Bedřich Smetana - Knowledge

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the continued right to perform his operas, an arrangement Smetana reluctantly accepted. Money raised in Prague by former students, and by former lover Fröjda Benecke in Gothenburg, amounted to 1,244 florins. This allowed Smetana to seek medical treatment abroad, but to no avail. In January 1875 he wrote in his journal: "If my disease is incurable, then I should prefer to be liberated from this life." His spirits were further lowered at this time by a deterioration in his relationship with Bettina, mainly over money matters. "I cannot live under the same roof as a person who hates and persecutes me", he informed her. Although divorce was considered, the couple stayed unhappily together.

1685: 386:(German: Pilsen), then offered to supervise the boy's remaining schooling, and in the summer of 1840 Smetana departed for Plzeň. He remained there until he completed his schooling in 1843. His skills as a pianist were in great demand at the town's many soirées, and he enjoyed a hectic social life. This included a number of romances, the most important of which was with Kateřina Kolářová, whom he had known briefly in his early childhood. Smetana was entirely captivated with her, writing in his journal: "When I am not with her I am sitting on hot coals and have no peace". He composed several pieces for her, among which are two 507:, and recommend it to a publisher. He also requested a loan of 400 florins, to enable him to open a music school. Liszt replied cordially, accepting the dedication and promising to help find a publisher, but he offered no financial assistance. This encouragement was the beginning of a friendship that was of great value to Smetana in his subsequent career. Despite Liszt's lack of financial support, Smetana was able to start a Piano Institute in late August 1848, with twelve students. After a period of struggle the Institute began to flourish and became briefly fashionable, particularly among supporters of 1790:, Smetana's close identification with Czech nationalism and the tragic circumstances of his last years, have affected the objectivity of assessments of his work, particularly in his native land. Tyrrell argues that the almost iconic status awarded to Smetana in his homeland "monumentalized him into a figure where any criticism of his life or work was discouraged" by the Czech authorities, even as late as the last part of the 20th century. As a result, Tyrrell argues, a view of Czech music has been propagated that plays down the contributions of contemporaries and successors such as Dvořák, 887: 29: 1273: 1249:. An analysis of the autopsy report, published by the German neurologist Dr Ernst Levin in 1972, came to the same conclusion. Tests carried out by Prof. Emanuel Vlček in the late 20th century on samples of muscular tissue from Smetana's exhumed body provided further evidence of the disease. However, this research has been challenged by Czech physician Dr Jiří Ramba, who has argued that Vlček's tests do not provide a basis for a reliable conclusion, citing the age and state of the tissues and highlighting reported symptoms of Smetana's that were incompatible with syphilis. 41: 834: 136: 1082:, composed between June 1873 and January 1874. After its first performance at the Provisional Theatre on 27 March 1874, Smetana's supporters presented him with a decorative baton. But his opponents continued to attack him, comparing his conductorship unfavourably with the Maýr regime and saying that under Smetana "Czech opera sickens to death at least once annually." By the summer Smetana was ill; a throat infection was followed by a rash and an apparent blockage to the ears. By mid-August, unable to work, he transferred his duties to his deputy, 1776: 775:. This work would influence Smetana's own later career as an opera composer. Later that year he stayed with his younger brother Karel, and fell in love with Karel's sister-in-law Barbora (Bettina) Ferdinandiová, sixteen years his junior. He proposed marriage, and having secured her promise returned to Gothenburg for the 1859–60 winter. The marriage took place the following year, on 10 July 1860, after which Smetana and his new wife returned to Sweden for a final season. This culminated in April 1861 with a piano performance in 1647: 265: 1234: 1145: 8648: 822:. Smetana then turned his attention to an opera competition, organised by Count Jan von Harrach, which offered prizes of 600 florins each for the best comic and historical operas based on Czech culture. With no useful model on which to base his work—Czech opera as a genre scarcely existed—Smetana had to create his own style. He engaged Karel Sabina, his comrade from the 1848 barricades, as his librettist, and received Sabina's text in February 1862, a story of the 13th century invasion of Bohemia by 405:, and no immediate prospects. Kateřina Kolářová's mother introduced Smetana to Josef Proksch, then head of the Prague Music Institute (where Kateřina was studying), with whom he began composition lessons. In January 1844 Proksch agreed to take Smetana as a pupil, and at the same time the young musician's financial difficulties were eased when he secured an appointment as music teacher to the family of a nobleman, Count Thun. During the course of his studies, Proksch introduced Smetana to both Liszt and 371:

composed simple pieces. After Liszt gave a series of piano recitals in the city, Smetana became convinced that he would find satisfaction only in a musical career. He confided to his journal that he wanted "to become a Mozart in composition and a Liszt in technique". However, the Prague idyll ended when František discovered his son's truancy and removed him from the city. František at this time saw music as a diverting pastime, not as a career choice. Smetana was placed temporarily with his uncle in

1183: 8133: 5685: 4665: 931:, the management of the Provisional Theatre readily agreed to stage the new opera, which was premiered on 30 May 1866 in its original two-act version with spoken dialogue. The opera went through several revisions and restructures before reaching the definitive three-act form that in due course established Smetana's international reputation. The opera's first performance was a failure; it was held on one of the hottest evenings of the year, on the eve of the 5695: 1744: 1571: 8717: 1768:, even more firmly based on the scale and concept of Wagnerian music drama. His personal life became stressful; his marriage to Bettina was loveless, and effectively broke down altogether in the years of illness and relative poverty towards the end of his life. Little of his relationships with his children is on record, although on the day that he was transferred to the asylum, Žofie was "crying as though her heart would break". 1014:, calling it an example of extreme "Wagnerism" and thus unsuited as a model for Czech national opera. "Wagnerism" meant the adoption of Wagner's theories of a continuous role for the orchestra and the building of an integrated musical drama, rather than a stringing together of lyrical numbers. The Provisional Theatre's chairman, František Rieger, had first accused Smetana of Wagnerist tendencies after the first performance of 4677: 1567:, whose works had rarely lasted beyond one or two performances. In his mission to create a new canon, rather than using traditional folksong Smetana turned to the popular dance music of his youth, especially the polka, to establish his link with the vernacular. He drew on existing European traditions, notably Slavonic and French, but made only scarce use of arias, preferring to base his scores on ensembles and choruses. 1630:, while not a "gem of the first order", is nevertheless "a perfectly cut and polished stone of its kind." Its trademark overture, which Newmarch says "lifts us off our feet with its madcap vivacity", was composed in a piano version before Smetana received the draft libretto. Clapham believes that this has few precedents in the entire history of opera. Smetana himself was later inclined to disparage his achievement: " 1618:, who also supplied the texts for his final two operas. She dominated the ailing composer, who had no say in the subject-matter, the voice types or the balance between solos, duets and ensembles. Nevertheless, critics have noted few signs of a decline in Smetana's powers in these works, while his increasing proficiency in Czech meant that his settings of the language are much superior to those of his earlier operas. 644: 8700: 8672: 1408:, in D minor, written in 1882–83 in defiance of his physician's orders to refrain from all musical activity, was composed in short snatches, "a swirl of music of a person who has lost his hearing." It represents Smetana's frustrations with his life, but is not wholly gloomy, and includes a bright polka. It was one of his final compositions; between the two quartets he wrote a violin and piano duet 8636: 1452:, caused a material reorientation of Smetana's orchestral music. These works gave Smetana answers to many compositional problems relating to the structure of orchestral music, and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration. These insights enabled Smetana to write the three Gothenburg symphonic poems, ( 1230:, but wrote only fragments as his mental state gradually deteriorated. In October 1883 his behaviour at a private reception in Prague disturbed his friends; by the middle of February 1884 he had ceased to be coherent, and was periodically violent. On 23 April his family, unable to nurse him any longer, removed him to the Kateřinky Lunatic Asylum in Prague, where he died on 12 May 1884. 4475: 429:, and showed them his G minor sonata, but failed to win their approval for this work—they detected too much of Berlioz in it. Meanwhile, his friendship with Kateřina blossomed. In June 1847, on resigning his position in the Thun household, Smetana recommended her as his replacement. He then set out on a tour of Western Bohemia, hoping to establish a reputation as a concert pianist. 1681:, closer to that of Wagnerian music drama, was not readily understood by the public and was condemned by critics who believed that Czech opera should be based on folk-song. It disappeared from the repertory after only a handful of performances. Thereafter the machinations that accompanied Smetana's tenure as Provisional Theatre conductor restricted his creative output until 1874. 220:

collapse early in 1884 led to his incarceration in an asylum and subsequent death. His reputation as the founding father of Czech music has endured in his native country, where advocates have raised his status above that of his contemporaries and successors. However, relatively few of Smetana's works are in the international repertory, and most foreign commentators tend to regard

8660: 447: 511:, in whose eyes Smetana was developing a reputation. Proksch wrote of Smetana's support for his people's cause, and said that he "could well become the transformer of my ideas in the Czech language." In 1849 the institute was relocated to the home of Kateřina's parents, and began to attract distinguished visitors; Liszt came regularly, and the former Austrian emperor 8624: 515:, who had settled in Prague, attended the school's matinée concerts. Smetana's performances in these concerts became a recognised feature of Prague's musical life. In this time of relative financial stability Smetana married his beloved, the young pianist Kateřina Kolářová, on 27 August 1849. Four daughters were born to the couple between 1851 and 1855. 632:

music school that was rapidly overwhelmed by applications, and become conductor of the Gothenburg Society for Classical Choral Music. In a few months Smetana had achieved both professional and social recognition in the city, although he found little time for composition; two intended orchestral works, provisionally entitled

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but the city no longer held his interest; it appeared to him a provincial backwater and, whatever the difficulties, he now determined to seek his musical future in Prague: "My home has rooted itself into my heart so much that only there do I find real contentment. It is to this that I will sacrifice myself."

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There is broad agreement among most commentators that Smetana created a canon of Czech opera where none had previously existed, and that he developed a style of music in all his compositions that equated with the emergent Czech national spirit. A modified view is presented by the music writer Michael

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All but a handful of Smetana's compositions before his departure for Gothenburg are piano works. Some of these early pieces have been dismissed by music historian Harold Schonberg as "bombastic virtuoso rhetoric derived from Liszt". Under Proksch, however, Smetana acquired more polish, as revealed in

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These years saw Smetana's growing recognition as the principal exponent of Czech national music. This status was celebrated by several events during Smetana's final years. On 4 January 1880, a special concert in Prague marked the 50th anniversary of his first public performance; Smetana attended, and

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in 1859 had weakened the Habsburg Empire and led to the fall from power of Baron von Bach. This had gradually brought a more enlightened atmosphere to Prague, and by 1861 Smetana was seeing prospects of a better future for Czech nationalism and culture. Before deciding his own future, in September he

253:. He was the third child, and first son, of František Smetana and his third wife Barbora Linková. František had fathered eight children in two earlier marriages, five daughters surviving infancy; he and Barbora had ten more children, of whom seven reached adulthood. At this time, under Habsburg rule, 2191:

It is difficult to equate the value of a mid-19th century Austro-Hungarian florin to 21st century dollars or sterling. A general assessment might be made on the basis of Smetana's annual salary in 1866, when he was appointed conductor of the Czech Provisional Theatre – 1,200 florins. Clapham (1972),

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in the Žofín Island concert hall in January 1862, to a muted reception. Critics accused him of adhering too closely to the "New German" school represented primarily by Liszt; Smetana responded that "a prophet is without honour in his own land." In March 1862 he made a last brief visit to Gothenburg,

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By the end of 1874, Smetana had become completely deaf but, freed from his theatre duties and the related controversies, he began a period of sustained composition that continued for almost the rest of his life. His contributions to Czech music were increasingly recognised and honoured, but a mental

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Even in his own homeland the general public was slow to recognise Smetana. As a young composer and pianist he was well regarded in Prague musical circles, and had the approval of Liszt, Proksch and others, but the public's lack of acknowledgement was a principal factor behind his self-imposed exile

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Although a follower of Wagner's reforms of the operatic genre, which he believed would be its salvation, Smetana rejected accusations of excessive Wagnerism, claiming that he was sufficiently occupied with "Smetanism, for that is the only honest style!" The predominantly "national" character of the

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Even within the theatre itself there was division. Rieger led a campaign to eject Smetana from the conductorship and reappoint Maýr, and in December 1872 a petition signed by 86 subscribers to the theatre called for Smetana's resignation. Strong support from vice-chairman Antonín Čísek, and an

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with its overtones of German military aggression, Smetana thought he might be targeted by the invading Prussians, so he absented himself from Prague until hostilities ceased. He returned in September, and almost immediately achieved a long-standing ambition—appointment as principal conductor of the

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had been performed to an enthusiastic reception at the Provisional Theatre—over strong opposition from Maýr, who had refused to rehearse or conduct the piece. The idiom was too advanced for Maýr's liking, and the opera was eventually staged under the composer's own direction. "I was called on stage

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failed. He had set high hopes on this appointment: "My friends are trying to persuade me that this post might have been especially created for me," he wrote to a Swedish friend. Again his hopes were thwarted by his association with the perceived radical Liszt, and the appointing committee chose the

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Smetana initially went to Gothenburg without Kateřina. Writing to Liszt, he said that the people there were musically unsophisticated, but he saw this as an opportunity "for an impact I could never have achieved in Prague." Within a few weeks of his arrival, he had given his first recital, opened a

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at a concert celebrating the centenary of Mozart's birth, in January 1856. His disenchantment with Prague was growing and, perhaps influenced by Dreyschock's accounts of opportunities in Sweden, Smetana decided to seek success there. On 11 October 1856, after writing to his parents that "Prague did

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identifies much in the piece that characterises the composer's more mature works. Despite the symphony's rejection by the Court and the lukewarm reception on its premiere, Smetana did not abandon the work. It was well received in Gothenburg in 1860, and a revised version was performed in Prague in

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Apart from a juvenile fantasia for violin and piano, Smetana composed only four chamber works, yet each had a deep personal significance. The Piano Trio in G minor of 1855 was composed after the death of his daughter Bedřiška; its style is close to that of Robert Schumann, with hints of Liszt, and

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finally arrived when the National Theatre opened on 11 June 1881. He had not initially been given tickets, but at the last minute was asked into the theatre director's box. The audience received the work enthusiastically, and Smetana was called to the stage repeatedly. Shortly after this event the

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In September, Smetana told the theatre he would resign his appointment unless his health improved. He had become totally deaf in his right ear, and in October lost all hearing in his left ear also. After his subsequent resignation the theatre offered him an annual pension of 1,200 florins for

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as a tribute to her memory; it was performed in Prague on 3 December 1855 and, according to the composer, was received "harshly" by the critics, although Liszt praised it. Smetana's sorrows continued; just after Bedřiška's death a fourth daughter, Kateřina, had been born but she, too, died in June

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Steen, who questions whether "nationalistic music" can in fact exist: "We should recognise that, whereas music is infinitely expressive, on its own it is not good at describing concrete, earthly objects or concepts." He concludes that much is dependent upon what listeners are conditioned to hear.

