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.

1696: 397:(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 518:, 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 1801:, 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, 898: 40: 1284: 1260:. 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. 52: 845: 147: 1093:, 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, 1787: 786:. 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 1658: 276: 1245: 1156: 8659: 833:. 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 416:, 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 382:

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

1194: 8144: 5696: 4676: 942:, 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 5706: 1755: 1582: 8728: 1779:, 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". 1025:, 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 4688: 1578:, 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. 1641:, 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: " 1629:, 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. 655: 8711: 8683: 1419:, 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 8647: 1463:, 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, ( 1241:, 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. 4486: 440:, 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. 1692:, 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. 231:

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

8671: 458: 522:, 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 8635: 526:, 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. 643:

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

264:. 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, 2202:

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

1075: 1353:. 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. 1348:

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

1066:, 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. 1377:, 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 218:, 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 1722:

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.

1113:, 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 1415:, 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 1400:(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. 1521: 1327:

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,

153:; 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 411:

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

1127:, 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 1497: 1058:, 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 1225:, 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, 680:, 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. 566:

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.

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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

360:, 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 148: 950:

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

1519: 1495: 494:. 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, 1608: 798:

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

757: 985:, 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, 1172:

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,

1009:, 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. 538:. He continued teaching in the Piano Institute, and devoted himself increasingly to composition. His works, mainly for the piano, included the three-part 184:

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

6149: 196:, 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 1506: 2967:

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.

4223: 2002: 1731:

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

1409:

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

6139: 1018:

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

612:. Despite the good name of the Piano Institute, Smetana's status as a concert pianist was generally considered below that of contemporaries such as 5598: 1482: 1256:

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

295:

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

4068: 1531:

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

8180: 291:(German: Königgrätz) region of Bohemia. František had initially learned the trade of a brewer, and had acquired moderate wealth during the 4438: 1688:, survived the unfortunate mistiming of its opening night and became an enduring popular triumph. The different style of his third opera, 1049:, ensured Smetana's survival. In January 1873 he was reappointed, with a bigger salary and increased responsibility as artistic director. 8783: 486:. In June 1848, as the Habsburg armies moved to suppress rebellious tendencies, Prague came under attack from the Austrian forces led by 8773: 6493: 1598: 272:

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

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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

911:

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

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

745: 2565:. Reportedly the two composers discussed the need for "a modern type of comic opera as a complement to Wagner." Abraham, p. 29 403:, a song duet, and an incomplete piano study for the left hand. He also composed his first orchestral piece, a B-flat minuet. 8089: 5742: 5603: 4354: 4315: 4296: 4274: 4204: 4185: 4127: 4097: 4078: 4002: 3900: 3198: 1097:. A press announcement stated that Smetana had "become ill as a result of nervous strain caused by certain people recently." 916:

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

4325: 3226: 1826: 1569: 1321: 8823: 8699: 6182: 6587: 7602: 905: 356:, where he was happier and made good progress. Among the friends he made here was the future Czech revolutionary poet 8833: 8813: 8808: 8173: 5971: 5813: 5679: 4245: 2024: 1798: 124: 6567: 1738:

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

591:. A year later his eldest daughter Bedřiška, who at the age of four was showing signs of musical precocity, died of 562:. The symphony was rejected by the Imperial Court, possibly on the grounds that the brief musical references to the 834: 8828: 6562: 5859: 4431: 1291: 1264: 670:. The occasion was the Karl August Goethe-Schiller Jubilee celebrations; Smetana attended performances of Liszt's 8104: 6268: 1556:(or "The Moldau" in German) movement, depicting the river that runs through Prague towards its junction with the 1300:

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

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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

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

383: 8798: 8788: 8166: 7652: 7022: 5803: 5438: 4732: 215: 8734: 6099: 4828: 995:. On 16 May 1868 Smetana, representing Czech musicians, helped to lay the foundation stone for the future 7900: 7715: 7557: 5869: 5818: 5641: 4364: 1881: 1735:

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

790:, attended by the Swedish royal family. The couple's first daughter, Zdeňka, was born in September 1861. 8753: 7835: 6164: 4680: 4424: 1626: 1280:

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

8818: 8625: 7537: 6766: 6278: 5686: 4928: 4883: 4757: 4656: 1855: 1356:

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

7845: 6511: 6288: 825:'s operas. He hoped that he might be considered for the theatre's conductorship, but the post went to 8493: 8084: 7484: 7435: 5735: 5505: 4823: 1160: 996: 559: 7765: 6922: 6644: 4608: 1301: 1249: 7983: 7805: 7695: 7685: 7622: 7388: 7073: 6134: 5864: 5413: 5238: 1814: 688: 609: 154: 31: 7562: 6852: 8406: 7755: 7612: 7517: 7373: 6802: 6418: 5808: 5699: 5308: 4725: 3989:

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

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

3994: 3450:

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

1695: 1046: 992: 726: 353: 232: 169:("My Fatherland"), which portrays the history, legends and landscape of the composer's native 8663: 8099: 8064: 8054: 7988: 7815: 7790: 7750: 7700: 7597: 7450: 7297: 7109: 6966: 6907: 6741: 6736: 6690: 6618: 6557: 6443: 6202: 5849: 5798: 5775: 5248: 5128: 5083: 5063: 4978: 4175: 1575: 897: 696:. He also began composing on a more expansive scale. In 1858 he completed the symphonic poem 457: 6654: 6129: 6114: 5023: 2561:, Smetana had met Cornelius at Weimar two years previously, while the latter was working on 932:

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

386:, where he enjoyed a brief romance with his cousin Louisa. He commemorated their passion in 8763: 8758: 8386: 8346: 8286: 8147: 7720: 7282: 7169: 7094: 6807: 6771: 6473: 6453: 6207: 5894: 5834: 5728: 5663: 5609: 5448: 4903: 4813: 4559: 1806: 1632:

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

1448:

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

1381:

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

1344:

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

1033:

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

1229:, but could get no further than an Introduction and a Polonaise. He started a new opera, 1148: 977: 943: 890: 882: 848: 794: 288: 8221: 7730: 7246: 7063: 6603: 6541: 6388: 6217: 5253: 5053: 5043: 4888: 1475:, capable of handling large-scale forces and demonstrating the latest musical concepts. 1471:), works that transformed Smetana from a composer primarily of salon pieces to a modern 1283: 1030: 844: 826: 563: 8544: 8306: 8135: 7855: 7617: 7607: 7492: 7383: 7277: 7119: 7068: 6981: 6877: 6847: 6837: 6685: 6483: 6172: 6064: 6005: 5783: 5571: 5418: 5353: 5258: 5188: 5173: 5153: 5008: 4858: 4524: 4479: 4228: 4112: 2007: 1587: 1535:

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

600:

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

8539: 8524: 8411: 8401: 8356: 8069: 8039: 8003: 7948: 7870: 7800: 7725: 7662: 7567: 7552: 7522: 7363: 7338: 7312: 7251: 7241: 7139: 7134: 7129: 7124: 6792: 6761: 6705: 6700: 6516: 6501: 6423: 6308: 6253: 6177: 6089: 6042: 5945: 5935: 5899: 5765: 5705: 5588: 5468: 5453: 5393: 5373: 5333: 5318: 5298: 5233: 5223: 5218: 5213: 5198: 5183: 5178: 4953: 4948: 4853: 4411: 4350: 4311: 4292: 4270: 4241: 4210: 4200: 4181: 4123: 4093: 4074: 3998: 3987: 3896: 3194: 2020: 1910: 1432: 1423:, a mixture of melancholy and happiness with strong affinity to Czech folk material. 1332: 1268: 1109:

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

1087:

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

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

519: 424: 349: 8463: 7409: 7404: 7287: 6124: 6074: 4923: 4500: 1786: 1054: 1041:, in which the voice rather than the orchestra was the predominant dramatic device. 514:, whom he had not yet met, asking him to accept the dedication of a new piano work, 280: 181:", also popularly known by its German name "Die Moldau" (in English, "The Moldau"). 8639: 8599: 8453: 8428: 8301: 7675: 7572: 7497: 7414: 7378: 7256: 7231: 7226: 6927: 6917: 6912: 6902: 6892: 6867: 6797: 6720: 6695: 6263: 6212: 6109: 5950: 5940: 5923: 5884: 5879: 5854: 5593: 5545: 5433: 5388: 5383: 5323: 5138: 5093: 4938: 4908: 4878: 4818: 4516: 4233: 4156: 4107: 3892: 3888: 3459: 2012: 1560:, is Smetana's best-known and most internationally popular orchestral composition. 1136: 1134:, a series of Czech dances for piano, several choral pieces and three more operas: 1063: 616:. Critics acknowledged Smetana's "delicate, crystalline touch", closer in style to 296: 66: 39: 8569: 8443: 7850: 7840: 7058: 6832: 6669: 6333: 6011: 5268: 4973: 1657: 8448: 8074: 8059: 8034: 7958: 7890: 7885: 7880: 7795: 7780: 7735: 7670: 7542: 7512: 7358: 7353: 7236: 7159: 7149: 7099: 7007: 6882: 6776: 6715: 6710: 6577: 6521: 6438: 6428: 6248: 6232: 6187: 6154: 6027: 5977: 5915: 5904: 5646: 5540: 5535: 5515: 5510: 5484: 5398: 5348: 5273: 5243: 5208: 5168: 4898: 4893: 4863: 4803: 4613: 4492: 4025: 1915: 1662: 1472: 1005: 873: 783: 483: 433: 292: 275: 265: 261: 51: 8433: 7455: 6393: 5788: 5108: 4993: 1244: 1155: 938:, which Smetana composed during the next three years. Because of the success of 8594: 8391: 8376: 8326: 8316: 8291: 8276: 8256: 7998: 7968: 7933: 7923: 7905: 7810: 7770: 7705: 7577: 7507: 7348: 7333: 7261: 7205: 7195: 7164: 7144: 7053: 6976: 6956: 6941: 6862: 6822: 6526: 6478: 6408: 6303: 6283: 6222: 6119: 5983: 5909: 5636: 5550: 5443: 5428: 5403: 5343: 5338: 5303: 5163: 5143: 5133: 5088: 5068: 5048: 5028: 5013: 5003: 4988: 4968: 4873: 4833: 4798: 4788: 4748: 4637: 4508: 4329: 4050: 3230: 2558: 1388:

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

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

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

1029:, and the issue eventually divided Prague's musical society. The music critic 8747: 8584: 8554: 8366: 8261: 8246: 8008: 7973: 7963: 7943: 7875: 7825: 7690: 7680: 7465: 7440: 7328: 7302: 7190: 6971: 6842: 6448: 6378: 6353: 6343: 6298: 5998: 5423: 5358: 5293: 5148: 5103: 4848: 4843: 4838: 4783: 4540: 4063: 3982: 1860: 1237: 1231: 1193: 1038: 917: 592: 535: 475: 393:

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

344:. There being no suitable local school, Smetana was sent to the gymnasium at 318: 248:

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

185: 8423: 7200: 4704: 3700: 1094: 546:. He also wrote numerous short experimental pieces collected under the name 8687: 8675: 8604: 8589: 8564: 8488: 8483: 8336: 8236: 7978: 7953: 7928: 7895: 7865: 7785: 7745: 7647: 7592: 7502: 7470: 7460: 7445: 7185: 7048: 7038: 7012: 6857: 6812: 6536: 6468: 6458: 6398: 6348: 6293: 6104: 6022: 5993: 5844: 5368: 5288: 5283: 5263: 5228: 5078: 5073: 5058: 5038: 4998: 4983: 4963: 4793: 4773: 4214: 3732: 3662: 3533: 3415: 3358: 3280: 3069: 2672: 2433: 2304: 1743: 1440: 1411: 588: 495: 304: 8396: 7343: 4913: 4160: 3463: 321:

