Zdenek Fibich

Fibich, Zdeněk


Born Dec. 21, 1850, in Šebořice; died Oct. 15, 1900, in Prague. Czech composer, pianist, and chorus master.

From 1865 to 1867, Fibich studied piano under J. Moscheles and composition under S. Jadassohn at the Leipzig Conservatory. He completed his studies in Paris and Mannheim. He lived and worked in Prague from 1871 until his death, except for the period 1873–74, when he taught voice at a school in Vilnius. He was second conductor and chorus master at the Czech Provisional Theater (1875, 1877) and conducted the Russian choir of the Orthodox church (1878–81). Fibich was known primarily as a piano teacher; his students included K. Kovařovic, O. Ostrčil, and Z. Nejedlý.

A major representative of the national school of Czech music, surpassed only by B. Smetana and A. Dvořak, Fibich carried on the romantic tradition. His style formed under the influence of German romantic music, chiefly the works of R. Schumann, and Czech romantic poetry; many of his vocal compositions were written to poems by J. Vrchlický. Fibich’s works are distinguished by their dramatism, poetic qualities, lyric passion, and patriotism; some of his compositions are based on Czech folk literature and frequently include folk melodies.

Fibich’s works include the operas Blaník (1877), The Bride of Messina (based on Schiller’s play; 1883), The Tempest (based on the play by Shakespeare; 1894), Hédy (based on Byron’s Don Juan; 1896), Šarka (1897), and Hippodamia (words by Vrchlický; 1889–91), a trilogy of melodramas suggestive of the musical dramas of R. Wagner. Other works include three symphonies, symphonic poems, chamber music, songs, and cycles of piano pieces.


Belza, I. Ocherki razvitiia cheshskoi muzykal’noi klassiki. Moscow-Leningrad, 1951. Pages 310–16 and 422–36.


References in periodicals archive ?
Yet when it comes to Zdenek Fibich (1850-1900), another of the three major Czech Romantic composers, the situation is even worse: his piano pieces are hardly ever performed.
Entry number 230 in the museum catalog (under Smetana's heading in the subcategory of "Personal Estates of Musicians") lists a letter from Smetana to Zdenek Fibich in which he acknowledges Fibich's "capability as a choirmaster and vocal teacher.
The memoiristic pieces (the essay on Johannes Urzidil also partially belongs in this category) are complemented by more traditional forays into untraditional literary history: on the ambiguities of Walter Benjamin's reception of Adalbert Stifter; on Bernard Bolzano and the intersections of language theory and nationalism; on Zdenek Fibich and the various literary incarnations of the Czech "Amazon" myths; and on Siegfried Kapper, whose aspiration to become the first modern Czech Jewish poet encountered remarkable social resistance.
The little-known Zdenek Fibich was a close contemporary of Dvorak's.
premiere of a symphony by Czech composer Zdenek Fibich.
A parte de Bedric Smetana y Antonin Dvorak, por mucho las dos grandes personalidades de la musica bohemia, completan dicho cuadro de inspiracion nacionalista otros dos importantes compositores casi coetaneos: Zdenek Fibich y Leos Janacek, quienes por otra parte demuestran, por vias distintas, una analoga originalidad en la busqueda creativa.
Nezet-Seguin), Zdenek Fibich (The Bride of Messina, recorded in 2015 in Magdeburg, CPO Classics), Bedrich Smetana (Belohlavek's London albums of Dalibor and The Bartered Bride), and Bohuslav Martinu.
Zdenek Fibich successfully faced up to the forms of "absolute" music, as well as extra-musical subjects.
I would also like to draw your attention to the article on the Czech romantic composer Zdenek Fibich.
Urbanek's publishing house, which started in 1879 with a new piece by the then 29-year-old Zdenek Fibich - his String Quartet in G major, which the firm followed up with a four-handed piano arrangement of Smetana's cycle of symphonic poems, My country.
Zdenek Fibich is considered one of the most gifted composers of music drama to have entered Czech musical life after the "founder of Czech national music", Bedrich Smetana.
10 (1889), which would historically and musically fit in better with the Novak and Nedbal, or the Sonata in D major (1876) by Zdenek Fibich.