The choice of the theme of Princess Libuše for the opera shows how problematic mythology is in relation to operatic conventions. The decision of Josef Wenzig (or also Ervín Špindler) and Bedřich Smetana represents, in a sense, a risky artistic experiment as well as a quite exceptional solution. Smetana's Libuše was to retain its position as a representative work within Czech social life, and it still fulfils this purpose today. The history of the reception of Smetana's Libuše is closely linked to the history of the independent Czechoslovak (Czech) state; on the other hand, it is impossible not to see how poor the statistics on the performance of Libuše outside the Czech cultural circle are. Our study attempts to show how Smetana's Libuše helped to build the National Theatre's permanent Czech repertoire, often in spite of the theatre's operational vicissitudes and not infrequently in spite of Smetana's intentions (Libuše was more or less always ready for performance and filled the dramaturgical gaps of the institution's management). A counterpart to the Czech reception history (in the sense of provincial patriotism) is provided by information about performances of Libuše on non-Czech stages. And in this field we find ourselves rather in the realm of - to use Vladimír Macura's words - dreams about Libuše. Of course, dreams and visions also constitute national consciousness. We concentrate on the oft-repeated information that Gustav Mahler intended to perform Libuše in Vienna in the 1890s.

The present study builds on the author's experience with teaching musical-rhetorical figures to the students of a performance academy. It begins with listing a number of difficulties which the students of Figurenlehre must face, pointing out the insufficient reflection of this subject in Czech academic literature and the general lack of illustrative musical examples in the existing sources. The text is divided into three parts: the first offers a review of current academic literature on the subject (thus preparing the basis for further research); the second classifies musical-rhetorical figures and briefly comments on each category (thus supplying the reader with a "mind map" of this vast and varied territory); the third provides examples of the application of selected musical-rhetorical figures in compositional practice (hoping to increase the clarity and accessibility of the Figurenlehre). The third part of this study focuses on a narrow segment of the broad spectrum of musical-rhetorical figures: hypotyposis (tone-painting imitation), anabasis (ascending melody associated with positive affections), catabasis (descending melody associated with negative affections), circulatio (circular melodic motion), pathopoeia (expressive chromaticism), passus duriusculus (continuous chromatic progression expressing tragic affections), and saltus duriusculus (dissonant leap expressing dysphoric affections). The conclusion stresses the importance of Figurenlehre for music analysis and interpretation and highlights the need for a comprehensive anthology of musical examples of individual figures.

The paper discusses the importance of micro-historiography in music history research, which involves studying the everyday lives of individuals and events to uncover forgotten details and gaps in traditional historical approaches. Reading the main source, the daily Pest-Ofner Localblatt und Landbote it is especially important to emphasize the significance of shorter news, reports, and advertisements in newspapers as valuable sources of information for reconstructing everyday musical life in Pest-Buda. The Pest-Ofner Localblatt und Landbote mentions several guest performers on the stages of Pest-Buda, including the visits of traveling national or folk companies, the performances of the successful Spanish folk dance company at the National Theater in Pest, the tour of the popular Tyrolean folk music company for several months, the supposedly Viennese singing company, marked by the names of Mutzbauer, Honetz, and Lasky, which clearly represented the Wienerlied repertoire on the stage of popular cafés, the guest performances of singer Babette (Betty) Gundy, or Sigismund Thalberg's student, the pianist Rosa Kastner. The present paper also discusses the sources that can be used to list the guest performers, such as the surviving archive material of the National Theater in Pest, the theatre pocket books of German theaters, and the period's press, especially the Pesth-Ofner Localblatt und Landbote. By studying the lives of everyday individuals and the events of everyday life, researchers can uncover information that may have been overlooked or ignored by traditional historical approaches. In the context of music history, micro-historiography can help to shed light on the functioning of an entire city or region, as well as the structure of musical life from a variety of perspectives. It can also help to reveal the realities of everyday musical life, including the network of contacts through which musicians could reach their audience, and how this was reflected in the period's sources.