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

252:(German: Leitomischl), east of Prague near the traditional border between 7993: 7860: 7710: 7307: 7210: 7154: 6961: 6827: 6531: 6463: 6197: 6058: 6017: 5966: 5839: 5751: 5631: 5378: 5313: 5118: 5098: 4943: 4918: 4661: 4222:

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

4171: 3034:("Fatherland"). The pronoun had been added by May 1883. Large, pp. 266–67 2001:

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

1444: 511: 219: 4567: 1791: 1152:, all of which received their first performances between 1876 and 1882. 1115: 348:, where he was homesick and unable to study. He then transferred to the 249: 165: 8231: 7114: 6433: 6413: 6403: 6052: 5889: 5520: 5123: 4407: 1222: 658: 626: 490:. As a member of Svornost, Smetana helped to man the barricades on the 197: 8158: 575: 7775: 7104: 6986: 6318: 6037: 5463: 4868: 4808: 1754: 1581: 1110: 787: 428: 399: 364:, a distinguished poet and linguist who was a leading figure in the 7915: 5555: 1257: 499: 4416: 1074: 869:. Meanwhile, Bettina had given birth to another daughter, Božena. 570: 465:, Prague, 1848. Smetana was briefly a participant in the uprising. 394: 7587: 6338: 5929: 5530: 4717: 947: 851:(modern photograph): Smetana's bid to become its director failed. 772: 345: 257: 253: 170: 1680:

Smetana's first noteworthy public success was his initial opera

654: 469:

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

6032: 4367:. "The Bartered Bride (Prodaná nevěsta)". In Laura Macy (ed.). 4221: 3308:

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

2000: 1886: 1759: 1718:

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

1305: 736: 667: 189: 5720: 4687: 1684:, in 1866 when he was already 42 years old. His second opera, 1574:

Smetana had virtually no precursors in Czech opera apart from

317:

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

84: 81: 8693: 1308:, and since 1976 has been part of the Czech Museum of Music. 1287:

Grave of Smetana at the National Cemetery in Vyšehrad, Prague

987: 551: 390:, Smetana's earliest complete composition that has survived. 325:. He also studied violin and piano, discovering the works of 8682: 4269:(in Czech) (2nd ed.). Prague: Galén. pp. 151–299. 3193:(in Czech) (2nd ed.). Prague: Galén. pp. 151–299. 554:. During 1853–54 he worked on a major orchestral piece, the 333:, and began composing simple pieces, of which one, a dance ( 5988: 5525: 1813:

Smetana has been regarded in his homeland as the father of

1557: 1385:, a substantial work with the character of a choral drama. 1003:

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

837:. In April 1863 he submitted the score, under the title of 625:

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

116: 110: 104: 90: 75: 1439:

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

1221:

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

87: 4379:

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

1180:

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

313:, to a rapturous reception. In 1831 the family moved to 192:. His first nationalistic music was written during the 157:. Internationally he is best known for his 1866 opera 8623: 4073:. Vol. 17. London: Macmillan. pp. 391–403. 889:. That year, Smetana's bid to become Director of the 268:

