Фибих, зденек музыка

Fateful love Anežka Schulzová — the peak of creativity (1892-1900)

The 1890s were a period of sharp confrontation between the now self-confident and almost fully established Czech national element and the German population in the Central European part of the Austro-Hungarian Empire. Prague and other places in the Czech Crown Lands saw an increasing number of demonstrations and remembrance events, such as the anniversary of the Battle of the White Mountain and the burning at the stake of Jan Hus, or May Day celebrations. These mass rallies were often accompanied by the singing of songs like Kde domov můj (Where is My Home) and Hej Slované. And there were the occasional riots, as for instance during the celebrations of the Emperor’s birthday, leading to the declaration of a state of emergency in Prague in 1893 (not for the first time, nor the last). Another bone of contention, festering until the establishment of the sovereign Czechoslovak Republic, was the question of the so called Badeni language regulations of 1897 which were meant to put Czech on a par with German also in internal official communications. In Prague the Rudolfinum was in operation since 1885, in 1888 the New German Theatre was opened and in 1896 the Czech Philharmonic Orchestra was founded.

In the year of Antonín Dvořák’s departure for America to pursue his international career, 1892, a new and thoroughly unexpected chapter opened in Fibich’s life — a life that on the whole could have continued without problems, made happy by the growing success at home and abroad, had not a woman for the third time and most fatefully entered Fibich’s life. In that year, 1892, Fibich fell in love with the then 24-years-old Anežka Schulzová (1868-1905). Their relationship brought a new dimension to the composer’s work. Anežka was not unknown to Fibich. Their first encounter is dated either 1st October 1885 or 15th October 1886, when she sought him out as a piano teacher. Neither of them had any idea that their meeting several years later was to have such fateful consequences. Anežka sought Fibich out again in 1892 in order to study composition. Fibich dealt with the situation later on in his piano cycle Nálady, dojmy, upomínky (Moods, Impressions, Reminiscences), in particular the piece No. 126 „jak se Anežka učila» (How Anežka Learned). Fibich’s twilight love left its mark on almost all the works of his final period, especially on the vast piano cycle — his «little pieces» as he used to call the Nálady, dojmy, upomínky. The period can be likened to a kind of «creative exlosion». Some of the motives in the cycle are reflected in other works, while ideas from other compositions are incorporated in the «Impressions». Of the cycle as a whole, 376 pieces have been published, but Fibich had in fact composed many more. Who was Anežka Schulzová?

Anežka was born into a large family of Karolina Schulzová and Prof. Ferdinand Schulz. Mrs Schulzová was the sister of Young Czech followers Julius and Eduard Grégr. Her husband Ferdinand Schulz was a professor (teacher), journalist and writer. The couple had four sons (Ivan, Jiří, Bohuš, Ferdinand) and three daughters (Anežka, Božena, Dagmar). They lived at Žofín in Prague.

Zdeněk Fibich lived nearby at No. 1 Ostrovní Street. The house no longer exists, its place taken by the new extension of the National Theatre. The evenings that Fibich spent walking on the Žofín island inspired his symphonic picture „V podvečer» (At Dusk).

As viewed today, Anežka was a modern woman, an author, admirer of Anatole France, and one of the first experts on Nordic literature. She was of course interested in music, too, and was able to make a piano version of such a work as Fibich’s Quintet. It was no wonder, then, that she became not only his lover but also the librettist of his later operas, thus replacing his friend Otakar Hostinský. Although the situation became difficult to cope with for all concerned, Fibich never divorced his wife, especially as a result of his wife Betty’s refusal. Their surviving correspondence shows that they respected each other as parents of their child. Nonetheless, in 1897 Fibich moved away from the family to a small flat round the corner in Pštrossova Street in order to have peace and quiet in his work. His extramarital relations — notwithstanding the efforts of all concerned to be totally discreet — would stir up the then society and in the opinion of some of Fibich’s friends do damage to the composer.

Back in Prague and the first great triumphs (1875-1892)

The end of the 1870s and especially the 80s in Prague were marked by the preoccupation with the forthcoming opening of the National Theatre. Czech society was now strong enough to put forward not only its cultural and economic demands, but its political ones as well. !9th April 1880 saw the publication of the so called Stremayr Language Directive which established a sort of «language federalism», meaning that the Czech language was put on a par with German for «outside» communication. The pressure and strength of Czech political, cultural and economic elites within the Austro-Hungarian realm kept growing. The founding father of Czech national music, Bedřich Smetana, died in 1884 and during the 1880s the star of Antonín Dvořák began to rise thanks to the support of Johannes Brahms and the publisher Fritz Simrock — Gipsy Songs (1880), Symphony No. 7 (1884), St Ludmilla (1886), Slavonic Dances, Op. 72 (1886), Symphony No. 8 (1889).