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Smetana was survived by Bettina, their daughters Zdeňka and Božena, and by Žofie. None of them played any significant role in Smetana's musical life. Bettina lived until 1908; Žofie, who had married Josef Schwarz in 1874, predeceased her stepmother, dying in 1902. The younger daughters eventually

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Early in his Provisional Theatre conductorship Smetana had made a powerful enemy in František Pivoda, the director of the Prague School of Singing. Formerly a supporter of Smetana, Pivoda was aggrieved when the conductor recruited singing talent from abroad rather than from Pivoda's school. In an

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At this stage in his career, Smetana's command of Czech was poor. His generation of Czechs was educated in German, and he had difficulty expressing himself in what was supposedly his native tongue. To overcome these linguistic deficiencies he studied Czech grammar, and made a point of writing and

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that swept through Europe in that year, a pro-democracy movement in Prague led by Smetana's old friend Karel Havlíček was urging an end to Habsburg absolutist rule and for more political autonomy. A Citizens' Army ("Svornost") was formed to defend the city against possible attack. Smetana wrote a

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that women evidently found attractive. He was also excitable, passionate and strong-willed, determined to make his career in music whatever the hardships, over the wishes of his father who wanted him to become a brewer or a civil servant. Throughout his career he stood his ground; when under the

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cycles of 1877 and 1879. The first of these had the purpose, as Smetana explained to his publisher, of "idealising the polka, as Chopin in his day did with the mazurka." The second cycle is a medley of dances, each given a specific title so that people would know "which dances with real names we

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is the first of Smetana's mature large-scale works that is independent of words, and its musical ideas are bolder than anything he had tried before. To musicologist John Clapham, the cycle presents "a cross-section of Czech history and legend and impressions of its scenery, and ... conveys

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The basic materials from which Smetana fashioned his art, according to Newmarch, were nationalism, realism and romanticism. A particular feature of all his later music is its descriptive character—all his major compositions outside his operas are written to programmes, and many are specifically

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Smetana's concert tour to Western Bohemia was poorly supported, so he abandoned it and returned to Prague, where he made a living from private pupils and occasional appearances as an accompanist in chamber concerts. He also began work on his first major orchestral work, the Overture in D major.

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and other, lesser known, composers. This is at odds with perceptions in the outside world, where Dvořák is far more frequently played and much better known. Harold Schonberg observes that "Smetana was the one who founded Czech music, but Antonín Dvořák ... was the one who popularized it."

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František Smetana played violin in a string quartet, and Barbora Smetana was a dancer. Bedřich was introduced to music by his father and in October 1830, at the age of six, gave his first public performance. At a concert held in Litomyšl's Philosophical Academy he played a piano arrangement of

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Smetana arrived in Prague in the autumn of 1839. Finding Jungmann's school uncongenial (he was mocked by his classmates for his country manners), he soon began missing classes. He attended concerts, visited the opera, listened to military bands and joined an amateur string quartet for whom he

1064: 1342:. The project became somewhat disorganised; in the pieces completed, some keys are repeated while others are unrepresented. After Smetana's final return from Gothenburg, when he committed himself primarily to the development of Czech opera, he wrote nothing for the piano for 13 years. 1337:

of 1848 was dedicated to Liszt, who described it as "the most outstanding, finely felt and finely finished pieces that have recently come to my note." In this period Smetana planned a cycle of so-called "album leaves", short pieces in every major and minor key, after the manner of Chopin's

1055:, in January 1871. Although the audience was enthusiastic, press reports were hostile, one describing the work as "no better than that of a gifted fourteen-year-old boy." Smetana was deeply offended, and blamed his old adversary, Balakirev, for inciting negative feelings against the opera. 1366:, he did not begin to write pieces for a full choir until after his Gothenburg sojourn, when he composed numerous works for the Hlahol choral society, mostly for unaccompanied male voices. Smetana's choral music is generally nationalistic in character, ranging in scale from the short 207:, the latter achieving great popularity. In that same year, Smetana became the theatre's principal conductor, but the years of his conductorship were marked by controversy. Factions within the city's musical establishment considered his identification with the progressive ideas of 1711:

was received with thunderous applause for the composer; by this time (1881) the disputes around his music had declined, and the public was ready to honour him as the founder of Czech music. Nevertheless, the first few performances in October 1882 of an evidently under-rehearsed

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In July 1856, Smetana received news of the death in exile of his revolutionary friend Karel Havlíček. The political climate in Prague was a further source of gloom; hopes of a more enlightened government and social reform following Franz Joseph's accession in 1848 had faded as

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on 19 April 1859. Smetana wrote that she had died "gently, without our knowing anything until the quiet drew my attention to her." After placing Žofie with Kateřina's mother, Smetana spent time with Liszt in Weimar, where he was introduced to the music of the comic opera

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were performed at concerts in early 1863. In March of that year Smetana was elected president of the music section of Umělecká Beseda, a society for Czech artists. By 1864 he was proficient enough in Czech to be appointed as music critic to the main Czech-language newspaper

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was given its 100th performance, an unprecedented event in the history of Czech opera. It was so popular that a repeat "100th performance" was staged. A gala concert and banquet was arranged to honour Smetana's 60th birthday in March 1884, but he was too ill to attend.

1102:, the home of his eldest daughter Žofie, where he was able to work undisturbed in tranquil surroundings. From June 1876 he, Bettina, and their two daughters left Prague for Jabkenice permanently. Before leaving Prague he had begun a cycle of six symphonic poems, called 1404:, was autobiographical in character, illustrating the composer's youthful enthusiasm for his art, his friendships and loves and, in a change of mood, the onset of his deafness represented by a long harmonic E in the final movement above ominous string tremolos. His 1389:(1883), is the last of four settings of texts by Josef Srb-Debrnov. Despite the state of Smetana's health, this is a happy celebration of Czech song and dance. The piece was lost for many years, and only received its first performance after rediscovery in 1924. 1510: 1316:

autobiographical. Smetana's champions have recognised the major influences on his work as Liszt, Wagner and Berlioz—the "progressives"—while those same advocates have often played down the significance of "traditionalist" composers such as Rossini, Donizetti,

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In summer 1857, Smetana came home to Prague and found Kateřina in failing health. In June, Smetana's father František died. That autumn Smetana returned to Gothenburg, with Kateřina and their surviving daughter Žofie, but before doing so he visited Liszt in

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In 1861, it was announced that a Provisional Theatre would be built in Prague, as a home for Czech opera. Smetana saw this as an opportunity to write and stage opera that would reflect Czech national character, similar to the portrayals of Russian life in

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In the early 1860s, a more liberal political climate in Bohemia encouraged Smetana to return permanently to Prague. He threw himself into the musical life of the city, primarily as a champion of the new genre of Czech opera. In 1866 his first two operas,

142:; 2 March 1824 – 12 May 1884) was a Czech composer who pioneered the development of a musical style that became closely identified with his people's aspirations to a cultural and political "revival". He has been regarded in his homeland as the father of 400:

By the time Smetana completed his schooling, his father's fortunes had declined. Although František now agreed that his son should follow a musical career, he could not provide financial support. In August 1843 Smetana departed for Prague with twenty

1116:, which had both been performed in Prague during 1875. In Jabkenice, Smetana composed four more movements, the complete cycle being first performed on 5 November 1882 under the baton of Adolf Čech. Other major works composed in these years were the 1486: 1047:, his most ambitious work to date, but was withholding its premiere for the future opening of the forthcoming National Theatre. The machinations of Pivoda and his supporters distracted Smetana from composition, and he had further vexation when 1214:, revealing fears of the onset of madness. By the winter of 1882–83 he was experiencing depression, insomnia, and hallucinations, together with giddiness, cramp and a temporary loss of speech. In 1883 he began writing a new symphonic suite, 669:, which invigorated and inspired him. Liszt was Smetana's principal teacher throughout the latter's creative life, and at this time was crucially able to revive his spirits and rescue him from the relative artistic isolation of Gothenburg. 555:

were not sufficiently prominent. Undeterred, Smetana hired an orchestra at his own expense to perform the symphony at the Konvikt Hall in Prague on 26 February 1855. The work was coolly received, and the concert was a financial failure.

1599: 1614:, written when Smetana was receiving painful medical treatment, is described by Newmarch as a work of serene beauty, in which tears and smiles alternate throughout the score. Smetana's librettist for "The Kiss" was the young feminist 1533:

vividly to us Smetana's view of the ethos and greatness of the nation." Despite its nationalistic associations this work has, according to Newmarch, carried Smetana's name further afield than anything he wrote, with the exception of

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in Sweden. After his return he was not taken particularly seriously, and was hard put to get audiences for his new works, hence his "prophet without honour" remark after the nearly empty hall and indifferent reception of

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speaking in Czech every day. He had become Chorus Master of the nationalistic Hlahol Choral Society soon after his return from Sweden, and as his fluency in Czech developed he composed patriotic choruses for the Society;

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inimical to the development of a distinctively Czech opera style. This opposition interfered with his creative work, and may have hastened a decline in health that precipitated his resignation from the theatre in 1874.

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was led by members of the Hlahol, bearing torches, and was followed by a large crowd. The grave later became a place of pilgrimage for musical visitors to Prague. On the funeral evening, a scheduled performance of

349:, whose departure for Prague in 1838 may have influenced Smetana's own desire to experience life in the capital. The following year, with František's approval, he enrolled at Prague's Academic Grammar School under 137: 939:

troops. Unsurprisingly the occasion was poorly attended, and receipts failed to cover costs. When presented at the Provisional Theatre in its final form, in September 1870, it was a tremendous public success.

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is performed regularly outside the composer's homeland. After reaching Vienna in 1892, and London in 1895, it rapidly became part of the repertory of every major opera company worldwide. Newmarch argues that

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and the G minor Piano Sonata. In 1846 Smetana attended concerts given in Prague by Berlioz, and in all likelihood met the French composer at a reception arranged by Proksch. At the home of Count Thun he met

1508: 1484: 483:. The nascent uprising was quickly crushed, but Smetana avoided the imprisonment or exile received by leaders such as Havlíček. During his brief spell with Svornost, he met the writer and leading radical, 1597: 787:

set out on a concert tour of the Netherlands and Germany. He was still hoping to secure a reputation as a pianist, but once again he experienced failure. Back in Prague, he conducted performances of

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were chaotic, and the composer was left feeling "dishonoured and dispirited." This disappointment was swiftly mitigated by the acclaim that followed the first performance of the complete

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In his final decade, the most fruitful of his compositional career despite his deafness and increasing ill-health, Smetana belatedly received national recognition. Of his later operas,

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first four operas is tempered by the lyrical romanticism of those written later, particularly the last three, composed in the years of Smetana's deafness. The first of this final trio,

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For the next three years, besides teaching piano to the Thun children, Smetana studied theory and composition under Proksch. The works he composed in these years include songs, dances,

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than Liszt, but believed that his physical frailty was a serious drawback to his concert-playing ambitions. His main performance success during this period was his playing of Mozart's

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Back in Sweden, Smetana found among his new pupils a young housewife, Fröjda Benecke, who briefly became his muse and his mistress. In her honour Smetana transcribed two songs from

746: 974:, who expressed himself forcefully. This caused prolonged hostility between the two men. On 28 February 1868 Smetana conducted another national opera by another Slavic composer, 1161:

new theatre was destroyed by fire; despite his infirmities, Smetana helped to raise funds for the rebuilding. The restored theatre reopened on 18 November 1883, again with

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was merely child's play, written straight off the reel". In the view of German critic William Ritter, Smetana's creative powers reached their zenith with his third opera,

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Provisional Theatre, at an annual salary of 1,200 florins. In the absence of a body of suitable Czech opera, Smetana in his first season presented standard works by

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to the city of Prague; after its first performance in November 1882 it was acclaimed by the Czech musical public as the true representation of Czech national style. Its

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in Prague, founded in 1926 within the Charles University's Institute for Musicology. In 1936 the museum moved to the former Waterworks building on the banks of the

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Smetana gradually brought more operas by emergent Czech composers to the theatre, but little of his own work. By 1872 he had completed his monumental fourth opera,

998:, was premièred at Prague's New Town Theatre. Although its initial reception was warm, its reviews were poor, and Smetana resigned himself to its failure. 527:. He continued teaching in the Piano Institute, and devoted himself increasingly to composition. His works, mainly for the piano, included the three-part 173:

Smetana was naturally gifted as a composer, and gave his first public performance at the age of six. After conventional schooling, he studied music under

6138: 185:, in which he briefly participated. After failing to establish his career in Prague, he left for Sweden, where he set up as a teacher and choirmaster in 1495: 2956:

Clapham (1972), p. 44. It appears (Clapham, 1972, pp. 48–49) that this pension was withheld from time to time, causing Smetana much financial hardship.

4212: 1991: 1720:

cycle in November: "Everyone rose to his feet and the same storm of unending applause was repeated after each of the six parts ... At the end of

1398:

the overall tone is elegiac. It was 20 years before he returned to the chamber genre with his first String Quartet. This E minor work, subtitled

6128: 1007:

increasingly bitter public correspondence, Pivoda said Smetana was using his position to further his own career, at the expense of other composers.

601:. Despite the good name of the Piano Institute, Smetana's status as a concert pianist was generally considered below that of contemporaries such as 5587: 1471: 1245:

The hospital registered the cause of death as senile dementia. However, Smetana's family believed that his physical and mental decline was due to

284:

by supplying clothing and provisions to the French Army. He subsequently managed several breweries before coming to Litomyšl in 1823 as brewer to

4057: 1520:

From 1862 Smetana was largely occupied with opera and, apart from a few short pieces, did not return to purely orchestral music before beginning

8169: 280:(German: Königgrätz) region of Bohemia. František had initially learned the trade of a brewer, and had acquired moderate wealth during the 4427: 1677:, survived the unfortunate mistiming of its opening night and became an enduring popular triumph. The different style of his third opera, 1038:, ensured Smetana's survival. In January 1873 he was reappointed, with a bigger salary and increased responsibility as artistic director. 8772: 475:. In June 1848, as the Habsburg armies moved to suppress rebellious tendencies, Prague came under attack from the Austrian forces led by 8762: 6482: 1587: 261:

but, for business and social reasons, rarely used it; and his children were ignorant of correct Czech until much later in their lives.

