Zdeněk Fibich

After Smetana and Dvorak Zdenek Fibich (1850–1900) was the most prominent Czech composer of the second half of the 19th century, notably of operas and orchestral and piano music. Fibich's father was a Czech forestry official and the composer's early life was spent on various wooded estates of the nobleman for whom his father worked. His mother, however, was an ethnic German Viennese. Home schooled by his mother until the age of nine, he was first sent to a German-speaking gymnasium in Vienna for two years before attending a Czech-speaking gymnasium in Prague where he stayed until he was 15. After this, he was sent to Leipzig where he remained for three years studying piano with Ignaz Moscheles and composition with Salomon Jadassohn and Ernst Richter. After the better part of a year in Paris, Fibich concluded his studies with Vinzenz Lachner (the younger brother of Franz and Ignaz Lachner) in Mannheim. Fibich spent the next few years living with his parents back in Prague where he composed his first opera Bukovina, based on a libretto of Karel Sabina, the librettist of Smetana's The Bartered Bride. Fibich was given a bi-cultural education, living during his formative early years in Germany, France and Austria in addition to his native Bohemia. He was fluent in German as well as Czech. In his instrumental works, Fibich generally wrote in the vein of the German romantics, first falling under the influence of Weber, Mendelssohn and Schumann and later Wagner. His early operas and close to 200 of his early songs are in German. These works along with his symphonies and chamber music won considerable praise from German critics, though not from Czechs. The bulk of Fibich's operas are in Czech, although many are based on non-Czech sources such as Shakespeare, Schiller and Byron. In his chamber music, more than anywhere else, Fibich makes use of Bohemian folk melodies and dance rhythms such as the dumka. Fibich was the first to write a Czech nationalist tone poem (Záboj, Slavoj a Luděk) which served as the inspiration for Smetana's Má vlast. He was also the first to use the polka in a chamber work, his quartet in A. Fibich's best known work, Poème, began life as an unnamed piano piece (no. 139 in D flat) in his cycle Moods, Impressions and Reminiscences. Fibich re-used the material in his symphonic idyll At Twilight, from where it was adapted after the composer's death by the violinist Jan Kubelik, and given the title Poème.