Lubos Fiser (born on September 30th, 1935, died on June 22nd, 1999 in Prague), studied composition with Emil Hlobil both at the Prague Conservatory (1952-56) and at the Academy of Performing Arts (graduated 1960). His graduation work, the one-act opera Lancelot, already featured the substance of his musical expression – it is based on a melody supporting themes, formulated often in a very lapidary way which is then developed with complex and non-traditional forms of compositional thinking. Read more on Last.fm
Lubos Fiser (born on September 30th, 1935, died on June 22nd, 1999 in Prague), studied composition with Emil Hlobil both at the Prague Conservatory (1952-56) and at the Academy of Performing Arts (graduated 1960). His graduation work, the one-act opera Lancelot, already featured the substance of his musical expression – it is based on a melody supporting themes, formulated often in a very lapidary way which is then developed with complex and non-traditional forms of compositional thinking. The effect of his music is both simple and complex at the same time, as though it has been chiseled from stone. He began within the post-romantic music tradition (two symphonies, Suite for orchestra, Sonnets to texts by Michelangelo, and other works composed at the end of the fifties), but his own opinion and style prevailed in the early sixties.
Key works of that period are Fifteen Prints after Dürer’s Apocalypse and the choral Caprichos, inspired by Goya’s cycle of paintings. These compositions gained considerable international recognition. The Fifteen Prints won the first prize in a UNESCO international composer’s tribune held in Paris in 1967. Both these works have a tendency towards new expressional and compositional means, in particular the use of the relaxed structure of aleatoric technique.
Although that method accentuates the sonic component of musical structure, Fiser maintains his own approach. The key melodic theme, its repetition and transformation, continues to be the backbone of his works. Since the early seventies the author has returned to the exact musical notation of his ideas which provides his music with a seal of definitiveness. His style has developed to a brilliant perfection.
Fiser has achieved maximum concentration within his musical forms which remains very compact and condensed. The effect of his music is not only in distinctly shaped thematic material, but also in contrast. The author likes to concentrate a number of clean-cut contrasts in a small space. This principle is most apparent in Fiser’s one-movement sonatas.
The horizon of Fiser’s intellectual world, as reflected in his compositions, is extensive.
It is delineated by the broad borders of his cultural knowledge and interests. The composer preferred to reach back to old monuments of culture such as Summerian texts (Lament Over the Destruction of the Town of Ur, Istanu), and found inspiration in the Middle Ages (Songs for the Blind King John of Luxemburg), the Renaissance (The Rose), great works of old art (Dürer, Goya), and great thinkers (Galileo,Einstein). Naturally he understood the excursions into the past only in relation with the present. To look back was not an escape for him, but a confrontation with the eternal principles of life.
His compositions have often exhibited both the mood of celebration, and warning as well. This makes his music very attractive and impressive. It is no coincidence that many works by Fiser were premiered at important concert halls abroad (Salzburg: Serenades for Salzburg, Songs for the Blind King John of Luxemburg; Munich: some chamber works, e.g. Istanu; New York: Report, etc.).
Fiser’s contribution to contemporary musical culture is considerable; his compositions often grasp the dynamic lifestyle of our modern era which he managed to express in a lapidary form of almost atomic energy. Selection of Compositions
* Fifteen Prints after Dürer’s Apocalypse (1965) EdS, o Su, CRo 9’ sound sample MP3
* Double for orchestra (1969) Pa, Schott, o CD Pa 9’
* Report for wind symphony orchestra (1971) Edition Peters 8’
* Lament for chamber orchestra (1971) CHF 7’
* Labyrinth for orchestra (1977) EdB 9’
* Serenades for Salzburg for chamber orchestra (1978) HIS 17’
* Meridian for orchestra (1980) CHF, CRo 11’
* Centaures for large orchestra (1983) 10’
* Sonata for orchestra (1998) 10’
* Concerto da camera for piano and orchestra (1964 - 1. version for wind orch., 1970) EdB, CRo 9’
* Concerto for Galileo Galilei for strings (1974) CHF, CRo 8´
* Concerto for piano and orchestra (1979) HIS, o Pa 15’
* Albert Einstein – a portrait for organ and orchestra (1979) 10’
* Romance for violin and orchestra (1980) CHF, o Pa 7'
* Concerto for two pianos and orchestra (1983) o Su 17’
* Sonata for Leonardo for solo guitar and string orchestra (1994) o Su 7’
* Pastorale per Giuseppe Tartini for guitar solo and string orchestra (1995) o Su 10’
* Concerto for violin and orchestra (1998)
* Hands – Sonata for violin and piano (1961), EdB, o Su, CD RKM, CR 12´
* Crux for violin, kettledrums and bells (1970) Pa, Schott, o CD Pa 7´
* Sonata for violoncello and piano (1975) EdB, CRo 7´
* Variations On An Unknown Theme (1976) CHF 7´
* Trio for violin, violoncello and piano (1978) HIS 10´
* Sonata for two violoncellos and piano (1979) HIS, o Pa, CRo 8´
* Testis - composition for string quartet (1980) HIS 10´
* Romance for violin and piano (1980) HIS 6´
* String Quartet (1983-4) HIS, o CD Arco Diva, Radioservis, CRo 10´
* Impromptu for clarinet and piano (1986) CHF, CRo 5´
* Sonata for viola solo and string quartet (1991) CRo 10´
* Dialogue for trumpet and organ (1996) Ed BIM 8´
Compositions for Solo Instruments
* Sonata for piano No. 1 (1955) Ed S, o Su 12´
* Sonata for piano No.
