Zdenek Fibich: Symphonien Nr.1 & 2
Symphonien Nr.1 & 2
CD
CD (Compact Disc)
Herkömmliche CD, die mit allen CD-Playern und Computerlaufwerken, aber auch mit den meisten SACD- oder Multiplayern abspielbar ist.
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EUR 14,99*
- Künstler: Razumovsky SO, Andrew Mogrelia
- Label: Naxos, DDD, 1995/1996
- Bestellnummer: 8867173
- Erscheinungstermin: 1.3.1999
Als Komponist, sowohl in der Sprache und seinem Hintergrund, war Fibich sehr viel mehr Teil der deutschen als der tschechischen kulturellen Tradition, obwohl er eine Position zwischen beiden einnahm. Seine ersten Opern wurden nach deutscher Libretti geschrieben, und die acht überlieferten Opern enthalten in ihren dramatischen Quellen Werke von Schiller, Byron und Shakespeare, wobei die Bühnenmelodramaturgien-Trilogie Hippodamia auf Sophokles und Euripides zurückgreift und tschechische Libretti verwendet. Er trug zum Repertoire des konzertanten Melodrams, zum Repertoire des deutschen und tschechischen Liedes und zur Liste der Tondichtungen bei, wobei er in letzterem Smetana in seinem patriotischen Zaboj, Slavoj a Ludek, vorwegnahm, wie er die symphonischen Dichtungen von Dvorak vorwegnahm. Fibich war als Komponist sehr produktiv und trug zu allen wichtigen Formen der Musik bei. Seine Stellung in der tschechischen Musik hatte jedoch eine gewisse Ambivalenz. Seine deutsche Ausbildung, die eine solide Technik garantierte, und vielleicht auch seine Abstammung, seine Sprache und sein Hintergrund machen ihn sehr viel weniger identifizierbar böhmisch als Smetana oder Dvorak. Dennoch bleibt er einer der bedeutendsten tschechischen romantischen Komponisten des späten neunzehnten Jahrhunderts.
As a composer, as in speech and background, Fibich was very much more part of German cultural tradition than of Czech, although he came to occupy a position between the two. His first operas were to German libretti and the eight surviving operas include in their dramatic sources the work of Schiller, Byron and Shakespeare, with the stage melodrama trilogy Hippodamia drawing on Sophocles and Euripides, using Czech libretti. He contributed to the repertoire of concert melodrama, to that of German and Czech song and to the list of tone-poems, in this last anticipating Smetana in his patriotic Zaboj, Slavoj a Ludek, as he anticipated the symphonic poems of Dvorak. Fibich was prolific as a composer and contributed to all major forms of music. His position in Czech music, however, has had a certain ambiguity. His German training, which guaranteed a sound technique, and, perhaps, his parentage, language and background, makes him very much less identifiably Bohemian than either Smetana or Dvorak. He remains, nevertheless, one of the most important Czech romantic composers of the later nineteenth century.
Product Information
As a composer, as in speech and background, Fibich was very much more part of German cultural tradition than of Czech, although he came to occupy a position between the two. His first operas were to German libretti and the eight surviving operas include in their dramatic sources the work of Schiller, Byron and Shakespeare, with the stage melodrama trilogy Hippodamia drawing on Sophocles and Euripides, using Czech libretti. He contributed to the repertoire of concert melodrama, to that of German and Czech song and to the list of tone-poems, in this last anticipating Smetana in his patriotic Zaboj, Slavoj a Ludek, as he anticipated the symphonic poems of Dvorak. Fibich was prolific as a composer and contributed to all major forms of music. His position in Czech music, however, has had a certain ambiguity. His German training, which guaranteed a sound technique, and, perhaps, his parentage, language and background, makes him very much less identifiably Bohemian than either Smetana or Dvorak. He remains, nevertheless, one of the most important Czech romantic composers of the later nineteenth century.
- Tracklisting
- Mitwirkende
Disk 1 von 1 (CD)
- 1 Symphony No. 1 in F major, Op. 17: I. Allegro moderato
- 2 Symphony No. 1 in F major, Op. 17: II. Scherzo: Allegro assai
- 3 Symphony No. 1 In F Major, Op. 17: Iii. Adagio Non Troppo (Alla Romanza)
- 4 Symphony No. 1 in F major, Op. 17: IV. Finale: Allegro con fuoco e vivace
- 5 Symphony No. 2 in E flat major, Op. 38 : I. Allegro moderato
- 6 Symphony No. 2 in E flat major, Op. 38 : II. Adagio
- 7 Symphony No. 2 In E Flat Major, Op. 38 : Iii. Scherzo: Presto
- 8 Symphony No. 2 in E flat major, Op. 38 : IV. Finale: Allegro energico