182: 4445: 1306: 8757: 4390: 459: 576:

In the years between 1854 and 1856 Smetana suffered a series of personal blows. In July 1854 his second daughter, Gabriela, died of

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In 1850, notwithstanding his revolutionary sentiments, Smetana accepted the post of Court Pianist in Ferdinand's establishment in

900:

Almost three years passed before Smetana was declared the winner of Harrach's opera competition. Before then, on 5 January 1866,

6653: 1420:

Dissatisfied with his first large-scale orchestral work, the D major Overture of 1848, Smetana studied passages from Beethoven,

734: 2554:. Reportedly the two composers discussed the need for "a modern type of comic opera as a complement to Wagner." Abraham, p. 29 392:, a song duet, and an incomplete piano study for the left hand. He also composed his first orchestral piece, a B-flat minuet. 8078: 5731: 5592: 4343: 4304: 4285: 4263: 4193: 4174: 4116: 4086: 4067: 3991: 3889: 3187: 1086:. A press announcement stated that Smetana had "become ill as a result of nervous strain caused by certain people recently." 905:

nine times," Smetana wrote, recording that the house was sold out and that the critics were full of praise. Music historian

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Smetana's biographers describe him as physically frail and unimpressive in appearance yet, at least in his youth, he had a

4314: 3215: 1815: 1558: 1310: 8812: 8688: 6171: 6576: 7591: 894: 345:, where he was happier and made good progress. Among the friends he made here was the future Czech revolutionary poet 8822: 8802: 8797: 8162: 5960: 5802: 5668: 4234: 2013: 1787: 113: 6556: 1727:

Smetana has a star on the "Walk of Fame" in Vienna, opened to celebrate the 200th anniversary of the opening of the

580:. A year later his eldest daughter Bedřiška, who at the age of four was showing signs of musical precocity, died of 551:. The symphony was rejected by the Imperial Court, possibly on the grounds that the brief musical references to the 823: 8817: 6551: 5848: 4420: 1280: 1253: 659:. The occasion was the Karl August Goethe-Schiller Jubilee celebrations; Smetana attended performances of Liszt's 8093: 6257: 1545:(or "The Moldau" in German) movement, depicting the river that runs through Prague towards its junction with the 1289:

married, living out their lives away from the public eye. A permanent memorial to Smetana's life and work is the

585: 6612: 6262: 6036: 346: 8792: 8782: 8487: 6352: 5782: 5759: 4618: 4580: 4574: 4474: 1405: 1117: 610: 7616: 5147: 866: 760:

Kateřina's health gradually worsened and in the spring of 1859 failed completely. Homeward bound, she died at

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dedicated respectively to the Czech National Guard and the Students' Legion of the University of Prague, and

195: 5571: 3858: 1026:

was the beginning of the "correct" direction. The opposite camp, led by Pivoda, supported the principles of

372: 8787: 8777: 8155: 7641: 7011: 5792: 5427: 4721: 204: 8723: 6088: 4817: 984:. On 16 May 1868 Smetana, representing Czech musicians, helped to lay the foundation stone for the future 7889: 7704: 7546: 5858: 5807: 5630: 4353: 1870: 1724:

the audience was beside itself and the people could not bring themselves to take leave of the composer."

779:, attended by the Swedish royal family. The couple's first daughter, Zdeňka, was born in September 1861. 8742: 7824: 6153: 4669: 4413: 1615: 1269:

at the National Theatre was allowed to proceed, the stage draped with black cloth as a mark of respect.

8807: 8614: 7526: 6755: 6267: 5675: 4917: 4872: 4746: 4645: 1844: 1345:

In his last decade Smetana composed three substantial piano cycles. The first, from 1875, was entitled

7834: 6500: 6277: 814:'s operas. He hoped that he might be considered for the theatre's conductorship, but the post went to 8482: 8073: 7473: 7424: 5724: 5494: 4812: 1149: 985: 548: 7754: 6911: 6633: 4597: 1290: 1238: 7972: 7794: 7684: 7674: 7611: 7377: 7062: 6123: 5853: 5402: 5227: 1803: 677: 598: 143: 20: 7551: 6841: 8395: 7744: 7601: 7506: 7362: 6791: 6407: 5797: 5688: 5297: 4714: 3978:

A Guide to Orchestral Music : The Handbook for Non-Musicians: The Handbook for Non-Musicians

1881: 402: 315: 8706: 8523: 6617: 6317: 5007: 4108: 1382: 594: 8640: 8492: 8370: 8083: 8038: 8033: 7729: 7621: 7521: 7032: 6806: 6745: 6362: 6133: 5698: 5640: 5615: 5447: 5022: 4767: 4226: 2005: 1839: 767: 512: 354: 303: 8340: 8260: 8200: 7408: 7281: 7067: 6991: 6876: 6302: 5478: 5317: 5192: 5182: 4947: 4136:

Katz, Derek (1997). "Smetana's Second String Quartet: Voice of Madness or Triumph of Spirit".

3983: 3439:

Katz, Derek (1997). "Smetana's Second String Quartet: Voice of Madness or Triumph of Spirit".

1684: 1035: 981: 715: 342: 221: 158:("My Fatherland"), which portrays the history, legends and landscape of the composer's native 8652: 8088: 8053: 8043: 7977: 7804: 7779: 7739: 7689: 7586: 7439: 7286: 7098: 6955: 6896: 6730: 6725: 6679: 6607: 6546: 6432: 6191: 5838: 5787: 5764: 5237: 5117: 5072: 5052: 4967: 4164: 1564: 886: 685:. He also began composing on a more expansive scale. In 1858 he completed the symphonic poem 446: 6643: 6118: 6103: 5012: 2550:, Smetana had met Cornelius at Weimar two years previously, while the latter was working on 921:

In July 1863, Sabina had delivered the libretto for a second opera, a light comedy entitled

375:, where he enjoyed a brief romance with his cousin Louisa. He commemorated their passion in 8752: 8747: 8375: 8335: 8275: 8136: 7709: 7271: 7158: 7083: 6796: 6760: 6462: 6442: 6196: 5883: 5823: 5717: 5652: 5598: 5437: 4892: 4802: 4548: 1795: 1621:

Smetana's eight operas created the bedrock of the Czech opera repertory, but of these only

1437:

1882, without the "triumphal" tag, under Adolf Čech. The piece is now sometimes called the

1370:

written after the death of the composer's revolutionary friend Havlíček, to the setting of

1333:

works such as the G minor Sonata of 1846 and the E-flat Polka of the same year. The set of

1022:

believed that Wagner's theories should be the basis of the national opera, and argued that

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Smetana's early songs are settings of German poems for single voice. Apart from his 1848

1218:, but could get no further than an Introduction and a Polonaise. He started a new opera, 1137: 966: 932: 879: 871: 837: 783: 277: 8210: 7719: 7235: 7052: 6592: 6530: 6377: 6206: 5242: 5042: 5032: 4877: 1464:, capable of handling large-scale forces and demonstrating the latest musical concepts. 1460:), works that transformed Smetana from a composer primarily of salon pieces to a modern 1272: 1019: 833: 815: 552: 8533: 8295: 8124: 7844: 7606: 7596: 7481: 7372: 7266: 7108: 7057: 6970: 6866: 6836: 6826: 6674: 6472: 6161: 6053: 5994: 5772: 5560: 5407: 5342: 5247: 5177: 5162: 5142: 4997: 4847: 4513: 4468: 4217: 4101: 1996: 1576: 1524:

in 1872. In his introduction to the Collected Edition Score, František Bartol brackets

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Smetana's visit to Liszt at Weimar in the summer of 1857, where he heard the latter's

589:

1856. By this time Smetana's wife Kateřina had also been diagnosed with tuberculosis.

8528: 8513: 8400: 8390: 8345: 8058: 8028: 7992: 7937: 7859: 7789: 7714: 7651: 7556: 7541: 7511: 7352: 7327: 7301: 7240: 7230: 7128: 7123: 7118: 7113: 6781: 6750: 6694: 6689: 6505: 6490: 6412: 6297: 6242: 6166: 6078: 6031: 5934: 5924: 5888: 5754: 5694: 5577: 5457: 5442: 5382: 5362: 5322: 5307: 5287: 5222: 5212: 5207: 5202: 5187: 5172: 5167: 4942: 4937: 4842: 4400: 4339: 4300: 4281: 4259: 4230: 4199: 4189: 4170: 4112: 4082: 4063: 3987: 3976: 3885: 3183: 2009: 1899: 1421: 1412:, a mixture of melancholy and happiness with strong affinity to Czech folk material. 1321: 1257: 1098:

In worsening health, Smetana continued to compose. From 1875 he stayed as a guest in

1076:

In the respite following his reappointment, Smetana concentrated on his fifth opera,

957: 953: 913:

has not stood the test of time, it contains all the germs of Smetana's operatic art.

508: 413: 338: 8452: 7398: 7393: 7276: 6113: 6063: 4912: 4489: 1775: 1043: 1030:, in which the voice rather than the orchestra was the predominant dramatic device. 503:, whom he had not yet met, asking him to accept the dedication of a new piano work, 269: 170:", also popularly known by its German name "Die Moldau" (in English, "The Moldau"). 8628: 8588: 8442: 8417: 8290: 7664: 7561: 7486: 7403: 7367: 7245: 7220: 7215: 6916: 6906: 6901: 6891: 6881: 6856: 6786: 6709: 6684: 6252: 6201: 6098: 5939: 5929: 5912: 5873: 5868: 5843: 5582: 5534: 5422: 5377: 5372: 5312: 5127: 5082: 4927: 4897: 4867: 4807: 4505: 4222: 4145: 4096: 3881: 3877: 3448: 2001: 1549:, is Smetana's best-known and most internationally popular orchestral composition. 1125: 1123:, a series of Czech dances for piano, several choral pieces and three more operas: 1052: 605:. Critics acknowledged Smetana's "delicate, crystalline touch", closer in style to 285: 55: 28: 8558: 8432: 7839: 7829: 7047: 6821: 6658: 6322: 6000: 5257: 4962: 1646: 8437: 8063: 8048: 8023: 7947: 7879: 7874: 7869: 7784: 7769: 7724: 7659: 7531: 7501: 7347: 7342: 7225: 7148: 7138: 7088: 6996: 6871: 6765: 6704: 6699: 6566: 6510: 6427: 6417: 6237: 6221: 6176: 6143: 6016: 5966: 5904: 5893: 5635: 5529: 5524: 5504: 5499: 5473: 5387: 5337: 5262: 5232: 5197: 5157: 4887: 4882: 4852: 4792: 4602: 4481: 4014: 1904: 1651: 1461: 994: 862: 772: 472: 422: 281: 264: 254: 250: 40: 8422: 7444: 6382: 5777: 5097: 4982: 1233: 1144: 927:, which Smetana composed during the next three years. Because of the success of 8583: 8380: 8365: 8315: 8305: 8280: 8265: 8245: 7987: 7957: 7922: 7912: 7894: 7799: 7759: 7694: 7566: 7496: 7337: 7322: 7250: 7194: 7184: 7153: 7133: 7042: 6965: 6945: 6930: 6851: 6811: 6515: 6467: 6397: 6292: 6272: 6211: 6108: 5972: 5898: 5625: 5539: 5432: 5417: 5392: 5332: 5327: 5292: 5152: 5132: 5122: 5077: 5057: 5037: 5017: 5002: 4992: 4977: 4957: 4862: 4822: 4787: 4777: 4737: 4626: 4497: 4318: 4039: 3219: 2547: 1377:

Towards the end of his life Smetana returned to simple song-writing, with five

1317: 1078: 971: 819: 811: 681:

cycle, and transformed one of his own early piano pieces into a polka entitled

673: 661: 569: 480: 451: 426: 406: 350: 330: 258: 212: 167: 163: 130: 8462: 8002: 7571: 6597: 6561: 6372: 4922: 1528:

with the opera Libuše as "direct symbols of consummating national struggle".

1018:, and the issue eventually divided Prague's musical society. The music critic 8736: 8573: 8543: 8355: 8250: 8235: 7997: 7962: 7952: 7932: 7864: 7814: 7679: 7669: 7454: 7429: 7317: 7291: 7179: 6960: 6831: 6437: 6367: 6342: 6332: 6287: 5987: 5412: 5347: 5282: 5137: 5092: 4837: 4832: 4827: 4772: 4529: 4052: 3971: 1849: 1226: 1220: 1182: 1027: 906: 581: 524: 464: 382:

An older cousin, Josef Smetana, a teacher at the Premonstratensian School in

333:. There being no suitable local school, Smetana was sent to the gymnasium at 307: 237:

Bedřich Smetana, first named Friedrich Smetana, was born on 2 March 1824, in

174: 8412: 7189: 4693: 3689: 1083: 535:. He also wrote numerous short experimental pieces collected under the name 8676: 8664: 8593: 8578: 8553: 8477: 8472: 8325: 8225: 7967: 7942: 7917: 7884: 7854: 7774: 7734: 7636: 7581: 7491: 7459: 7449: 7434: 7174: 7037: 7027: 7001: 6846: 6801: 6525: 6457: 6447: 6387: 6337: 6282: 6093: 6011: 5982: 5833: 5357: 5277: 5272: 5252: 5217: 5067: 5062: 5047: 5027: 4987: 4972: 4952: 4782: 4762: 4203: 3721: 3651: 3522: 3404: 3347: 3269: 3058: 2661: 2422: 2293: 1732: 1429: 1400: 577: 484: 293: 8385: 7332: 4902: 4149: 3452: 310:

grew up. Here, Smetana attended the local elementary school and later the

241:(German: Leitomischl), east of Prague near the traditional border between 7982: 7849: 7699: 7296: 7199: 7143: 6950: 6816: 6520: 6452: 6186: 6047: 6006: 5955: 5828: 5740: 5620: 5367: 5302: 5107: 5087: 4932: 4907: 4650: 4211:

Ottlová, Marta; Pospíšil, Milan; Tyrrell, John; St Pierre, Kelly (2018).

4160: 3023:("Fatherland"). The pronoun had been added by May 1883. Large, pp. 266–67 1990:

Ottlová, Marta; Pospíšil, Milan; Tyrrell, John; St Pierre, Kelly (2018).

1433: 500: 208: 4556: 1780: 1141:, all of which received their first performances between 1876 and 1882. 1104: 337:, where he was homesick and unable to study. He then transferred to the 238: 154: 8220: 7103: 6422: 6402: 6392: 6041: 5878: 5509: 5112: 4396: 1211: 647: 615: 479:. As a member of Svornost, Smetana helped to man the barricades on the 186: 8147: 564: 7764: 7093: 6975: 6307: 6026: 5452: 4857: 4797: 1743: 1570: 1099: 776: 417: 388: 353:, a distinguished poet and linguist who was a leading figure in the 7904: 5544: 1246: 488: 4405: 1063: 858:. Meanwhile, Bettina had given birth to another daughter, Božena. 559: 454:, Prague, 1848. Smetana was briefly a participant in the uprising. 383: 7576: 6327: 5918: 5519: 4706: 936: 840:(modern photograph): Smetana's bid to become its director failed. 761: 334: 246: 242: 159: 1669:

Smetana's first noteworthy public success was his initial opera

643: 458:

For a brief period in 1848, Smetana was a revolutionary. In the

6021: 4356:. "The Bartered Bride (Prodaná nevěsta)". In Laura Macy (ed.). 4210: 3297:

See Large, pp. 425–30 Appendix G: Works in order of composition

1989: 1875: 1748: 1707:

was greeted by an "overwhelming ovation". The ceremonial opera

1294: 725: 656: 178: 5709: 4676: 1673:, in 1866 when he was already 42 years old. His second opera, 1563:

Smetana had virtually no precursors in Czech opera apart from

306:

in the south of Bohemia—the region where, a generation later,

73: 70: 8682: 1297:, and since 1976 has been part of the Czech Museum of Music. 1276:

Grave of Smetana at the National Cemetery in Vyšehrad, Prague

976: 540: 379:, Smetana's earliest complete composition that has survived. 314:. He also studied violin and piano, discovering the works of 8671: 4258:(in Czech) (2nd ed.). Prague: Galén. pp. 151–299. 3182:(in Czech) (2nd ed.). Prague: Galén. pp. 151–299. 543:. During 1853–54 he worked on a major orchestral piece, the 322:, and began composing simple pieces, of which one, a dance ( 5977: 5514: 1802:

Smetana has been regarded in his homeland as the father of

1546: 1374:, a substantial work with the character of a choral drama. 992:

for the occasion. That same evening Smetana's third opera,

826:. In April 1863 he submitted the score, under the title of 614:

not wish to acknowledge me, so I left it", he departed for

105: 99: 93: 79: 64: 1428:

of 1853. Though this is dismissed by Rosa Newmarch as "an

1210:

In 1879, Smetana had written to a friend, the Czech poet

76: 4368:

Tyrrell, John. "Smetana, Bedrich". In Laura Macy (ed.).