This article presents the conclusions of a comparative analysis and interpretation of musical works inspired by Vincent van Gogh’s painting Starry Night, created over the last half-century, along with reflections on the similarities resulting from a common source of inspiration. These works include Henri Dutilleux’s Timbres, Espace, Mouvement ou La Nuit étoilée and Correspondances, mov. V: De Vincent à Theo; Einojuhani Rautavaara’s opera Vincent and Symphony No. 6 Vincentiana, mov. I: Starry Night; George Crumb’s Starry Night from Metamorphoses (Book II) and the song Shenandoah from The Winds of Destiny; as well as pieces by Matthew Harris, Alan Hovhaness, and Alla Pavlova. On the one hand, they are considered – together with van Gogh’s painting – on a higher, transmedial level as manifesting an archetype of the cosmic night, as an expression of the “poetic imagination” (Bachelard), evoking a certain atmosphere (Böhme). On the other hand, the musical works are viewed from the perspective of intermedial transposition (Wolf, Rajevsky), in which elements of content and structure are transferred from the painting to music. The “correspondences” that the article aims to explore are on multiple levels: between the painting and musical works, between different musical works, between life and work, between van Gogh’s views as expressed in his correspondences and the painting’s possible interpretations and, finally, between the composers’ reflections and their music.

Janáček's Sinfonietta is one of his fundamental compositions. Since its performance in 1926, it has been frequently played not only by Czech orchestras, but also by philharmonics around the world. The approach to the artwork has thus already passed through a number of phases, and Janáček's unique musical poetics can be grasped and portrayed in different ways today. Four orchestras were therefore selected for analysis: the Czech Philharmonic, the Filharmonie Brno, the Wiener Philharmoniker, the Berliner Philharmoniker, and four important conductors: Karel Ančerl, František Jílek, Alan Charles MacLaurin Mackerras and Claudio Abbado. In the analysis of their musical performance, we focused on the following parameters: tempo and timing, dynamic, pitch, timbre (proportions of instruments) and spatial organisation of instruments. Individual makings of composition are compared and possibly evaluated.

Since 2014, the work of Ukrainian composers has held a mirror up to the events of the Russo-Ukrainian war. A piece from early 2014 by contemporary composer Olena Lys is considered in this article. The piece begins with the composer's reflection on the events of Maidan in winter 2014 in the form of a choral diptych based on Vasyl Dovzhyk's poem "By the Stairs to Heaven…". In its two parts, it illustrates the death of the Maidan defenders (in the first part) and the mother's prayers for her dead son (in the second part). The present article focuses on a semantic analysis of Ukrainian symbols in both the libretto and the musical text, ultimately suggesting that Olena Lys and Vasyl Dovzhyk do not reconstruct the past: they comprehend the spiritual values of the Ukrainian people in the contemporary context in a new way.

The discovery of the Manuscript of Dvůr Králové and the Manuscript of Zelená Hora in the Czech lands at the beginning of the nineteenth century aroused great interest among the Polish intellectual and artistic elite, provoking discussions on the prehistory of Slavonic culture and generating numerous more or less faithful Polish translations of the texts included in manuscripts. This article addresses the problem of the musical reception of both forgeries in Poland, which is far more modest than the Polish literary works inspired by the two Czech forgeries or the historical studies addressing the issues outlined in them. To the modest list of composers using the texts from the two manuscripts in their musical works - which so far includes only Władysław Żeleński and Ewa Fabiańska-Jelińska - we should add Witold Lutosławski, thanks to recent research on his works for radio theatre. Among the pieces composed by Lutosławski for a radio play Legenda o Walgierzu Wdałym (The Legend of Walgierz Wdały) with text by Stanisław Nadzin, broadcast on Polish Radio in 1946, a fragment of the Libussa's Judgement performed by one of the play's protagonists has recently been found. This article contains the most important information about the plot and musical setting of the radio play, as well as analysing the vocal excerpts using the Polish translation of the Libussa's Judgement.

The Czech composer Vítězslava Kaprálová (1915–1940) maintained a profound connection with Paris throughout her career, undertaking studies at the École Normale de Musique. As both a composer and conductor, Kaprálová distinguished herself within domains traditionally dominated by men, and integrated successfully into the artistic milieu of her era. Despite her achievements, however, her legacy in France diminished after her premature death, remaining largely confined to brief and sporadic references until the early 21st century. This article critically assesses Kaprálová’s position within French music programming since 2001. Many aspects are explored, such as the evolution of the number of concerts that include opuses of Kaprálová, her most interpreted works according to the musical genre, or her place in the French musical institutions. Finally, a broader critique reveals how these observations fit in the institutional structures within the French musical landscape and the negative impact these structures have for the visibility of women composers.

