be combined with fresh thematic materials, elastically disposed for emotional or dramatic effect, and with sympathetic use of the modern studies in instrumentation. A few of the leading writers took their impetus from the intellectualism of Schumann, but more were susceptible to the sensational style of Liszt and Berlioz. In Russia a pronounced national type of composition began to take shape, deriving some outlines from German sources, but more and more tending to devise its own path in accord with the Slavic temperament and traditions. This Russian movement almost from the start had a clear analogy with the efforts of Wagner and the 'New-Germans.'
As in the preceding section, no attempt is made to classify the names
selected beyond arranging them approximately in the order of appearance.
Two early Bohemian composers on classical lines were Wenzel Heinrich Veit (d. 1864), a civil official at Leitmeritz, self-taught, but expert, with a symphony, an overture, and many quintets and quartets; and J. F. Kittl (d. 1868), trained at Prague, where in 1843 he followed Dionys Weber as head of the conservatory, with 3 symphonies (one given by Mendelssohn at Leipsic in 1840) and several chamber works, besides 4 operas (1825-54) and church music. The Tyrolese Johann Rufinatscha (d. 1893), long prominent at Vienna as a teacher, wrote 5 symphonies, 4 overtures, a piano-concerto, etc. The Hungarian Mosonyi [Michael Brandt] (d. 1870), though classically trained, after living from 1842 at Pesth and being intimate with Liszt, became eager, especially about 1860, to emphasize national qualities. In this vein he wrote a memorial symphony, a symphonic poem, an overture, besides 3 operas (from 1857).
Robert Volkmann (d. 1883), born in Saxony in 1813, studied chiefly with K. F. Becker at Leipsic, receiving help from Schumann's kindly interest. From 1839 he taught at Prague, but in 1842 removed to Pesth, where he worked for over 40 years (except 1854-8 at Vienna), and where he was professor of harmony and counterpoint at the National Academy. Among his numerous works are 2 able symphonies, a Festouvertüre and one to Richard III., 3 famous serenades, 6 quartets, 2 trios, a 'cello-concerto, etc., besides piano and vocal works. He united old and new features with a notable clarity and euphony of style. Occasionally he chose Hungarian themes. Properly, he is to be classed as a transplanted German composer, somewhat connected with Schumann.
Friedrich Smetana (d. 1884), on the other hand, was not only deeply imbued with the most advanced ideas of the new school, but devoted to the exploitation with vigorous originality of the national music of Bohemia. He was born in 1824 and was trained as a pianist by Proksch at Prague and by Liszt. His life was largely associated with Prague, where he taught in 1848-56 and where in 1866-74 he was conductor at the National Theatre, retiring because of increasing deafness. He wrote 9 symphonic poems, beginning