1169:

played his Piano Trio in G minor from 1855. In May 1882

302:, to a rapturous reception. In 1831 the family moved to 181:. His first nationalistic music was written during the 146:. Internationally he is best known for his 1866 opera 8612: 4062:. Vol. 17. London: Macmillan. pp. 391–403. 878:. That year, Smetana's bid to become Director of the 257:

was the official language of Bohemia. František knew

114: 102: 87: 58: 1108:("My Fatherland"), and had completed the first two, 935:, with Bohemia under imminent threat of invasion by 96: 67: 61: 4095: 689:, his first major orchestral composition since the 189:, and began to write large-scale orchestral works. 90: 84: 4100: 3975: 2799: 2797: 1034:ultimatum from prominent musicians among whom was 964:. The quality of Smetana's production of Glinka's 718:. Smetana also wrote two large-scale piano works: 232: 3692:4 December 1882, quoted in Clapham (1972), p. 100 3216:"Bedřich Smetana (1824–1884) – his life and work" 547:, composed to commemorate the wedding of Emperor 8734: 4299:. Rochester, NY: University of Rochester Press. 2992:Large, p. 374, from an undated letter to Bettina 883:conservative patriot Josef Krejčí for the post. 782:Meanwhile, the defeat of Franz Joseph's army at 4107:. New York: Columbia University Press. p. 4058:The New Grove Dictionary of Music and Musicians 2794: 2479: 2477: 1252:Smetana's funeral took place on 15 May, at the 1067:Smetana in about 1883, near the end of his life 560:Private sorrows and professional disenchantment 531:, some of the music of which was later used in 326:, or "Little Galop"), survives in sketch form. 288:, whose Renaissance castle dominates the town. 3751: 3749: 3747: 3745: 2112: 2110: 2108: 2106: 874:tercentenary, adding to the programme his own 861:On 23 April 1864, Smetana conducted Berlioz's 650:, Sweden, Smetana's base between 1856 and 1861 19:"Smetana" redirects here. For other uses, see 8163: 5725: 4722: 4698: 4421: 3799: 3797: 3263: 3261: 3259: 3257: 3255: 2890: 2888: 1951: 1949: 1760:severest of criticism for the "Wagnerism" in 1432:for a Habsburg Prince", Smetana's biographer 1156:The long-delayed premiere of Smetana's opera 4297:Bedřich Smetana: Myth, Music, and Propaganda 4051:Clapham, John (1980). "Bedrich Smetana". In 4017:. BBC Magazines. 3 February 2018. p. 47 3957: 3955: 3645: 3643: 3641: 3639: 3637: 3155: 3153: 3151: 3149: 3147: 3145: 2474: 726:Bereavement, remarriage and return to Prague 39: 3742: 3516: 3514: 3512: 3510: 3508: 3506: 3341: 3339: 3337: 3335: 3333: 3234: 3112: 3110: 2920: 2918: 2787: 2785: 2766: 2764: 2745: 2743: 2697: 2695: 2655: 2625: 2623: 2264: 2262: 2103: 1738: 722:, and an Étude in C in the style of Liszt. 714:, based on the tragic drama by Danish poet 8170: 8156: 5732: 5718: 4729: 4715: 4428: 4414: 4336:The Lives and Times of the Great Composers 4317:(in Czech). Národní muzeum. Archived from 3794: 3487: 3485: 3483: 3323: 3321: 3252: 3210: 3208: 3052: 3050: 3048: 3046: 3044: 3042: 3040: 3038: 2885: 2653: 2651: 2649: 2647: 2645: 2643: 2641: 2639: 2637: 2635: 2449: 2447: 2416: 2414: 2412: 2410: 2400: 2398: 2396: 2394: 2354: 2352: 2350: 2340: 2338: 2336: 2287: 2285: 2283: 2252: 2250: 2248: 2246: 2160: 2158: 2156: 2154: 1963: 1961: 1946: 1939: 1937: 1935: 1224:, based on the character in Shakespeare's 4391:International Music Score Library Project 4294: 4278:The Lives of the Great Composers, Vol. II 4272: 3952: 3859:"Music Mile Vienna – Vienna Walk of Fame" 3634: 3462: 3142: 3126: 3124: 3122: 3019:Originally, the work was entitled simply 2934: 2932: 2930: 2869: 2867: 2865: 2863: 2861: 2859: 2813: 2811: 2809: 2604: 2602: 2600: 2598: 2596: 2515: 2513: 2511: 2509: 2507: 2375: 2373: 2218: 2216: 2126: 2124: 2122: 2096: 2094: 2092: 2090: 2088: 2069: 2067: 2065: 2055: 2053: 1985: 1983: 1981: 1979: 1977: 1975: 1973: 1424:, Weber and Berlioz before producing his 463:series of patriotic works, including two 4256:Slavné české lebky (Famous Czech Skulls) 4227:10.1093/omo/9781561592630.013.3000000151 4183: 3982:. Oxford University Press, USA. p. 3503: 3396: 3330: 3180:Slavné české lebky (Famous Czech Skulls) 3107: 2915: 2829: 2782: 2761: 2740: 2692: 2620: 2259: 2006:10.1093/omo/9781561592630.013.3000000151 1774: 1742: 1683: 1645: 1569: 1279: 1271: 1232: 1181: 1143: 1062: 885: 832: 642: 563: 460:climate of political change and upheaval 445: 263: 27: 8177: 4076: 4050: 4038: 3970: 3589: 3480: 3378: 3318: 3205: 3035: 2632: 2522: 2444: 2407: 2391: 2347: 2333: 2280: 2243: 2151: 1958: 1932: 1925: 1923: 1307:List of compositions by Bedřich Smetana 8735: 3722:"The Bartered Bride (Prodaná nevěsta)" 3119: 3026: 2941: 2927: 2856: 2806: 2593: 2504: 2370: 2213: 2195: 2167: 2119: 2085: 2062: 2050: 1970: 960:and Glinka, with a revival of his own 804: 799: 395: 360: 224:as a more significant Czech composer. 8151: 8079:Romanticism and the French Revolution 5713: 4710: 4697: 4409: 4333: 4253: 4159: 3177: 595:Austrian absolutism reasserted itself 129: 8689: 4135: 3438: 1920: 1454:Richard III, Wallenstein's Camp 1177: 876:March for the Shakespearean Festival 5588:Tchaikovsky and the Belyayev circle 4435: 4367: 4352: 3719: 3649: 3520: 3402: 3345: 3267: 3056: 2659: 2420: 2291: 1357: 1260:. The subsequent procession to the 708:, and began a third symphonic poem 518: 355:movement for Czech national revival 13: 8773:Composers from the Austrian Empire 4736: 4099:; Wegel Williams, Hermine (2003). 3726:Grove Music Online, ed. Laura Macy 3656:Grove Music Online, ed. Laura Macy 3527:Grove Music Online, ed. Laura Macy 3409:Grove Music Online, ed. Laura Macy 3352:Grove Music Online, ed. Laura Macy 3274:Grove Music Online, ed. Laura Macy 3063:Grove Music Online, ed. Laura Macy 2666:Grove Music Online, ed. Laura Macy 2427:Grove Music Online, ed. Laura Macy 2298:Grove Music Online, ed. Laura Macy 1241:on the banks of the Vltava, Prague 621: 494: 14: 8834: 8763:19th-century Czech male musicians 4380: 4079:Smetana (Master Musicians series) 1816:Statue of Bedřich Smetana, Prague 1666:at Žofín Island in January 1862. 1559:List of operas by Bedřich Smetana 1311:List of operas by Bedřich Smetana 1093: 943:Back in 1866, as the composer of 891:Bedřich Smetana Among his Friends 737:Memories of Bohemia in Polka Form 276:The Smetana family came from the 203:, were premiered at Prague's new 8758:19th-century classical composers 8715: 8698: 8670: 8658: 8646: 8634: 8622: 8132: 8131: 5693: 5684: 5683: 4675: 4664: 4663: 4473: 4315:"Stálé expozice Národního muzea" 4007: 3964: 3943: 3934: 3925: 3916: 3907: 3898: 3874:Dictionary of Minor Planet Names 3865: 3851: 3842: 3833: 3824: 3815: 3806: 3785: 3776: 3767: 3758: 3713: 3704: 3695: 3682: 3673: 3625: 3616: 3607: 3598: 3580: 3571: 3562: 3553: 3544: 3494: 3471: 3432: 3423: 3387: 3369: 3309: 3300: 3291: 3243: 3218:. Národní Muzeum. Archived from 3196: 3171: 3162: 1595: 1506: 1482: 1190:, Prague. The date format is "cc 916: 743: 499:Early in 1848, Smetana wrote to 491:for Smetana's first two operas. 437: 54: 5739: 4280:. London: Futura Publications. 3876:. Springer. 2003. p. 166. 3133: 3098: 3089: 3080: 3013: 3004: 2995: 2986: 2977: 2968: 2959: 2950: 2906: 2897: 2876: 2847: 2838: 2820: 2773: 2752: 2731: 2722: 2713: 2704: 2683: 2611: 2584: 2575: 2566: 2557: 2540: 2531: 2495: 2486: 2465: 2456: 2382: 2361: 2324: 2315: 2271: 2234: 2225: 2204: 2185: 2176: 2142: 2133: 2076: 2041: 1574:A 1919 edition of the score of 1058: 640:, were sketched but abandoned. 432: 233:Family background and childhood 3882:10.1007/978-3-540-29925-7_2048 3812:Clapham (1972) p. 41 and p. 49 2032: 1905:Merriam-Webster.com Dictionary 1892: 1863: 1832: 1786:According to the musicologist 1327: 365: 329:In 1835, František retired to 1: 8102:Wanderer above the Sea of Fog 4461:The Brandenburgers in Bohemia 4215:. In St Pierre, Kelly (ed.). 4003:– via Internet Archive. 1994:. In St Pierre, Kelly (ed.). 1821: 1751:river, flowing through Prague 1671:The Brandenburgers in Bohemia 1415: 1001: 870:at a concert celebrating the 828:The Brandenburgers in Bohemia 626: 196:The Brandenburgers in Bohemia 33: 8768:Burials at Vyšehrad Cemetery 1703:were warmly received, while 1641: 1537:Overture. Smetana dedicated 1385:. His final completed work, 1381:(1879) to words by the poet 1284:Left side of Smetana's grave 1186:Smetana's gravestone at the 1010:Pivoda then took issue with 477:the Prince of Windisch-Grätz 227: 152:and for the symphonic cycle 7: 5631:Gothic Revival architecture 4186:The Music of Czechoslovakia 4044:Slavonic and Romantic Music 2563:Large, pp. 98–99 and p. 160 1809: 1071: 568:Oil portrait of Smetana by 10: 8839: 8813:Czech male opera composers 8019:Coleridge's theory of life 5572:Neue Zeitschrift für Musik 4747:List of Romantic composers 4646:Moravian traditional music 4046:. London: Faber and Faber. 1845:Collins English Dictionary 1691:star for Smetana in Vienna 1556: 1392: 1304: 970:angered Glinka's champion 487:, who would later provide 131:[ˈbɛdr̝ɪxˈsmɛtana] 18: 16:Czech composer (1824–1884) 8503: 8483:Charles Villiers Stanford 8185: 8111: 8074:Romanticism and economics 8011: 7903: 7650: 7472: 7417: 7386: 7310: 7259: 7208: 7167: 7076: 7020: 6984: 6938: 6929: 6774: 6718: 6667: 6626: 6585: 6539: 6481: 6351: 6230: 6152: 6089:Manuel Antônio de Almeida 6071: 6062: 5948: 5816: 5747: 5663: 5608: 5553: 5487: 5466: 4753: 4744: 4704: 4699:Links to related articles 4659: 4638: 4611: 4590: 4567: 4540: 4452: 4443: 4295:St Pierre, Kelly (2017). 4060:(Special English edition) 4025:– via Google Books. 3595:Clapham (1972), pp. 76–84 3491:Clapham (1972), pp. 68–70 3429:Clapham (1972), pp. 65–66 3384:Clapham (1972), pp. 87–89 3327:Clapham (1972), pp. 58–64 3130:Clapham (1972), pp. 54–56 2947:Clapham (1972), pp. 43–45 2938:Clapham (1972), pp. 41–42 2873:Clapham (1972), pp. 38–40 2817:Clapham (1972), pp. 34–36 2608:Clapham (1972), pp. 32–33 2519:Clapham (1972), pp. 28–30 2173:Clapham (1972), pp. 15–16 2073:Clapham (1972), pp. 13–14 1735:was named in his honour. 