Josef Suk: Praga (1904)
symphonic poem, Op. 26
Prague Symphony Orchestra
conductor Petr Altrichter
约瑟夫·苏克（捷克語：Josef Suk，1874年1月4日－1935年5月29日)，捷克作曲家，小提琴家。早年在布拉格音乐学院师从德沃夏克，1898年与德沃夏克之女结婚，1905年丧妻。1922年起在布拉格音乐学院任教，学生有马尔蒂努等。苏克的音乐风格受德沃夏克影响较大，早期作品有一定的民族乐派色彩，但晚期作品风格有所变化，追求复杂的和声与对位。苏克有较高的旋律天赋，但风格比较保守，因此作品相对鲜为人知。他最著名的作品是之一是《亚兹拉尔交响曲》。
作为小提琴家，他是著名的捷克弦乐四重奏团的创始人之一，并长期担任第二小提琴。他的孙子也是世界闻名的小提琴家。
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Suk's musical style
Suk's musical style started off with a very heavy emphasis on what he experienced during his time with Dvo?ák, though this Czech-style influence eventually slowly became more German and Austrian in style. The biggest change of Suk's style came after a "dead end" in his musical lifestyle (music played less of a role in Suk's life outside of his schooling[16]) just before he began the shift of style during 1897–1905, perhaps realizing that his known Dvo?ák influence would restrain his work.[17] Morbidity was always a large factor in Suk's music. For instance, he wrote his own funeral march in 1889. Ripening, a symphony, was also a story of pain and questioning the value of life. Others of his works represent his happiness, such as the music he set to Julius Zeyer's drama Radúz a Mahulena (which he referenced to his marriage with Otilie). Another of Suk's works, Pohádka ('Fairy Tale'), was drawn from his work with Radúz a Mahulena. The closest Suk came to working with opera is music his wrote for the play Pod jabloní or 'Beneath the Apple Tree'.[18]
The majority of Suk's papers are kept in Prague. There is also a new catalogue of Suk's works that contains more manuscripts than any before it, some of them also containing sketches by Suk.[19]
Suk said of himself: "I do not bow to anyone, except to my own conscience and to our noble Lady Music… and yet at the same time I know that thereby I serve my country, and praise the great people from the period of our wakening who taught us to love our country."[
(wiki)
