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(Dumka or elegy, Furiant or Bohemian Dances, Slav Dances), in all of which he has made very large use of national melodies and dance rhythms; also chamber music of great beauty (E flat Quartette op. 51.). His most ambition work is orchestral, (symphony in D op. 60.) and choral. Of the latter, the Spectre's Bride (Cantata written for the Birmingham Festival of 1885) is comparatively short, but full of that pulsing life which is characteristic of Dvořák’s best manner.
Dvořák is an prominent example of the eagerness with which a certain school turned to folk-song and national dance as a fountain of originality.
So long accustomed to Teutonic inspiration, musical Europe gladly heard the new rhythms and strange harmonic effects of the slav races. The characteristics of Dvořák’s Compositions are, first, the strong Czech element which pervades them, and displays itself in characteristic rhythmical effets and relations of tonalities, peculiar to western ears; Secondly, the economical and often extremely clever use of small thematic material.
The familiarity of the English musical public with Dvořák’s works, and their high appreciation of the merits of his compositions, tempts us to dwell longer on his achievements. But we must draw our notice of the master to a close and endeavour within the limits of this brief sketch to give a few more details of Bohemian musical history.
Worthy to be associated with the names of Smetana and Dvořák, is that of Zdeněk Fibich (1850—1900) who ranks high as a composer of symphonies, grand overtures and chamber music. His songs are also very popular. Fibich’s most important works are in the form of grand opera written after the style of Wagner.
The following are the titles of his best known compositions of this class „Bukovín“, „Bláník“, „Bouře“ (The storm), „Haidee“, „Šárka“, „Pád Arkuna“ (The fall of Arcona), and „Nevěsta Messinská“ (The bride of Messina).
Fibich shows marked individuality in this art, refined and serious in his work but not particularly expressive of Bohemian National feeling.
Other of Smetana’s Contemporaries Karel Bendl, Karel Šebor and Richard Rozkošný each of whom produced a va-