1335:Six Characteristic Pieces 505:Six Characteristic Pieces 162:. It contains the famous 8823:String quartet composers 8803:Deaf classical musicians 8798:Czech Romantic composers 5854:German historical school 5593:Tchaikovsky and The Five 4103:A Short History of Opera 1929:Clapham (1972), pp. 9–11 1764:he responded by writing 1739:Character and reputation 1552: 1300: 1118:E minor String Quartet, 909:believes that, although 893:, 1865; oil painting by 753:Piano: Veronika Ptáčková 693:. He followed this with 599:Baron Alexander von Bach 553:Austrian national anthem 249:, then provinces of the 21:Smetana (disambiguation) 8396:Nikolai Rimsky-Korsakov 6501:Józef Ignacy Kraszewski 4375:(subscription required) 4363:(subscription required) 4334:Steen, Michael (2003). 4249:(subscription required) 4184:Newmarch, Rosa (1942). 4155:(subscription required) 3738:(subscription required) 3669:(subscription required) 3540:(subscription required) 3458:(subscription required) 3365:(subscription required) 3287:(subscription required) 3076:(subscription required) 2679:(subscription required) 2440:(subscription required) 2311:(subscription required) 2028:(subscription required) 1882:Oxford University Press 720:Macbeth and the Witches 665:and the symphonic poem 347:Karel Havlíček Borovský 8493:Ralph Vaughan Williams 8371:Alexander Dargomyzhsky 8084:Romanticism in science 8039:Middle Ages in history 8034:List of Romantic poets 6746:Josiah Gilbert Holland 5616:Common practice period 4598:Bedřich Smetana Museum 4387:Free scores by Smetana 4338:. London: Icon Books. 4077:Clapham, John (1972). 3949:Large, preface p. xvii 3940:Clapham (1972), p. 123 3701:Clapham (1972), p. 104 3586:Clapham (1972), p. 138 3168:Clapham (1972), p. 151 2737:Clapham (1980), p. 394 1783: 1752: 1692: 1654: 1580: 1291:Bedřich Smetana Museum 1285: 1277: 1242: 1239:Bedřich Smetana Museum 1207: 1153: 1068: 897: 841: 768:Der Barbier von Bagdad 735:Polka in A minor from 651: 611:D minor Piano Concerto 573: 455: 331:Růžkovy Lhotice Castle 273: 46: 44: 8793:Czech opera composers 8783:Expatriates in Sweden 8054:Romantic epistemology 8044:Opium and Romanticism 6613:Stojadinović-Srpkinja 5839:Counter-Enlightenment 4169:. London: Duckworth. 4138:The Musical Quarterly 4081:. London: J.M. Dent. 3904:Large, p. 3 and p. 10 3830:Clapham (1972), p. 53 3803:Clapham (1972), p. 36 3764:Clapham (1972), p. 94 3613:Clapham (1972), p. 76 3477:Clapham (1972), p. 54 3441:The Musical Quarterly 3086:Clapham (1972), p. 51 3032:Clapham (1972), p. 47 2903:Clapham (1972), p. 99 2853:Clapham (1980) p. 394 2719:Clapham (1972), p. 33 2581:Clapham (1980) p. 393 2471:Clapham (1972), p. 25 2379:Clapham (1972), p. 22 2321:Clapham (1972), p. 20 2240:Clapham (1972), p. 21 2222:Clapham (1972), p. 19 2201:Clapham (1972), p. 17 2038:Clapham (1972), p. 12 1878:UK English Dictionary 1778: 1746: 1687: 1649: 1573: 1406:second String Quartet 1283: 1275: 1236: 1185: 1147: 1066: 889: 836: 646: 586:Piano Trio in G minor 567: 449: 268:František Smetana by 267: 43: 31: 8818:People from Litomyšl 8524:Antônio Carlos Gomes 8276:Carl Maria von Weber 8118:Age of Enlightenment 5760:England (literature) 5653:Romantic nationalism 5599:War of the Romantics 4581:String Quartet No. 2 4575:String Quartet No. 1 4446:List of compositions 4274:Schonberg, Harold C. 4254:Ramba, Jiří (2009). 4015:"BBC Music Magazine" 3249:Newmarch, pp. 100–01 3178:Ramba, Jiří (2009). 1650:Smetana Hall in the 838:Prague Conservatoire 603:Alexander Dreyschock 584:. Smetana wrote his 299:La muette de Portici 183:1848 Prague uprising 8788:Czech music critics 8778:Composers for piano 8564:Silvestre Revueltas 8488:Alexander Mackenzie 8341:Stanisław Moniuszko 8261:Camille Saint-Saëns 8179:Musical nationalism 8069:Romantic psychology 5864:Hudson River School 5808:Sweden (literature) 5793:Russia (literature) 5648:Musical nationalism 5566:Musical nationalism 4150:10.1093/mq/81.4.516 3710:Newmarch, pp. 83–84 3453:10.1093/mq/81.4.516 3240:Newmarch, pp. 90–91 1729:Theater an der Wien 1689:Walk of Fame Vienna 1616:Eliška Krásnohorská 988:; he had written a 982:Stanisław Moniuszko 967:A Life for the Tsar 933:Austro-Prussian War 880:Prague Conservatory 824:Otto of Brandenburg 805:Seeking recognition 800:National prominence 771:, by Liszt's pupil 739:, Op. 12, 1859 716:Adam Oehlenschläger 678:Die schöne Müllerin 638:The Viking's Voyage 469:The Song of Freedom 396:Student and teacher 361:Apprentice musician 205:Provisional Theatre 8534:Heitor Villa-Lobos 6054:White Mountain art 5995:Historical fiction 5803:Spain (literature) 5561:Indianist movement 5479:Romantic orchestra 4620:The Bartered Bride 4533:(1884, incomplete) 4469:The Bartered Bride 4370:Grove Music Online 4358:Grove Music Online 4218:Grove Music Online 4213:"Smetana, Bedrich" 3872:"(2047) Smetana". 3652:"Smetana, Bedrich" 3523:"Smetana, Bedrich" 3405:"Smetana, Bedrich" 3348:"Smetana, Bedrich" 3270:"Smetana, Bedrich" 3059:"Smetana, Bedrich" 2779:Large, pp. 399–408 2662:"Smetana, Bedrich" 2423:"Smetana, Bedrich" 2294:"Smetana, Bedrich" 1997:Grove Music Online 1992:"Smetana, Bedrich" 1888:on 26 August 2022. 1871:"Smetana, Bedřich" 1784: 1779:Smetana statue in 1753: 1693: 1675:The Bartered Bride 1664:Wallenstein's Camp 1655: 1632:The Bartered Bride 1628:The Bartered Bride 1623:The Bartered Bride 1590:The Bartered Bride 1581: 1577:The Bartered Bride 1535:The Bartered Bride 1426:Triumphal Symphony 1286: 1278: 1267:The Bartered Bride 1243: 1208: 1171:The Bartered Bride 1154: 1069: 1049:The Bartered Bride 1016:The Brandenburgers 945:The Brandenburgers 929:The Brandenburgers 924:The Bartered Bride 911:The Brandenburgers 902:The Brandenburgers 898: 842: 793:Wallenstein's Camp 699:Friedrich Schiller 695:Wallenstein's Camp 691:Triumphal Symphony 683:Vision at the Ball 652: 574: 545:Triumphal Symphony 539:, and a series of 533:The Bartered Bride 456: 450:Barricades on the 274: 201:The Bartered Bride 149:The Bartered Bride 47: 45: 8808:Czech deaf people 8610: 8609: 8604: 8603: 8529:Francisco Mignone 8514:Alberto Ginastera 8401:Alexander Borodin 8391:Modest Mussorgsky 8346:Henryk Wieniawski 8145: 8144: 8059:Romantic medicine 8029:List of romantics 7468: 7467: 7119:Felix Mendelssohn 7114:Fanny Mendelssohn 6925: 6924: 6639:Rosalía de Castro 6577:Soares dos Passos 5925:Transcendentalism 5889:Nazarene movement 5849:Düsseldorf School 5707: 5706: 5578:New German School 5173:Felix Mendelssohn 5168:Fanny Mendelssohn 4691: 4690: 4345:978-1-84046-679-9 4306:978-1-58046-510-6 4287:978-0-86007-723-7 4265:978-80-7262-325-9 4195:978-0-306-77563-5 4176:978-0-7156-0512-7 4118:978-0-231-11958-0 4097:Grout, Donald Jay 4088:978-0-460-03133-2 4069:978-0-333-23111-1 3993:978-0-19-802030-1 3961:Steen, pp. 690–91 3922:Large, pp. 304–05 3891:978-3-540-29925-7 3791:Large, pp. 204–05 3468:Large, pp. 376–77 3375:Large, pp. 122–25 3189:978-80-7262-325-9 3159:Large, pp. 390–94 3116:Large, pp. 370–72 3104:Steen, pp. 702–03 3095:Large, pp. 222–23 2983:Large, pp. 322–23 2965:Large, pp. 294–95 2826:Large, pp. 209–10 2791:Large, pp. 165–67 2770:Large, pp. 167–68 2701:Large, pp. 121–25 2629:Large, pp. 140–43 2277:Steen, pp. 695–96 1908:. Merriam-Webster 1600: 1511: 1487: 1410:From the homeland 1368:Ceremonial Chorus 1262:Vyšehrad Cemetery 1258:Prague's Old Town 1188:Vyšehrad cemetery 1178:Illness and death 867:Roméo et Juliette 748: 509:Czech nationalism 339:Premonstratensian 304:Jindřichův Hradec 8830: 8728: 8720: 8719: 8718: 8711: 8703: 8702: 8701: 8691: 8675: 8674: 8663: 8662: 8661: 8651: 8650: 8649: 8639: 8638: 8637: 8627: 8626: 8625: 8618: 8589:Edward MacDowell 8443:Enrique Granados 8418:Alexander Moyzes 8211:Bohuslav Martinů 8172: 8165: 8158: 8149: 8148: 8135: 8134: 8094:Evolution theory 6936: 6935: 6069: 6068: 5930:Ukrainian school 5734: 5727: 5720: 5711: 5710: 5697: 5687: 5686: 5583:Post-romanticism 5448:Vaughan Williams 4731: 4724: 4717: 4708: 4707: 4695: 4694: 4679: 4667: 4666: 4639:Related articles 4612:Film adaptations 4541:Orchestral works 4522:The Devil's Wall 4477: 4430: 4423: 4416: 4407: 4406: 4376: 4373: 4364: 4361: 4349: 4330: 4328: 4326: 4310: 4291: 4269: 4250: 4247: 4245: 4243: 4207: 4180: 4156: 4153: 4132: 4127: 4125: 4106: 4092: 4073: 4047: 4027: 4026: 4024: 4022: 4011: 4005: 4004: 4002: 4000: 3981: 3968: 3962: 3959: 3950: 3947: 3941: 3938: 3932: 3929: 3923: 3920: 3914: 3911: 3905: 3902: 3896: 3895: 3869: 3863: 3862: 3855: 3849: 3846: 3840: 3837: 3831: 3828: 3822: 3819: 3813: 3810: 3804: 3801: 3792: 3789: 3783: 3780: 3774: 3771: 3765: 3762: 3756: 3753: 3740: 3739: 3736: 3734: 3732: 3717: 3711: 3708: 3702: 3699: 3693: 3686: 3680: 3677: 3671: 3670: 3666: 3664: 3662: 3647: 3632: 3629: 3623: 3620: 3614: 3611: 3605: 3602: 3596: 3593: 3587: 3584: 3578: 3575: 3569: 3566: 3560: 3557: 3551: 3548: 3542: 3541: 3537: 3535: 3533: 3521:Ottlová, Marta. 3518: 3501: 3498: 3492: 3489: 3478: 3475: 3469: 3466: 3460: 3459: 3456: 3436: 3430: 3427: 3421: 3419: 3417: 3415: 3403:Ottlová, Marta. 3400: 3394: 3391: 3385: 3382: 3376: 3373: 3367: 3366: 3362: 3360: 3358: 3346:Ottlová, Marta. 3343: 3328: 3325: 3316: 3313: 3307: 3306:Schonberg, p. 78 3304: 3298: 3295: 3289: 3288: 3284: 3282: 3280: 3265: 3250: 3247: 3241: 3238: 3232: 3231: 3229: 3227: 3212: 3203: 3200: 3194: 3193: 3175: 3169: 3166: 3160: 3157: 3140: 3137: 3131: 3128: 3117: 3114: 3105: 3102: 3096: 3093: 3087: 3084: 3078: 3077: 3073: 3071: 3069: 3057:Ottlová, Marta. 3054: 3033: 3030: 3024: 3017: 3011: 3008: 3002: 2999: 2993: 2990: 2984: 2981: 2975: 2972: 2966: 2963: 2957: 2954: 2948: 2945: 2939: 2936: 2925: 2922: 2913: 2910: 2904: 2901: 2895: 2892: 2883: 2880: 2874: 2871: 2854: 2851: 2845: 2842: 2836: 2833: 2827: 2824: 2818: 2815: 2804: 2801: 2792: 2789: 2780: 2777: 2771: 2768: 2759: 2756: 2750: 2747: 2738: 2735: 2729: 2726: 2720: 2717: 2711: 2708: 2702: 2699: 2690: 2687: 2681: 2680: 2676: 2674: 2672: 2660:Ottlová, Marta. 2657: 2630: 2627: 2618: 2615: 2609: 2606: 2591: 2588: 2582: 2579: 2573: 2570: 2564: 2561: 2555: 2544: 2538: 2537:Large, pp. 95–97 2535: 2529: 2528:Large, pp. 84–94 2526: 2520: 2517: 2502: 2499: 2493: 2492:Large, pp. 80–82 2490: 2484: 2481: 2472: 2469: 2463: 2460: 2454: 2453:Large, pp. 71–75 2451: 2442: 2441: 2437: 2435: 2433: 2421:Ottlová, Marta. 2418: 2405: 2404:Large, pp. 67–69 2402: 2389: 2388:Large, pp. 63–65 2386: 2380: 2377: 2368: 2367:Large, pp. 57–62 2365: 2359: 2358:Large, pp. 51–54 2356: 2345: 2344:Large, pp. 48–49 2342: 2331: 2328: 2322: 2319: 2313: 2312: 2308: 2306: 2304: 2292:Ottlová, Marta. 