Coming at the end of the Romantic era, Josef Suk was deeply influenced by the major composers of his day, particularly Johannes Brahms and Antonin Dvorák (who was his father-in-law), and later on by his contemporaries, Gustav Mahler and Richard Strauss. Because these influences meshed with Suk's own profound feeling for Czech themes and a melancholy streak in his makeup, his post-Romantic music looks backward toward a lost past, rather than forward to a confrontation with modernism. The Fantasy in G minor, which amounts to ...
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Coming at the end of the Romantic era, Josef Suk was deeply influenced by the major composers of his day, particularly Johannes Brahms and Antonin Dvorák (who was his father-in-law), and later on by his contemporaries, Gustav Mahler and Richard Strauss. Because these influences meshed with Suk's own profound feeling for Czech themes and a melancholy streak in his makeup, his post-Romantic music looks backward toward a lost past, rather than forward to a confrontation with modernism. The Fantasy in G minor, which amounts to a free-form violin concerto in a single movement, is firmly rooted in the tradition of Dvorák, and the brilliant violin solo is played with sparkling bravado by Michael Ludwig. The four-movement Fairy Tale, which began its life as incidental music for the play Radúz a Mahulena by Julius Zeyer, is rich with folk feeling and offers some lush orchestration that plainly owes a debt to Strauss. The Fantastické Scherzo, close in its genesis to the Fantasy, is a mercurial piece that...
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