[체코]Zdeněk Fibich [(즈데네크 피비히]

Zdeněk Fibich

Zdeněk Fibich

 (21 December 1850 – 15 October 1900) was a Czech composer of classical music.

Among his compositions are chamber works (including two string quartets, a piano trio, piano quartet and a quintet for piano, strings and winds), symphonic poems, three symphonies, at least seven

operas (the most famous probably Šárka and The Bride of Messina), melodramas including the substantial trilogy Hippodamia, liturgical music including a mass - a missa brevis; and a large cycle (almost 400 pieces, from the 1890s) of piano works called Moods, Impressions, and Reminiscences. The piano cycle served as a diary of sorts of his love for a piano pupil. He was born in Všebořice (Šebořice) near Čáslav.

 

 

 

Piano Quintet (1893)

I. Allegro Non Tanto - 00:00
II. Largo - 10:10
III. Scherzo - 20:15
IV. Finale - Allegro Con Spirito - 27:16

This is one of the most original sounding chamber music works because of the unusual tone color effects that Fibich creates. Clearly, in its original version for piano, winds and strings, the nature of the instruments, by themselves alone, creates the stunning and rich effects. However, the version for standard piano quintet benefited immeasurably because Fibich strove hard to maintain the wonderful tone color of the original.

Zdenek Fibich (1850-1950) is the third of the so-called Big Three of 19th century Czech composers, the other two being Smetana and Dvorak. That Fibich is not as well known as the other two is not because his music was in any way inferior, but simply because he lived during a time of extreme national consciousness and unlike Dvorak and Smetana, he did not choose only to write in a purely Czech idiom. Rather, his music, though exhibiting Slavic elements, is more typically Central European in sound. This reflects his background. one of his parents was Czech, the other an Austrian German. His education was at both Czech and German schools. He studied at the famous Leipzig Conservatory then spent a year in Paris. Hence Fibich, in contrast to either Dvorak or Smetana, was the product of two cultures, German and Czech. His instrumental works are generally in the vein of the German romantics such as Mendelssohn, Schumann and Wagner.

The Quintet dates from 1893. Because of the unusual combination of instruments Fibich selected for the original version, his publisher, knowing not many copies would be sold, asked for a version for standard piano quintet. This he produced and yet, such was Fibich's genius, that it in no way sounds like an arrangement and often even gives the feeling of being an altogether separate composition. The main theme to first movement, Allegro non tanto, is warm-hearted and presents a colorful reflection on the peacefulness of nature with a somewhat rustling quality in the background. There is a brief orchestral call to attention before the music seamlessly drifts away. The second movement, Largo, has for its main subject a melody which is serene and dignified but also capable of tremendous passion. A Schubertian Scherzo, with two trios comes next. Fibich gives the instruction "to be played with wild humor." The finale, Allegro con spirito, is bright, joyous and festive.

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Piano Quartet (1874)

I. Allegro Moderato - 00:00
II. Theme and Variations - 10:34
III. Allegro Energico - 23:52

Fibich, in contrast to either Dvorak or Smetana, was the product of two cultures, German and Czech. He had been given a true bi-cultural education. And during his formative early years, he had lived in Germany, France and Austria in addition to his native Bohemia. He was perfectly fluent in German as well as Czech. All of these factors were important in shaping his outlook and approach to composition. In his instrumental works, Fibich generally wrote in the vein of the German romantics, first falling under the influence of Weber, Mendelssohn and Schumann and later Wagner. It seems, that like Tchaikovsky, Fibich did not wish to write music that merely sounded nationalistic. And therein lies the reason that Fibich has never been held in the same regard by his countrymen as either Dvorak and Smetana or even Janacek. Yet Fibich was the first of any Czech composer to use native Czech folk melody in his works and these melodies, though not as pronounced as in Dvorak's, nonetheless can be heard in most of his works.

"Fibich's Piano Quartet is written with a profound knowledge of technique indispensable for chamber music. Upon publication, it won praise from every quarter. It is remarkable for its power and richness of invention as well as for the closely woven character of the ensemble, there being only five themes in the entire work. The first movement, Allegro moderato, is built on two lyrical themes. The second movement, Thema con variazione, has but one with eight ingenious variations that follow. The finale, Allegro energico,

has two of its own, but all five are repeated toward the end of the work."

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String quartet No. 1 in A major

00:00 Allegro grazioso
07:04 Andante semplice
12:21 Allegretto
16:38 Allegro

Panochovo kvarteto [Jiří Panocha (1.housle), Pavel Zejfart (2.housle), Miroslav Sehnoutka (viola), Jaroslav Kulhan (violoncello)]
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EN
Zdeněk Fibich (1850-1900) is famous primary for his melodramas (mainly Hippodamia trilogy -- the same concept as Wagner's Tetralogy. Three evenings of great ancient drama). But in any other genre, he stands far behind Dvořák or Smetana both in Czech republic and abroad. In my opinion, his symphonies or chamber music deserve more attention.

String quartet in A major (without opus number) is dates from the period of Fibich's brief soujourn in Vilnius. This youthfully work was written intentionally „in national tone". It has many elements of czech national folk song and dance, like Polka in a third movement (Jaromír Havlík).

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String quartet No. 2 in G major, Op. 8

00:00 Allegro moderato
08:27 Adagio
14:40 Scherzo. Allegro scherzando
18:25 Allegro

Panochovo kvarteto [Jiří Panocha (1.housle), Pavel Zejfart (2.housle), Miroslav Sehnoutka (viola), Jaroslav Kulhan (violoncello)]
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Panocha quartet [Jiří Panocha (I. violin), Pavel Zejfart (II..violin), Miroslav Sehnoutka (viola), Jaroslav Kulhan (cello)]

EN
Zdeněk Fibich (1850-1900) is famous primary for his melodramas (mainly Hippodamia trilogy -- the same concept as Wagner's Tetralogy. Three evenings of great ancient drama). But in any other genre, he stands far behind Dvořák or Smetana both in Czech republic and abroad. In my opinion, his symphonies or chamber music deserve more attention.

In contrast with A major work, String quartet in G major, Op. 8 is somewhat more sober in its tone and more compact in its structure. It also contains many similar elements with czech national dances like Sousedská or Polka (Jaromír Havlík).

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Piano trio f minor

00:00 Molto con fuoco
06:57 Adagio ma non troppo
09:47 Vivacissimo

Smetana trio [Jana Vonášková-Nováková (violin), Jan Páleníček (violoncello), Jitka Čechová (piano)]


Zdeněk Fibich (1850-1900) is famous primary for his melodramas (mainly Hippodamia trilogy -- the same concept as Wagner's Tetralogy. Three evenings of great ancient drama). But in any other genre, he stands far behind Dvořák or Smetana both in Czech republic and abroad. In my opinion, his symphonies or chamber music deserve more attention.

The Piano Trio in f minor, dating from 1872, is Fibich's earliest known chamber work and was one of the first works which brought him to the attention of musical Prague. Although it received favorable reviews upon its premiere, Fibich never submitted this surprisingly mature work for publication during his lifetime and it was not until 1908, eight years after his death that it was finally published.