2289: 2278: 2275: 2269: 2266: 2257: 2256:Large, pp. 42–43 2254: 2241: 2238: 2232: 2229: 2223: 2220: 2211: 2210:Large, pp. 29–35 2208: 2202: 2199: 2193: 2189: 2183: 2180: 2174: 2171: 2165: 2162: 2149: 2146: 2140: 2139:Large, pp. 10–11 2137: 2131: 2128: 2117: 2116:Schonberg, p. 77 2114: 2101: 2098: 2083: 2080: 2074: 2071: 2060: 2057: 2048: 2045: 2039: 2036: 2030: 2029: 2026: 2024: 2022: 1987: 1968: 1965: 1956: 1953: 1944: 1941: 1930: 1927: 1918: 1917: 1915: 1913: 1896: 1890: 1889: 1884:. Archived from 1867: 1861: 1860: 1858: 1856: 1836: 1714:The Devil's Wall 1602: 1601: 1565:František Škroup 1513: 1512: 1489: 1488: 1439:Festive Symphony 1358:Vocal and choral 1205: 1203: 1202: 1199: 1196: 1150:National Theatre 1138:The Devil's Wall 1053:Saint Petersburg 1051:was produced in 1020:Otakar Hostinský 990:Festive Overture 986:National Theatre 895:František Dvořák 847:The Three Riders 816:Jan Nepomuk Maýr 750: 749: 519:Budding composer 141: 140: 139: 133: 128: 121: 117: 112: 111: 108: 107: 104: 101: 98: 95: 92: 89: 86: 82: 81: 78: 75: 72: 69: 66: 63: 60: 38: 35: 8838: 8837: 8833: 8832: 8831: 8829: 8828: 8827: 8743:Bedřich Smetana 8733: 8732: 8731: 8727:from Wikisource 8721: 8716: 8714: 8704: 8699: 8697: 8694: 8690:sister projects 8687:at Knowledge's 8685:Bedřich Smetana 8681: 8669: 8659: 8657: 8647: 8645: 8641:Classical music 8635: 8633: 8623: 8621: 8613: 8611: 8606: 8605: 8600: 8499: 8469:United Kingdom 8448:Joaquín Rodrigo 8438:Manuel de Falla 8336:Frédéric Chopin 8196:Bedřich Smetana 8192:Czech Republic 8181: 8176: 8146: 8141: 8140: 8129: 8121: 8107: 8064:Romantic poetry 8049:Romantic ballet 8024:German idealism 8007: 7973:Lacoue-Labarthe 7899: 7646: 7464: 7413: 7382: 7363:Rimsky-Korsakov 7306: 7255: 7204: 7163: 7072: 7016: 6980: 6921: 6770: 6714: 6663: 6622: 6581: 6535: 6477: 6418:Maria Edgeworth 6354: 6347: 6226: 6148: 6058: 6037:Romantic genius 5967:Gesamtkunstwerk 5944: 5905:Sturm und Drang 5812: 5743: 5738: 5708: 5703: 5680: 5676:Modernist music 5672: 5669:Classical music 5659: 5604: 5549: 5530:Romantic ballet 5525:Orchestral song 5505:Chorale prelude 5500:Character piece 5483: 5474:Romantic guitar 5467:Instrumentation 5462: 5298:Rimsky-Korsakov 4918:Ferdinand David 4755: 4749: 4740: 4735: 4700: 4692: 4687: 4655: 4634: 4607: 4603:Smetana Quartet 4586: 4563: 4536: 4448: 4439: 4437:Bedřich Smetana 4434: 4397:Bedrich Smetana 4383: 4374: 4362: 4346: 4324: 4322: 4321:on 16 June 2011 4313: 4307: 4288: 4266: 4248: 4241: 4239: 4237: 4196: 4188:. Oxford: OUP. 4177: 4154: 4123: 4121: 4119: 4089: 4070: 4040:Abraham, Gerald 4030: 4020: 4018: 4013: 4012: 4008: 3998: 3996: 3994: 3974:(29 May 1980). 3969: 3965: 3960: 3953: 3948: 3944: 3939: 3935: 3930: 3926: 3921: 3917: 3912: 3908: 3903: 3899: 3892: 3871: 3870: 3866: 3861:. 7 March 2010. 3857: 3856: 3852: 3847: 3843: 3838: 3834: 3829: 3825: 3820: 3816: 3811: 3807: 3802: 3795: 3790: 3786: 3781: 3777: 3773:Newmarch, p. 72 3772: 3768: 3763: 3759: 3755:Newmarch, p. 67 3754: 3743: 3737: 3730: 3728: 3720:Tyrrell, John. 3718: 3714: 3709: 3705: 3700: 3696: 3687: 3683: 3678: 3674: 3668: 3660: 3658: 3650:Tyrrell, John. 3648: 3635: 3630: 3626: 3622:Newmarch, p. 91 3621: 3617: 3612: 3608: 3603: 3599: 3594: 3590: 3585: 3581: 3576: 3572: 3567: 3563: 3558: 3554: 3550:Newmarch, p. 59 3549: 3545: 3539: 3531: 3529: 3519: 3504: 3499: 3495: 3490: 3481: 3476: 3472: 3467: 3463: 3457: 3437: 3433: 3428: 3424: 3413: 3411: 3401: 3397: 3392: 3388: 3383: 3379: 3374: 3370: 3364: 3356: 3354: 3344: 3331: 3326: 3319: 3314: 3310: 3305: 3301: 3296: 3292: 3286: 3278: 3276: 3268:Tyrrell, John. 3266: 3253: 3248: 3244: 3239: 3235: 3225: 3223: 3222:on 27 July 2011 3214: 3213: 3206: 3202:Newmarch, p. 90 3201: 3197: 3190: 3176: 3172: 3167: 3163: 3158: 3143: 3139:Newmarch, p. 89 3138: 3134: 3129: 3120: 3115: 3108: 3103: 3099: 3094: 3090: 3085: 3081: 3075: 3067: 3065: 3055: 3036: 3031: 3027: 3018: 3014: 3009: 3005: 3000: 2996: 2991: 2987: 2982: 2978: 2973: 2969: 2964: 2960: 2955: 2951: 2946: 2942: 2937: 2928: 2923: 2916: 2911: 2907: 2902: 2898: 2894:Newmarch, p. 65 2893: 2886: 2882:Newmarch, p. 71 2881: 2877: 2872: 2857: 2852: 2848: 2843: 2839: 2834: 2830: 2825: 2821: 2816: 2807: 2803:Newmarch, p. 69 2802: 2795: 2790: 2783: 2778: 2774: 2769: 2762: 2758:Newmarch, p. 64 2757: 2753: 2748: 2741: 2736: 2732: 2727: 2723: 2718: 2714: 2710:Newmarch, p. 62 2709: 2705: 2700: 2693: 2688: 2684: 2678: 2670: 2668: 2658: 2633: 2628: 2621: 2616: 2612: 2607: 2594: 2589: 2585: 2580: 2576: 2571: 2567: 2562: 2558: 2545: 2541: 2536: 2532: 2527: 2523: 2518: 2505: 2501:Newmarch, p. 60 2500: 2496: 2491: 2487: 2482: 2475: 2470: 2466: 2461: 2457: 2452: 2445: 2439: 2431: 2429: 2419: 2408: 2403: 2392: 2387: 2383: 2378: 2371: 2366: 2362: 2357: 2348: 2343: 2334: 2329: 2325: 2320: 2316: 2310: 2302: 2300: 2290: 2281: 2276: 2272: 2267: 2260: 2255: 2244: 2239: 2235: 2230: 2226: 2221: 2214: 2209: 2205: 2200: 2196: 2190: 2186: 2182:Newmarch, p. 57 2181: 2177: 2172: 2168: 2163: 2152: 2147: 2143: 2138: 2134: 2130:Newmarch, p. 56 2129: 2120: 2115: 2104: 2100:Large, pp. 7–10 2099: 2086: 2082:Large, pp. 6–7. 2081: 2077: 2072: 2063: 2058: 2051: 2047:Newmarch, p. 54 2046: 2042: 2037: 2033: 2027: 2020: 2018: 2016: 1988: 1971: 1966: 1959: 1954: 1947: 1942: 1933: 1928: 1921: 1911: 1909: 1898: 1897: 1893: 1869: 1868: 1864: 1854: 1852: 1838: 1837: 1833: 1824: 1812: 1741: 1731:. The asteroid 1652:Municipal House 1644: 1607: 1606: 1605: 1604: 1603: 1596: 1593: 1561: 1555: 1518: 1517: 1516: 1515: 1514: 1507: 1504: 1492: 1491: 1490: 1483: 1480: 1418: 1395: 1383:Vítězslav Hálek 1372:Song of the Sea 1364:Song of Freedom 1360: 1330: 1313: 1303: 1216:Prague Carnival 1200: 1197: 1194: 1193: 1191: 1180: 1096: 1074: 1061: 1004: 919: 863:choral symphony 807: 802: 773:Peter Cornelius 758: 757: 756: 755: 754: 751: 744: 741: 728: 629: 624: 622:Years of travel 562: 521: 497: 495:Piano Institute 440: 435: 398: 368: 363: 296:'s overture to 286:Count Waldstein 282:Napoleonic Wars 251:Habsburg Empire 235: 230: 135: 134: 126: 119: 115: 83: 57: 53: 50:Bedřich Smetana 36: 24: 17: 12: 11: 5: 8836: 8826: 8825: 8820: 8815: 8810: 8805: 8800: 8795: 8790: 8785: 8780: 8775: 8770: 8765: 8760: 8755: 8750: 8745: 8730: 8729: 8712: 8683: 8680: 8679: 8667: 8655: 8653:Czech Republic 8643: 8631: 8608: 8607: 8602: 8601: 8599: 8598: 8597: 8596: 8591: 8586: 8584:Horatio Parker 8581: 8576: 8570:United States 8568: 8567: 8566: 8561: 8556: 8548: 8547: 8546: 8538: 8537: 8536: 8531: 8526: 8518: 8517: 8516: 8507: 8505: 8501: 8500: 8498: 8497: 8496: 8495: 8490: 8485: 8480: 8475: 8467: 8466: 8465: 8457: 8456: 8455: 8453:Joaquín Turina 8450: 8445: 8440: 8435: 8427: 8426: 8425: 8420: 8415: 8407: 8406: 8405: 8404: 8403: 8398: 8393: 8388: 8383: 8381:Mily Balakirev 8373: 8368: 8366:Mikhail Glinka 8360: 8359: 8358: 8350: 8349: 8348: 8343: 8338: 8330: 8329: 8328: 8320: 8319: 8318: 8316:Bernard Zweers 8310: 8309: 8308: 8306:Giuseppe Verdi 8300: 8299: 8298: 8293: 8285: 8284: 8283: 8281:Richard Wagner 8278: 8270: 8269: 8268: 8266:Romain Bussine 8263: 8255: 8254: 8253: 8248: 8246:Leevi Madetoja 8240: 8239: 8238: 8230: 8229: 8228: 8223: 8215: 8214: 8213: 8208: 8203: 8201:Antonín Dvořák 8198: 8189: 8187: 8183: 8182: 8175: 8174: 8167: 8160: 8152: 8143: 8142: 8122: 8114: 8113: 8112: 8109: 8108: 8106: 8105: 8098: 8097: 8096: 8091: 8081: 8076: 8071: 8066: 8061: 8056: 8051: 8046: 8041: 8036: 8031: 8026: 8021: 8015: 8013: 8012:Related topics 8009: 8008: 8006: 8005: 8000: 7995: 7990: 7985: 7980: 7975: 7970: 7965: 7960: 7955: 7950: 7945: 7940: 7935: 7930: 7925: 7920: 7915: 7909: 7907: 7901: 7900: 7898: 7897: 7892: 7887: 7882: 7877: 7872: 7867: 7862: 7857: 7852: 7847: 7842: 7837: 7832: 7827: 7822: 7817: 7812: 7807: 7802: 7797: 7792: 7787: 7782: 7777: 7772: 7767: 7762: 7757: 7752: 7747: 7742: 7740:Gallen-Kallela 7737: 7732: 7727: 7722: 7717: 7715:David d'Angers 7712: 7707: 7702: 7697: 7692: 7687: 7682: 7677: 7672: 7667: 7662: 7656: 7654: 7652:Visual artists 7648: 7647: 7645: 7644: 7639: 7634: 7629: 7624: 7619: 7614: 7612:Schleiermacher 7609: 7604: 7599: 7594: 7589: 7584: 7579: 7574: 7569: 7564: 7559: 7554: 7549: 7544: 7539: 7534: 7529: 7524: 7519: 7514: 7509: 7504: 7499: 7494: 7489: 7484: 7478: 7476: 7470: 7469: 7466: 7465: 7463: 7462: 7457: 7452: 7447: 7442: 7437: 7432: 7427: 7421: 7419: 7415: 7414: 7412: 7411: 7406: 7401: 7396: 7390: 7388: 7384: 7383: 7381: 7380: 7375: 7370: 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6004: 5997: 5992: 5991: 5990: 5985: 5975: 5973:Gothic fiction 5970: 5963: 5961:British Marine 5958: 5952: 5950: 5946: 5945: 5943: 5942: 5937: 5932: 5927: 5922: 5915: 5910: 5909: 5908: 5896: 5891: 5886: 5881: 5876: 5871: 5866: 5861: 5859:Gothic revival 5856: 5851: 5846: 5841: 5836: 5831: 5826: 5820: 5818: 5814: 5813: 5811: 5810: 5805: 5800: 5795: 5790: 5785: 5780: 5775: 5770: 5762: 5757: 5751: 5749: 5745: 5744: 5737: 5736: 5729: 5722: 5714: 5705: 5704: 5702: 5701: 5691: 5673: 5665: 5664: 5661: 5660: 5658: 5657: 5656: 5655: 5645: 5644: 5643: 5638: 5633: 5628: 5618: 5612: 5610: 5606: 5605: 5603: 5602: 5595: 5590: 5585: 5580: 5575: 5568: 5563: 5557: 5555: 5551: 5550: 5548: 5547: 5542: 5540:Symphonic poem 5537: 5535:Romantic opera 5532: 5527: 5522: 5517: 5512: 5507: 5502: 5497: 5491: 5489: 5485: 5484: 5482: 5481: 5476: 5470: 5468: 5464: 5463: 5461: 5460: 5455: 5450: 5445: 5440: 5435: 5430: 5425: 5420: 5415: 5410: 5405: 5400: 5395: 5390: 5385: 5380: 5375: 5370: 5365: 5360: 5355: 5350: 5345: 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4585: 4584: 4578: 4571: 4569: 4565: 4564: 4562: 4561: 4553: 4544: 4542: 4538: 4537: 4535: 4534: 4526: 4518: 4510: 4502: 4498:The Two Widows 4494: 4486: 4478: 4465: 4456: 4454: 4450: 4449: 4444: 4441: 4440: 4433: 4432: 4425: 4418: 4410: 4404: 4403: 4394: 4382: 4381:External links 4379: 4378: 4377: 4365: 4350: 4344: 4331: 4311: 4305: 4292: 4286: 4270: 4264: 4251: 4235: 4208: 4194: 4181: 4175: 4157: 4133: 4117: 4093: 4087: 4074: 4068: 4048: 4029: 4028: 4006: 3992: 3972:Mordden, Ethan 3963: 3951: 3942: 3933: 3924: 3915: 3906: 3897: 3890: 3864: 3850: 3841: 3832: 3823: 3814: 3805: 3793: 3784: 3775: 3766: 3757: 3741: 3712: 3703: 3694: 3681: 3672: 3633: 3631:Clapham, p. 80 3624: 3615: 3606: 3597: 3588: 3579: 3570: 3561: 3552: 3543: 3502: 3493: 3479: 3470: 3461: 3431: 3422: 3395: 3386: 3377: 3368: 3329: 3317: 3308: 3299: 3290: 3251: 3242: 3233: 3204: 3195: 3188: 3170: 3161: 3141: 3132: 3118: 3106: 3097: 3088: 3079: 3034: 3025: 3012: 3003: 2994: 2985: 2976: 2967: 2958: 2949: 2940: 2926: 2914: 2905: 2896: 2884: 2875: 2855: 2846: 2837: 2828: 2819: 