This article presents a hermeneutic and analytical study of Nikos Skalkottas's Sixteen Songs (1941), focusing particularly on the first song of the cycle. After an outline of Skalkottas's biography and cultural context, the work explores the complex interplay between poetic text, musical rhetoric, and dramaturgical structure within the song cycle, emphasizing their roots in both Greek tradition and European modernism. Employing tools of topical, textual, and serial analysis, the study demonstrates how Skalkottas fuses dodecaphonic techniques with references to folk music, popular contemporary dances, and rhetorical devices, creating a unique and ironic sound world that transcends the boundaries of tonality, atonality, and genre. The article highlights the cycle's oscillation between lyrical and agitato moments, its dense web of literary and musical topoi, and the innovative handling of form and voice. In addition to presenting a detailed analysis of the first song - including its motivic, harmonic, and structural features - the article provides new English translations of the cycle's lyrics and offers a broader dramaturgical and interpretive perspective on the work as a whole. By considering the technical, symbolist, and expressive dimensions together, the study situates Skalkottas's songs as a singular synthesis of tradition and avant-garde, urging greater recognition of their artistic quality and significance for both Greek and international repertoire. Nikos Skalkottas; Hermeneutic analysis; Sixteen Songs (1941); Musical rhetoric; Musical dramaturgy

The poem "Expectance" was written by Serbian author Mirjana Stefanović (1939-2021) and was published in 1967 in the collection Spring in Terazije. Almost sixty years later, young composer Ivana Govorčin brought these verses to life musically by using, among other things, marked sound signifiers which direct the listener's attention to the key points of the narrative flow. The starting point of analysis is the poem itself, in which elements such as a humorous-ironic attitude towards life, stylistic figures of gradation and contrast, issues of borders, motifs of time and transience, and the finality of life are highlighted. This paper will point out the sound configurations which the composer uses as amplifiers of these elements and marked parts within the text, playing with their sound and semantic potential. For this purpose, the semiotic theory will be used to show how music acts "through" and thus "for" the narrative.

Greek art music has made a significant and enduring contribution to the symphonic genre within European art music, serving not only as a site of stylistic development but also as a repository of cultural memory. Since the 18th century, beginning with Michele Stratico's (1728-1783) thirty-five (35) sinfonias, Greek composers have engaged in a continuous dialogue with the symphonic form, each work echoing both contemporary influences and inherited legacies. This evolving tradition - passed from generation to generation - embodies not merely musical innovation but also the collective memory of a nation navigating modernity, exile, identity, and continuity. Key figures such as Nikolaos Chalikiopoulos-Mantzaros (1795-1872), with twenty (20) sinfonias, and later Alkis Panagiotopoulos (1950) and Athanasios Simoglou (1954), each with ten (10) symphonies, contribute to a sonic lineage in which memory is not just thematic but structural - embedded in forms, modes, and motives. Petros Petridis (1892-1977), Dimitris Dragatakis (1914-2001), Mikis Theodorakis (1925-2021), Dinos Constantinides (1929-2021), and Dimitris Themelis (1931-2017) each composed six (6) symphonies, acts of remembrance as much as composition, often drawing on national, historical, or personal pasts. The lifespans and works of Giannis A. Papaioannou (1910-1989), Christos Samaras (1956), and Stelios Coucounaras (1936) (each with five symphonies) mark successive stages in a shared memoryscape, demonstrating the genre's increasing weight in Greek musical culture as both a formal discipline and a vessel for cultural reflection.

The article deals with the situation of big beat in Moravian Wallachia in Czechoslovakia in the 1970s and 1980s, focusing on the topic of censorship and repression. Within the oral history method, interviews with two musicians who were active in the regional big beat scene in the 1970s and 1980s were conducted for the purpose of the text. The first is a member of the now defunct bands Paranoid and Lunochod from Rožnov pod Radhoštěm. The second one is Petr Fiala, the frontman of Mňága a Žďorp (formerly Slepé střevo) from Valašské Meziříčí, who is still an active musician today. Both interviews provide insights into the way the local bands functioned and the limits they faced, including censorship and, in the case of Mňága a Žďorp, repression by the communist apparatus. Some of the specifics of the Moravian Wallachian region in relation to big beat, which had to shape its position also in relation to the strong position of traditional folklore, as described by the first of the interview participants, are also discussed.

