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 ness exemplified by Liszt. Specially successful are its effects of vigorous, dashing rhythm and accent, and of brilliant color in instrumentation.

In the Bohemian list are Josef Rozkošný of Prague, born in 1833, with 10 operas (from 1870), overtures, masses and other vocal music; Eduard Náprawnik of St. Petersburg, born in 1839, a fine pianist and conductor, with 5 operas, including Dubrowski (1895), 4 symphonies, symphonic poems, overtures, chamber music, choral and solo works with orchestra, songs, etc.; Josef Nešwere of Olmutz, born in 1842, specially noted for his church music, but also with 3 operas, a symphony, a violin-concerto, piano-pieces, etc.; Antonin Dvořák (d. 1904), the best-known and most talented of the group, with 9 operas (from 1874), such as Selm a sedlák (1877), the oratorio St. Ludmila (1886, Leeds), many choral works, largely sacred, especially a Stabat Mater (1883, London), 5 symphonies, the last being From the New World (1894, New York), several orchestral ballades and overtures, 8 string-quartets and much other chamber music, a variety of piano music, songs, etc.; and Zdenko Fibich of Prague (d. 1900), with 7 operas (from 1874), including Sarka (1898), the trilogy Hippodamia (1890-1), many symphonic poems and overtures, 2 choral ballades, 3 symphonies, an orchestral suite, chamber music and many piano-pieces.

Among Hungarians are to be named Edmund von Mihalowich, born in 1842, with 4 operas (from 1882), of which Wieland der Schmied was on a text by Wagner, a symphony, several orchestral ballades, etc.; Géza Zichy, born in 1849, a remarkable one-hand piano-player, with 2 operas, especially Meister Roland (1899), a cantata and choral works, piano-studies for the left hand, etc., besides original poems; and the important violinist Jenö Hubay, born in 1858, with 4 operas, especially Der Geigenmacher von Cremona (1893), a symphony, a violin-concerto and other works for the violin.

The Russian group (Russia and Poland) has been for several decades full of energy and productiveness. Its ambition after world-wide recognition has not only stimulated study and composition at home, but led to organized efforts to propagate itself abroad. The energy and versatility displayed are impressive, supported in the case of Tschaikowski and a few others by unmistakable powers of creation. In all characteristically Russian music there is a strong racial flavor, derived from the extremely varied and fertile folk-music of the several divisions of the empire. This folk-music is one of the most interesting types found in Europe, having instinctive melodic beauty, latent harmonic richness and restless rhythmic individuality. In it are usually to be discerned two rather contradictory strains of feeling—the one sombre and even melancholic, the other