2805: 2793: 2781: 2772: 2760: 2751: 2739: 2730: 2721: 2712: 2703: 2691: 2682: 2631: 2619: 2610: 2592: 2583: 2574: 2565: 2556: 2548:Gerald Abraham 2539: 2530: 2521: 2503: 2494: 2485: 2473: 2464: 2455: 2443: 2406: 2390: 2381: 2369: 2360: 2346: 2332: 2323: 2314: 2279: 2270: 2258: 2242: 2233: 2224: 2212: 2203: 2194: 2184: 2175: 2166: 2150: 2141: 2132: 2118: 2102: 2084: 2075: 2061: 2049: 2040: 2031: 2014: 1969: 1957: 1945: 1931: 1919: 1891: 1862: 1830: 1823: 1820: 1819: 1818: 1811: 1808: 1740: 1737: 1697:The Two Widows 1643: 1640: 1594: 1586: 1585: 1584: 1583: 1582: 1554: 1551: 1505: 1494: 1493: 1481: 1470: 1469: 1468: 1467: 1466: 1446:Faust Symphony 1417: 1414: 1394: 1391: 1359: 1356: 1354:Czechs have." 1329: 1326: 1302: 1299: 1179: 1176: 1095: 1094:Late flowering 1092: 1079:The Two Widows 1073: 1070: 1060: 1057: 1036:Antonín Dvořák 1003: 1000: 972:Mily Balakirev 962:Bartered Bride 918: 915: 812:Mikhail Glinka 806: 803: 801: 798: 752: 742: 733: 732: 731: 730: 729: 727: 724: 697:, inspired by 662:Faust Symphony 628: 625: 623: 620: 570:Geskel Saloman 561: 558: 529:Wedding Scenes 520: 517: 496: 493: 481:Charles Bridge 452:Charles Bridge 439: 436: 434: 431: 427:Clara Schumann 397: 394: 377:Louisa's Polka 367: 364: 362: 359: 351:Josef Jungmann 278:Hradec Králové 270:Antonín Machek 234: 231: 229: 226: 222:Antonín Dvořák 213:Richard Wagner 164:symphonic poem 15: 9: 6: 4: 3: 2: 8835: 8824: 8821: 8819: 8816: 8814: 8811: 8809: 8806: 8804: 8801: 8799: 8796: 8794: 8791: 8789: 8786: 8784: 8781: 8779: 8776: 8774: 8771: 8769: 8766: 8764: 8761: 8759: 8756: 8754: 8751: 8749: 8746: 8744: 8741: 8740: 8738: 8726: 8725: 8713: 8709: 8708: 8696: 8695: 8692: 8686: 8678: 8673: 8668: 8666: 8656: 8654: 8644: 8642: 8632: 8630: 8620: 8619: 8616: 8595: 8592: 8590: 8587: 8585: 8582: 8580: 8577: 8575: 8574:Aaron Copland 8572: 8571: 8569: 8565: 8562: 8560: 8559:Carlos Chávez 8557: 8555: 8552: 8551: 8549: 8545: 8544:Claude Vivier 8542: 8541: 8539: 8535: 8532: 8530: 8527: 8525: 8522: 8521: 8519: 8515: 8512: 8511: 8509: 8508: 8506: 8502: 8494: 8491: 8489: 8486: 8484: 8481: 8479: 8476: 8474: 8471: 8470: 8468: 8464: 8461: 8460: 8458: 8454: 8451: 8449: 8446: 8444: 8441: 8439: 8436: 8434: 8433:Isaac Albéniz 8431: 8430: 8428: 8424: 8421: 8419: 8416: 8414: 8411: 8410: 8408: 8402: 8399: 8397: 8394: 8392: 8389: 8387: 8384: 8382: 8379: 8378: 8377: 8374: 8372: 8369: 8367: 8364: 8363: 8361: 8357: 8356:George Enescu 8354: 8353: 8351: 8347: 8344: 8342: 8339: 8337: 8334: 8333: 8331: 8327: 8324: 8323: 8321: 8317: 8314: 8313: 8311: 8307: 8304: 8303: 8301: 8297: 8296:Zoltán Kodály 8294: 8292: 8289: 8288: 8286: 8282: 8279: 8277: 8274: 8273: 8271: 8267: 8264: 8262: 8259: 8258: 8256: 8252: 8251:Jean Sibelius 8249: 8247: 8244: 8243: 8241: 8237: 8236:Rudolf Tobias 8234: 8233: 8231: 8227: 8224: 8222: 8219: 8218: 8216: 8212: 8209: 8207: 8204: 8202: 8199: 8197: 8194: 8193: 8191: 8190: 8188: 8184: 8180: 8173: 8168: 8166: 8161: 8159: 8154: 8153: 8150: 8139: 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B. Shelley 6461: 6459: 6456: 6454: 6451: 6449: 6446: 6444: 6443:Mary Robinson 6441: 6439: 6436: 6434: 6431: 6429: 6426: 6424: 6421: 6419: 6416: 6414: 6411: 6409: 6406: 6404: 6401: 6399: 6396: 6394: 6391: 6389: 6386: 6384: 6381: 6379: 6376: 6374: 6371: 6369: 6366: 6364: 6361: 6360: 6358: 6356: 6350: 6344: 6341: 6339: 6336: 6334: 6331: 6329: 6326: 6324: 6321: 6319: 6316: 6314: 6311: 6309: 6306: 6304: 6301: 6299: 6296: 6294: 6291: 6289: 6286: 6284: 6281: 6279: 6276: 6274: 6271: 6269: 6266: 6264: 6261: 6259: 6256: 6254: 6251: 6249: 6246: 6244: 6241: 6239: 6236: 6235: 6233: 6229: 6223: 6220: 6218: 6215: 6213: 6210: 6208: 6205: 6203: 6200: 6198: 6195: 6193: 6190: 6188: 6185: 6183: 6180: 6178: 6175: 6173: 6172:Chateaubriand 6170: 6168: 6165: 6163: 6160: 6159: 6157: 6155: 6151: 6145: 6142: 6140: 6137: 6135: 6132: 6130: 6127: 6125: 6122: 6120: 6117: 6115: 6112: 6110: 6107: 6105: 6102: 6100: 6097: 6095: 6092: 6090: 6087: 6085: 6082: 6080: 6077: 6076: 6074: 6070: 6067: 6065: 6061: 6055: 6052: 6050: 6049: 6045: 6043: 6040: 6038: 6035: 6033: 6030: 6028: 6025: 6023: 6020: 6018: 6015: 6013: 6010: 6008: 6005: 6003: 6002: 6001:Mal du siècle 5998: 5996: 5993: 5989: 5986: 5984: 5981: 5980: 5979: 5976: 5974: 5971: 5969: 5968: 5964: 5962: 5959: 5957: 5954: 5953: 5951: 5947: 5941: 5938: 5936: 5933: 5931: 5928: 5926: 5923: 5921: 5920: 5916: 5914: 5911: 5907: 5906: 5902: 5901: 5900: 5897: 5895: 5892: 5890: 5887: 5885: 5882: 5880: 5877: 5875: 5872: 5870: 5867: 5865: 5862: 5860: 5857: 5855: 5852: 5850: 5847: 5845: 5842: 5840: 5837: 5835: 5832: 5830: 5827: 5825: 5822: 5821: 5819: 5815: 5809: 5806: 5804: 5801: 5799: 5796: 5794: 5791: 5789: 5786: 5784: 5781: 5779: 5776: 5774: 5771: 5769: 5766: 5763: 5761: 5758: 5756: 5753: 5752: 5750: 5746: 5742: 5735: 5730: 5728: 5723: 5721: 5716: 5715: 5712: 5700: 5696: 5692: 5690: 5682: 5681: 5678: 5677: 5671: 5670: 5662: 5654: 5651: 5650: 5649: 5646: 5642: 5639: 5637: 5634: 5632: 5629: 5627: 5624: 5623: 5622: 5619: 5617: 5614: 5613: 5611: 5607: 5600: 5596: 5594: 5591: 5589: 5586: 5584: 5581: 5579: 5576: 5574: 5573: 5569: 5567: 5564: 5562: 5559: 5558: 5556: 5552: 5546: 5543: 5541: 5538: 5536: 5533: 5531: 5528: 5526: 5523: 5521: 5518: 5516: 5513: 5511: 5508: 5506: 5503: 5501: 5498: 5496: 5493: 5492: 5490: 5486: 5480: 5477: 5475: 5472: 5471: 5469: 5465: 5459: 5456: 5454: 5451: 5449: 5446: 5444: 5441: 5439: 5436: 5434: 5431: 5429: 5426: 5424: 5421: 5419: 5416: 5414: 5411: 5409: 5406: 5404: 5401: 5399: 5396: 5394: 5391: 5389: 5386: 5384: 5383:J. Strauss II 5381: 5379: 5376: 5374: 5371: 5369: 5366: 5364: 5361: 5359: 5356: 5354: 5351: 5349: 5346: 5344: 5341: 5339: 5336: 5334: 5331: 5329: 5326: 5324: 5321: 5319: 5316: 5314: 5311: 5309: 5306: 5304: 5301: 5299: 5296: 5294: 5291: 5289: 5286: 5284: 5281: 5279: 5276: 5274: 5271: 5269: 5266: 5264: 5261: 5259: 5256: 5254: 5251: 5249: 5246: 5244: 5241: 5239: 5236: 5234: 5231: 5229: 5226: 5224: 5221: 5219: 5216: 5214: 5211: 5209: 5206: 5204: 5201: 5199: 5196: 5194: 5191: 5189: 5186: 5184: 5181: 5179: 5176: 5174: 5171: 5169: 5166: 5164: 5161: 5159: 5156: 5154: 5151: 5149: 5146: 5144: 5141: 5139: 5136: 5134: 5131: 5129: 5126: 5124: 5121: 5119: 5116: 5114: 5111: 5109: 5106: 5104: 5101: 5099: 5096: 5094: 5091: 5089: 5086: 5084: 5081: 5079: 5076: 5074: 5071: 5069: 5066: 5064: 5061: 5059: 5056: 5054: 5051: 5049: 5046: 5044: 5041: 5039: 5036: 5034: 5031: 5029: 5026: 5024: 5021: 5019: 5016: 5014: 5011: 5009: 5006: 5004: 5001: 4999: 4996: 4994: 4991: 4989: 4986: 4984: 4981: 4979: 4976: 4974: 4971: 4969: 4966: 4964: 4961: 4959: 4956: 4954: 4951: 4949: 4946: 4944: 4941: 4939: 4936: 4934: 4931: 4929: 4926: 4924: 4921: 4919: 4916: 4914: 4911: 4909: 4906: 4904: 4901: 4899: 4896: 4894: 4891: 4889: 4886: 4884: 4881: 4879: 4876: 4874: 4871: 4869: 4866: 4864: 4861: 4859: 4856: 4854: 4851: 4849: 4846: 4844: 4841: 4839: 4836: 4834: 4831: 4829: 4826: 4824: 4821: 4819: 4816: 4814: 4811: 4809: 4806: 4804: 4801: 4799: 4796: 4794: 4791: 4789: 4786: 4784: 4781: 4779: 4776: 4774: 4771: 4769: 4766: 4764: 4761: 4760: 4758: 4754:Composers and 4752: 4748: 4743: 4739: 4732: 4727: 4725: 4720: 4718: 4713: 4712: 4709: 4703: 4696: 4684: 4683: 4678: 4674: 4672: 4671: 4662: 4661: 4658: 4652: 4649: 4647: 4644: 4643: 4641: 4637: 4630: 4629: 4625: 4622: 4621: 4617: 4616: 4614: 4610: 4604: 4601: 4599: 4596: 4595: 4593: 4589: 4582: 4579: 4576: 4573: 4572: 4570: 4568:Chamber music 4566: 4559: 4558: 4554: 4551: 4550: 4546: 4545: 4543: 4539: 4532: 4531: 4527: 4524: 4523: 4519: 4516: 4515: 4511: 4508: 4507: 4503: 4500: 4499: 4495: 4492: 4491: 4487: 4484: 4483: 4479: 4476: 4471: 4470: 4466: 4463: 4462: 4458: 4457: 4455: 4451: 4447: 4442: 4438: 4431: 4426: 4424: 4419: 4417: 4412: 4411: 4408: 4402: 4398: 4395: 4392: 4388: 4385: 4384: 4371: 4366: 4359: 4355: 4354:Tyrrell, John 4351: 4347: 4341: 4337: 4332: 4320: 4316: 4312: 4308: 4302: 4298: 4293: 4289: 4283: 4279: 4275: 4271: 4267: 4261: 4257: 4252: 4238: 4236:9781561592630 4232: 4228: 4224: 4220: 4219: 4214: 4209: 4205: 4201: 4197: 4191: 4187: 4182: 4178: 4172: 4168: 4167: 4162: 4158: 4151: 4147: 4144:(4): 516–36. 4143: 4139: 4134: 4131: 4120: 4114: 4110: 4105: 4104: 4098: 4094: 4090: 4084: 4080: 4075: 4071: 4065: 4061: 4059: 4054: 4053:Stanley Sadie 4049: 4045: 4041: 4037: 4036: 4035: 4034: 4016: 4010: 3995: 3989: 3985: 3980: 3979: 3973: 3967: 3958: 3956: 3946: 3937: 3931:Large, p. 391 3928: 3919: 3913:Large, p. 205 3910: 3901: 3893: 3887: 3883: 3879: 3875: 3868: 3860: 3854: 3848:Large, p. 268 3845: 3839:Large, p. 370 3836: 3827: 3821:Large, p. 348 3818: 3809: 3800: 3798: 3788: 3782:Large, p. 119 3779: 3770: 3761: 3752: 3750: 3748: 3746: 3727: 3723: 3716: 3707: 3698: 3691: 3685: 3679:Grout, p. 534 3676: 3657: 3653: 3646: 3644: 3642: 3640: 3638: 3628: 3619: 3610: 3604:Large, p. 288 3601: 3592: 3583: 3574: 3568:Large, p. 108 3565: 3556: 3547: 3528: 3524: 3517: 3515: 3513: 3511: 3509: 3507: 3497: 3488: 3486: 3484: 3474: 3465: 3454: 3450: 3447:(4): 516–36. 