Josef Suk

Josef Suk (* 4. January 1874 in Křečovice with Prague, † 29. May 1935 in Benešov with Prague), was a Czech composer, the son-in-law Antonín Dvořáks and a well-known Violinist.

Suk began its Oeuvre with chamber music as well as in somewhat lovelierDvořák tradition with four-sowing goats a Streicherserenadeop,6, which is shared to the model of the appropriate work by Dvořák. Likewise still the symphony in E major OI, oriented at Dvořák. 14 open its orchestrales work. In the indication of the national romance are located the two early Bühnenmusiken, which it as Suiten forthe concert use worked on. “Pohádka” OI. , to a play of the symbolistic poet, for the first time the “motive for death” brings 16, (“a fairy tale”) to Julius Zeyer, which develops so great importance in the Asrael Symphonie. Likewise on a play Julius Zeyers is based the Suite “Pod jabloní” OI. 20 (“under thatApple tree "). The Fantasie for violin and orchestra in g-Moll OI. 24, the “Fantastické Scherzo” OI. 25 of “Fantasti Scherzo”) and the sinfonische seal “Praga” OI. 26 prepares the way to Suks ripe style.

The break-through to the independent clay/tone language carried out itself only according to trauma, within a yearly(1904/1905) its admired father-in-law Antonín Dvořák and his loved Mrs. Otylka to have lost. It composed the five-sowing goat Symphonie “Asrael “OI. 27, designated after the death angel, which was meant first only as Requiem of Antonín Dvořák, by the death of itsWoman however in the last two sentences was extended. By the work a scarce motive, which works first coldly and mercilessly, at the versöhnlichen conclusion pulls itself however in the style solemn Chorals in the distance sounded. The Symphonie Asrael contains quotations from the work Dvořáks,in the second sentence the basic motive of the Requiems, later the song of the hunter man from Rusalka. Asrael is a remarkable work, which reminds in dimensions and violence of the expression of Gustav meals.

In the continuation of the clay/tone language won in “Asrael” Suk created thereafter “Pohádka léta” OI.29 (“a summer fairy tale”), also in five sentences. It is the light sister work of Asrael, carries out also here the composer mourning work. The elbow is enough from the coming to a hold heart rhythms of the beginning (from the piece of piano “over Mutters heart” from the cycle “O matince” OI. 28) over nature pictures,a sharp Scherzo of fully peinigender visions into the friedvollen conclusion of a bell-sounding night. The instrumentation and the modern Harmonik give the work a bright klangsinnliches Gepräge on the height of its time. Its own synthesis of luck feeling and mourning marks contrary to drama TIC that“Asrael” - symphony its expression content.

The emergence of the next sinfonischen work “Zrání” OI. an unusually long time interval took 34 up (“tires”, actually “”) with five years. This may be connected with the degree at complexity in form and style, reached here, in addition, with the numerousConcert journeys, the Suk as second violonists of the Czech caper quartet took part in and with the missing of in the meantime broken off First World War. The three-quarter-hour one-RK goat sinfonische seal is based on a poem of Antonín Sova, in which in nature is compared with the human tire.It formally concerns the fusion of slow introduction, Sonatensatz as well as Adagio and Scherzocharakteren with a crowning joint as center. The interrelations of the individual topics are extremely complex, the topic are subjected constant smallest transitions, without abandoning however the tendency of a superordinate peace. Alsohere already the topics developed in “Asrael” play the role musical words. Klangliche luminosity appears again increased, in harmonious regard results it, as also in preceding 2. Caper quartet OI. 31 structures polytonaler from the probably-sounding use (two topics kontrapunktisch put on become different, but iningenious purchase harmonizes). Thus Suk achieves a harmonious modernity, those in its very own way the early beautiful mountain (a Bewunderer the Suk' 2. Caper quartet was) is not inferior. The highly meaning work, which stands outside of Tschechiens hardly ever on the play plans of the orchestras, lines up with dignityinto the number of those works, which tell briefly around the Wendezeit before the First World War of fulfilment and parting of one culture epoch.

After 1920 “Epilog” op.37, a “symphonisches piece for orchestras, for large and small mixed choir, developed Sopran, Bariton as the fourth work of the sinfonischen Tetralogieand bass ", so the sub-title. Originally the title “harvest of the love” should read. The work is in its Klanglichkeit imposed over far distances, its change between more text-referred and purely instrument valleys music and the verwobenen fifth urgency more inaccessible than the clear Monumentalität of “Zrání”. Texts from thatPsalmen David, the first book Mose and from Julius Zeyers of dramatic legend “Pod jabloní” (“under the apple tree”) form the mental way. The five parts are overwritten: Steps - the song of the mothers - from eternity to eternity - Mysti being astonished and unrest - the pilgrimand Tröster.

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