In the year of the death of Fibich’s daughter Elsa, 1876, his second wife Betty Hanušová gave birth to a son, Richard (1876-1950). Fibich had permanently settled in Prague and beside composition and conducting (from 1875 to 1878 he was second conductor and chorus master at the Provisional Theatre) he devoted himself to a number of other causes. He took part in the music activity at the Umělecká beseda (Arts Society), worked for the periodical Dalibor, and from 1878 to1881 he was chorus master at the Orthodox Church in Prague. Beside the opera Blaník to a libretto by Eliška Krásnohorská (1874-1977), his most important work of this period was the opera The Bride of Messina (1882-83) written in collaboration with Otakar Hostinský. Throughout his life Fibich was used to living very modestly, the main source of his income being his private teaching. In this context his collaboration with Jan Malát (from September 1883 to May 1886) resulted in the Great Theoretical and Practical School of Piano Playing. During his years as a conductor he produced a lot of incidental music, but not many of his works of this type have survived. His early assignment as a conductor at the Provisional Theatre was the Czech composer Jiří Antonín Benda’s two melodramas Medea and Ariadne on Naxos (premièred 22nd December 1875). It was the melodrama genre that was to play a singular role in Fibich’s own output. In his own large-scale melodramas he was to perfect an original and syncretic joining of music and words, producing an extraordinary emotional effect demonstrated at the International Music and Theatre Exhibition in Vienna in 1892 when — in company with Smetana’s TheBartered Bride — the first part of Fibich’s melodrama Hippodamie — Námluvy Pelopovy (The Courtship of Pelops) was performed to the acclaim of Vienna’s critics who thought it the most valuable contribution to world theatre. Fibich’s works, overshadowed a little by those of Smetana and Dvořák for some time, began at the turn of the 1880s to gain great success both at home and abroad.

Источник

Список произведений Зденека Фибича. Из Википедии, свободной энциклопедии
Теодор Бейкер и Николас Слонимский ( перевод с английского Мари-Стелла Пари, преф. Николас Слонимский), Биографический словарь музыкантов , т. 1: AG, Париж, Роберт Лаффон, сб. «Книги»,1995 г.( Репр.1905 , 1919, 1940, 1958, 1978), 8- е изд. ( 1 — е изд. 1900), 4728 р. ( ISBN 2-221-06510-7 ), стр. 1255
Зденек Fibich. Сонатина Op 27 скрипка и фортепиано издание Bärenreiter Прага п о H 1442
Зденек Фибих в чешской музыкальной библиотеке
блог: MusicaBohemica Музыка из чешских стран
альбом в Орфео C 350951A: Симфония п о 3, Фил Orch Чехия; Герд Альбрехт, постановка: Ярослав Голечек, текст
Гров Словарь музыки и музыкантов, под редакцией Стэнли Сэди

References

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2 William Ritter, Národní listy (Prague, 8 April 18%); repr. A. Rektorys, Zdeněk Fibich: sborník dokumentß a studií (henceforth AR) (Prague, 1951–2) i, 189–90.Google Scholar

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27 Zdeněk Fibich, Nevěsta Messinská (3rd edn., Prague, 1922), 11.Google Scholar

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40 John Tyrrell, ‘Fibich, Zdeněk’, The New Grove Dictionary of Music and Musicians (London, 1980), vi, 520–6.Google Scholar

41 A. Schulzová, op. cit.; repr. AR, ii, 186.Google Scholar

42 Ibid, AR, ii, 188.Google Scholar

43 Zdeněk Fibich, Hedy (2nd edn., Prague, ? 1922), 173.Google Scholar

44 J. Vrchlický, Mythy (Prague, 1880), ii.Google Scholar

45 Knittl, K., Dalibor, xx, nos. 10–11 (8 January 1898) 71–2; repr. AR, i, 215.Google Scholar

Музыкальный стиль

Его талант лучше всего проявляется в инструментальных произведениях — синтез музыкальной вселенной чешского народного вдохновения и строгости австро-германской структуры. Его шедевр, Третья симфония, считающийся одной из лучших симфоний чешской романтической музыки, направлен на тематическое объединение и брамсианскую гармоническую прогрессию в его желании организовать, обладая при этом типичным, естественно певческим характером его страны.

Его работы — это солидный текст, пронизанный поэзией; он отражает влияние Вагнера, Шумана и особенно Сметаны . Он выделяется в жанре мелолога или мелодрамы, для которого характерна декламация на симфоническом фоне.