was the official language of Bohemia. František knew

125: 113: 98: 69: 1119:("My Fatherland"), and had completed the first two, 946:, with Bohemia under imminent threat of invasion by 107: 78: 72: 4106: 700:, his first major orchestral composition since the 200:, and began to write large-scale orchestral works. 101: 95: 4111: 3986: 2810: 2808: 1045:ultimatum from prominent musicians among whom was 975:. The quality of Smetana's production of Glinka's 729:. Smetana also wrote two large-scale piano works: 243: 3703:4 December 1882, quoted in Clapham (1972), p. 100 3227:"Bedřich Smetana (1824–1884) – his life and work" 558:, composed to commemorate the wedding of Emperor 8745: 4310:. Rochester, NY: University of Rochester Press. 3003:Large, p. 374, from an undated letter to Bettina 894:conservative patriot Josef Krejčí for the post. 793:Meanwhile, the defeat of Franz Joseph's army at 4118:. New York: Columbia University Press. p. 4069:The New Grove Dictionary of Music and Musicians 2805: 2490: 2488: 1263:Smetana's funeral took place on 15 May, at the 1078:Smetana in about 1883, near the end of his life 571:Private sorrows and professional disenchantment 542:, some of the music of which was later used in 337:, or "Little Galop"), survives in sketch form. 299:, whose Renaissance castle dominates the town. 3762: 3760: 3758: 3756: 2123: 2121: 2119: 2117: 885:tercentenary, adding to the programme his own 872:On 23 April 1864, Smetana conducted Berlioz's 661:, Sweden, Smetana's base between 1856 and 1861 30:"Smetana" redirects here. For other uses, see 8174: 5736: 4733: 4709: 4432: 3810: 3808: 3274: 3272: 3270: 3268: 3266: 2901: 2899: 1962: 1960: 1771:severest of criticism for the "Wagnerism" in 1443:for a Habsburg Prince", Smetana's biographer 1167:The long-delayed premiere of Smetana's opera 4308:Bedřich Smetana: Myth, Music, and Propaganda 4062:Clapham, John (1980). "Bedrich Smetana". In 4028:. BBC Magazines. 3 February 2018. p. 47 3968: 3966: 3656: 3654: 3652: 3650: 3648: 3166: 3164: 3162: 3160: 3158: 3156: 2485: 737:Bereavement, remarriage and return to Prague 50: 3753: 3527: 3525: 3523: 3521: 3519: 3517: 3352: 3350: 3348: 3346: 3344: 3245: 3123: 3121: 2931: 2929: 2798: 2796: 2777: 2775: 2756: 2754: 2708: 2706: 2666: 2636: 2634: 2275: 2273: 2114: 1749: 733:, and an Étude in C in the style of Liszt. 725:, based on the tragic drama by Danish poet 8181: 8167: 5743: 5729: 4740: 4726: 4439: 4425: 4347:The Lives and Times of the Great Composers 4328:(in Czech). Národní muzeum. Archived from 3805: 3498: 3496: 3494: 3334: 3332: 3263: 3221: 3219: 3063: 3061: 3059: 3057: 3055: 3053: 3051: 3049: 2896: 2664: 2662: 2660: 2658: 2656: 2654: 2652: 2650: 2648: 2646: 2460: 2458: 2427: 2425: 2423: 2421: 2411: 2409: 2407: 2405: 2365: 2363: 2361: 2351: 2349: 2347: 2298: 2296: 2294: 2263: 2261: 2259: 2257: 2171: 2169: 2167: 2165: 1974: 1972: 1957: 1950: 1948: 1946: 1235:, based on the character in Shakespeare's 4402:International Music Score Library Project 4305: 4289:The Lives of the Great Composers, Vol. II 4283: 3963: 3870:"Music Mile Vienna – Vienna Walk of Fame" 3645: 3473: 3153: 3137: 3135: 3133: 3030:Originally, the work was entitled simply 2945: 2943: 2941: 2880: 2878: 2876: 2874: 2872: 2870: 2824: 2822: 2820: 2615: 2613: 2611: 2609: 2607: 2526: 2524: 2522: 2520: 2518: 2386: 2384: 2229: 2227: 2137: 2135: 2133: 2107: 2105: 2103: 2101: 2099: 2080: 2078: 2076: 2066: 2064: 1996: 1994: 1992: 1990: 1988: 1986: 1984: 1435:, Weber and Berlioz before producing his 474:series of patriotic works, including two 4267:Slavné české lebky (Famous Czech Skulls) 4238:10.1093/omo/9781561592630.013.3000000151 4194: 3993:. Oxford University Press, USA. p. 3514: 3407: 3341: 3191:Slavné české lebky (Famous Czech Skulls) 3118: 2926: 2840: 2793: 2772: 2751: 2703: 2631: 2270: 2017:10.1093/omo/9781561592630.013.3000000151 1785: 1753: 1694: 1656: 1580: 1290: 1282: 1243: 1192: 1154: 1073: 896: 843: 653: 574: 471:climate of political change and upheaval 456: 274: 38: 8188: 4087: 4061: 4049: 3981: 3600: 3491: 3389: 3329: 3216: 3046: 2643: 2533: 2455: 2418: 2402: 2358: 2344: 2291: 2254: 2162: 1969: 1943: 1936: 1934: 1318:List of compositions by Bedřich Smetana 14: 8746: 3733:"The Bartered Bride (Prodaná nevěsta)" 3130: 3037: 2952: 2938: 2867: 2817: 2604: 2515: 2381: 2224: 2206: 2178: 2130: 2096: 2073: 2061: 1981: 971:and Glinka, with a revival of his own 815: 810: 406: 371: 235:as a more significant Czech composer. 8162: 8090:Romanticism and the French Revolution 5724: 4721: 4708: 4420: 4344: 4264: 4170: 3188: 606:Austrian absolutism reasserted itself 140: 8700: 4146: 3449: 1931: 1465:Richard III, Wallenstein's Camp 1188: 887:March for the Shakespearean Festival 5599:Tchaikovsky and the Belyayev circle 4446: 4378: 4363: 3730: 3660: 3531: 3413: 3356: 3278: 3067: 2670: 2431: 2302: 1368: 1271:. The subsequent procession to the 719:, and began a third symphonic poem 529: 366:movement for Czech national revival 24: 8784:Composers from the Austrian Empire 4747: 4110:; Wegel Williams, Hermine (2003). 3737:Grove Music Online, ed. Laura Macy 3667:Grove Music Online, ed. Laura Macy 3538:Grove Music Online, ed. Laura Macy 3420:Grove Music Online, ed. Laura Macy 3363:Grove Music Online, ed. Laura Macy 3285:Grove Music Online, ed. Laura Macy 3074:Grove Music Online, ed. Laura Macy 2677:Grove Music Online, ed. Laura Macy 2438:Grove Music Online, ed. Laura Macy 2309:Grove Music Online, ed. Laura Macy 1252:on the banks of the Vltava, Prague 632: 505: 25: 8845: 8774:19th-century Czech male musicians 4391: 4090:Smetana (Master Musicians series) 1827:Statue of Bedřich Smetana, Prague 1677:at Žofín Island in January 1862. 1570:List of operas by Bedřich Smetana 1322:List of operas by Bedřich Smetana 1104: 954:Back in 1866, as the composer of 902:Bedřich Smetana Among his Friends 748:Memories of Bohemia in Polka Form 287:The Smetana family came from the 214:, were premiered at Prague's new 8769:19th-century classical composers 8726: 8709: 8681: 8669: 8657: 8645: 8633: 8143: 8142: 5704: 5695: 5694: 4686: 4675: 4674: 4484: 4326:"Stálé expozice Národního muzea" 4018: 3975: 3954: 3945: 3936: 3927: 3918: 3909: 3885:Dictionary of Minor Planet Names 3876: 3862: 3853: 3844: 3835: 3826: 3817: 3796: 3787: 3778: 3769: 3724: 3715: 3706: 3693: 3684: 3636: 3627: 3618: 3609: 3591: 3582: 3573: 3564: 3555: 3505: 3482: 3443: 3434: 3398: 3380: 3320: 3311: 3302: 3254: 3229:. Národní Muzeum. Archived from 3207: 3182: 3173: 1606: 1517: 1493: 1201:, Prague. The date format is "cc 927: 754: 510:Early in 1848, Smetana wrote to 502:for Smetana's first two operas. 448: 65: 5750: 4291:. London: Futura Publications. 3887:. Springer. 2003. p. 166. 3144: 3109: 3100: 3091: 3024: 3015: 3006: 2997: 2988: 2979: 2970: 2961: 2917: 2908: 2887: 2858: 2849: 2831: 2784: 2763: 2742: 2733: 2724: 2715: 2694: 2622: 2595: 2586: 2577: 2568: 2551: 2542: 2506: 2497: 2476: 2467: 2393: 2372: 2335: 2326: 2282: 2245: 2236: 2215: 2196: 2187: 2153: 2144: 2087: 2052: 1585:A 1919 edition of the score of 1069: 651:, were sketched but abandoned. 443: 244:Family background and childhood 3893:10.1007/978-3-540-29925-7_2048 3823:Clapham (1972) p. 41 and p. 49 2043: 1916:Merriam-Webster.com Dictionary 1903: 1874: 1843: 1797:According to the musicologist 1338: 376: 340:In 1835, František retired to 13: 1: 8113:Wanderer above the Sea of Fog 4472:The Brandenburgers in Bohemia 4226:. In St Pierre, Kelly (ed.). 4014:– via Internet Archive. 2005:. In St Pierre, Kelly (ed.). 1832: 1762:river, flowing through Prague 1682:The Brandenburgers in Bohemia 1426: 1012: 881:at a concert celebrating the 839:The Brandenburgers in Bohemia 637: 207:The Brandenburgers in Bohemia 44: 8779:Burials at Vyšehrad Cemetery 1714:were warmly received, while 1652: 1548:Overture. Smetana dedicated 1396:. His final completed work, 1392:(1879) to words by the poet 1295:Left side of Smetana's grave 1197:Smetana's gravestone at the 1021:Pivoda then took issue with 488:the Prince of Windisch-Grätz 238: 163:and for the symphonic cycle 7: 5642:Gothic Revival architecture 4197:The Music of Czechoslovakia 4055:Slavonic and Romantic Music 2574:Large, pp. 98–99 and p. 160 1820: 1082: 579:Oil portrait of Smetana by 10: 8850: 8824:Czech male opera composers 8030:Coleridge's theory of life 5583:Neue Zeitschrift für Musik 4758:List of Romantic composers 4657:Moravian traditional music 4057:. London: Faber and Faber. 