# Janacek - On An Overgrown Path (arr. for SQ)



## Merl (Jul 28, 2016)

It's commonly believed that the inspiration for Janacek's 'On an Overgrown Path' was Dvorak’s Cypresses cycle and that the work is partly autobiographical in nature. Janacek explained that he was “walking along an overgrown path of old memories.” when he wrote these character pieces. The complete collection is made up of two volumes ('books') and the first 'book' of 10 was published in 1911 as piano pieces (but some had appeared as early as 1901 as single pieces). The titles were added later (see notes below). The 2nd series (5 more pieces) appeared posthumously in 1942 and were never given titles. Due to demand, arrangements for different combos of instruments started to appear and the first string quartet arrangement was made in 1925 with Janacek's consent. Unhappy with this and a few later arrangements, a lot of altered arrangements for the string quartet version have been made since. 
As I said, the first five pieces to be composed originally appeared without titles but music critic and fan of Janacek's music, Jan Branberger, requested a clue to their inspiration so Janáček wrote down some descriptive working titles (which changed many times over the years). Like his quartets you'll find that many of these small 
pieces begin innocently but become darker or more emotionally complicated within a few bars.
The first movement pieces presented represent childhood memories, according to Janacek. The first piece, ‘Our Evenings’ captures the atmosphere at dusk in Hukvaldy and begins gently but is interrupted by a more violent middle section. When the theme returns it becomes more restless with brief twittering sections that perhaps are meant to imitate the presence of woodland birds or animals. The delightful ‘A Blown-away Leaf’ begins with a simple folk tune until Janáček starts darkening the atmosphere with pauses and trills, that stretch the music. This was a love song of a long forgotten old flame according to Janacek. The 3rd piece (one of my favourites), the Dvorakian ‘Come with us!’, is a cheerful, vibrant polka again smattered with Janacek's trademark agitations and inspired possibly by a "letter filed away" (love letter?). The next piece is much different in atmosphere. 'The Madonna at Fry´dek' is allegedly inspired by childhood visits to the famed Madonna (in the next village to Janacek) the reaaon for many Christian pilgrimages for centuries. Others claim Janáček was just reminiscing about a memorable visit to the town with his wife. Whatever, as the piece continues the pilgrim song tune fades in and out, carried by some glorious violin lines, as they disappear into the distance. In ‘They Chattered like Swallows’ the music is centred around an awkward, folksy motif with its meno mosso section, all of which was supposedly inspired by seeing a group of young girls playing together. 
The remaining pieces deal with Janacek's emotions and become increasingly darker. ‘Words Fail!’ is an overwhelmingly beautiful and emotional piece that only relaxes occasionally but still has an air of unease. ‘Good Night!’ has a gorgeous melody and was one of the first pieces Janacek wrote (published in 1902) and its a work where the motifs seem to gradually take over from the melody, beginning like a tender lullaby and moving into more anguished territory. Janáček seems to derive the style here from the Moravian folk music which he so loved.
‘Unutterable Anguish’ (as the title suggests) sets a mood of despair with its incessant use of the same notes and harmonies until the closing lines (which are marked adagio). This is a memory of the death of Janacek's daughter, Olga, in 1903. Janacek said of it, "Perhaps you will sense weeping in it … the premonition of certain death. During the hot summer nights that angelic being lay in such mortal anguish." Grim stuff but it's a truly beautiful piece. 'In Tears continues in the melancholic theme but in a more elegiac way. To finish, 'The Barn Owl has Flown Away' is a work that refers to bad omens with its dramatic opening , supposed to imitate the sound of the owl's wings, followed by an owl cry (that two-note descending phrase), with an ominous tremolo. The subsequent chordal theme changes things again as Janáček plays on the tension by creating a trademark darker mood. At the end he refers back to the call of the barn owl, to leave you with a sense of slight uneasiness.
On an Overgrown Path is a beautiful and underappreciated work in this medium (many know the original piano score) and if you like Janacek's other two excellent quartets then you really need to explore this one. Tbh, the parallels with Dvorak's Cypresses are unfair as these are infinitely more accomplished pieces (and that's coming from a big Dvorak SQ fan). 
That I know of, there are just a couple of recordings and both are impressive. Here's what I thought of them. 
Well firstly the great news. BOTH of the available accounts of these pieces are excellent. Which you prefer will be purely down to how you prefer them played. 
The *Czech Philharmonic Quartet *have a fuller, thicker, more vibrato-heavy sound than the competition and have an almost symphonic approach to the works. This works really well, as does the very fine recording. They sound especially good in the 8th piece 'Unutterable Anguish' playing with a tone that could reduce most people to tears. They're broader and more stoic in the lighter pieces but that' s not a bad thing. They just create a different sound and feel to the Energie Nove recording. The big plus about owning this one is that the Czech players also include the 5 pieces from Book 2 of An Overgrown Path and they're equally high class. This is a quality recording. 
The *Energie Nove* play in a brisker, leaner style and with greater emphasis on dynamics, perhaps capturing more of the small details of the music. There's a bit of heavy breathing but it's not too bad and considering you get their superb recordings of both of Janacek's quartets on the same recording you can't go wrong. The more anguished pieces are played with a melancholy that is captivating and their lighter use of vibrato makes the sadness very intense. The recording is beautiful and as I said earlier the margins between which of these recordings you prefer are small. I probably have a greater connection with the Energie Nove recording as I feel they get even more depth here but whichever you choose you really can't go wrong. My advice is to buy both.


----------



## Malx (Jun 18, 2017)

I will try and get to know the two recordings in the near future, but a quick search reveals that the Czech Philharmonic Quartet seems to be available only as a download. I can find no listing on my usual sources for the CD - it was released on CD according to Discogs but appears to have disappeared from listings very quickly.
Both recordings are available on Qobuz to stream.


----------



## Merl (Jul 28, 2016)

Malx, yeah it seems the Czech recording is only available to stream these days (I got it on Spotify) . I've looked hard and long for other recordings but the vast majority are the piano version and a few orchestral versions. I initially thought the Talich had recorded it but it's the piano version on their Calliope disc. If anyone finds another quartet performance please let me know. This work needs recording more by string quartets as it's perfect in this medium. They are glorious little pieces.


----------



## SearsPoncho (Sep 23, 2020)

That was quick.  Are you familiar with the piano version? Do you prefer the string quartet version? I'll have to check it out.


----------



## Enthusiast (Mar 5, 2016)

Except perhaps with Bach and his peers I tend to be suspicious of arrangements where the number of players is increased and the sound is filled out. But I do often like piano arrangements of orchestral works - the Rite of Spring is an example. I listened to the quartet version of On An Overgrown Path, but was left feeling the piece works better as a piano piece. But that's just me.


----------



## Merl (Jul 28, 2016)

SearsPoncho said:


> That was quick.  Are you familiar with the piano version? Do you prefer the string quartet version? I'll have to check it out.


I know the piano version but prefer it as an SQ just because I prefer strings. 🙂


----------



## dko22 (Jun 22, 2021)

I'm surprised that I didn't know that my favourite piano work (I've heard bits of it played on the composer's own piano in the museum which was his house in Brno) had been arranged for string quartet and I'm most grateful for it being brought to my attention. Listening to a few of these with the Energie Nove, I can understand why the idea hasn't really caught on -- it doesn't work at all in my view. For someone not familiar with the piano version, this is pleasant music but it's simply too rich --- the vulnerability and intimacy which makes the original such an overwhelming experience is lacking in my view. I'm certainly with _Enthusiast_, here.


----------

