Luboš Fišer

Luboš Fišer (30 September 1935 – 22 June 1999) was a Czech composer, born in Prague. He was known both for his soundtracks and chamber music. From 1952 to 1956 he studied composition at the Prague Conservatory as a pupil of Emil Hlobil.[1] From 1956 he studied at the AMU in Prague. His first publicly performed compositions were Four Pieces for Violin and Piano (1954).[1]

Selected compositions
Orchestra
  • Patnáct listů podle Dürerovy Apokalypsy (Fifteen Prints after Dürer's Apocalypse) (1965)
  • Double (1969)
  • Lament for chamber orchestra (1971)
  • Report for wind ensemble (1971)
  • Labyrinth (1977)
  • Serenády pro Salzburg (Serenades for Salzburg) for chamber orchestra (1979)
  • Meridián (1980)
  • Sonata for orchestra (1998)
Concertante
  • Concerto da camera for piano and orchestra (two versions, 1964 with full orchestra, 1970 with wind)
  • Concerto for piano and orchestra (1979)
  • Romance for violin and orchestra (1980)
  • Concerto for two pianos and orchestra (1983)
  • Concerto for violin and orchestra (1998)
  • Sonata per Leonardo for guitar and orchestra
  • Pastorale per Giuseppe Tartini for guitar and orchestra
Chamber
  • Dialogue for trumpet and organ (1996)
  • Impromptu for clarinet and piano (1986)
  • Piano Trio (1978)
  • Romance for violin and piano (1980)
  • Ruce (Hands), Sonata for violin and piano (1961)
  • Sonata for cello and piano (1975)
  • Sonata for solo viola and string quartet (1991)
  • Sonata for two cellos and piano (1979)
  • Sonata "In Memoriam Terezin" for violin solo (1981)
  • String Quartet (1983–1984)
  • Sonata for cello solo (1986)
  • Testis for string quartet (1980)
  • Variace na neznámé téma (Variations on an Unknown Theme), for string quartet (1976)
Piano
  • Sny a valčíky (Dreams and Waltzes) (1993)
  • Sonata No.1 (1955)
  • Sonata No.3 (1960)
  • Sonata No.4 (1962–1964)
  • Sonata No.5 (1974)
  • Sonata No.6 "Fras" (1978)
  • Sonata No.7 (1987)
  • Sonata No.8 (1996)
Organ
  • Reliéf (The Relief) for organ solo (1964)
Choral
  • Requiem (1968)
  • Vánoční koledy (Christmas Carols) for soloists, mixed choir, and orchestra (1969)
Vocal
  • Istanu, Melodrama for reciter, alto flute, and four percussionists (1980)
  • Zapomenuté písně (Forgotten Songs) on Texts of Gypsy Poetry for mezzo-soprano, alto flute, viola, and piano (1985)
Soundtrack

Notes
  1. Černušák, Gracián; Štědroň, Bohumír; Nováček, Zdenko, eds. (1963). Československý hudební slovník I. A-L (in Czech). Prague: Státní hudební vydavatelství. p. 328.
gollark: In languages such as Haskell, generics are extremely natural. `data Beeoid a b = Beeoid a | Metabeeoid (Beeoid b a) a | Hyperbeeoid a b a b` trivially defines a simple generic data type. It is only in the uncoolest of languages that this simplicity has been stripped away, with generic support artificially limited to a small subset of types, generally just arrays and similar structures. Thus, reject no generics, return to generalized, simple and good generics.
gollark: Great. Doing so. Thanks, syl.
gollark: Or at least... more consistent, which is kind of similar.
gollark: Perhaps it could be argued that generics are the natural state of things somehow, and simpler than no generics.
gollark: Oh, wait, this is easy. Anarchoprimitivism is derived from anarchism, i.e. the particularly "bee hierarchies" bit of leftism. I can reuse left-justification.

References



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