280:. While Smetana and Dvořák gave themselves over entirely to the national cause, consciously writing Czech music with which the emerging nation strongly identified, Fibich's position was more ambivalent. This was due to the background of his parents and to his education. Fibich's father was a Czech forestry official and the composer's early life was spent on various wooded estates of the nobleman for whom his father worked. His mother, however, was an ethnic German Viennese. She started teaching him how to play the piano when he was six years old. Home schooled by his mother until the age of nine, he was first sent to a German-speaking
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514:. Much of the reception of Fibich's music in the early twentieth century is a result of these students' efforts after their teacher's death, especially in Nejedlý's highly polemical campaigns enacted in a series of monographs and articles that sought to redress what he considered to be past inequities. Although this served to bring Fibich's music to greater attention, subsequent scholarship has had to deal with the spectre of Nejedlý's intensely personal bias.
411:. His early operas and close to 200 of his early songs are in German. These works along with his symphonies and chamber music won considerable praise from German critics, though not from Czechs. The bulk of Fibich's operas are in Czech, although many are based on non-Czech sources such as
640:, Vol.XVI Nos.1–3, 2005, Riverwoods, Illinois (The author & The Chamber Music Journal have released the above information which appears in their article under the terms of the GNU License. Some of this information also appears on the website of Edition Silvertrust)
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361:(née Hanušová), but left her in 1895 for his former student and lover Anežka Schulzová. The relationship between Schulzová and Fibich was important to him artistically, since she wrote the libretti for all his later operas including
354:. After spending two unhappy years there (his wife and newly born twins both died in Vilnius), he returned to Prague in 1874 and remained there until his death in 1900. In 1875 Fibich married Růžena's sister, the operatic
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Quintetto pro housle, klarinet (nebo housle II), lesní roh (nebo violu), violoncello u klavír = für
Violine, Klarinetto (o. II. Violine), Horn (o. Viola), Violoncello u. Klavier : op. 42 / složil Zdenko
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in addition to his native
Bohemia. He was fluent in German as well as Czech. In his instrumental works, Fibich generally wrote in the vein of the German romantics, first falling under the influence of
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and forced to rely on his private composition studio. The studio nevertheless was well respected among students, drawing such names as
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621:. Oxford, New York, Oxford University Press) and from reviews of recordings of the works listed in music journals (especially the
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in Czech before a conservative audience, Fibich's pugilistic music criticism, not to mention his overtly
Wagnerian later operas,
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for two years before attending a Czech-speaking gymnasium in Prague where he stayed until he was 15. After this he was sent to
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461:'s theories on opera. While Smetana's later career was plagued with problems for presenting Wagnerian-style
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324:. Fibich spent the next few years living with his parents back in Prague where he composed his first opera
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Some of this information is paraphrased from the Fibich entry in the Oxford
Concise Dictionary of Music (
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After his return to Prague in 1874, Fibich's music encountered severely negative reactions in the
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Fibich was given a bi-cultural education, living during his formative early years in
Germany,
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At the age of 23, he married Růžena Hanušová and took up residence in the
Lithuanian city of
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from where it was adapted after his death by the violinist Jan
Kubelik and given the title
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Opera and
Ideology in Prague: Polemics and Practice at the National Theater, 1900–1938
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Fruehlingsstrahlen. Jarní paprsky. 14 Lieder mit
Klavierbegleitung. Op. 36. Heft I-II.
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which has organized projects such as
Vladimir Hudec's Thematic Catalog (below) and
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599:. pp. 850. Thematic catalogue, text in Czech, German and English.
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musical community, stemming from his (and Smetana's) adherence to
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4 Balladen für eine Mittel-Stimme mit Klavierbegleitung. Op. 7.
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can be explained by the fact that he lived during the rise of
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Zdenek Fibich. Tematicky katalog / Thematisches Verzeichnis.