Although the subject of the Przemyśl Fortress has been incessantly popular for years, little space has been devoted so far to the merging of power and entertainment, whereas for the distribution of power the culture of leisure and its development was vital; developing appropriate habits and tastes as well as promoting appropriate (from the point of view of the authorities) forms of spending free time was by no means neutral in terms of content and form. The article discusses the relations between the Przemyśl garrison under Commandant Anton von Galgótzy (i. e., between 1891 and 1905) and the local civilians. Galgótzy used specific practices, abusing his power, compared with the commandants of other garrison towns. Concerts of military bands were supposed to warm up his image of an all-powerful general and, through appropriately selected repertoire, develop loyalty towards the Imperial-Royal Monarchy on its outskirts.

This article examines the representation of Ukrainian music abroad through an analysis of programming in French musical institutions since 2022. Numerous concerts featuring Ukrainian compositions have occurred in France, signifying a renewed interest in, and at times a novel encounter with, this repertoire since the onset of Russia's full-scale invasion. We explored how two leading Parisian musical institutions, the Philharmonie de Paris and the Opéra National de Paris, have supported Ukraine, both symbolically and practically. Further, we analysed how the selected works, chosen to represent Ukrainian cultural identity on European musical stages, have been framed as part of a shared European heritage, thus demonstrating the role of music as a form of soft power in the current wartime context. Finally, we considered the 1991 Project, an initiative led by Anna Stavychenko that supports Ukrainian musicians and strives to preserve Ukrainian musical heritage. In this context, Ukrainian music emerges as a resilient force and a symbol of resistance within the European cultural sphere.

Of all the operas by Ferenc Erkel, we know the most about Erkel's efforts to present abroad his second opera Hunyadi László, while the absence of similar data concerning the other operas may be the result of the fact that the composer himself and/or the National Theatre did not even try to have them performed outside of Hungary. For Erkel's first two operas - Bátori Mária (1840) and Hunyadi László (1844) -, the National Theatre had a German-language score prepared after the premiere, and Franz Liszt, among others, tried to promote the premiere of Hunyadi László, which ultimately became one of the most performed Hungarian operas abroad. After Ferenc Bónis, Dezső Legánÿ, Katalin Szerző Szőnyi, and Inge Birkin-Feichtinger, who have already published on this negative performance history, this study would like to highlight a few minor details that contrast with our previous perception of Erkel's lack of interest in the distribution of his operas outside of the Hungarian capital's National Theatre. Through the performance history of Hunyadi László, and by taking into account the performance copies surviving from the period as well as the contemporary press, we get an insight into the moves and changes that occurred within the theatrical/opera companies during the second half of the 19th-century as well.

The paper is focusing on historical particularities in close connection with spaces described in terms of geospatial mapping, as enduring places (as recognizable dots on maps). At the same time, different dynamics are to be reckoned with; as such, the once existing stone theatre building in Cluj is considered as a stock of functions and forms tied to processes of the past and the present. On the one hand a geospatial mapping highlights the spatial spreading of Hungarian acting against the backdrop of the ethnically mixed population of the so-called theatre towns in the second half of the 19th century. On the other hand, given the network of theatre scenes established as a consequence of touring companies, the particularity of the theatre in Cluj as it appears, it may be best described by taking into account institutional and artistic perspectives. A parallel between quantitative and qualitative dimensions presents the necessary intertwining of the structural determination (i. e., the theatre as a network element) and artistic career.

The current article is a contribution to studies on the musical culture of the Latin cathedral in Lwów in the first half of the nineteenth century. The main object of the research is to present the activity of musicians of Czech origin and their influence on the music ensemble and performed repertoire. The first part focuses on the ensemble and the presence of Czech musicians in it. The latter part deals with the compositions by Czech authors in the repertoire of the cathedral music ensemble, which are preserved in the collection of musical manuscripts and prints in the cathedral's archive. Based on the sources from this institution, new pieces of information concerning Josef Baschny and Václav Rolletschek's compositions, active in Lwów, have been presented.

