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 are songs, very spontaneous and delicate, and pianoforte compositions, in all of which he has made very large use of national melodies and dance rhythms; also chamber music of great beauty.

Dvorak is a prominent example of the eagerness with which a certain school turned to folk-song and national dance as a fountain of inspiration. So long accustomed to Teutonic leadership, musical Europe gladly heard the new rhythms and strange harmonic effects of the Slav races. The characteristics of Dvorak's compositions are, first, the strong Czech element which pervades them and displays itself in characteristic rhythmical effects and relations of tonalities peculiar to Western ears; secondly, the economical and often extremely clever use of small thematic material.

Worthy to be associated with the names of Smetana and Dvorak is that of Zdenek Fibich (1850-1900), who ranks high as a composer of symphonies, grand overtures, and chamber music. His songs are very popular, but his most important works are in the form of grand opera, written after the style of Wagner. Fibich shows marked individuality in this art, which is refined and serious but not particularly expressive of Bohemian national feeling.

Other of Smetana's contemporaries and followers are Karel Bendl, Karel Sebor, Richard Rozkosny, Vilem Blodek, Jan Malat, and V. J. Novotny. Of the younger generation we have Dvorak's and Fibich's very promising pupils, Jos. B. Foerster, Karel Weiss, and Karel Kova- 47