life. I have studied theory; I know what style means and I am
master of it. But I prefer to have circumstances determine form
and so have written this quartet in the form which it itself de-
manded.” In the first and last of the four movements there is a
long sustained high E, symbolic of the buzzing sound which the
composer constantly heard as his congenital deafness increased.
This malady finally affected his mind and was the cause of his
tragic death in an asylum at Prague.
[Footnote 324: His surname is to be accented on the first syllable—
a fact which may be remembered from the story attributed to
Liszt who, once asking Smetana how his name was to be pro-
nounced received this reply: My name is always
[Music:Overture to Fidelio
Smétana, Smétana, Smétana]
but never
[Music:Overture to Leonora, No. 3
Friedrich Smetána Friedrich Smetána.]]
[Footnote 325: For example in the second movement of Smetana’s
Quartet and in Dvo[vr]ák’s Suite for small orchestra, op. 39.]
[Footnote 326: For a graphic description of the country and the
customs of its people consult the essay on Dvo[vr]ák in Hadow’s
Studies in Modern Music.]
[Footnote 327: A detailed account of these works may be found
in the article on Smetana inFamous Composers and their Works
(2d series).]
Although in some respects not so characteristic as Smetana,
Dvo[vr]ák[328] (1841-1904), by reason of his greater breadth and
more cosmopolitan style, is considered the representative Bo-
hemian composer. Dvo[vr]ák’s music in its simplicity and in its
spontaneity of treatment is a reincarnation of Schubert’s spirit;
we feel the same overflowing musical life and we must make
the same allowances for looseness of structure. Dvo[vr]ák, how-
ever, has made one contribution thoroughly his own—his skill
in handling the orchestra. He was a born colorist and his scores
in their clarity, in the subtle distinctions between richness and
delicacy, are recognized masterpieces. As a sensuous delight to
the ear they may be compared to the fine glow of certain Dutch