3446: 3442: 3435: 3426: 3410: 3406: 3399: 3393:Large, p. 378 3390: 3381: 3372: 3353: 3349: 3342: 3340: 3338: 3336: 3334: 3324: 3322: 3312: 3303: 3294: 3275: 3271: 3264: 3262: 3260: 3258: 3256: 3246: 3237: 3221: 3217: 3211: 3209: 3199: 3191: 3185: 3181: 3174: 3165: 3156: 3154: 3152: 3150: 3148: 3146: 3136: 3127: 3125: 3123: 3113: 3111: 3101: 3092: 3083: 3064: 3060: 3053: 3051: 3049: 3047: 3045: 3043: 3041: 3039: 3029: 3022: 3016: 3010:Steen, p. 702 3007: 3001:Large, p. 374 2998: 2989: 2980: 2974:Large, p. 303 2971: 2962: 2953: 2944: 2935: 2933: 2931: 2924:Large, p. 171 2921: 2919: 2912:Large, p. 220 2909: 2900: 2891: 2889: 2879: 2870: 2868: 2866: 2864: 2862: 2860: 2850: 2844:Steen, p. 701 2841: 2835:Large, p. 197 2832: 2823: 2814: 2812: 2810: 2800: 2798: 2788: 2786: 2776: 2767: 2765: 2755: 2749:Large, p. 145 2746: 2744: 2734: 2728:Large, p. 134 2725: 2716: 2707: 2698: 2696: 2689:Grout, p. 532 2686: 2667: 2663: 2656: 2654: 2652: 2650: 2648: 2646: 2644: 2642: 2640: 2638: 2636: 2626: 2624: 2617:Large, p. 126 2614: 2605: 2603: 2601: 2599: 2597: 2590:Large, p. 120 2587: 2578: 2572:Large, p. 114 2569: 2560: 2553: 2549: 2546:According to 2543: 2534: 2525: 2516: 2514: 2512: 2510: 2508: 2498: 2489: 2480: 2478: 2468: 2459: 2450: 2448: 2428: 2424: 2417: 2415: 2413: 2411: 2401: 2399: 2397: 2395: 2385: 2376: 2374: 2364: 2355: 2353: 2351: 2341: 2339: 2337: 2327: 2318: 2299: 2295: 2288: 2286: 2284: 2274: 2268:Steen, p. 696 2265: 2263: 2253: 2251: 2249: 2247: 2237: 2228: 2219: 2217: 2207: 2198: 2188: 2179: 2170: 2161: 2159: 2157: 2155: 2145: 2136: 2127: 2125: 2123: 2113: 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Songs 1375: 1373: 1369: 1365: 1355: 1352: 1348: 1343: 1341: 1336: 1325: 1323: 1319: 1312: 1308: 1298: 1296: 1292: 1282: 1274: 1270: 1268: 1263: 1259: 1255: 1250: 1248: 1240: 1235: 1231: 1229: 1228: 1227:Twelfth Night 1223: 1222: 1217: 1213: 1189: 1184: 1175: 1172: 1166: 1164: 1159: 1151: 1146: 1142: 1140: 1139: 1134: 1133: 1128: 1127: 1122: 1121: 1115: 1111: 1107: 1106: 1101: 1091: 1087: 1085: 1081: 1080: 1065: 1056: 1054: 1050: 1046: 1045: 1039: 1037: 1031: 1029: 1028:Italian opera 1025: 1021: 1017: 1013: 1008: 999: 997: 996: 991: 987: 983: 979: 978: 973: 969: 968: 963: 959: 955: 951: 946: 941: 938: 934: 930: 926: 925: 917:Opera maestro 914: 912: 908: 907:Rosa Newmarch 903: 896: 892: 888: 884: 881: 877: 873: 869: 868: 864: 859: 857: 856:Národní listy 852: 848: 839: 835: 831: 829: 825: 821: 817: 813: 797: 794: 790: 785: 780: 778: 774: 770: 769: 763: 740: 738: 723: 721: 717: 713: 712: 707: 706:drama trilogy 705: 700: 696: 692: 688: 684: 680: 679: 675: 670: 668: 664: 663: 658: 649: 645: 641: 639: 635: 619: 617: 612: 608: 604: 600: 596: 590: 587: 583: 582:scarlet fever 579: 571: 566: 557: 554: 550: 546: 542: 538: 534: 530: 526: 525:Prague Castle 516: 514: 510: 506: 502: 492: 490: 486: 482: 478: 474: 470: 466: 461: 453: 448: 444: 438:Revolutionary 430: 428: 424: 419: 415: 410: 408: 404: 393: 391: 390: 385: 380: 378: 374: 358: 356: 352: 348: 344: 340: 336: 332: 327: 325: 321: 317: 313: 309: 308:Gustav Mahler 305: 301: 300: 295: 289: 287: 283: 279: 271: 266: 262: 260: 256: 252: 248: 244: 240: 225: 223: 217: 214: 210: 206: 202: 198: 197: 190: 188: 184: 180: 176: 175:Josef Proksch 171: 169: 165: 161: 157: 156: 151: 150: 145: 138: 132: 124: 123: 110: 51: 42: 30: 26: 22: 8722: 8710:from Commons 8705: 8684: 8594:Charles Ives 8579:Henry Cowell 8554:Manuel Ponce 8478:Edward Elgar 8473:Joseph Parry 8423:Eugen Suchoň 8326:Edvard Grieg 8312:Netherlands 8226:Carl Nielsen 8206:Leoš Janáček 8195: 8130: 8123: 8116: 8100: 7820:Porto-Alegre 7474:Philosophers 7358:Rachmaninoff 7006: 6807:Chavchavadze 6797:Baratashvili 6557:João de Deus 6526:Wincenty Pol 6318:Küchelbecker 6046: 6012:Noble savage 5999: 5965: 5940:Wallenrodism 5917: 5903: 5834:Coppet group 5768:(literature) 5674: 5667: 5570: 5554:Other topics 5378:J. Strauss I 5352: 5268:Rachmaninoff 5023:Gretchaninov 4680: 4668: 4627: 4619: 4555: 4547: 4528: 4520: 4512: 4504: 4496: 4488: 4480: 4467: 4459: 4436: 4369: 4357: 4335: 4323:. Retrieved 4319:the original 4296: 4277: 4255: 4240:. Retrieved 4216: 4185: 4165: 4161:Large, Brian 4141: 4137: 4130:Karel Sebor. 4129: 4122:. Retrieved 4102: 4078: 4056: 4043: 4032: 4031: 4019:. Retrieved 4009: 3997:. Retrieved 3977: 3966: 3945: 3936: 3927: 3918: 3909: 3900: 3873: 3867: 3853: 3844: 3835: 3826: 3817: 3808: 3787: 3778: 3769: 3760: 3729:. Retrieved 3725: 3715: 3706: 3697: 3684: 3675: 3667:(Section 6) 3659:. Retrieved 3655: 3627: 3618: 3609: 3600: 3591: 3582: 3577:Large, p. 85 3573: 3564: 3559:Large, p. 62 3555: 3546: 3538:(Section 7) 3530:. Retrieved 3526: 3500:Large, p. 46 3496: 3473: 3464: 3444: 3440: 3434: 3425: 3412:. Retrieved 3408: 3398: 3389: 3380: 3371: 3363:(Section 9) 3355:. Retrieved 3351: 3315:Large, p. 41 3311: 3302: 3293: 3285:(Section 10 3277:. Retrieved 3273: 3245: 3236: 3224:. 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Retrieved 1843: 1834: 1826: 1825: 1801: 1788:John Tyrrell 1785: 1770: 1765: 1761: 1756: 1754: 1733:2047 Smetana 1726: 1721: 1717: 1713: 1708: 1704: 1700: 1696: 1694: 1688: 1678: 1674: 1670: 1668: 1663: 1659: 1656: 1635: 1631: 1627: 1622: 1620: 1611: 1608: 1589: 1575: 1562: 1542: 1538: 1534: 1529: 1525: 1521: 1519: 1500: 1496: 1476: 1472: 1462:neo-Romantic 1457: 1453: 1449: 1445: 1443: 1438: 1430:epithalamium 1425: 1419: 1409: 1401:From My Life 1399: 1396: 1386: 1378: 1376: 1371: 1367: 1363: 1361: 1351:Czech Dances 1350: 1346: 1344: 1339: 1334: 1331: 1314: 1287: 1266: 1251: 1244: 1225: 1219: 1215: 1209: 1170: 1167: 1162: 1157: 1155: 1136: 1130: 1124: 1120:From My Life 1119: 1113: 1109: 1103: 1097: 1088: 1077: 1075: 1059:Final decade 1048: 1042: 1040: 1032: 1023: 1015: 1011: 1009: 1005: 993: 989: 975: 965: 961: 944: 942: 928: 922: 920: 910: 901: 899: 890: 875: 865: 860: 855: 851:The Renegade 850: 846: 843: 827: 808: 792: 788: 781: 766: 759: 736: 719: 709: 703: 694: 690: 686: 682: 676: 671: 666: 660: 653: 637: 633: 630: 591: 578:tuberculosis 575: 549:Franz Joseph 544: 537:Album Leaves 536: 532: 528: 522: 504: 498: 485:Karel Sabina 471:to words by 468: 457: 441: 433:Early career 411: 399: 387: 381: 376: 369: 343:Německý Brod 328: 323: 297: 290: 275: 236: 218: 200: 194: 191: 172: 153: 147: 49: 48: 25: 8753:1884 deaths 8748:1824 births 8463:Hugo Alfvén 8291:Béla Bartók 7810:Michałowski 7642:Wackenroder 7607:F. Schlegel 7602:A. Schlegel 7378:Tchaikovsky 7267:Bortkiewicz 7139:R. Schumann 7134:C. Schumann 7099:Kalkbrenner 7068:Saint-Saëns 6373:Anne Brontë 6258:Eichendorff 6243:B. v. Arnim 6238:A. v. Arnim 6048:Weltschmerz 6007:Medievalism 5956:Blue flower 5884:Nationalist 5829:Bohemianism 5741:Romanticism 5621:Romanticism 5403:Tchaikovsky 5338:R. Schumann 5333:C. Schumann 5318:Saint-Saëns 5213:Niedermeyer 5103:Leoncavallo 5073:Kalkbrenner 4848:Bortkiewicz 4631:(1956 film) 4623:(1932 film) 3420:(Section 8) 3226:29 November 2552:Der Barbier 2059:Large, p. 5 1955:Large, p. 3 1804:Czech music 1660:Richard III 1434:Brian Large 1422:Mendelssohn 1328:Piano works 872:Shakespeare 789:Richard III 704:Wallenstein 687:Richard III 501:Franz Liszt 366:First steps 209:Franz Liszt 144:Czech music 37: 1878 8737:Categories 8510:Argentina 8413:Ján Cikker 8221:Niels Gade 7685:Chassériau 7660:Aivazovsky 7368:Rubinstein 7353:Mussorgsky 7302:Wieniawski 7287:Paderewski 7129:Moszkowski 6912:Vörösmarty 6902:Shevchenko 6756:Longfellow 6680:Batyushkov 6675:Baratynsky 6644:Espronceda 6511:Mickiewicz 6506:Malczewski 6473:Wordsworth 6458:M. Shelley 6413:de Quincey 6278:Günderrode 6162:Baudelaire 6042:Wanderlust 5879:Lake Poets 5609:Background 5510:Intermezzo 5443:Wieniawski 5423:Vieuxtemps 5388:R. Strauss 5313:Rubinstein 5238:Paderewski 5208:Mussorgsky 5203:Moszkowski 5178:Mercadante 4549:Hakon Jarl 4514:The Secret 4021:3 February 3999:3 February 3690:Adolf Čech 3688:Letter to 1822:References 1701:The Secret 1588:Overture: 1557:See also: 1458:Hakon Jarl 1450:Die Ideale 1416:Orchestral 1305:See also: 1254:Týn Church 1212:Jan Neruda 1132:The Secret 1084:Adolf Čech 1002:Opposition 952:, Mozart, 711:Hakon Jarl 674:Schubert's 667:Die Ideale 648:Gothenburg 627:Gothenburg 616:Gothenburg 473:Ján Kollár 418:impromptus 414:bagatelles 389:Quadrilles 373:Nové Město 341:school at 187:Gothenburg 118:-ər-zhikh 8629:Biography 8409:Slovakia 8386:César Cui 8125:Modernism 7785:Kiprensky 7745:Géricault 7730:Friedrich 7720:Delacroix 7695:Constable 7675:Bonington 7665:Bierstadt 7617:Senancour 7592:Schelling 7547:Lamennais 7542:Khomyakov 7507:Coleridge 7502:Chaadayev 7409:Stanković 7404:Mokranjac 7323:Balakirev 7282:Moniuszko 7231:Donizetti 7226:Cherubini 7124:Meyerbeer 7109:Marschner 7084:Beethoven 6997:Moscheles 6931:Musicians 6917:Wergeland 6882:Orbeliani 6837:Grundtvig 6741:Hawthorne 6710:Zhukovsky 6705:Vyazemsky 6690:Lermontov 6649:Gutiérrez 6608:Radičević 6572:Herculano 6496:Krasiński 6438:Radcliffe 6408:Coleridge 6383:E. Brontë 6378:C. Brontë 6308:Jean Paul 6303:Hölderlin 6192:Lamartine 6129:Magalhães 6119:Guimarães 6027:Pantheism 6017:Nostalgia 5869:Indianism 5817:Movements 5748:Countries 5223:Offenbach 5198:Moscheles 5193:Moniuszko 5188:Meyerbeer 5143:Marschner 5128:MacDowell 4943:Donizetti 4888:Cherubini 4878:Chaminade 4803:Beethoven 4788:Balakirev 4778:Atterberg 4756:musicians 4591:Namesakes 4583:(1882–83) 4560:(1872–79) 4552:(1860–61) 4472:(1866) 1912:13 August 1900:"Smetana" 1855:13 August 1840:"Smetana" 1796:Josef Suk 1642:Reception 1322:Meyerbeer 1152:in Prague 1100:Jabkenice 954:Donizetti 784:Solferino 777:Stockholm 513:Ferdinand 320:Beethoven 312:gymnasium 228:Biography 32:Smetana, 8504:Americas 8376:The Five 8352:Romania 8287:Hungary 8272:Germany 8242:Finland 8232:Estonia 8217:Denmark 8137:Category 7953:Dahlhaus 7938:Blanning 7905:Scholars 7875:Tropinin 7870:Tidemand 7860:Stattler 7855:Scheffer 7755:Głowacki 7725:Edelfelt 7680:Bryullov 7622:Snellman 7597:Schiller 7587:Rousseau 7567:Michelet 7512:Constant 7482:Belinsky 7455:Sibelius 7399:Konjović 7373:Scriabin 7343:Lyapunov 7277:Lipiński 7246:Spontini 7236:Paganini 7180:Goldmark 6971:Thalberg 6966:Schubert 6946:Bruckner 6907:Topelius 6897:Runeberg 6887:Prešeren 6857:Leopardi 6822:Frashëri 6812:Eminescu 6792:Andersen 6700:Tyutchev 6685:Karamzin 6659:Zorrilla 6654:Saavedra 6552:Castilho 6540:Portugal 6531:Słowacki 6433:Polidori 6363:Barbauld 6298:Hoffmann 6253:Brentano 6167:Bertrand 5988:Romantic 5824:Ancients 5798:Scotland 5689:Category 5666: ← 5545:Symphony 5408:Thalberg 5373:Spontini 5348:Sibelius 5343:Scriabin 5328:Schubert 5323:Sarasate 5288:Respighi 5283:Reinecke 5243:Paganini 5153:Massenet 5148:Masarnau 5133:Madetoja 5078:Kreisler 5068:Kalivoda 5013:J. Gomis 4998:Glazunov 4993:Giuliani 4883:Chausson 4873:Chadwick 4863:Bruckner 4670:Category 4557:Má vlast 4506:The Kiss 4276:(1975). 4242:7 August 4163:(1970). 4042:(1968). 2021:7 August 1810:See also 1781:Litomyšl 1718:Má vlast 1705:The Kiss 1612:The Kiss 1539:Má vlast 1530:Má vlast 1526:Má vlast 1522:Má vlast 1497:Má vlast 1473:Má vlast 1387:Our Song 1340:Preludes 1247:syphilis 1126:The Kiss 1110:Vyšehrad 1105:Má vlast 1072:Deafness 937:Prussian 634:Frithjof 489:libretti 324:Kvapiček 239:Litomyšl 155:Má vlast 8615:Portals 8550:Mexico 8540:Canada 8520:Brazil 8459:Sweden 8362:Russia 8332:Poland 8322:Norway 8257:France 7978:Lovejoy 7913:Abraham 7835:Richard 7825:Préault 7750:Girodet 7632:Thoreau 7577:Novalis 7562:Mazzini 7557:Maistre 7532:Hazlitt 7517:Emerson 7497:Carlyle 7487:Berchet 7430:Berwald 7425:Bennett 7394:Hristić 7348:Medtner 7328:Borodin 7318:Arensky 7241:Rossini 7216:Bellini 7195:Joachim 7168:Hungary 7149:Strauss 7077:Germany 7043:Berlioz 7012:Voříšek 7007:Smetana 6985:Czechia 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