1856:Collins English Dictionary 1702:star for Smetana in Vienna 1567: 1403: 1315: 981:angered Glinka's champion 498:, who would later provide 142:[ˈbɛdr̝ɪxˈsmɛtana] 29: 27:Czech composer (1824–1884) 8514: 8494:Charles Villiers Stanford 8196: 8122: 8085:Romanticism and economics 8022: 7914: 7661: 7483: 7428: 7397: 7321: 7270: 7219: 7178: 7087: 7031: 6995: 6949: 6940: 6785: 6729: 6678: 6637: 6596: 6550: 6492: 6362: 6241: 6163: 6100:Manuel Antônio de Almeida 6082: 6073: 5959: 5827: 5758: 5674: 5619: 5564: 5498: 5477: 4764: 4755: 4715: 4710:Links to related articles 4670: 4649: 4622: 4601: 4578: 4551: 4463: 4454: 4306:St Pierre, Kelly (2017). 4071:(Special English edition) 4036:– via Google Books. 3606:Clapham (1972), pp. 76–84 3502:Clapham (1972), pp. 68–70 3440:Clapham (1972), pp. 65–66 3395:Clapham (1972), pp. 87–89 3338:Clapham (1972), pp. 58–64 3141:Clapham (1972), pp. 54–56 2958:Clapham (1972), pp. 43–45 2949:Clapham (1972), pp. 41–42 2884:Clapham (1972), pp. 38–40 2828:Clapham (1972), pp. 34–36 2619:Clapham (1972), pp. 32–33 2530:Clapham (1972), pp. 28–30 2184:Clapham (1972), pp. 15–16 2084:Clapham (1972), pp. 13–14 1746:was named in his honour. 1346:Six Characteristic Pieces 516:Six Characteristic Pieces 173:. It contains the famous 8834:String quartet composers 8814:Deaf classical musicians 8809:Czech Romantic composers 5865:German historical school 5604:Tchaikovsky and The Five 4114:A Short History of Opera 1940:Clapham (1972), pp. 9–11 1775:he responded by writing 1750:Character and reputation 1563: 1311: 1129:E minor String Quartet, 920:believes that, although 904:, 1865; oil painting by 764:Piano: Veronika Ptáčková 704:. He followed this with 610:Baron Alexander von Bach 564:Austrian national anthem 260:, then provinces of the 32:Smetana (disambiguation) 8407:Nikolai Rimsky-Korsakov 6512:Józef Ignacy Kraszewski 4386:(subscription required) 4374:(subscription required) 4345:Steen, Michael (2003). 4260:(subscription required) 4195:Newmarch, Rosa (1942). 4166:(subscription required) 3749:(subscription required) 3680:(subscription required) 3551:(subscription required) 3469:(subscription required) 3376:(subscription required) 3298:(subscription required) 3087:(subscription required) 2690:(subscription required) 2451:(subscription required) 2322:(subscription required) 2039:(subscription required) 1893:Oxford University Press 731:Macbeth and the Witches 676:and the symphonic poem 358:Karel Havlíček Borovský 8504:Ralph Vaughan Williams 8382:Alexander Dargomyzhsky 8095:Romanticism in science 8050:Middle Ages in history 8045:List of Romantic poets 6757:Josiah Gilbert Holland 5627:Common practice period 4609:Bedřich Smetana Museum 4398:Free scores by Smetana 4349:. London: Icon Books. 4088:Clapham, John (1972). 3960:Large, preface p. xvii 3951:Clapham (1972), p. 123 3712:Clapham (1972), p. 104 3597:Clapham (1972), p. 138 3179:Clapham (1972), p. 151 2748:Clapham (1980), p. 394 1794: 1763: 1703: 1665: 1591: 1302:Bedřich Smetana Museum 1296: 1288: 1253: 1250:Bedřich Smetana Museum 1218: 1164: 1079: 908: 852: 779:Der Barbier von Bagdad 746:Polka in A minor from 662: 622:D minor Piano Concerto 584: 466: 342:Růžkovy Lhotice Castle 284: 57: 55: 8804:Czech opera composers 8794:Expatriates in Sweden 8065:Romantic epistemology 8055:Opium and Romanticism 6624:Stojadinović-Srpkinja 5850:Counter-Enlightenment 4180:. London: Duckworth. 4149:The Musical Quarterly 4092:. London: J.M. Dent. 3915:Large, p. 3 and p. 10 3841:Clapham (1972), p. 53 3814:Clapham (1972), p. 36 3775:Clapham (1972), p. 94 3624:Clapham (1972), p. 76 3488:Clapham (1972), p. 54 3452:The Musical Quarterly 3097:Clapham (1972), p. 51 3043:Clapham (1972), p. 47 2914:Clapham (1972), p. 99 2864:Clapham (1980) p. 394 2730:Clapham (1972), p. 33 2592:Clapham (1980) p. 393 2482:Clapham (1972), p. 25 2390:Clapham (1972), p. 22 2332:Clapham (1972), p. 20 2251:Clapham (1972), p. 21 2233:Clapham (1972), p. 19 2212:Clapham (1972), p. 17 2049:Clapham (1972), p. 12 1889:UK English Dictionary 1789: 1757: 1698: 1660: 1584: 1417:second String Quartet 1294: 1286: 1247: 1196: 1158: 1077: 900: 847: 657: 597:Piano Trio in G minor 578: 460: 279:František Smetana by 278: 54: 42: 8829:People from Litomyšl 8535:Antônio Carlos Gomes 8287:Carl Maria von Weber 8129:Age of Enlightenment 5771:England (literature) 5664:Romantic nationalism 5610:War of the Romantics 4592:String Quartet No. 2 4586:String Quartet No. 1 4457:List of compositions 4285:Schonberg, Harold C. 4265:Ramba, Jiří (2009). 4026:"BBC Music Magazine" 3260:Newmarch, pp. 100–01 3189:Ramba, Jiří (2009). 1661:Smetana Hall in the 849:Prague Conservatoire 614:Alexander Dreyschock 595:. Smetana wrote his 310:La muette de Portici 194:1848 Prague uprising 8799:Czech music critics 8789:Composers for piano 8575:Silvestre Revueltas 8499:Alexander Mackenzie 8352:Stanisław Moniuszko 8272:Camille Saint-Saëns 8190:Musical nationalism 8080:Romantic psychology 5875:Hudson River School 5819:Sweden (literature) 5804:Russia (literature) 5659:Musical nationalism 5577:Musical nationalism 4161:10.1093/mq/81.4.516 3721:Newmarch, pp. 83–84 3464:10.1093/mq/81.4.516 3251:Newmarch, pp. 90–91 1740:Theater an der Wien 1700:Walk of Fame Vienna 1627:Eliška Krásnohorská 999:; he had written a 993:Stanisław Moniuszko 978:A Life for the Tsar 944:Austro-Prussian War 891:Prague Conservatory 835:Otto of Brandenburg 816:Seeking recognition 811:National prominence 782:, by Liszt's pupil 750:, Op. 12, 1859 727:Adam Oehlenschläger 689:Die schöne Müllerin 649:The Viking's Voyage 480:The Song of Freedom 407:Student and teacher 372:Apprentice musician 216:Provisional Theatre 8545:Heitor Villa-Lobos 6065:White Mountain art 6006:Historical fiction 5814:Spain (literature) 5572:Indianist movement 5490:Romantic orchestra 4631:The Bartered Bride 4544:(1884, incomplete) 4480:The Bartered Bride 4381:Grove Music Online 4369:Grove Music Online 4229:Grove Music Online 4224:"Smetana, Bedrich" 3883:"(2047) Smetana". 3663:"Smetana, Bedrich" 3534:"Smetana, Bedrich" 3416:"Smetana, Bedrich" 3359:"Smetana, Bedrich" 3281:"Smetana, Bedrich" 3070:"Smetana, Bedrich" 2790:Large, pp. 399–408 2673:"Smetana, Bedrich" 2434:"Smetana, Bedrich" 2305:"Smetana, Bedrich" 2008:Grove Music Online 2003:"Smetana, Bedrich" 1899:on 26 August 2022. 1882:"Smetana, Bedřich" 1795: 1790:Smetana statue in 1764: 1704: 1686:The Bartered Bride 1675:Wallenstein's Camp 1666: 1643:The Bartered Bride 1639:The Bartered Bride 1634:The Bartered Bride 1601:The Bartered Bride 1592: 1588:The Bartered Bride 1546:The Bartered Bride 1437:Triumphal Symphony 1297: 1289: 1278:The Bartered Bride 1254: 1219: 1182:The Bartered Bride 1165: 1080: 1060:The Bartered Bride 1027:The Brandenburgers 956:The Brandenburgers 940:The Brandenburgers 935:The Bartered Bride 922:The Brandenburgers 913:The Brandenburgers 909: 853: 804:Wallenstein's Camp 710:Friedrich Schiller 706:Wallenstein's Camp 702:Triumphal Symphony 694:Vision at the Ball 663: 585: 556:Triumphal Symphony 550:, and a series of 544:The Bartered Bride 467: 461:Barricades on the 285: 212:The Bartered Bride 160:The Bartered Bride 58: 56: 8819:Czech deaf people 8621: 8620: 8615: 8614: 8540:Francisco Mignone 8525:Alberto Ginastera 8412:Alexander Borodin 8402:Modest Mussorgsky 8357:Henryk Wieniawski 8156: 8155: 8070:Romantic medicine 8040:List of romantics 7479: 7478: 7130:Felix Mendelssohn 7125:Fanny Mendelssohn 6936: 6935: 6650:Rosalía de Castro 6588:Soares dos Passos 5936:Transcendentalism 5900:Nazarene movement 5860:Düsseldorf School 5718: 5717: 5589:New German School 5184:Felix Mendelssohn 5179:Fanny Mendelssohn 4702: 4701: 4356:978-1-84046-679-9 4317:978-1-58046-510-6 4298:978-0-86007-723-7 4276:978-80-7262-325-9 4206:978-0-306-77563-5 4187:978-0-7156-0512-7 4129:978-0-231-11958-0 4108:Grout, Donald Jay 4099:978-0-460-03133-2 4080:978-0-333-23111-1 4004:978-0-19-802030-1 3972:Steen, pp. 690–91 3933:Large, pp. 304–05 3902:978-3-540-29925-7 3802:Large, pp. 204–05 3479:Large, pp. 376–77 3386:Large, pp. 122–25 3200:978-80-7262-325-9 3170:Large, pp. 390–94 3127:Large, pp. 370–72 3115:Steen, pp. 702–03 3106:Large, pp. 222–23 2994:Large, pp. 322–23 2976:Large, pp. 294–95 2837:Large, pp. 209–10 2802:Large, pp. 165–67 2781:Large, pp. 167–68 2712:Large, pp. 121–25 2640:Large, pp. 140–43 2288:Steen, pp. 695–96 1919:. Merriam-Webster 1611: 1522: 1498: 1421:From the homeland 1379:Ceremonial Chorus 1273:Vyšehrad Cemetery 1269:Prague's Old Town 1199:Vyšehrad cemetery 1189:Illness and death 878:Roméo et Juliette 759: 520:Czech nationalism 350:Premonstratensian 315:Jindřichův Hradec 16:(Redirected from 8841: 8739: 8731: 8730: 8729: 8722: 8714: 8713: 8712: 8702: 8686: 8685: 8674: 8673: 8672: 8662: 8661: 8660: 8650: 8649: 8648: 8638: 8637: 8636: 8629: 8600:Edward MacDowell 8454:Enrique Granados 8429:Alexander Moyzes 8222:Bohuslav Martinů 8183: 8176: 8169: 8160: 8159: 8146: 8145: 8105:Evolution theory 6947: 6946: 6080: 6079: 5941:Ukrainian school 5745: 5738: 5731: 5722: 5721: 5708: 5698: 5697: 5594:Post-romanticism 5459:Vaughan Williams 4742: 4735: 4728: 4719: 4718: 4706: 4705: 4690: 4678: 4677: 4650:Related articles 4623:Film adaptations 4552:Orchestral works 4533:The Devil's Wall 4488: 4441: 4434: 4427: 4418: 4417: 4387: 4384: 4375: 4372: 4360: 4341: 4339: 4337: 4321: 4302: 4280: 4261: 4258: 4256: 4254: 4218: 4191: 4167: 4164: 4143: 4138: 4136: 4117: 4103: 4084: 4058: 4038: 4037: 4035: 4033: 4022: 4016: 4015: 4013: 4011: 3992: 3979: 3973: 3970: 3961: 3958: 3952: 3949: 3943: 3940: 3934: 3931: 3925: 3922: 3916: 3913: 3907: 3906: 3880: 3874: 3873: 3866: 3860: 3857: 3851: 3848: 3842: 3839: 3833: 3830: 3824: 3821: 3815: 3812: 3803: 3800: 3794: 3791: 3785: 3782: 3776: 3773: 3767: 3764: 3751: 3750: 3747: 3745: 3743: 3728: 3722: 3719: 3713: 3710: 3704: 3697: 3691: 3688: 3682: 3681: 3677: 3675: 3673: 3658: 3643: 3640: 3634: 3631: 3625: 3622: 3616: 3613: 3607: 3604: 3598: 3595: 3589: 3586: 3580: 3577: 3571: 3568: 3562: 3559: 3553: 3552: 3548: 3546: 3544: 3532:Ottlová, Marta. 