3 (1960) Pa, Schott, o Pa, CRo 13´
* Sonata for piano No. 4 (1962-4) Pa, o Pa, CRo 9´
* The Relief for organ solo (1964) CHF, o Pa 4´
* Sonata for piano No. 5 (1974) EdB, CRo 8´
* Sonata for piano No. 6 ‘Fras’ (1978) EdB, CRo 7’
* Sonata for violin solo ‘In Memoriam Theresienstadt’ (1981) CHF, CD Multisonic, CRo 9’
* Sonata for violoncello solo (1986) CHF, o Pa 10’
* Sonata for piano No.
7 (1987) EdB, CRo 10’
* Dreams and Waltzes for piano (1993) EdB 5’
* Sonata for piano No. 8 (1996) o CD Arco Diva 6’
Vocal and Choral Compositions
* Caprichos for chamber and mixed choir (1966) EdS, o Su 10’
* Requiem for sopran, baryton, two mixed choirs and orchestra (1968) EdS, CRo 20’
* Christmas Carols for solists, mixed choir and orchestra (1969) CHF, o Pa, CRo 35’
* Lament over the Destruction of the city of Ur for soprano and barytone solo, three reciters, children, mixed and recitation choir, kettledrums and bells (1970) o CD Pa 10’
* Songs for the Blind King John of Luxemburg (1975) CHF, o Pa, CRo 7’
* Ave imperator, morituri te salutant for violoncello solo, male choir, four trombones and percussion (1977) o Pa 12’
* The Rose for mixed choir (1977) 8’
* Per Vittoria Colonna for mixed choir and solo violoncello to texts by Michelangelo Buonarotti (1979) o Pa 10’
* My Love. Fragments for tenor and piano to texts of Vladimir Sefl (1980) CHF, CRo 10’
* Sonata for piano, mixed choir and orchestra (1981) o CD Pa, CRo 17’
* The Sign for soloists, choir and orchestra to words by Otakar Brezina (1981) 15’
* Shrovetide for children choir and piano to texts of Moravian folk poetry (1982) CHF, o CD Pa, CRo 7’
* Farewell, My Love for soprano, piano and string quartet (1988) CD Arco Diva 12’
* Forgotten Songs for mezzosoprano, alto flute, viola and piano to text of Gypsies’ poetry (1985) CHF, o Pa 9’
* Oh cara, addio. Aria for soprano and string quartet (1987) 8’
* Istanu for reciter, alto flute and four players on percussion instruments (1980) CD Pa, CRo 10´
* Address to Music for reciter and string quartet to text by Jiri Pilka (1982) CRo 15´
* Lancelot – a chamber opera to text by Eva Bezdekova (1960) Dilia, CRo 60’
* The Eternal Faust – a TV opera to text by Eva Bezdekova and Jaromil Jires (1983/5) CsT 55’
* The Maze of Night, directed by Peter Weigl, Premio d’Italia 1969
* The Golden Eels, directed by Karel Kachyna, Prix d’Italia 1980
* Golet in the Valley, directed by Zeno Dostal, The Prize of the Czech Lion 1995
* The King Ubu, directed by F.A.Brabec, The Prize of the Czech Lion 1996 Read more on Last.fm.
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