Otakar Ostrcil: Symphony in A Major, op.7 (1906)

Otakar Ostrcil

                                                               

 (25 February 1879 in Prague – 20 August 1935 in Prague) was a Czech composer and conductor. He is noted for symphonic works Impromptu, Suite in C Minor["https://www.youtube.com/embed/YHg3fVT1KSg"] , and Symfonietta, and in his opera compositions Poupě and Honzovo království.

Symphony in A Major, op.7 (1906)  

I.Moderato assai:11:15
II.Quasi maestoso:9:53
III.Moderato:9:36
IV.Vivace :9:14

Prague Symphony Orchestra
Jiri Belohlavek

Ostrčil was born, and spent his entire life, in Prague, the center of the Czech musical community of his generation. He studied philosophy at Charles University, attending the classes of Otakar Hostinský, and simultaneously studied composition and music theory privately under Zdeněk Fibich. From his early student days he was a close friend of Zdeněk Nejedlý, whose outspoken voice in musicology formed Ostrčil's greatest critical support. He worked as a conductor at the Vinohrady Theater (1914-1919) and later at the National Theatre (Prague) (1920-1935), which was one of the most influential positions in Czech musical life. He also worked as a pedagogue at the Prague Conservatory, teaching conducting.

Ostrčil wrote six operas: Jan Zhořelecký (written as a student under Fibich, 1898, unperformed), Vlasty skon (Vlasta's passing, premiered 1904, to a libretto previously considered by Smetana and Fibich), Kunálovy oči (Kunál's eyes, 1908), Poupě (The Bud, 1912), Legenda z Erinu (A Legend of Erin, 1921), and Honzovo království (Honzo's Kingdom, based on a short story by Leo Tolstoy, 1934). His most significant orchestral music includes Symphony in A (1906), Impromptu (1912), Suite in c minor (1914), Symfonietta (1922), Léto (Summer, tone poem, 1927), and Křížova cesta (The Way of the Cross, orchestral variations, 1929). He also composed various works for chamber and choral ensembles. As was the case with his main musical influence, Gustav Mahler, his rigorous conducting schedule rarely allowed free time for composition, with the exception of the summers when the theater was not in season.