3529: 3512: 3509: 3503: 3500: 3489: 3486: 3480: 3477: 3471: 3470: 3467: 3447: 3441: 3438: 3432: 3430: 3428: 3426: 3414:Ottlová, Marta. 3411: 3405: 3402: 3396: 3393: 3387: 3384: 3378: 3377: 3373: 3371: 3369: 3357:Ottlová, Marta. 3354: 3339: 3336: 3327: 3324: 3318: 3317:Schonberg, p. 78 3315: 3309: 3306: 3300: 3299: 3295: 3293: 3291: 3276: 3261: 3258: 3252: 3249: 3243: 3242: 3240: 3238: 3223: 3214: 3211: 3205: 3204: 3186: 3180: 3177: 3171: 3168: 3151: 3148: 3142: 3139: 3128: 3125: 3116: 3113: 3107: 3104: 3098: 3095: 3089: 3088: 3084: 3082: 3080: 3068:Ottlová, Marta. 3065: 3044: 3041: 3035: 3028: 3022: 3019: 3013: 3010: 3004: 3001: 2995: 2992: 2986: 2983: 2977: 2974: 2968: 2965: 2959: 2956: 2950: 2947: 2936: 2933: 2924: 2921: 2915: 2912: 2906: 2903: 2894: 2891: 2885: 2882: 2865: 2862: 2856: 2853: 2847: 2844: 2838: 2835: 2829: 2826: 2815: 2812: 2803: 2800: 2791: 2788: 2782: 2779: 2770: 2767: 2761: 2758: 2749: 2746: 2740: 2737: 2731: 2728: 2722: 2719: 2713: 2710: 2701: 2698: 2692: 2691: 2687: 2685: 2683: 2671:Ottlová, Marta. 2668: 2641: 2638: 2629: 2626: 2620: 2617: 2602: 2599: 2593: 2590: 2584: 2581: 2575: 2572: 2566: 2555: 2549: 2548:Large, pp. 95–97 2546: 2540: 2539:Large, pp. 84–94 2537: 2531: 2528: 2513: 2510: 2504: 2503:Large, pp. 80–82 2501: 2495: 2492: 2483: 2480: 2474: 2471: 2465: 2464:Large, pp. 71–75 2462: 2453: 2452: 2448: 2446: 2444: 2432:Ottlová, Marta. 2429: 2416: 2415:Large, pp. 67–69 2413: 2400: 2399:Large, pp. 63–65 2397: 2391: 2388: 2379: 2378:Large, pp. 57–62 2376: 2370: 2369:Large, pp. 51–54 2367: 2356: 2355:Large, pp. 48–49 2353: 2342: 2339: 2333: 2330: 2324: 2323: 2319: 2317: 2315: 2303:Ottlová, Marta. 2300: 2289: 2286: 2280: 2277: 2268: 2267:Large, pp. 42–43 2265: 2252: 2249: 2243: 2240: 2234: 2231: 2222: 2221:Large, pp. 29–35 2219: 2213: 2210: 2204: 2200: 2194: 2191: 2185: 2182: 2176: 2173: 2160: 2157: 2151: 2150:Large, pp. 10–11 2148: 2142: 2139: 2128: 2127:Schonberg, p. 77 2125: 2112: 2109: 2094: 2091: 2085: 2082: 2071: 2068: 2059: 2056: 2050: 2047: 2041: 2040: 2037: 2035: 2033: 1998: 1979: 1976: 1967: 1964: 1955: 1952: 1941: 1938: 1929: 1928: 1926: 1924: 1907: 1901: 1900: 1895:. Archived from 1878: 1872: 1871: 1869: 1867: 1847: 1725:The Devil's Wall 1613: 1612: 1576:František Škroup 1524: 1523: 1500: 1499: 1450:Festive Symphony 1369:Vocal and choral 1216: 1214: 1213: 1210: 1207: 1161:National Theatre 1149:The Devil's Wall 1064:Saint Petersburg 1062:was produced in 1031:Otakar Hostinský 1001:Festive Overture 997:National Theatre 906:František Dvořák 858:The Three Riders 827:Jan Nepomuk Maýr 761: 760: 530:Budding composer 152: 151: 150: 144: 139: 132: 128: 123: 122: 119: 118: 115: 112: 109: 106: 103: 100: 97: 93: 92: 89: 86: 83: 80: 77: 74: 71: 49: 46: 21: 8849: 8848: 8844: 8843: 8842: 8840: 8839: 8838: 8754:Bedřich Smetana 8744: 8743: 8742: 8738:from Wikisource 8732: 8727: 8725: 8715: 8710: 8708: 8705: 8701:sister projects 8698:at Knowledge's 8696:Bedřich Smetana 8692: 8680: 8670: 8668: 8658: 8656: 8652:Classical music 8646: 8644: 8634: 8632: 8624: 8622: 8617: 8616: 8611: 8510: 8480:United Kingdom 8459:Joaquín Rodrigo 8449:Manuel de Falla 8347:Frédéric Chopin 8207:Bedřich Smetana 8203:Czech Republic 8192: 8187: 8157: 8152: 8151: 8140: 8132: 8118: 8075:Romantic poetry 8060:Romantic ballet 8035:German idealism 8018: 7984:Lacoue-Labarthe 7910: 7657: 7475: 7424: 7393: 7374:Rimsky-Korsakov 7317: 7266: 7215: 7174: 7083: 7027: 6991: 6932: 6781: 6725: 6674: 6633: 6592: 6546: 6488: 6429:Maria Edgeworth 6365: 6358: 6237: 6159: 6069: 6048:Romantic genius 5978:Gesamtkunstwerk 5955: 5916:Sturm und Drang 5823: 5754: 5749: 5719: 5714: 5691: 5687:Modernist music 5683: 5680:Classical music 5670: 5615: 5560: 5541:Romantic ballet 5536:Orchestral song 5516:Chorale prelude 5511:Character piece 5494: 5485:Romantic guitar 5478:Instrumentation 5473: 5309:Rimsky-Korsakov 4929:Ferdinand David 4766: 4760: 4751: 4746: 4711: 4703: 4698: 4666: 4645: 4618: 4614:Smetana Quartet 4597: 4574: 4547: 4459: 4450: 4448:Bedřich Smetana 4445: 4408:Bedrich Smetana 4394: 4385: 4373: 4357: 4335: 4333: 4332:on 16 June 2011 4324: 4318: 4299: 4277: 4259: 4252: 4250: 4248: 4207: 4199:. Oxford: OUP. 4188: 4165: 4134: 4132: 4130: 4100: 4081: 4051:Abraham, Gerald 4041: 4031: 4029: 4024: 4023: 4019: 4009: 4007: 4005: 3985:(29 May 1980). 3980: 3976: 3971: 3964: 3959: 3955: 3950: 3946: 3941: 3937: 3932: 3928: 3923: 3919: 3914: 3910: 3903: 3882: 3881: 3877: 3872:. 7 March 2010. 3868: 3867: 3863: 3858: 3854: 3849: 3845: 3840: 3836: 3831: 3827: 3822: 3818: 3813: 3806: 3801: 3797: 3792: 3788: 3784:Newmarch, p. 72 3783: 3779: 3774: 3770: 3766:Newmarch, p. 67 3765: 3754: 3748: 3741: 3739: 3731:Tyrrell, John. 3729: 3725: 3720: 3716: 3711: 3707: 3698: 3694: 3689: 3685: 3679: 3671: 3669: 3661:Tyrrell, John. 3659: 3646: 3641: 3637: 3633:Newmarch, p. 91 3632: 3628: 3623: 3619: 3614: 3610: 3605: 3601: 3596: 3592: 3587: 3583: 3578: 3574: 3569: 3565: 3561:Newmarch, p. 59 3560: 3556: 3550: 3542: 3540: 3530: 3515: 3510: 3506: 3501: 3492: 3487: 3483: 3478: 3474: 3468: 3448: 3444: 3439: 3435: 3424: 3422: 3412: 3408: 3403: 3399: 3394: 3390: 3385: 3381: 3375: 3367: 3365: 3355: 3342: 3337: 3330: 3325: 3321: 3316: 3312: 3307: 3303: 3297: 3289: 3287: 3279:Tyrrell, John. 3277: 3264: 3259: 3255: 3250: 3246: 3236: 3234: 3233:on 27 July 2011 3225: 3224: 3217: 3213:Newmarch, p. 90 3212: 3208: 3201: 3187: 3183: 3178: 3174: 3169: 3154: 3150:Newmarch, p. 89 3149: 3145: 3140: 3131: 3126: 3119: 3114: 3110: 3105: 3101: 3096: 3092: 3086: 3078: 3076: 3066: 3047: 3042: 3038: 3029: 3025: 3020: 3016: 3011: 3007: 3002: 2998: 2993: 2989: 2984: 2980: 2975: 2971: 2966: 2962: 2957: 2953: 2948: 2939: 2934: 2927: 2922: 2918: 2913: 2909: 2905:Newmarch, p. 65 2904: 2897: 2893:Newmarch, p. 71 2892: 2888: 2883: 2868: 2863: 2859: 2854: 2850: 2845: 2841: 2836: 2832: 2827: 2818: 2814:Newmarch, p. 69 2813: 2806: 2801: 2794: 2789: 2785: 2780: 2773: 2769:Newmarch, p. 64 2768: 2764: 2759: 2752: 2747: 2743: 2738: 2734: 2729: 2725: 2721:Newmarch, p. 62 2720: 2716: 2711: 2704: 2699: 2695: 2689: 2681: 2679: 2669: 2644: 2639: 2632: 2627: 2623: 2618: 2605: 2600: 2596: 2591: 2587: 2582: 2578: 2573: 2569: 2556: 2552: 2547: 2543: 2538: 2534: 2529: 2516: 2512:Newmarch, p. 60 2511: 2507: 2502: 2498: 2493: 2486: 2481: 2477: 2472: 2468: 2463: 2456: 2450: 2442: 2440: 2430: 2419: 2414: 2403: 2398: 2394: 2389: 2382: 2377: 2373: 2368: 2359: 2354: 2345: 2340: 2336: 2331: 2327: 2321: 2313: 2311: 2301: 2292: 2287: 2283: 2278: 2271: 2266: 2255: 2250: 2246: 2241: 2237: 2232: 2225: 2220: 2216: 2211: 2207: 2201: 2197: 2193:Newmarch, p. 57 2192: 2188: 2183: 2179: 2174: 2163: 2158: 2154: 2149: 2145: 2141:Newmarch, p. 56 2140: 2131: 2126: 2115: 2111:Large, pp. 7–10 2110: 2097: 2093:Large, pp. 6–7. 