is name was to be pronounced received this
reply: My name is always

[Music: _Overture to Fidelio_

Smetana, Smetana, Smetana]

but never

[Music: _Overture to Leonora, No. 3_

Friedrich Smetana Friedrich Smetana.]]

[Footnote 325: For example in the second movement of Smetana's Quartet
and in Dvo[vr]ak'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]ak in Hadow's
_Studies in Modern Music_.]

[Footnote 327: A detailed account of these works may be found in the
article on Smetana in _Famous Composers and their Works_ (2d series).]

Although in some respects not so characteristic as Smetana,
Dvo[vr]ak[328] (1841-1904), by reason of his greater breadth and more
cosmopolitan style, is considered the representative Bohemian
composer. Dvo[vr]ak'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]ak, however, 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 canvases--those for example of Vermeer. Dvo[vr]ak's
compositions are varied and fairly numerous (some 111 opus numbers)
comprising operas, cantatas, chamber music, symphonies, overtures,
pianoforte pieces and songs. From 1892 to 1895 he was in this country
as director of the National Conservatory in New York. Three works
composed during this period, a _Quartet_, a _Quintet_ and _The New
World Symphony_, are of special interest to us since they were meant
as a compliment to the possibilities of American music and also
reflect Dvo[vr]ak's attitude toward the sources of musical
inspiration. A true child of the people, and the embodiment of
folk-music, he naturally searched for native material when he wished
to compose something characteristically American. But folk-music in
our country, as has been stated in Chapter II, is (or was at
Dvo[vr]ak's time) practically limited to that of the Indians and the
Negroes. It is often stated, in fact, that the New World Symphony is
founded upon Negro tunes. This, however, is a sweeping assertion.
There