistic devices in Leoš Janáček’s piano music. I would add a certain impulsive element that occasionally bursts into his music in a deliberately rough manner. It is precisely such sonic intensifications that are a characteristic feature of his musical language."}],"markDefs":[],"style":"normal"},{"_key":"0c6246fe66fb","_type":"block","children":[{"_key":"a4efafe710730","_type":"span","marks":[],"text":"We see this exemplified right in the first piece: After the opening section, a sort of musical thunderstorm occurs virtually without warning, reminiscent of a sudden hailstorm pattering down from the sky—a sonic gesture of immediate, almost abrupt intensity."}],"markDefs":[],"style":"normal"},{"_key":"5420785f6e37","_type":"block","children":[{"_key":"9cbcfe6a617a0","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"7e5af9647dd3","_type":"block","children":[{"_key":"2d38ffb7c1e70","_type":"span","marks":[],"text":"But Janáček, of course, by no means relies exclusively on such intense means of expression: in the piece “Unutterable Anguish”, we encounter a very different quality indeed; here, the beating of the heart seems to have been set to music in a haunting, subtle, and inimitable way. This contrast once again highlights the delicate nuance and expressive range of his musical language."}],"markDefs":[],"style":"normal"},{"_key":"77d6abfb6731","_type":"block","children":[{"_key":"ca3ad5c60baf0","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"0346d29a7389","_type":"block","children":[{"_key":"9cc0cd25c68f0","_type":"span","marks":[],"text":"The diversity of Janáček’s works—especially in the “Overgrown Path”—undoubtedly places high demands on the performer. Presenting the different levels of expression on each instrument in a nuanced, stylistically precise, and yet musically compelling manner proves to be both a major artistic challenge and a source of joy."}],"markDefs":[],"style":"normal"},{"_key":"7b0348551d4c","_type":"block","children":[{"_key":"f525d1f1e79e0","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"7ed1b1e5daa9","_type":"block","children":[{"_key":"8cc93c7f32c40","_type":"span","marks":[],"text":"NB: Janáček's music is often difficult to understand and is considered \"quite bizarre\". Do you share this opinion?"}],"markDefs":[],"style":"normal"},{"_key":"b8438a2ffb14","_type":"block","children":[{"_key":"084ae7c42b480","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"1f83d5073959","_type":"block","children":[{"_key":"b61520a8929c0","_type":"span","marks":[],"text":"LDK: I get the impression that quite a few pianists struggle with Leoš Janáček’s music because his very specific musical language is apparently not immediately accessible."}],"markDefs":[],"style":"normal"},{"_key":"27255e2b27e0","_type":"block","children":[{"_key":"08b7ef700a6c0","_type":"span","marks":[],"text":"To me, however, this music has always seemed extraordinarily natural, almost as if it were part of my own musical sensibility. In my youth, when I first played Janáček’s works at the age of 11, I naturally did not yet possess the background knowledge I can rely on today—and yet the music spoke for itself immediately."}],"markDefs":[],"style":"normal"},{"_key":"1ef90b4ba77d","_type":"block","children":[{"_key":"85a144bdf42d0","_type":"span","marks":[],"text":"Even back then, the poetic titles of the “Overgrown Path” were for me more intellectual inspirations than definitive interpretations."}],"markDefs":[],"style":"normal"},{"_key":"4bd596a9763c","_type":"block","children":[{"_key":"e70b005c2a750","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"ce491791feb2","_type":"block","children":[{"_key":"fe35a0e588190","_type":"span","marks":[],"text":"NB: Finally, I’m curious about your personal relationship with this work. Has your interpretation changed over time? What has your intensive engagement with this music taught you, both about the work itself and about your own emotional world? And do you think listeners in general can relate to the emotions that Janáček expresses here?"}],"markDefs":[],"style":"normal"},{"_key":"f4052b2ec3f7","_type":"block","children":[{"_key":"111cc87e329a0","_type":"span","marks":[],"text":"\n"}],"markDefs":[],"style":"normal"},{"_key":"52e628efc8d7","_type":"block","children":[{"_key":"c9d5448a44270","_type":"span","marks":[],"text":"LDK: Leoš Janáček’s piano cycle “On an Overgrown Path” was one of the first major works I studied with my Czech piano teacher in the 1980s. This piece has been a constant companion ever since, and even decades later, I still perform it regularly in my concerts."}],"markDefs":[],"style":"normal"},{"_key":"0ebfe1769db0","_type":"block","children":[{"_key":"42ac4f2f27c30","_type":"span","marks":[],"text":""}],"markDefs":[],"style":"normal"},{"_key":"468487c39645","_type":"block","children":[{"_key":"f0a238f341ae0","_type":"span","marks":[],"text":"The cycle is now deeply embedded in my long-term memory, so that I can perform it “spontaneously” at any time. Nevertheless, my interpretation is subject to constant change—just as life itself is constantly changing. This approach, incidentally, also aligns with one of Janáček’s artistic principles: to be able to surrender spontaneously to the mood of each individual moment and give it appropriate musical expression."}],"markDefs":[],"style":"normal"},{"_key":"ac139490714c","_type":"block","children":[{"_key":"89f1af9e72c30","_type":"span","marks":[],"text":""}],"markDefs":[],"style":"normal"},{"_key":"36f87430c6a1","_type":"block","children":[{"_key":"3601e278b6270","_type":"span","marks":[],"text":"I consciously follow this impulse; as a result, every performance feels fresh and, in a certain way, different. It remains an exciting prospect for me to observe which inner and outer paths this work will lead me along in the coming decades."}],"markDefs":[],"style":"normal"}]},"related":[{"__typename":"SanityRecording","id":"-a83d58c0-b397-599a-a746-4099c1dbed49","slug":{"current":"2025-01-janacek-saemtliche-stuecke-fuer-harmonium-einspielung-von-lars-david-kellner"},"title":{"_type":"localeString","de":"L. Janacek: Sämtliche Stücke für Harmonium (Lars David Kellner)","en":"L. 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