Richard Taruskin describes the German choral movement as the hotbed of German nationalist unification, the musical precursor of a new nation-building ideology. However, the Liedertafel movement did not stop in Germany, but spread to the whole of Europe, practically without exception the founding of choirs had a national-political dimension, including Hungary. It is interesting to examine how nationalism overtones could take hold in the multiethnical Hungary, especially in the German-dominated cities. Sopron is an excellent case study, since this town, which lies in the western corner of the country, bordering Austria, had a large part of German population, and as a consequence had a German theatre and German speaking press. Christian Altdörfer, the choirmaster of the Lutheran church and founder of the Dalfüzér/Liederkranz, came from Württemberg to set up a singing group in the 1840s that sang in both German and Hungarian. This situation gives us an opportunity to examine how the association saw itself and how others saw it, and in doing so to highlight what national identity meant in mid-19th-century Hungary.

Data from birth and death registers, censuses of Brno 1850 and 1857, and Brno theater almanacs prove, the violinist Baroch von Imfeld, introduced to literature by Vladimír Helfert (1939), in reality never existed. The figure of Baroch von Imfeld was created by mixing two, respectively three real persons, namely the violinist Josef Baroch, or his brother, violinist Anton Baroch, and the violinist Vinzenz Innfeld. These findings bring more light into the biography of Leoš Janáček, but also into the biography of Vilemína Nerudová and Adolf Zelníček. Both Nerudová and Zelníček were Innfeld's pupils in their childhood.

The study examines the forms of institutionalized popularization of Anglo-American rock in the context of Brno music clubs at the time of normalization (1969-1989). Based on unpublished sources and oral historical research, the text shows the specifics of the rock scene in the south Moravian region, while contradicting the dominant interpretation of the history of rock music behind the Iron Curtain primarily as a political force.

The study captures the personality and activities of Herbert Hiebsch (1905-1948), conductor, writer, music organizer, co-founder of several Bruckner societies in Bohemia, a humanitarian-educated Sudeten German from Litoměřice/Leitmeritz, brought up a Catholic, who in the 1930s and during the Protectorate of Bohemia and Moravia was involved in promoting the goals of National Socialist cultural policy. It deals in more detail with Hiebsch's origin and his studies at the grammar school in Litoměřice and the German Academy of Music and Drama in Prague, but also with the analysis of his novel Das göttliche Finale. Ein Buch vom Erleben Bruckners (1931), and unpublished memorial file Herbert Hiebsch - Deutsches Schicksal unter Tschechen. Ein Lebensbericht (1938). The study concludes with information about the end of his life in Baden-Württemberg.

The article deals with the letters of Václav Jan Křtitel Tomášek from the Morawetz Collection, housed in the National Museum - Czech Museum of Music. In a critical edition, it publishes and comments on the letters Tomášek addressed to the publishers Ambrosius Kühnel, Carl Friedrich Peters, and Immanuel Guttentag, as well as to the poet and editor Rudolph Hirsch, Tomášek's pupil Alexander Dreyschock and an unnamed (probably Amelia Illaire to Berlin). The edition also includes an appraisal of the compositions of Josef Zvonař and Tomášek's request for an increase in his annual rent, addressed to Count George Franz August Buquoy in 1829. For the first time, a letter by Johann Wolfgang Goethe, the original of which is considered lost by the current edition of Goethe's correspondence, is published here according to the original.

On January 10, 1873, the journal Dalibor predicted for Zdeněk Fibich’s Meluzína that its success would help to spread Fibich’s name within the ‘wider circles of the artistic world’. In retrospect, this prediction might have been a little too optimistic, as, up until this day, Fibich has been acknowledged primarily for his innovative approach to music-dramatic genres. This paper aims to close this research lacuna by shedding light on both Meluzína’s reception and selected compositional-aesthetic features.

The musical past of today's Slovakia, or the territory of historical Hungary, in the time period from the 15th century towards the first half of the 17th century, is gradually becoming better known thanks to the collaboration of several generations of musicologists. The preserved polyphonic monuments from the church environment have attracted the attention of specialists from several national cultures living in Central Europe as well as music historians from the USA. The present paper intends to highlight certain successful collaborations in the discovery, rescue and identification of music-historical monuments from the Renaissance and early Baroque periods by music historians in cooperation with specialists from other social science disciplines - theology, library science and linguistics. Such cooperation is essential and is a guarantee of successful results.

Through the figure of the singer Prince, Roger Nelson (1958-2016), LoveSymbol, we can reflect complex relationships between the artist and the game of celebrity. The fact of becoming popular, of being a known singer on a world scale, involved automatically and systematically desire to control his image, to come into conflict with his record company and to propose new marketing formulas to sell his music. Now, the tourism and the visit of Paisley Park (Minneapolis - Chanhassen) become a new stage of the memory's construction and of this popularity. This avant-garde singer in his way of communicating and expressing himself on the stage offers future generations a wide range of academic research in multiple fields. He proposes a continuation of his musical art through Paisley Park and cultural tourism.