486:, he was ostracized from the musical establishment at the
192:. Among his compositions are chamber works (including two
427:. Fibich was the first to write a Czech nationalist tone
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List of music students by teacher: C to F#Zdeněk Fibich
510:, the notorious critic and subsequent politician. See:
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where he remained for three years studying piano with
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Child Composers and Their Works: A Historical Survey
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From Sibley Music Library Digital Scores Collection
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From Sibley Music Library Digital Scores Collection
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From Sibley Music Library Digital Scores Collection
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800:Fibich Chamber Music Sound-bites & Short bio
547:. He reused the material in his symphonic idyll
435:) which served as the inspiration for Smetana's
563:. In 1933 the tune was popularly harmonized by
647:(Rochester, N.Y.: Boydell & Brewer, 2006)
606:. Prague: Státní hudební vydavatelství, 1963.
367:, but also served as the inspiration for his
256:, for which Fibich is best remembered today.
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449:Criticisms from Prague's musical community
264:That Fibich is far less known than either
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771:International Music Score Library Project
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80:Learn how and when to remove this message
709:The Penguin Companion to Classical Music
43:This article includes a list of general
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350:. where he had obtained a position of
535:List of compositions by Zdenek Fibich
445:in a chamber work, his quartet in A.
369:Moods, Impressions, and Reminiscences
304:. After the better part of a year in
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545:Moods, Impressions and Reminiscences
308:, Fibich concluded his studies with
441:. He was also the first to use the
706:Griffiths, Paul (7 October 2004).
591:Prague: Editio Bärenreiter, 2002.
236:including the substantial trilogy
49:it lacks sufficient corresponding
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787:Czech necrologue of Zdeněk Fibich
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849:19th-century classical composers
678:. Scarecrow Press. p. 153.
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758:Works by or about Zdeněk Fibich
630:Zdenek Fibich-The Chamber Music
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332:, the librettist of Smetana's
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672:Cooper, Barry (3 June 2009).
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894:Burials at Vyšehrad Cemetery
879:People from Benešov District
767:Free scores by Zdeněk Fibich
884:Pupils of Salomon Jadassohn
378:Birthplace of Zdeněk Fibich
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874:Czech male opera composers
782:Biography by Keith Johnson
539:Fibich's best-known work,
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889:String quartet composers
869:Czech Romantic composers
312:(the younger brother of
260:Early life and education
580:. Prague: SPN, t. MTZ,
173:[ˈzdɛɲɛkˈfɪbɪx]
64:more precise citations.
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176:, 21 December 1850 in
864:Czech opera composers
559:to English lyrics by
433:Záboj, Slavoj a Luděk
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296:and composition with
180:– 15 October 1900 in
561:Paul Francis Webster
557:My Moonlight Madonna
229:The Bride of Messina
169:Czech pronunciation:
602:Jiránek, Jaroslav.
492:Prague Conservatory
859:Czech nationalists
481:music aesthetician
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335:The Bartered Bride
777:Biographical link
719:978-0-14-190976-9
685:978-0-8108-6912-7
643:Locke, Brian S.
587:Hudec, Vladimír.
576:Hudec, Vladimír.
298:Salomon Jadassohn
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549:At Twilight
517:There is a
413:Shakespeare
401:Mendelssohn
352:choirmaster
276:within the
62:introducing
828:Categories
652:References
477:Pád Arkuna
407:and later
238:Hippodamia
234:melodramas
214:symphonies
198:piano trio
155:Occupation
120:1850-12-21
70:April 2009
45:references
638:1535-1726
523:much else
356:contralto
282:gymnasium
178:Všebořice
128:Všebořice
438:Má vlast
417:Schiller
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326:Bukovina
322:Mannheim
212:, three
184:) was a
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806:Fibich.
773:(IMSLP)
769:at the
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741:"Poème"
725:4 March
691:4 March
625:cycle.)
584:, 1971.
582:Olomouc
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348:Vilnius
290:Leipzig
206:quintet
58:improve
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455:Prague
409:Wagner
389:France
383:Career
286:Vienna
218:operas
204:and a
182:Prague
147:Prague
47:, but
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553:Poème
541:Poème
529:Works
472:Šárka
443:polka
425:dumka
421:Byron
403:and
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320:) in
314:Franz
306:Paris
254:Poème
223:Šárka
727:2021
714:ISBN
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615:ISBN
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490:and
467:Hedy
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