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These programming choices met extreme controversy over Ostrčil's fifteen-year administration at the
National Theater, especially from conservative critics such as Antonín Šilhan, who branded the conductor an anti-Czech
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His untimely death in 1935, at the height of his career, was a bitter blow to the community, and for the remainder of the democratic era (to 1938) his achievements were continually rhapsodized in print.
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period. From the beginning of his time at the
National Theater he conceived new ideas of musical leadership and choice of repertoire, wherein representatives of the current generation of musical
258:, both at home and abroad, were presented to Prague audiences as a matter of cultural responsibility. As a result, under Ostrčil, Prague saw the Czech premieres of works by
296:. It was Ostrčil's belief in the necessity of presenting modern art to the public that won him many supporters among the students of Prague, led by the young pedagogue and
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180:(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,
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Ostrčil was born, and spent his entire life, in Prague, the center of the Czech musical community of his generation. He studied philosophy at
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89:, attending the classes of Otakar Hostinský, and simultaneously studied composition and music theory privately under
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204:, Ostrčil composed in a densely orchestrated, thickly contrapuntal style that was heavily influenced by Mahler,
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304:; in a climate increasingly unsympathetic to modernist exploration, the conductor was hailed as a hero.
109:(1920–1935), which was one of the most influential positions in Czech musical life. He also worked as a
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As a conductor, Ostrčil had a significant influence on his younger contemporaries in the
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traitor, and whose articles prompted a riot at the third performance of
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476:, Op. 10 (The Orphan, incidental music for play after Nemcova, 1906)
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124:(written as a student under Fibich, 1898, unperformed),
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politics of the libretto's mock folktale atmosphere.
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Cantata, Op. 17 text by
Jaroslava Vrchlického (1913)
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Sonatina for Viola, Violin and Piano, Op. 22 (1925)
375:, Op. 25 (Honza's Kingdom after Leo Tolstoy 1933)
497:Variations for Large Orchestra, Op. 24 (1928) (
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148:(Honzo's Kingdom, based on a short story by
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467:, Op. 3 (Tale of Šemík, tone poem, 1899)
270:, Zich, and most importantly, the opera
540:String Quartet in B Major, Op. 4 (1899)
518:, Op. 15 (Czech Christmas Legend, 1912)
412:Balada o mrtvém ševci a mladé tanečnici
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491:, Op. 23 (Summer, tone poem, 1927)
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42:– 20 August 1935 in Prague) was a
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594:19th-century classical composers
461:, Op. 2 (Fairy Tale Suite, 1898)
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482:Suite in c minor, Op. 14 (1912)
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176:(Summer, tone poem, 1927), and
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216:and the climactic sections of
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634:Czech male conductors (music)
436:, Op. 16 (The Stranger, 1913)
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294:Czechoslovak Communist Party
553:3 Songs, Op. 18 (1910-1913)
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649:Charles University alumni
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192:Like his contemporaries,
107:National Theatre (Prague)
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614:Czech Romantic composers
479:Impromptu, Op. 13 (1912)
564:Czech Music Information
117:, teaching conducting.
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639:Composers from Prague
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516:Ceská Legenda Vánocní
38:(25 February 1879 in
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503:The Way of the Cross
81:Compositional career
406:Karel Jaromír Erben
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337:(1899 - unfinished)
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115:Prague Conservatory
522:Legenda o sv. Zite
372:Honzovo království
229:Honzovo království
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87:Charles University
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365:Legenda z Erinu
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170:Symfonietta
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302:Alois Hába
298:microtonal
278:Alban Berg
264:Stravinsky
188:Influences
154:orchestral
434:Cizí Host
420:, Op. 8 (
300:composer
286:communist
280:in 1926.
256:modernism
245:socialist
198:Josef Suk
162:Impromptu
111:pedagogue
103:Vinohrady
99:conductor
55:Impromptu
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335:Cymbelín
252:interwar
239:or even
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440:Skřivan
424:- 1903)
290:Wozzeck
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260:Debussy
130:Smetana
113:at the
101:at the
398:(1893)
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323:Rybáři
317:Operas
200:, and
61:, and
40:Prague
548:Songs
402:Lilie
359:Poupě
312:Works
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489:Léto
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