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Smetana wrote his Piano Trio in G minor 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.
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Smetana and wrote
Czech composers also developed a thriving national opera movement of their own in the 19th century, starting with Bedřich Smetana, who wrote eight operas including the internationally popular The Bartered Bride.
Smetana wrote a series of patriotic works, including two marches dedicated respectively to the Czech National Guard and the Students ' Legion of the University of Prague, and The Song of Freedom to words by Ján Kollár.
Early in 1848, Smetana wrote to Franz Liszt, whom he had not yet met, asking him to accept the dedication of a new piano work, Six Characteristic Pieces, and recommend it to a publisher.
Smetana also wrote two large-scale piano works: Macbeth and the Witches, and an Étude in C in the style of Liszt.
Smetana wrote that she had died " gently, without our knowing anything until the quiet drew my attention to her.
" I was called on stage nine times ," Smetana wrote, recording that the house was sold out and that the critics were full of praise.
In January 1875 Smetana wrote in his journal: " If my disease is incurable, then I should prefer to be liberated from this life.
Czech composers Bedřich Smetana, Antonín Dvořák, and Bohuslav Martinů all wrote mazurkas to at least some extent.
Smetana and Sabina wrote the opera at a time of great Czech patriotism, with the pending opening of a new theatre for production of Czech operas in Prague.
Smetana and Piano
Despite Liszt's lack of financial support, Smetana was able to start a Piano Institute in late August 1848, with twelve students.
On 4 January 1880, a special concert in Prague marked the 50th anniversary of his first public performance ; Smetana attended, and played his Piano Trio in G minor from 1855.
In the last concert of the previous season, they performed Roman Carnival Overture by Berlioz, The Moldau by Bedrich Smetana, a movement of Beethoven's Piano Concerto No. 2, a movement of Wieniawsky's Violin Concerto # 2, and Tchaikovsky's Symphony No. 4.
Smetana and G
Under Proksch, however, Smetana acquired more polish, as revealed in works such as the G minor Sonata of 1846 and the E-flat Polka of the same year.
Smetana and minor
" 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 Preludes.
* Smetana: String Quartet No. 1 in e minor " From My Life " ( Decca 452 239-2 ) ( 2003 )
* Bedřich Smetana – String Quartet in E minor (" From my Life ")
Smetana and her
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 ".
In June 1847, on resigning his position in the Thun household, Smetana recommended her as his replacement.
In her honour Smetana transcribed two songs from Schubert's Die schöne Müllerin cycle, and transformed one of his own early piano pieces into a polka entitled Vision at the Ball.
" I cannot live under the same roof as a person who hates and persecutes me ", Smetana informed her.
One of her protégés was the leading Czech musician of that time, Bedřich Smetana, whom she introduced to the music circles of Vienna and Paris.
Smetana and memory
Following these changes, the quartet embarked on a successful series of recordings: a cycle of all six Bartok quartets ( dedicated to the memory of Ormai, who died in 1995 ) and a critically acclaimed complete Beethoven quartet cycle, as well as quartets by Smetana and Borodin.
Smetana and ;
During this period of his life Smetana was twice married ; of six daughters, three died in infancy.
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 Frithjof and The Viking's Voyage, were sketched but abandoned.
The occasion was the Karl August Goethe-Schiller Jubilee celebrations ; Smetana attended performances of Liszt's Faust Symphony and the symphonic poem Die Ideale, which invigorated and inspired him.
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.
On 16 May 1868 Smetana, representing Czech musicians, helped to lay the foundation stone for the future National Theatre ; he had written a Festive Overture for the occasion.
" By the summer Smetana was ill ; a throat infection was followed by a rash and an apparent blockage to the ears.
Shortly after this event the new theatre was destroyed by fire ; despite his infirmities, Smetana helped to raise funds for the rebuilding.
Smetana dedicated Má vlast 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.
During the summer of 1874, Smetana began to lose his hearing, and total deafness quite quickly followed ; he woke on the morning of 20 October to find himself completely unable to hear anything.
; Music by Smetana and Janáček
Smetana and was
Bedřich Smetana (; 2 March 1824 – 12 May 1884 ) was a Czech composer who pioneered the development of a musical style which became closely identified with his country's aspirations to independent statehood.
Smetana was naturally gifted as a pianist, and gave his first public performance at the age of six.
Bedřich Smetana was born as Friedrich Smetana on 2 March 1824, in Litomyšl, east of Prague near the traditional border between Bohemia and Moravia, then provinces of the Habsburg Empire.
He was the third child, and first son, of František Smetana and his third wife Barbora Lynková.
The elder Smetana, although uneducated, had a natural gift for music and was a competent violinist who played in a string quartet.
There being no suitable local school, Smetana was sent to the gymnasium at Jihlava, where he was homesick and unable to study.
Finding Jungmann's school uncongenial ( he was mocked by his classmates for his country manners ), Smetana soon began missing classes.
Smetana was placed temporarily with his uncle in Nové Město, where he enjoyed a brief romance with his cousin Louisa.
Smetana was briefly a participant in the uprising.
For a brief period in 1848, Smetana was a revolutionary.
The nascent uprising was quickly crushed, but Smetana avoided the imprisonment or exile received by leaders such as Havlíček.
This encouragement was the beginning of a friendship that was of great value to Smetana in his subsequent career.
After a period of struggle the Institute began to flourish and became briefly fashionable, particularly among supporters of Czech nationalism in whose eyes Smetana was developing a reputation.
His disenchantment with Prague was growing and, perhaps influenced by Dreyschock's accounts of opportunities to be found in Sweden, Smetana decided to seek success there.
" 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 Der Barbier von Bagdad, by Liszt's pupil Peter Cornelius.
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.
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