Fibich in Vilnius: Annus Horribilis 1874 and the Birth of a Composer

Kód výsledku v IS VaVaI

<a href="https://www.isvavai.cz/riv?ss=detail&h=RIV%2F61989592%3A15210%2F19%3A73598096" target="_blank" >RIV/61989592:15210/19:73598096 - isvavai.cz</a>

Výsledek na webu

<a href="http://xn--urnalai-cxb.lmta.lt/wp-content/uploads/2020/01/Muzikologija20-9.pdf" target="_blank" >http://xn--urnalai-cxb.lmta.lt/wp-content/uploads/2020/01/Muzikologija20-9.pdf</a>

DOI - Digital Object Identifier

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Jazyk výsledku

angličtina

Název v původním jazyce

Fibich in Vilnius: Annus Horribilis 1874 and the Birth of a Composer

Popis výsledku v původním jazyce

Although Zdeněk Fibich (1850–1900) spent less than a year in Vilnius as a music teacher (1873–1874), the works that we wrote between 1872 and 1875 influenced his later compositions. Fibich had prepared himself for service as the “Russian czar’s music teacher;” beginning in 1872, he imagined an extensive range of works that might be performed, such as cantatas and symphonic poems. After his return from Vilnius, he finished compositions that were still in the form of piano sketches, such as the symphonic poem Toman and the Wood Nymph, which was finally premiered in 1878. In a series of works, Fibich opened the range and possibilities for working with folklore material, assuring that it was closely linked to his work with characteristics of genres (especially treating the polka as an emblem of Czech national music). The most best composition of the Vilnius period – symphonic poem Toman and the Wood Nymph – presents a successful synthesis of the compositional advances in all of the works that we have mentioned above, and opens a path to other mature works.

Název v anglickém jazyce

Fibich in Vilnius: Annus Horribilis 1874 and the Birth of a Composer

Popis výsledku anglicky

Although Zdeněk Fibich (1850–1900) spent less than a year in Vilnius as a music teacher (1873–1874), the works that we wrote between 1872 and 1875 influenced his later compositions. Fibich had prepared himself for service as the “Russian czar’s music teacher;” beginning in 1872, he imagined an extensive range of works that might be performed, such as cantatas and symphonic poems. After his return from Vilnius, he finished compositions that were still in the form of piano sketches, such as the symphonic poem Toman and the Wood Nymph, which was finally premiered in 1878. In a series of works, Fibich opened the range and possibilities for working with folklore material, assuring that it was closely linked to his work with characteristics of genres (especially treating the polka as an emblem of Czech national music). The most best composition of the Vilnius period – symphonic poem Toman and the Wood Nymph – presents a successful synthesis of the compositional advances in all of the works that we have mentioned above, and opens a path to other mature works.

Druh

J_ost - Ostatní články v recenzovaných periodicích

CEP obor

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OECD FORD obor

60401 - Arts, Art history

Projekt

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Návaznosti

I - Institucionalni podpora na dlouhodoby koncepcni rozvoj vyzkumne organizace

Rok uplatnění

2019

Kód důvěrnosti údajů

S - Úplné a pravdivé údaje o projektu nepodléhají ochraně podle zvláštních právních předpisů

Název periodika

Lietuvos Muzikologija

ISSN

1392-9313

e-ISSN

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Svazek periodika

2019

Číslo periodika v rámci svazku

20

Stát vydavatele periodika

LT - Litevská republika

Počet stran výsledku

17

Strana od-do

101-117

Kód UT WoS článku

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EID výsledku v databázi Scopus

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