Extract

In a monograph entitled Zdenko Fibich published within a year of the composer’s death, the musicologist Zdeněk Nejedlý asked the following question: ‘And who was more versatile than Fibich?’ The answer as far as Nejedlý was concerned was: ‘No one in the whole of the nineteenth century.’ Many of Fibich’s contemporaries were quite certain that he occupied a position equal to his more internationally successful colleague Antonín Dvořák. Evidence of his contemporary standing is abundant, and his position in the firmament of Czech composers was characteristically summed up by William Ritter in 1896 when he described Fibich as the ‘Son’ in the ‘Holy Trinity’ of Czech music, in which Smetana was, naturally enough, the ‘Father’ and Dvořák the ‘Holy Spirit’. In an obituary article the critic Emanuel Chvála had no hesitation in putting Fibich next to Dvořák as ‘… the most eminent of our contemporary composers’. Nejedlý’s assertion concerning Fibich’s versatility is not entirely unworthy of examination. He contributed to many genres and expanded the scope of his theatrical activities with his cultivation of scenic melodrama. As a composer of opera Fibich stood aside from his Czech contemporaries in his deliberate avoidance of folk-orientated material and his compulsive interest in theatrical experiment. His intellectual demeanour led to collaborations with the finest Czech librettists of the time, and a close identification with the views of the aesthetician Otakar Hostinský (1847–1910). Believing strongly in the role of experiment in art, 4 and with a firm commitment to the principles of Wagnerian music drama, Hostinský was an ideal partner for the composer in the opera The Bride of Messina, the work which set the seal upon Fibich’s position as an innovative force in Czech musical theatre.

Years of study and travel (1859-1870)

The year 1859 saw a big change in Fibich’s life. The family had been living at Libáň for two years and now in 1859 Zdeněk left for Vienna to attend the Öffentliche Knaben-Hauptschule des k. k. Schulrates Hermann. For the next three years he was probably looked after by his maternal grandparents, Anton and Terezie Römisch.

The Schools Councillor, Johann Hermann, at whose school Zdeněk was enrolled, was an important Austrian educationalist and pioneer of modern methods of education. The young Fibich could not have hoped for a better grounding towards further education.Information about the progress of the school was regularly published in the magazine «Oesterreichischer Schulbote». As the school was only founded in 1859, Fibich must have been one of its very first pupils. This is borne out by the annual report of the Hermann School for 1861/1862 in which he is listed as a fourth form pupil.

Fibich’s youthful world of forest lodges and solitude had suddenly been cast in a sharp contrast with imperial Vienna which — since 1857 when Emperor Francis ordered the town walls pulled down — boasted an expansively grandiose and at the same time elegant character. The remoteness of Libáň, necessitating long journeys, gave rise to another of Fibich’s life-long loves: the railways. After his three years in Vienna he enrolled at the gymnasium (secondary school) in Prague’s Small Quarter where the tuition was of course also in German, and at the same time he became a pupil of the music teacher Zikmund Kolešovský (1817-1868).

From 1865 on Fibich started to compose more intensively, having already decided to pursue a musical career. Thus his next study stop was Leipzig where he began to study on 6th October 1865 at the Conservatoire, helped by his uncle Raymund Dreyschock.

Raymund Dreyschock (1824-1869), who incidentally hailed from Žáky near Čáslav, was a prominent violinist, teacher, composer, and leader of the Leipzig Gewandhaus orchestra. When Fibich returned from Leipzig in 1866 he first spent a year at home and then on 19th July 1868 went to Paris, intending to work as a piano teacher and pianist. His last study stop of the 1869/70 school year was Mannheim where he studied with the Mannheim Opera director Vinzenz Lachner (1811-1893).

Among the most important events in this period of Fibich’s life was his encountering Wagner’s music — the opera «Meistersingers».

Childhood (1850–1859)