2092: 2088: 2083: 2074: 2069: 2062: 2058:Newmarch, p. 54 2057: 2053: 2048: 2044: 2038: 2031: 2029: 2027: 1999: 1982: 1977: 1970: 1965: 1958: 1953: 1944: 1939: 1932: 1922: 1920: 1909: 1908: 1904: 1880: 1879: 1875: 1865: 1863: 1849: 1848: 1844: 1835: 1823: 1752: 1742:. The asteroid 1663:Municipal House 1655: 1618: 1617: 1616: 1615: 1614: 1607: 1604: 1572: 1566: 1529: 1528: 1527: 1526: 1525: 1518: 1515: 1503: 1502: 1501: 1494: 1491: 1429: 1406: 1394:Vítězslav Hálek 1383:Song of the Sea 1375:Song of Freedom 1371: 1341: 1324: 1314: 1227:Prague Carnival 1211: 1208: 1205: 1204: 1202: 1191: 1107: 1085: 1072: 1015: 930: 874:choral symphony 818: 813: 784:Peter Cornelius 769: 768: 767: 766: 765: 762: 755: 752: 739: 640: 635: 633:Years of travel 573: 532: 508: 506:Piano Institute 451: 446: 409: 379: 374: 307:'s overture to 297:Count Waldstein 293:Napoleonic Wars 262:Habsburg Empire 246: 241: 146: 145: 137: 130: 126: 94: 68: 64: 61:Bedřich Smetana 47: 35: 28: 23: 22: 15: 12: 11: 5: 8847: 8837: 8836: 8831: 8826: 8821: 8816: 8811: 8806: 8801: 8796: 8791: 8786: 8781: 8776: 8771: 8766: 8761: 8756: 8741: 8740: 8723: 8694: 8691: 8690: 8678: 8666: 8664:Czech Republic 8654: 8642: 8619: 8618: 8613: 8612: 8610: 8609: 8608: 8607: 8602: 8597: 8595:Horatio Parker 8592: 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5356: 5351: 5346: 5341: 5336: 5331: 5326: 5321: 5316: 5311: 5306: 5301: 5296: 5291: 5286: 5281: 5276: 5271: 5266: 5261: 5256: 5251: 5246: 5241: 5236: 5231: 5226: 5221: 5216: 5211: 5206: 5201: 5196: 5191: 5186: 5181: 5176: 5171: 5166: 5161: 5156: 5151: 5146: 5141: 5136: 5131: 5126: 5121: 5116: 5111: 5106: 5101: 5096: 5091: 5086: 5081: 5076: 5071: 5066: 5061: 5056: 5051: 5046: 5041: 5036: 5031: 5026: 5021: 5016: 5011: 5006: 5001: 4996: 4991: 4986: 4981: 4976: 4971: 4966: 4961: 4956: 4951: 4946: 4941: 4936: 4931: 4926: 4924:Félicien David 4921: 4916: 4911: 4906: 4901: 4896: 4891: 4886: 4881: 4876: 4871: 4866: 4861: 4856: 4851: 4846: 4841: 4836: 4831: 4826: 4821: 4816: 4811: 4806: 4801: 4796: 4791: 4786: 4781: 4776: 4770: 4768: 4762: 4761: 4756: 4753: 4752: 4749:Romantic music 4745: 4744: 4737: 4730: 4722: 4716: 4713: 4712: 4700: 4699: 4697: 4696: 4684: 4671: 4668: 4667: 4665: 4664: 4659: 4653: 4651: 4647: 4646: 4644: 4643: 4635: 4626: 4624: 4620: 4619: 4617: 4616: 4611: 4605: 4603: 4599: 4598: 4596: 4595: 4589: 4582: 4580: 4576: 4575: 4573: 4572: 4564: 4555: 4553: 4549: 4548: 4546: 4545: 4537: 4529: 4521: 4513: 4509:The Two Widows 4505: 4497: 4489: 4476: 4467: 4465: 4461: 4460: 4455: 4452: 4451: 4444: 4443: 4436: 4429: 4421: 4415: 4414: 4405: 4393: 4392:External links 4390: 4389: 4388: 4376: 4361: 4355: 4342: 4322: 4316: 4303: 4297: 4281: 4275: 4262: 4246: 4219: 4205: 4192: 4186: 4168: 4144: 4128: 4104: 4098: 4085: 4079: 4059: 4040: 4039: 4017: 4003: 3983:Mordden, Ethan 3974: 3962: 3953: 3944: 3935: 3926: 3917: 3908: 3901: 3875: 3861: 3852: 3843: 3834: 3825: 3816: 3804: 3795: 3786: 3777: 3768: 3752: 3723: 3714: 3705: 3692: 3683: 3644: 3642:Clapham, p. 80 3635: 3626: 3617: 3608: 3599: 3590: 3581: 3572: 3563: 3554: 3513: 3504: 3490: 3481: 3472: 3442: 3433: 3406: 3397: 3388: 3379: 3340: 3328: 3319: 3310: 3301: 3262: 3253: 3244: 3215: 3206: 3199: 3181: 3172: 3152: 3143: 3129: 3117: 3108: 3099: 3090: 3045: 3036: 3023: 3014: 3005: 2996: 2987: 2978: 2969: 2960: 2951: 2937: 2925: 2916: 2907: 2895: 2886: 2866: 2857: 2848: 2839: 2830: 2816: 2804: 2792: 2783: 2771: 2762: 2750: 2741: 2732: 2723: 2714: 2702: 2693: 2642: 2630: 2621: 2603: 2594: 2585: 2576: 2567: 2559:Gerald Abraham 2550: 2541: 2532: 2514: 2505: 2496: 2484: 2475: 2466: 2454: 2417: 2401: 2392: 2380: 2371: 2357: 2343: 2334: 2325: 2290: 2281: 2269: 2253: 2244: 2235: 2223: 2214: 2205: 2195: 2186: 2177: 2161: 2152: 2143: 2129: 2113: 2095: 2086: 2072: 2060: 2051: 2042: 2025: 1980: 1968: 1956: 1942: 1930: 1902: 1873: 1841: 1834: 1831: 1830: 1829: 1822: 1819: 1751: 1748: 1708:The Two Widows 1654: 1651: 1605: 1597: 1596: 1595: 1594: 1593: 1565: 1562: 1516: 1505: 1504: 1492: 1481: 1480: 1479: 1478: 1477: 1457:Faust Symphony 1428: 1425: 1405: 1402: 1370: 1367: 1365:Czechs have." 1340: 1337: 1313: 1310: 1190: 1187: 1106: 1105:Late flowering 1103: 1090:The Two Widows 1084: 1081: 1071: 1068: 1047:Antonín Dvořák 1014: 1011: 983:Mily Balakirev 973:Bartered Bride 929: 926: 823:Mikhail Glinka 817: 814: 812: 809: 763: 753: 744: 743: 742: 741: 740: 738: 735: 708:, inspired by 673:Faust Symphony 639: 636: 634: 631: 581:Geskel Saloman 572: 569: 540:Wedding Scenes 531: 528: 507: 504: 492:Charles Bridge 463:Charles Bridge 450: 447: 445: 442: 438:Clara Schumann 408: 405: 388:Louisa's Polka 378: 375: 373: 370: 362:Josef Jungmann 289:Hradec Králové 281:Antonín Machek 245: 242: 240: 237: 233:Antonín Dvořák 224:Richard Wagner 175:symphonic poem 26: 9: 6: 4: 3: 2: 8846: 8835: 8832: 8830: 8827: 8825: 8822: 8820: 8817: 8815: 8812: 8810: 8807: 8805: 8802: 8800: 8797: 8795: 8792: 8790: 8787: 8785: 8782: 8780: 8777: 8775: 8772: 8770: 8767: 8765: 8762: 8760: 8757: 8755: 8752: 8751: 8749: 8737: 8736: 8724: 8720: 8719: 8707: 8706: 8703: 8697: 8689: 8684: 8679: 8677: 8667: 8665: 8655: 8653: 8643: 8641: 8631: 8630: 8627: 8606: 8603: 8601: 8598: 8596: 8593: 8591: 8588: 8586: 8585:Aaron Copland 8583: 8582: 8580: 8576: 8573: 8571: 8570:Carlos Chávez 8568: 8566: 8563: 8562: 8560: 8556: 8555:Claude Vivier 8553: 8552: 8550: 8546: 8543: 8541: 8538: 8536: 8533: 8532: 8530: 8526: 8523: 8522: 8520: 8519: 8517: 8513: 8505: 8502: 8500: 8497: 8495: 8492: 8490: 8487: 8485: 8482: 8481: 8479: 8475: 8472: 8471: 8469: 8465: 8462: 8460: 8457: 8455: 8452: 8450: 8447: 8445: 8444:Isaac Albéniz 8442: 8441: 8439: 8435: 8432: 8430: 8427: 8425: 8422: 8421: 8419: 8413: 8410: 8408: 8405: 8403: 8400: 8398: 8395: 8393: 8390: 8389: 8388: 8385: 8383: 8380: 8378: 8375: 8374: 8372: 8368: 8367:George Enescu 8365: 8364: 8362: 8358: 8355: 8353: 8350: 8348: 8345: 8344: 8342: 8338: 8335: 8334: 8332: 8328: 8325: 8324: 8322: 8318: 8315: 8314: 8312: 8308: 8307:Zoltán Kodály 8305: 8303: 8300: 8299: 8297: 8293: 8290: 8288: 8285: 8284: 8282: 8278: 8275: 8273: 8270: 8269: 8267: 8263: 8262:Jean Sibelius 8260: 8258: 8255: 8254: 8252: 8248: 8247:Rudolf Tobias 8245: 8244: 8242: 8238: 8235: 8233: 8230: 8229: 8227: 8223: 8220: 8218: 8215: 8213: 8210: 8208: 8205: 8204: 8202: 8201: 8199: 8195: 8191: 8184: 8179: 8177: 8172: 8170: 8165: 8164: 8161: 8150: 8149: 8138: 8137: 8131: 8130: 8121: 8115: 8114: 8110: 8106: 8103: 8101: 8098: 8097: 8096: 8093: 8091: 8088: 8086: 8083: 8081: 8078: 8076: 8073: 8071: 8068: 8066: 8063: 8061: 8058: 8056: 8053: 8051: 8048: 8046: 8043: 8041: 8038: 8036: 8033: 8031: 8028: 8027: 8025: 8021: 8015: 8012: 8010: 8007: 8005: 8002: 8000: 7997: 7995: 7992: 7990: 7987: 7985: 7982: 7980: 7977: 7975: 7972: 7970: 7967: 7965: 7962: 7960: 7957: 7955: 7952: 7950: 7947: 7945: 7942: 7940: 7937: 7935: 7932: 7930: 7927: 7925: 7922: 7921: 7919: 7917: 7913: 7907: 7904: 7902: 7899: 7897: 7894: 7892: 7889: 7887: 7884: 7882: 7879: 7877: 7874: 7872: 7869: 7867: 7864: 7862: 7859: 7857: 7854: 7852: 7849: 7847: 7844: 7842: 7839: 7837: 7834: 7832: 7829: 7827: 7824: 7822: 7819: 7817: 7814: 7812: 7809: 7807: 7804: 7802: 7799: 7797: 7794: 7792: 7789: 7787: 7784: 7782: 7779: 7777: 7774: 7772: 7769: 7767: 7764: 7762: 7759: 7757: 7754: 7752: 7749: 7747: 7744: 7742: 7739: 7737: 7734: 7732: 7729: 7727: 7724: 7722: 7719: 7717: 7714: 7712: 7709: 7707: 7704: 7702: 7699: 7697: 7694: 7692: 7689: 7687: 7684: 7682: 7679: 7677: 7674: 7672: 7669: 7668: 7666: 7664: 7660: 7654: 7651: 7649: 7646: 7644: 7641: 7639: 7636: 7634: 7631: 7629: 7626: 7624: 7621: 7619: 7616: 7614: 7611: 7609: 7606: 7604: 7601: 7599: 7596: 7594: 7591: 7589: 7586: 7584: 7581: 7579: 7576: 7574: 7571: 7569: 7566: 7564: 7561: 7559: 7556: 7554: 7551: 7549: 7546: 7544: 7541: 7539: 7536: 7534: 7531: 7529: 7526: 7524: 7521: 7519: 7516: 7514: 7511: 7509: 7506: 7504: 7501: 7499: 7496: 7494: 7491: 7490: 7488: 7486: 7482: 7472: 7469: 7467: 7464: 7462: 7459: 7457: 7454: 7452: 7449: 7447: 7444: 7442: 7439: 7437: 7434: 7433: 7431: 7427: 7421: 7418: 7416: 7413: 7411: 7408: 7406: 7403: 7402: 7400: 7396: 7390: 7387: 7385: 7382: 7380: 7377: 7375: 7372: 7370: 7367: 7365: 7362: 7360: 7357: 7355: 7352: 7350: 7347: 7345: 7342: 7340: 7337: 7335: 7332: 7330: 7327: 7326: 7324: 7320: 7314: 7311: 7309: 7306: 7304: 7301: 7299: 7296: 7294: 7291: 7289: 7286: 7284: 7281: 7279: 7276: 7275: 7273: 7269: 7263: 7260: 7258: 7255: 7253: 7250: 7248: 7245: 7243: 7240: 7238: 7235: 7233: 7230: 7228: 7225: 7224: 7222: 7218: 7212: 7209: 7207: 7204: 7202: 7199: 7197: 7194: 7192: 7189: 7187: 7184: 7183: 7181: 7177: 7171: 7168: 7166: 7163: 7161: 7158: 7156: 7153: 7151: 7148: 7146: 7143: 7141: 7138: 7136: 7133: 7131: 7128: 7126: 7123: 7121: 7118: 7116: 7113: 7111: 7108: 7106: 7103: 7101: 7098: 7096: 7093: 7092: 7090: 7086: 7080: 7077: 7075: 7072: 7070: 7067: 7065: 7062: 7060: 7057: 7055: 7052: 7050: 7047: 7045: 7042: 7040: 7037: 7036: 7034: 7030: 7024: 7021: 7019: 7016: 7014: 7011: 7009: 7006: 7004: 7001: 7000: 6998: 6994: 6988: 6985: 6983: 6980: 6978: 6975: 6973: 6970: 6968: 6965: 6963: 6960: 6958: 6955: 6954: 6952: 6948: 6945: 6943: 6939: 6929: 6926: 6924: 6921: 6919: 6916: 6914: 6911: 6909: 6906: 6904: 6901: 6899: 6896: 6894: 6891: 6889: 6886: 6884: 6881: 6879: 6876: 6874: 6871: 6869: 6866: 6864: 6861: 6859: 6856: 6854: 6851: 6849: 6846: 6844: 6843:Nikolai Gogol 6841: 6839: 6836: 6834: 6831: 6829: 6826: 6824: 6821: 6819: 6816: 6814: 6811: 6809: 6806: 6804: 6801: 6799: 6796: 6794: 6791: 6790: 6788: 6784: 6778: 6775: 6773: 6770: 