Josef Suk

String ensemble
Mixed chorus
Pump organ
by popularity


4 Episody4 Pieces for Violin and Piano, Op.176 Piano Pieces, Op.78 Piano Pieces, Op.12


About Friendship, Op.36About Mother, Op.28Album Leaf in F majorAsrael Symphony


BagatelaBagatelle in G majorBallade and Serenade, Op.3


Capriccietto in G major


Elegy, Op.23


Fairy TaleFantaisie-Polonaise, Op.5Fantasie, Op.24Fantastické Scherzo, Op.25


Humoreske in C major


Life and Dreams, Op.30Lullabies, Op.33


Meditation on the Old Czech Chorale 'St. Wenceslas', Op.35aMelodieMoods, Op.10


Piano Quartet, Op.1Piano Quintet, Op.8Piano Trio, Op.2Pieces from Young AgePísně beze slov


Radúz a Mahulena, Op.13


Serenade for StringsSousedskáSpring, Op.22aString Quartet No.1, Op.11Suite, Op.21Summer Impressions, Op.22bSymphony No.1, Op.14


Towards a New Life, Op.35c


Vesnická serenáda
Josef Suk (4 January 1874 – 29 May 1935) was a Bohemian composer and violinist. He studied under Antonín Dvořák, whose daughter he married.
From a young age, Josef Suk (born in Křečovice, Bohemia) was deeply involved and well-trained in music. He learned organ, violin, and piano from his father, Josef Suk Sr., and was trained further in violin by the Czech violinist Antonín Bennewitz. His theory studies were conducted with several other composers including Josef Bohuslav Foerster, Karel Knittl, and Karel Stecker. He later focused his writing on chamber works under the teachings of Hanuš Wihan. Despite extensive musical training, his musical skill was often said to be largely inherited. Though he continued his lessons with Wihan another year after the completion of his schooling, Suk's greatest inspiration came from another of his teachers, Czech composer Antonín Dvořák.
Known as one of Dvořák's favorite pupils, Suk also became personally close to his mentor. Underlying this was Dvořák's respect for Suk, reflected in Suk's 1898 marriage to Dvořák's daughter, Otilie, marking some of the happiest times in the composer's life and music. However, the last portion of Suk's life was punctuated with tragedy. Over the span of 14 months around 1905, not only did Suk's mentor Dvořák die, but so did Otilie. These events inspired Suk's Asrael Symphony.
Owing to a shared heritage—and the coincidence of their dying within a few months of one another—Suk has been closely compared, in works and style, to fellow Czech composer Otakar Ostrčil. Suk, alongside Vitezslav Novak and Ostrčil, is considered one of the leading composers in Czech Modernism, with much shared influence among the three coming in turn from Dvořák. Eminent German figures such as composer Johannes Brahms and critic Eduard Hanslick recognized Suk's work during his time with the Czech Quartet. Over time, well known Austrian composers such as Gustav Mahler and Alban Berg also began to take notice of Suk and his work.
Although he wrote mostly instrumental music, Suk occasionally branched out into other genres. Orchestral music was his strong suit, notably the Serenade for Strings, Op. 6 (1892). His time with the Czech Quartet, though performing successful concerts until his retirement, was not always met with public approval. Several anti-Dvořák campaigns came into prominence; criticism not only being directed at the quartet, but towards Suk specifically. The leftist critic Zdeněk Nejedlý accused the Czech Quartet of inappropriately playing concerts in the Czech lands during World War I. While these attacks diminished Suk's spirits, they did not hinder his work.
Suk married Dvorak's daughter Otýlie ('Otýlka') in 1898. They had one child, a son, also named Josef, in 1898. Otýlie died of heart failure aged 27 in 1905, a year after her father. Josef Suk Jr. in turn was father of the acclaimed violinist Josef Suk, who died in 2011. Suk retired in 1933, although he continued to be a valuable and inspirational public figure to the Czechs. Suk died on 29 May 1935, in Benešov, Czechoslovakia (now Czech Republic); he was buried in the cemetery of St Luke church in Křečovice.
Suk's musical style started off with a heavy influence from his mentor, Dvořák. The biggest change of Suk's style came after he reached a "dead end" in his early musical style (music played less of a role in Suk's life outside of his schooling), just before he began a stylistic shift during 1897–1905, perhaps realizing that the strong influence of Dvořák would limit his work. Morbidity was always a large factor in Suk's music. For instance, he wrote his own funeral march in 1889 and it appears significantly also in a major work, the "funeral symphony" Asrael, Op. 27. Ripening, a symphonic poem, was also a story of pain and questioning the value of life. Other works, however – such as the music he set to Julius Zeyer's drama Radúz a Mahulena – display his happiness, which he credited 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 opera is in his incidental music to the play Pod jabloní (Beneath the Apple Tree).
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.
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."