Zdeněk Fibich was born on 21st December 1850 at Všebořice near Dolní Kralovice (in what is now the Czech Republic) into the family of a forester Jan Fibich (1819-1882) and his wife Marie Fibichová née Römischová (1823-1891). The parents had met during Jan’s studies at the «k. k. Forst-Lehranstalt zu Mariabrunn“, a school for foresters, founded in 1813, in the Hadersdorf-Weidlingau district of today’s Vienna. For the little Zdeněk this meant growing up in a bilingual German-Czech environment, which was nothing unusual at the time. He spent his early childhood at the forest lodge in the deep woods around Všebořice, in nature that was to remain an important source of inspiration to him for the rest of his life. His Symphony No. 1 is redolent of the mysterious atmosphere of the woods which he breathed during his early wanderings and games. On the father’s side the Fibich family had been foresters and servants to the Auersperg nobility since the mid 18th century, but Zdeněk’s mother came from Vienna. Her father was an Austrian textile manufacturer, owner of a small factory. The occupation of Zdeněk’s father necessitated frequent changes of abode. Before he was born, his parents lived at the forest lodge at Švihov where they had their wedding in 1843. Subsequently they lived at Všebořice, moving in December 1857 to Libáň near Nasavrky and later still to Žáky near Čáslav in 1870. Zdeněk not only moved often but also travelled a lot since early on — witness his juvenile literary work, the diary from a journey to Trieste 16. 5.-12. 6. 1861 Reise-Notizen gewidmet seinem lieben Vater. For that trip he probably took the Southern Railway, only opened four years before from Vienna across the Alps to Trieste. A love for the majestic Alps and the railway, too, remained with him for the rest of his life.

1 Všebořice | 2 Libáň | 3 Žáky

БИОГРАФИЯ

Зде́нек Фи́бих (чеш. Zdeněk Fibich; 21 декабря 1850, Вшеборжице ― 15 октября 1900, Прага) ― чешский композитор. Один из наиболее значительных композиторов в чешской музыке после Бедржиха Сметаны и Антонина Дворжака.Родился в семье лесника Яна Фибиха. Мать, Мария Рёмиш, происходила из интеллигентной австрийской семьи, и в 1857 году начала обучать юного Зденека игре на фортепиано. Дальнейшее образование Фибих получил в Вене (до 1863), затем ― в Праге. Первые его сочинения ― песни и фортепианные пьесы, наброски струнного квартета, симфония. В 1865―1867 Фибих совершенствовался в Лейпцигской консерватории у Игнаца Мошелеса (фортепиано), Саломона Ядассона и Э. Ф. Рихтера (теория музыки). Ядассон пробудил в нём интерес к полифонии и музыке Баха. В Лейпциге Фибих написал ряд песен, Вторую симфонию g-moll и три оперы. В 1868 молодой музыкант отправляется в Париж, а через год ― в Мангейм, где завершает своё образование у дирижёра Винценца Лахнера. С 1871 Фибих живёт и работает в Праге. В феврале 1873 года он женится на Ружене Ханушовой, а в сентябре получает назначение на пост преподавателя музыкального училища в Вильнюсе. Вскоре по возвращении в Прагу в 1874 Ханушова умирает, и летом 1875 Фибих женится на её старшей сестре Бетти, оперной певице, исполнившей впоследствии ряд ролей в операх композитора.

В 1875―1881 Фибих работает хормейстером оперных театров в Праге (в 1878―1881 также регентом хора православной церкви), а с конца 1870-х полностью посвящает себя композиции, зарабатывая также частными уроками. Сочинения Фибиха 1890-х годов созданы под влиянием его отношений со своей молодой ученицей Анежкой Шульцовой. Шульцова написала либретто к трём последним операм композитора, а в 1900 вышла в печать её книга «Зденек Фибих: музыкальный силуэт».

В 1899 Фибих возвращается к активной музыкально-общественной жизни, получая пост советника по репертуару Чешской национальной оперы, но в 1900 умирает от воспаления лёгкихФибих ― представитель романтического направления в чешской музыке. Ранние его сочинения находятся под влиянием немецкого романтизма, в частности, Роберта Шумана. В своих операх Фибих развивал традиции Сметаны (народные сюжеты, реализм изложения), сочетая их с масштабностью вагнеровской музыкальной драматургии. Перу Фибиха принадлежат десять опер, три симфонии, многочисленные фортепианные и камерные сочинения, песни.

биография

Он учился в Вене, Праге, Лейпциге, а затем после долгого пребывания в течение одного года в Париже, в Мангейме . Во время этой долгой карьеры он изучал фортепиано у Игнаца Мошелеса и теорию у Эрнста Фридриха Рихтера и Саломона Ядассона . Наконец, он воссоединился со своими родителями в 1870 году в небольшой богемной деревне Жаки . В конце концов он переехал в Прагу в 1871 году, где изо всех сил пытался добиться признания как композитор и жил, давая концерты и уроки.

Он все же был нанят в качестве второго дирижера и хормейстера в Национальном театре в 1875 году, а затем в 1878 году, а также в качестве хормейстера Русской Церкви. Он отказался от всех этих функций в 1881 году, чтобы посвятить себя исключительно частному образованию. Именно в этом контексте в 1886 году он встретил любовь своей жизни, свою юную образованную ученицу Анежку Шульцову (1868–1905). Их большая взаимная любовь оформилась в 1892 году и длилась до смерти композитора.