6768: 6765: 6763: 6760: 6758: 6755: 6753: 6750: 6748: 6745: 6743: 6740: 6738: 6735: 6734: 6732: 6728: 6722: 6719: 6717: 6714: 6712: 6709: 6707: 6704: 6702: 6699: 6697: 6694: 6692: 6689: 6687: 6684: 6683: 6681: 6677: 6671: 6668: 6666: 6663: 6661: 6658: 6656: 6653: 6651: 6648: 6646: 6643: 6642: 6640: 6636: 6630: 6627: 6625: 6622: 6620: 6617: 6615: 6612: 6610: 6607: 6605: 6602: 6601: 6599: 6595: 6589: 6586: 6584: 6581: 6579: 6576: 6574: 6571: 6569: 6566: 6564: 6561: 6559: 6556: 6555: 6553: 6549: 6543: 6540: 6538: 6535: 6533: 6530: 6528: 6525: 6523: 6520: 6518: 6515: 6513: 6510: 6508: 6505: 6503: 6500: 6499: 6497: 6495: 6491: 6485: 6482: 6480: 6477: 6475: 6474:P. B. Shelley 6472: 6470: 6467: 6465: 6462: 6460: 6457: 6455: 6454:Mary Robinson 6452: 6450: 6447: 6445: 6442: 6440: 6437: 6435: 6432: 6430: 6427: 6425: 6422: 6420: 6417: 6415: 6412: 6410: 6407: 6405: 6402: 6400: 6397: 6395: 6392: 6390: 6387: 6385: 6382: 6380: 6377: 6375: 6372: 6371: 6369: 6367: 6361: 6355: 6352: 6350: 6347: 6345: 6342: 6340: 6337: 6335: 6332: 6330: 6327: 6325: 6322: 6320: 6317: 6315: 6312: 6310: 6307: 6305: 6302: 6300: 6297: 6295: 6292: 6290: 6287: 6285: 6282: 6280: 6277: 6275: 6272: 6270: 6267: 6265: 6262: 6260: 6257: 6255: 6252: 6250: 6247: 6246: 6244: 6240: 6234: 6231: 6229: 6226: 6224: 6221: 6219: 6216: 6214: 6211: 6209: 6206: 6204: 6201: 6199: 6196: 6194: 6191: 6189: 6186: 6184: 6183:Chateaubriand 6181: 6179: 6176: 6174: 6171: 6170: 6168: 6166: 6162: 6156: 6153: 6151: 6148: 6146: 6143: 6141: 6138: 6136: 6133: 6131: 6128: 6126: 6123: 6121: 6118: 6116: 6113: 6111: 6108: 6106: 6103: 6101: 6098: 6096: 6093: 6091: 6088: 6087: 6085: 6081: 6078: 6076: 6072: 6066: 6063: 6061: 6060: 6056: 6054: 6051: 6049: 6046: 6044: 6041: 6039: 6036: 6034: 6031: 6029: 6026: 6024: 6021: 6019: 6016: 6014: 6013: 6012:Mal du siècle 6009: 6007: 6004: 6000: 5997: 5995: 5992: 5991: 5990: 5987: 5985: 5982: 5980: 5979: 5975: 5973: 5970: 5968: 5965: 5964: 5962: 5958: 5952: 5949: 5947: 5944: 5942: 5939: 5937: 5934: 5932: 5931: 5927: 5925: 5922: 5918: 5917: 5913: 5912: 5911: 5908: 5906: 5903: 5901: 5898: 5896: 5893: 5891: 5888: 5886: 5883: 5881: 5878: 5876: 5873: 5871: 5868: 5866: 5863: 5861: 5858: 5856: 5853: 5851: 5848: 5846: 5843: 5841: 5838: 5836: 5833: 5832: 5830: 5826: 5820: 5817: 5815: 5812: 5810: 5807: 5805: 5802: 5800: 5797: 5795: 5792: 5790: 5787: 5785: 5782: 5780: 5777: 5774: 5772: 5769: 5767: 5764: 5763: 5761: 5757: 5753: 5746: 5741: 5739: 5734: 5732: 5727: 5726: 5723: 5711: 5707: 5703: 5701: 5693: 5692: 5689: 5688: 5682: 5681: 5673: 5665: 5662: 5661: 5660: 5657: 5653: 5650: 5648: 5645: 5643: 5640: 5638: 5635: 5634: 5633: 5630: 5628: 5625: 5624: 5622: 5618: 5611: 5607: 5605: 5602: 5600: 5597: 5595: 5592: 5590: 5587: 5585: 5584: 5580: 5578: 5575: 5573: 5570: 5569: 5567: 5563: 5557: 5554: 5552: 5549: 5547: 5544: 5542: 5539: 5537: 5534: 5532: 5529: 5527: 5524: 5522: 5519: 5517: 5514: 5512: 5509: 5507: 5504: 5503: 5501: 5497: 5491: 5488: 5486: 5483: 5482: 5480: 5476: 5470: 5467: 5465: 5462: 5460: 5457: 5455: 5452: 5450: 5447: 5445: 5442: 5440: 5437: 5435: 5432: 5430: 5427: 5425: 5422: 5420: 5417: 5415: 5412: 5410: 5407: 5405: 5402: 5400: 5397: 5395: 5394:J. Strauss II 5392: 5390: 5387: 5385: 5382: 5380: 5377: 5375: 5372: 5370: 5367: 5365: 5362: 5360: 5357: 5355: 5352: 5350: 5347: 5345: 5342: 5340: 5337: 5335: 5332: 5330: 5327: 5325: 5322: 5320: 5317: 5315: 5312: 5310: 5307: 5305: 5302: 5300: 5297: 5295: 5292: 5290: 5287: 5285: 5282: 5280: 5277: 5275: 5272: 5270: 5267: 5265: 5262: 5260: 5257: 5255: 5252: 5250: 5247: 5245: 5242: 5240: 5237: 5235: 5232: 5230: 5227: 5225: 5222: 5220: 5217: 5215: 5212: 5210: 5207: 5205: 5202: 5200: 5197: 5195: 5192: 5190: 5187: 5185: 5182: 5180: 5177: 5175: 5172: 5170: 5167: 5165: 5162: 5160: 5157: 5155: 5152: 5150: 5147: 5145: 5142: 5140: 5137: 5135: 5132: 5130: 5127: 5125: 5122: 5120: 5117: 5115: 5112: 5110: 5107: 5105: 5102: 5100: 5097: 5095: 5092: 5090: 5087: 5085: 5082: 5080: 5077: 5075: 5072: 5070: 5067: 5065: 5062: 5060: 5057: 5055: 5052: 5050: 5047: 5045: 5042: 5040: 5037: 5035: 5032: 5030: 5027: 5025: 5022: 5020: 5017: 5015: 5012: 5010: 5007: 5005: 5002: 5000: 4997: 4995: 4992: 4990: 4987: 4985: 4982: 4980: 4977: 4975: 4972: 4970: 4967: 4965: 4962: 4960: 4957: 4955: 4952: 4950: 4947: 4945: 4942: 4940: 4937: 4935: 4932: 4930: 4927: 4925: 4922: 4920: 4917: 4915: 4912: 4910: 4907: 4905: 4902: 4900: 4897: 4895: 4892: 4890: 4887: 4885: 4882: 4880: 4877: 4875: 4872: 4870: 4867: 4865: 4862: 4860: 4857: 4855: 4852: 4850: 4847: 4845: 4842: 4840: 4837: 4835: 4832: 4830: 4827: 4825: 4822: 4820: 4817: 4815: 4812: 4810: 4807: 4805: 4802: 4800: 4797: 4795: 4792: 4790: 4787: 4785: 4782: 4780: 4777: 4775: 4772: 4771: 4769: 4765:Composers and 4763: 4759: 4754: 4750: 4743: 4738: 4736: 4731: 4729: 4724: 4723: 4720: 4714: 4707: 4695: 4694: 4689: 4685: 4683: 4682: 4673: 4672: 4669: 4663: 4660: 4658: 4655: 4654: 4652: 4648: 4641: 4640: 4636: 4633: 4632: 4628: 4627: 4625: 4621: 4615: 4612: 4610: 4607: 4606: 4604: 4600: 4593: 4590: 4587: 4584: 4583: 4581: 4579:Chamber music 4577: 4570: 4569: 4565: 4562: 4561: 4557: 4556: 4554: 4550: 4543: 4542: 4538: 4535: 4534: 4530: 4527: 4526: 4522: 4519: 4518: 4514: 4511: 4510: 4506: 4503: 4502: 4498: 4495: 4494: 4490: 4487: 4482: 4481: 4477: 4474: 4473: 4469: 4468: 4466: 4462: 4458: 4453: 4449: 4442: 4437: 4435: 4430: 4428: 4423: 4422: 4419: 4413: 4409: 4406: 4403: 4399: 4396: 4395: 4382: 4377: 4370: 4366: 4365:Tyrrell, John 4362: 4358: 4352: 4348: 4343: 4331: 4327: 4323: 4319: 4313: 4309: 4304: 4300: 4294: 4290: 4286: 4282: 4278: 4272: 4268: 4263: 4249: 4247:9781561592630 4243: 4239: 4235: 4231: 4230: 4225: 4220: 4216: 4212: 4208: 4202: 4198: 4193: 4189: 4183: 4179: 4178: 4173: 4169: 4162: 4158: 4155:(4): 516–36. 4154: 4150: 4145: 4142: 4131: 4125: 4121: 4116: 4115: 4109: 4105: 4101: 4095: 4091: 4086: 4082: 4076: 4072: 4070: 4065: 4064:Stanley Sadie 4060: 4056: 4052: 4048: 4047: 4046: 4045: 4027: 4021: 4006: 4000: 3996: 3991: 3990: 3984: 3978: 3969: 3967: 3957: 3948: 3942:Large, p. 391 3939: 3930: 3924:Large, p. 205 3921: 3912: 3904: 3898: 3894: 3890: 3886: 3879: 3871: 3865: 3859:Large, p. 268 3856: 3850:Large, p. 370 3847: 3838: 3832:Large, p. 348 3829: 3820: 3811: 3809: 3799: 3793:Large, p. 119 3790: 3781: 3772: 3763: 3761: 3759: 3757: 3738: 3734: 3727: 3718: 3709: 3702: 3696: 3690:Grout, p. 534 3687: 3668: 3664: 3657: 3655: 3653: 3651: 3649: 3639: 3630: 3621: 3615:Large, p. 288 3612: 3603: 3594: 3585: 3579:Large, p. 108 3576: 3567: 3558: 3539: 3535: 3528: 3526: 3524: 3522: 3520: 3518: 3508: 3499: 3497: 3495: 3485: 3476: 3465: 3461: 3458:(4): 516–36. 3457: 3453: 3446: 3437: 3421: 3417: 3410: 3404:Large, p. 378 3401: 3392: 3383: 3364: 3360: 3353: 3351: 3349: 3347: 3345: 3335: 3333: 3323: 3314: 3305: 3286: 3282: 3275: 3273: 3271: 3269: 3267: 3257: 3248: 3232: 3228: 3222: 3220: 3210: 3202: 3196: 3192: 3185: 3176: 3167: 3165: 3163: 3161: 3159: 3157: 3147: 3138: 3136: 3134: 3124: 3122: 3112: 3103: 3094: 3075: 3071: 3064: 3062: 3060: 3058: 3056: 3054: 3052: 3050: 3040: 3033: 3027: 3021:Steen, p. 702 3018: 3012:Large, p. 374 3009: 3000: 2991: 2985:Large, p. 303 2982: 2973: 2964: 2955: 2946: 2944: 2942: 2935:Large, p. 171 2932: 2930: 2923:Large, p. 220 2920: 2911: 2902: 2900: 2890: 2881: 2879: 2877: 2875: 2873: 2871: 2861: 2855:Steen, p. 701 2852: 2846:Large, p. 197 2843: 2834: 2825: 2823: 2821: 2811: 2809: 2799: 2797: 2787: 2778: 2776: 2766: 2760:Large, p. 145 2757: 2755: 2745: 2739:Large, p. 134 2736: 2727: 2718: 2709: 2707: 2700:Grout, p. 532 2697: 2678: 2674: 2667: 2665: 2663: 2661: 2659: 2657: 2655: 2653: 2651: 2649: 2647: 2637: 2635: 2628:Large, p. 126 2625: 2616: 2614: 2612: 2610: 2608: 2601:Large, p. 120 2598: 2589: 2583:Large, p. 114 2580: 2571: 2564: 2560: 2557:According to 2554: 2545: 2536: 2527: 2525: 2523: 2521: 2519: 2509: 2500: 2491: 2489: 2479: 2470: 2461: 2459: 2439: 2435: 2428: 2426: 2424: 2422: 2412: 2410: 2408: 2406: 2396: 2387: 2385: 2375: 2366: 2364: 2362: 2352: 2350: 2348: 2338: 2329: 2310: 2306: 2299: 2297: 2295: 2285: 2279:Steen, p. 696 2276: 2274: 2264: 2262: 2260: 2258: 2248: 2239: 2230: 2228: 2218: 2209: 2199: 2190: 2181: 2172: 2170: 2168: 2166: 2156: 2147: 2138: 2136: 2134: 2124: 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Songs 1386: 1384: 1380: 1376: 1366: 1363: 1359: 1354: 1352: 1347: 1336: 1334: 1330: 1323: 1319: 1309: 1307: 1303: 1293: 1285: 1281: 1279: 1274: 1270: 1266: 1261: 1259: 1251: 1246: 1242: 1240: 1239: 1238:Twelfth Night 1234: 1233: 1228: 1224: 1200: 1195: 1186: 1183: 1177: 1175: 1170: 1162: 1157: 1153: 1151: 1150: 1145: 1144: 1139: 1138: 1133: 1132: 1126: 1122: 1118: 1117: 1112: 1102: 1098: 1096: 1092: 1091: 1076: 1067: 1065: 1061: 1057: 1056: 1050: 1048: 1042: 1040: 1039:Italian opera 1036: 1032: 1028: 1024: 1019: 1010: 1008: 1007: 1002: 998: 994: 990: 989: 984: 980: 979: 974: 970: 966: 962: 957: 952: 949: 945: 941: 937: 936: 928:Opera maestro 925: 923: 919: 918:Rosa Newmarch 914: 907: 903: 899: 895: 892: 888: 884: 880: 879: 875: 870: 868: 867:Národní listy 863: 859: 850: 846: 842: 840: 836: 832: 828: 824: 808: 805: 801: 796: 791: 789: 785: 781: 780: 774: 751: 749: 734: 732: 728: 724: 723: 718: 717:drama trilogy 716: 711: 707: 703: 699: 695: 691: 690: 686: 681: 679: 675: 674: 669: 660: 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7017: 6818:Chavchavadze 6808:Baratashvili 6568:João de Deus 6537:Wincenty Pol 6329:Küchelbecker 6057: 6023:Noble savage 6010: 5976: 5951:Wallenrodism 5928: 5914: 5845:Coppet group 5779:(literature) 5685: 5678: 5581: 5565:Other topics 5389:J. Strauss I 5363: 5279:Rachmaninoff 5034:Gretchaninov 4691: 4679: 4638: 4630: 4566: 4558: 4539: 4531: 4523: 4515: 4507: 4499: 4491: 4478: 4470: 4447: 4380: 4368: 4346: 4334:. Retrieved 4330:the original 4307: 4288: 4266: 4251:. Retrieved 4227: 4196: 4176: 4172:Large, Brian 4152: 4148: 4141:Karel Sebor. 