Pohadka Suite, Op. 16 (Ein Maerchen; A Fairy Tale) Cover Image

Pohadka Suite, Op. 16 (Ein Maerchen; A Fairy Tale): Full Orchestra, Conductor Score

$55.00 USD
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Pohadka Suite, Op. 16 (Ein Maerchen; A Fairy Tale) Cover Image

Pohadka Suite, Op. 16 (Ein Maerchen; A Fairy Tale): Full Orchestra, Conductor Score

By Josef Suk

Item: 36-A214101

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Description
In 1897 and 1898, Josef Suk (1874-1935) composed incidental music for the stage play RADÚZ AND MAHULENA by Czech writer Julius Zeyer. Based on a love story with elements from Slovakian folklore and Indian poetry, the original music included vocal solos and choruses. Adolf Cech conducted the first performance on June 6, 1898 at the National Theatre in Prague. Realizing that the theatrical work would receive few subsequent performances, Suk developed the material into a four-movement suite for orchestra, POHÁDKA SUITE, Op. 16. The Czech Philharmonic premiered the suite at Rudolfinum, Prague on February 7, 1901 under the direction of Oskar Nedbal. Instrumentation: 2+Picc.2+EH.2+BCl.2: 4.2.3.1: Timp.Perc (2-3): Hp: Str (9.8.7.6.5 in set).

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Additional Details
Series: Kalmus Orchestra Library
Publisher: Keiser Productions, Inc.
ISBN10: 8-89-563568-X
ISBN13: 979-889-563-5681
UPC: 612735899868
SKU: 36-A214101
Instrumentation: 2+Picc.2+EH.2+BCl.2: 4.2.3.1: Timp.Perc (2-3): Hp: Str (9.8.7.6.5 in set)

More about this title

About the Composer: Josef Suk

Josef Suk (1874-1935) was a Czech composer and violinist whose orchestral works bridged late Romantic idiom with distinctly Central European character. A student of Antonín Dvořák, Suk inherited and extended his teacher's gift for melody and orchestral color while developing his own harmonic language. His works remain central to the Czech orchestral repertoire and offer conductors richly layered scores that reward careful preparation.

Suk's career encompassed both concert performance and composition; he was a founding member of the Czech Quartet and maintained a parallel life as a working composer throughout his teaching years. His orchestral suites, including the Pohádka Suite, demonstrate his mastery of large ensemble writing and his ability to transform theatrical material into concert works of genuine substance.

Why we love this

This suite transforms incidental music into a four-movement orchestral work of genuine substance and dramatic arc. Suk's orchestration crackles with color, particularly in the expanded woodwind section and harp writing, and the score rewards a conductor willing to shape its folk-inflected melodies with care. Programming a Czech composer of this stature alongside the standard repertoire deepens your orchestra's musical identity.

What to expect

The Pohádka Suite unfolds like a storybook, moving between moments of intimate lyricism and grand orchestral gestures rooted in Slavic folk melody. Suk's harmonic language is warmly Romantic yet colored by a distinctly Central European sensibility, creating a soundworld that feels both familiar and distinct from Western European models of the era.

Who it's for

Conductors leading orchestras with sufficient string depth and a complete woodwind section will find this score both manageable and rewarding. The work suits orchestras seeking to expand their repertoire beyond German and Italian Romanticism into the rich Czech tradition.

How to get the most out of it

  • Balance the harp writing carefully in the quieter sections; it's often heard against delicate string textures that need space to breathe.
  • The woodwind doublings (including the English horn and bass clarinet) create a particular timbral world that depends on matched vibrato and tone quality across the section.
  • Take time in rehearsal to clarify the folk-song character of the main themes; the suite's emotional power stems from Suk's ability to dignify simple melodic material through orchestral treatment.
  • Watch the percussion cueing closely, especially the timpani, which often drives harmonic movement beneath lyrical string passages.

How to use it

This suite works beautifully as an opening work for a concert emphasizing Central European repertoire, or as a pairing with other Czech orchestral music (Dvořák, Martinů). Its four-movement structure and moderate length make it suitable for a second-half concert slot following a concerto or before a larger symphonic work.

Skills your students will build

  • Balancing multiple orchestral colors simultaneously (harp, expanded woodwinds, strings)
  • Shaping folk-influenced melodies with authentic phrasing while maintaining Romantic-era harmonic momentum
  • Coordinating eight string parts across four movements with consistent ensemble blend
  • Reading and conducting score pages with complex doublings and divided sections

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