The director of the Theater an der Wien Alexandrine von Schönerer and her art advisor Franz Jauner used the success of Smetana's Prodaná nevěsta [The Bartered Bride] on the occasion of the visit of the Czech National Theatre at the International Exhibition of Music and Theatre (Internationale Ausstellung für Musik- und Theaterwesen) in Vienna in 1892. They organized the Viennese premiere of this opera, which was also its first enactment in German, in April 1893. This operetta-focused theatre thus used Smetana's opera as a precursor to the intended change in the repertory composition directed towards the genre of comic and later also serious opera. With the same intention, the Theater an der Wien presented a comic one-act opera by Vilém Blodek V studni [In the Well] in the following year. Two Czech operas were thus intended to stand at the beginning of the dramaturgy representing higher ambitions in theatre management. Three years later, the premiere of Prodaná nevěsta in the Court Opera (Hofoper) took place. The study is dedicated to biographies of the artists who participated in both of the premieres in Theater an der Wien and the Court Opera, and provides a further context.

Through his activities, Bedřich Smetana fundamentally influenced the formation of modern Czech musical life. The exceptional nature of his position lies in the breadth and versatility of his activities. As a composer, he founded modern Czech music and he asserted himself as a pianist, conductor, choirmaster, music teacher, and music critic. For eight years he was at the helm of the Czech opera of the Provisional Theatre and participated significantly in the establishment and activities of some of Prague’s cultural institutions. Smetana’s public endeavours and artistic efforts were closely related to societal events, especially from the 1860s onwards, and this linkage between artistic intentions and societal demand is reflected in his production in terms of the range and choice of themes and genres. To some extent, Smetana subordinated his personal life to his public activities and artistic vocation, and his financial situation also reflected this decision.

This study explores Jörg Widmann's operatic compositional approach found in his Viola Concerto (2015). He has created a refreshing and intriguing way of presenting the composition that differs from a conventional concerto. In it, Widmann delivers ideas and new approaches through the visual and auditory senses, allowing audiences to effectively engage in the manner he designed of the fictional world. The music takes on several roles so as to create atmosphere, emotion, dialogues, and abstract protagonists in a "story" he designed. He makes the music as dramatic and as theatrical as possible, giving a new presentation fashion in his concerto, keeping the Concerto genre alive.

During recent decades historians and musicologists have devoted major attention to the harsh judgments of Zdeněk Nejedlý regarding Antonín Dvořák, devoting even one whole book to this topic. They have engaged in speculations about the causes of these judgments in the aesthetic, social, and political context of the time. It seems, however, that one of these causes, evidently the original cause and perhaps the main cause, has not yet been identified as such. To recognize it we must be aware that although Nejedlý's best-known condemnations of Dvořák come from the time of the "Battles over Dvořák" that broke out in 1912, his positions in this matter were essentially fully developed already much earlier, at the very beginning of his career. For example, in 1903 he wrote: "Dvořák lacked the artistic intelligence to create new forms." Critical is the fact that Nejedlý denigrated Dvořák even earlier, in his book about Zdeněk Fibich published in 1901, where many passages surprise us with assertions that in harmony, in subtle rhythms, in polyphony, in melody, in "musical technique," and in orchestration, inferior to Fibich was not only Dvořák but also the composer best known as Nejedlý's hero: Smetana. Nejedlý had published part of this book in advance in instalments in a periodical, late in 1900 shortly after Fibich's death, with an introduction that makes even clearer his adoration of this composer not only as an artist (with whom he himself had studied composition) but as a human being, and his bitter conviction that Fibich had not received the recognition he deserved. Later in the book he attempts to explain Dvořák's greater career success by the assertion that his music is "much simpler" and that England, which conferred such glory on him, was an "unmusical" country. From these observations and others we may conclude that Nejedlý felt the need to criticize Dvořák as the one who had received recognition that rightly belonged to Fibich. And in part Nejedlý was correct: even if we perhaps think Dvořák was a greater composer, it is indisputable that at the end of the nineteenth century his fame unjustly left Fibich in the shadow-which today is even more the case than then.