Emil Hlobil

He married Czech painter Marie-Hlobilová Mrkvičková, and after World War II they bought a cottage in the Krkonoše mountains as a summer home.

Hlobil composed in the Romantic tradition of the Nineteenth Century, almost untouched by modern trends,[3] which was possibly a reflection of the politics of the time and place.

In his Quartet for harpsichord and string trio (1944) [sic], he uses a fairly simple diatonic idiom, but shows a Janacek-like boldness in his apparently inconsequential changing of the subject, his close working-out of a few motives, and his ability to create fascinating textures.

Although his self-made technique is not nearly as successful as Janacek's—his material does not stand up to so much repetition, and he sometimes falls into empty naïveté (codetta of first movement and much of the finale), this refreshingly imaginative work makes one want to hear more recent examples from his long list of compositions.

[5]Hlobil's works include operas, symphonies, concertos and string quartets in the Czech Impressionist tradition of Suk and Vítězslav Novák.