ZDENEK FIBICH MOODS, IMPRESSIONS AND SOUVENIRS Edited by Thomas A. Johnson Zdenk Fibich was born in Vaebofice, Bohemia, on 21 December 1850 and died in Prague on 15 October 1900. Too little known today, he was after Smetana and Dvotdk the most noted Czech composer of his time. ‘Asa child he was taught the piano by his mother. He studied fora while at 4 private music institute in Prague and in 1865 went to Leipzig, where he became a pupil of Moscheles at the conservatory. He subsequently studied in Paris and completed his training in Mannheim. His working life was mainly spent in Prague, where he attempted to earn a living from various conducting snd choir-training positions, but most of his income came from private teaching and from composition ‘Asa composer Fibich, although strongly influenced by Schumann, Liset and Wagner, had one of the most original minds of the latter half of the 19th century. This is apparent in his melodies, rhythms and harmony, and especially in his use of dynamics. (He detighted in marking pieces pp or pep, in the belief thar the most important things should be whispered not shouted.) His operas broke new ground in music drama and his trilogy of melodramas, Hippodamic, was a remarkable achievement of the romantic period. His orchestral works consisted of three symphonics, highly respected in his time, seven symphonic poems and a number of overtures. He also wrote chamber music and many songs, but music for the piano formed the largest part of his output. Perhaps the most fascinating of his piano works is the extensive collection of Nélady, Dojmy a Upominky (Moods, Impressions and Sowvenirs). Many of these 376 pieces were the product of his relationship, from 1866 onwards, with a gir! pupil, Anezka Schulzova, who later became both his librettist and mistress, Whenever they met, Fibich would present her with a new piece, sometimes just a single line and at other times two or three pages, mostly constructed in ternary form. The Souvenirs recalled specific events: the Impressions highlighted Anedka’s physical features: and the Moods, among other things, ilustrated her dresses. The collection was eventually published as Op4l, 44, 47 & 57 in 1894, 1895, [896 and 1902 respectively Ivis from these first editions that the present selection of pieces has been. edited. In addition, two pieces from Albumblatter, Op.2, written while Fibich was studying at Leipzig, have been included to open and close the selection. Certain changes have been mace to marks of expression and articulation, obvious inconsistencies have been regularised, and indications of pedalling have been revised. At the end of each piece a metronome mark has been suggested, but it is no way authoritative or bindingDEDICATION FIBICH Op.2.No.1 € 1986 by The Associated Board of the Royal Schools of Music teeze.4d] ABIO473 Allegretto vivace __ No.9 (Op.41/1) gs a ye tet oo Pte : AU =—— |p = sr | a waa d 1 2} 3 : = : Pr [4=c.80] ABI947