4140: 4133:. Retrieved 4113: 4089: 4067: 4054: 4043: 4042: 4030:. Retrieved 4020: 4008:. Retrieved 3988: 3977: 3956: 3947: 3938: 3929: 3920: 3911: 3884: 3878: 3864: 3855: 3846: 3837: 3828: 3819: 3798: 3789: 3780: 3771: 3740:. Retrieved 3736: 3726: 3717: 3708: 3695: 3686: 3678:(Section 6) 3670:. Retrieved 3666: 3638: 3629: 3620: 3611: 3602: 3593: 3588:Large, p. 85 3584: 3575: 3570:Large, p. 62 3566: 3557: 3549:(Section 7) 3541:. Retrieved 3537: 3511:Large, p. 46 3507: 3484: 3475: 3455: 3451: 3445: 3436: 3423:. Retrieved 3419: 3409: 3400: 3391: 3382: 3374:(Section 9) 3366:. Retrieved 3362: 3326:Large, p. 41 3322: 3313: 3304: 3296:(Section 10 3288:. Retrieved 3284: 3256: 3247: 3235:. 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Retrieved 1854: 1845: 1837: 1836: 1812: 1799:John Tyrrell 1796: 1781: 1776: 1772: 1767: 1765: 1744:2047 Smetana 1737: 1732: 1728: 1724: 1719: 1715: 1711: 1707: 1705: 1699: 1689: 1685: 1681: 1679: 1674: 1670: 1667: 1646: 1642: 1638: 1633: 1631: 1622: 1619: 1600: 1586: 1573: 1553: 1549: 1545: 1540: 1536: 1532: 1530: 1511: 1507: 1487: 1483: 1473:neo-Romantic 1468: 1464: 1460: 1456: 1454: 1449: 1441:epithalamium 1436: 1430: 1420: 1412:From My Life 1410: 1407: 1397: 1389: 1387: 1382: 1378: 1374: 1372: 1362:Czech Dances 1361: 1357: 1355: 1350: 1345: 1342: 1325: 1298: 1277: 1262: 1255: 1236: 1230: 1226: 1220: 1181: 1178: 1173: 1168: 1166: 1147: 1141: 1135: 1131:From My Life 1130: 1124: 1120: 1114: 1108: 1099: 1088: 1086: 1070:Final decade 1059: 1053: 1051: 1043: 1034: 1026: 1022: 1020: 1016: 1004: 1000: 986: 976: 972: 955: 953: 939: 933: 931: 921: 912: 910: 901: 886: 876: 871: 866: 862:The Renegade 861: 857: 854: 838: 819: 803: 799: 792: 777: 770: 747: 730: 720: 714: 705: 701: 697: 693: 687: 682: 677: 671: 664: 648: 644: 641: 602: 589:tuberculosis 586: 560:Franz Joseph 555: 548:Album Leaves 547: 543: 539: 533: 515: 509: 496:Karel Sabina 482:to words by 479: 468: 452: 444:Early career 422: 410: 398: 392: 387: 380: 354:Německý Brod 339: 334: 308: 301: 286: 247: 229: 211: 205: 202: 183: 164: 158: 60: 59: 36: 8764:1884 deaths 8759:1824 births 8474:Hugo Alfvén 8302:Béla Bartók 7821:Michałowski 7653:Wackenroder 7618:F. Schlegel 7613:A. Schlegel 7389:Tchaikovsky 7278:Bortkiewicz 7150:R. Schumann 7145:C. Schumann 7110:Kalkbrenner 7079:Saint-Saëns 6384:Anne Brontë 6269:Eichendorff 6254:B. v. Arnim 6249:A. v. Arnim 6059:Weltschmerz 6018:Medievalism 5967:Blue flower 5895:Nationalist 5840:Bohemianism 5752:Romanticism 5632:Romanticism 5414:Tchaikovsky 5349:R. Schumann 5344:C. Schumann 5329:Saint-Saëns 5224:Niedermeyer 5114:Leoncavallo 5084:Kalkbrenner 4859:Bortkiewicz 4642:(1956 film) 4634:(1932 film) 3431:(Section 8) 3237:29 November 2563:Der Barbier 2070:Large, p. 5 1966:Large, p. 3 1815:Czech music 1671:Richard III 1445:Brian Large 1433:Mendelssohn 1339:Piano works 883:Shakespeare 800:Richard III 715:Wallenstein 698:Richard III 512:Franz Liszt 377:First steps 220:Franz Liszt 155:Czech music 48: 1878 8748:Categories 8521:Argentina 8424:Ján Cikker 8232:Niels Gade 7696:Chassériau 7671:Aivazovsky 7379:Rubinstein 7364:Mussorgsky 7313:Wieniawski 7298:Paderewski 7140:Moszkowski 6923:Vörösmarty 6913:Shevchenko 6767:Longfellow 6691:Batyushkov 6686:Baratynsky 6655:Espronceda 6522:Mickiewicz 6517:Malczewski 6484:Wordsworth 6469:M. Shelley 6424:de Quincey 6289:Günderrode 6173:Baudelaire 6053:Wanderlust 5890:Lake Poets 5620:Background 5521:Intermezzo 5454:Wieniawski 5434:Vieuxtemps 5399:R. Strauss 5324:Rubinstein 5249:Paderewski 5219:Mussorgsky 5214:Moszkowski 5189:Mercadante 4560:Hakon Jarl 4525:The Secret 4032:3 February 4010:3 February 3701:Adolf Čech 3699:Letter to 1833:References 1712:The Secret 1599:Overture: 1568:See also: 1469:Hakon Jarl 1461:Die Ideale 1427:Orchestral 1316:See also: 1265:Týn Church 1223:Jan Neruda 1143:The Secret 1095:Adolf Čech 1013:Opposition 963:, Mozart, 722:Hakon Jarl 685:Schubert's 678:Die Ideale 659:Gothenburg 638:Gothenburg 627:Gothenburg 484:Ján Kollár 429:impromptus 425:bagatelles 400:Quadrilles 384:Nové Město 352:school at 198:Gothenburg 129:-ər-zhikh 8640:Biography 8420:Slovakia 8397:César Cui 8136:Modernism 7796:Kiprensky 7756:Géricault 7741:Friedrich 7731:Delacroix 7706:Constable 7686:Bonington 7676:Bierstadt 7628:Senancour 7603:Schelling 7558:Lamennais 7553:Khomyakov 7518:Coleridge 7513:Chaadayev 7420:Stanković 7415:Mokranjac 7334:Balakirev 7293:Moniuszko 7242:Donizetti 7237:Cherubini 7135:Meyerbeer 7120:Marschner 7095:Beethoven 7008:Moscheles 6942:Musicians 6928:Wergeland 6893:Orbeliani 6848:Grundtvig 6752:Hawthorne 6721:Zhukovsky 6716:Vyazemsky 6701:Lermontov 6660:Gutiérrez 6619:Radičević 6583:Herculano 6507:Krasiński 6449:Radcliffe 6419:Coleridge 6394:E. Brontë 6389:C. Brontë 6319:Jean Paul 6314:Hölderlin 6203:Lamartine 6140:Magalhães 6130:Guimarães 6038:Pantheism 6028:Nostalgia 5880:Indianism 5828:Movements 5759:Countries 5234:Offenbach 5209:Moscheles 5204:Moniuszko 5199:Meyerbeer 5154:Marschner 5139:MacDowell 4954:Donizetti 4899:Cherubini 4889:Chaminade 4814:Beethoven 4799:Balakirev 4789:Atterberg 4767:musicians 4602:Namesakes 4594:(1882–83) 4571:(1872–79) 4563:(1860–61) 4483:(1866) 1923:13 August 1911:"Smetana" 1866:13 August 1851:"Smetana" 1807:Josef Suk 1653:Reception 1333:Meyerbeer 1163:in Prague 1111:Jabkenice 965:Donizetti 795:Solferino 788:Stockholm 524:Ferdinand 331:Beethoven 323:gymnasium 239:Biography 43:Smetana, 8515:Americas 8387:The Five 8363:Romania 8298:Hungary 8283:Germany 8253:Finland 8243:Estonia 8228:Denmark 8148:Category 7964:Dahlhaus 7949:Blanning 7916:Scholars 7886:Tropinin 7881:Tidemand 7871:Stattler 7866:Scheffer 7766:Głowacki 7736:Edelfelt 7691:Bryullov 7633:Snellman 7608:Schiller 7598:Rousseau 7578:Michelet 7523:Constant 7493:Belinsky 7466:Sibelius 7410:Konjović 7384:Scriabin 7354:Lyapunov 7288:Lipiński 7257:Spontini 7247:Paganini 7191:Goldmark 6982:Thalberg 6977:Schubert 6957:Bruckner 6918:Topelius 6908:Runeberg 6898:Prešeren 6868:Leopardi 6833:Frashëri 6823:Eminescu 6803:Andersen 6711:Tyutchev 6696:Karamzin 6670:Zorrilla 6665:Saavedra 6563:Castilho 6551:Portugal 6542:Słowacki 6444:Polidori 6374:Barbauld 6309:Hoffmann 6264:Brentano 6178:Bertrand 5999:Romantic 5835:Ancients 5809:Scotland 5700:Category 5677: ← 5556:Symphony 5419:Thalberg 5384:Spontini 5359:Sibelius 5354:Scriabin 5339:Schubert 5334:Sarasate 5299:Respighi 5294:Reinecke 5254:Paganini 5164:Massenet 5159:Masarnau 5144:Madetoja 5089:Kreisler 5079:Kalivoda 5024:J. Gomis 5009:Glazunov 5004:Giuliani 4894:Chausson 4884:Chadwick 4874:Bruckner 4681:Category 4568:Má vlast 4517:The Kiss 4287:(1975). 4253:7 August 4174:(1970). 4053:(1968). 2032:7 August 1821:See also 1792:Litomyšl 1729:Má vlast 1716:The Kiss 1623:The Kiss 1550:Má vlast 1541:Má vlast 1537:Má vlast 1533:Má vlast 1508:Má vlast 1484:Má vlast 1398:Our Song 1351:Preludes 1258:syphilis 1137:The Kiss 1121:Vyšehrad 1116:Má vlast 1083:Deafness 948:Prussian 645:Frithjof 500:libretti 335:Kvapiček 250:Litomyšl 166:Má vlast 8626:Portals 8561:Mexico 8551:Canada 8531:Brazil 8470:Sweden 8373:Russia 8343:Poland 8333:Norway 8268:France 7989:Lovejoy 7924:Abraham 7846:Richard 7836:Préault 7761:Girodet 7643:Thoreau 7588:Novalis 7573:Mazzini 7568:Maistre 7543:Hazlitt 7528:Emerson 7508:Carlyle 7498:Berchet 7441:Berwald 7436:Bennett 7405:Hristić 7359:Medtner 7339:Borodin 7329:Arensky 7252:Rossini 7227:Bellini 7206:Joachim 7179:Hungary 7160:Strauss 7088:Germany 7054:Berlioz 7023:Voříšek 7018:Smetana 6996:Czechia 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