Style
As a composer, Zich was largely self-taught, although he can be said to belong to the post-Smetana lineage of Czech composers (which includes Zdeněk Fibich, Josef Bohuslav Foerster, and Otakar Ostrčil, all connected in some way to Nejedlý). His main contributions to concert life in Prague were the operas Malířský nápad (The Artist's Idea, 1908), Vina (Guilt, 1915), and Preciézky (on Zich's own translation of Molière's Les précieuses ridicules, 1924). He also created several solo vocal and choral compositions. His musical style straddles the divide between late Romanticism and early neo-classicism, combining dense orchestration, Wagnerian leitmotifs, and an intensely linear counterpoint with a playful referentiality to past styles. With the exception of Preciézky and a few individual shorter works, most of Zich's music remains unpublished.
Because of his association with Nejedlý, performances of Zich's music often met with bitter controversy in interwar Prague, where critics assessed new compositions based on factional allegiances. The lowest point of this was undoubtedly the premiere of Vina in 1922, which the arch-conservative critic Antonín Šilhan attacked in a vituperative article entitled Finis musicae (The End of Music). Šilhan's argument focused primarily on the opera's orchestral score, where the counterpoint occasionally borders on atonality.
Zich was also the author of many folkloric studies and books on aesthetics: foremost among these are Estetické vnímaní hudby (The Aesthetic Perception of Music, 1911) and Estetika dramatického umění (The Aesthetics of Drama, 1931). In each of these he explored the application of phenomenology, derived from the work of Hegel and Husserl, to branches of the performing arts, and his theories are still the subject of debate in present-day Czech academic circles. As a musicologist he also devoted himself to the study of Smetana's life and works, with numerous analytical articles appearing in Czech-language music journals.
Read more about this topic: Otakar Zich
Famous quotes containing the word style:
“Each child has his own individual expressions to offer to the world. That expression can take many forms, from artistic interests, a way of thinking, athletic activities, a particular style of dressing, musical talents, different hobbies, etc. Our job is to join our children in discovering who they are.”
—Stephanie Martson (20th century)
“I shall christen this style the Mandarin, since it is beloved by literary pundits, by those who would make the written word as unlike as possible to the spoken one. It is the style of all those writers whose tendency is to make their language convey more than they mean or more than they feel, it is the style of most artists and all humbugs.”
—Cyril Connolly (1903–1974)
“It is the style of idealism to console itself for the loss of something old with the ability to gape at something new.”
—Karl Kraus (1874–1936)