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In July his second daughter, Gabriela, died of tuberculosis. On 11 October , after writing to his parents that "Prague did not wish to acknowledge me, so I left it", he departed for Gothenburg.
Writing to Liszt, he said that the people there were musically unsophisticated, but he saw this as an opportunity " Back in Sweden, Smetana found among his new pupils a young housewife, Fröjda Benecke, who briefly became his muse and his mistress.
In her honour Smetana transcribed two songs from Schubert's Die schöne Müllerin cycle, and transformed one of his own early piano pieces into a polka entitled Vision at the Ball.
In he completed the symphonic poem Richard III , his first major orchestral composition since the Triumphal Symphony. He followed this with Wallenstein's Camp , inspired by Friedrich Schiller 's Wallenstein drama trilogy ,  and began a third symphonic poem Hakon Jarl , based on the tragic drama by Danish poet Adam Oehlenschläger.
Smetana wrote that she had died "gently, without our knowing anything until the quiet drew my attention to her. He proposed marriage, and having secured her promise returned to Gothenburg for the —60 winter.
This culminated in April with a piano performance in Stockholm , attended by the Swedish royal family. Meanwhile, the defeat of Franz Joseph's army at Solferino in had weakened the Habsburg Empire, and led to the fall from power of Baron von Bach.
He was still hoping to secure a reputation as a pianist, but once again he experienced failure. Critics accused him of adhering too closely to the "New German" school represented primarily by Liszt;  Smetana responded that "a prophet is without honour in his own land.
It is to this that I will sacrifice myself. In , it was announced that a Provisional Theatre would be built in Prague, as a home for Czech opera.
He engaged Karel Sabina, his comrade from the barricades, as his librettist,  and received Sabina's text in February , a story of the 13th century invasion of Bohemia by Otto of Brandenburg.
In April he submitted the score, under the title of The Brandenburgers in Bohemia. At this stage in his career, Smetana's command of the Czech language was poor.
His generation of Czechs was educated in German,  and he had difficulty expressing himself in what was supposedly his native tongue.
He had become Chorus Master of the nationalistic Hlahol Choral Society soon after his return from Sweden, and as his fluency in Czech developed he composed patriotic choruses for the Society; The Three Riders and The Renegade were performed at concerts in early He had set high hopes on this appointment: "My friends are trying to persuade me that this post might have been especially created for me," he wrote to a Swedish friend.
Almost three years passed before Smetana was declared the winner of Harrach's opera competition. In July , Sabina had delivered the libretto for a second opera, a light comedy entitled The Bartered Bride , which Smetana composed during the next three years.
Because of the success of The Brandenburgers , the management of the Provisional Theatre readily agreed to stage the new opera, which was premiered on 30 May in its original two-act version with spoken dialogue.
Unsurprisingly the occasion was poorly attended, and receipts failed to cover costs. Back in , as the composer of The Brandenburgers with its overtones of German military aggression, Smetana thought he might be targeted by the invading Prussians, so he absented himself from Prague until hostilities ceased.
This caused prolonged hostility between the two men. On 16 May Smetana, representing Czech musicians, helped to lay the foundation stone for the future National Theatre ;  he had written a Festive Overture for the occasion.
Formerly a supporter of Smetana, Pivoda was aggrieved when the conductor recruited singing talent from abroad rather than from Pivoda's school.
Pivoda then took issue with Dalibor , calling it an example of extreme "Wagnerism" and thus, unsuited as a model for Czech national opera.
The opposite camp, led by Pivoda, supported the principles of Italian opera , in which the voice rather than the orchestra was the predominant dramatic device.
Even within the theatre itself there was division. In January he was reappointed, with a bigger salary and increased responsibility as Artistic Director.
Smetana gradually brought more operas by emergent Czech composers to the theatre, but little of his own work.
Although the audience was enthusiastic,  press reports were hostile, one describing the work as "no better than that of a gifted fourteen-year-old boy.
In the respite following his reappointment, Smetana concentrated on his fifth opera, The Two Widows , composed between June and January A press announcement stated that Smetana had "become ill as a result of nervous strain caused by certain people recently.
In September, Smetana told the theatre he would resign his appointment unless his health improved. In worsening health, Smetana continued to compose.
He had not initially been given tickets, but at the last minute was asked into the theatre director's box. The audience received the work enthusiastically, and Smetana was called to the stage repeatedly.
These years saw Smetana's growing recognition as the principal exponent of Czech national music. On 4 January , a special concert in Prague marked the 50th anniversary of his first public performance; Smetana attended, and played his Piano Trio in G minor from In May The Bartered Bride was given its th performance, an unprecedented event in the history of Czech opera.
It was so popular that a repeat "th performance" was staged. In , Smetana had written to a friend, the Czech poet Jan Neruda , revealing fears of the onset of madness.
The hospital registered the cause of death as senile dementia. None of them played any significant role in Smetana's musical life. The asteroid Smetana was named in his honour.
The basic materials from which Smetana fashioned his art, according to Newmarch, were nationalism, realism and romanticism. All but a handful of Smetana's compositions before his departure for Gothenburg are piano works.
The set of Six Characteristic Pieces of was dedicated to Liszt, who described it as "the most outstanding, finely felt and finely finished pieces that have recently come to my note.
In his last decade Smetana composed three substantial piano cycles. The first, from , was entitled Dreams. It was dedicated to former pupils of Smetana's, who had raised funds to cover medical expenses, and is also a tribute to the composer's models of the s—Schumann, Chopin and Liszt.
The first of these had the purpose, as Smetana explained to his publisher, of "idealising the polka, as Chopin in his day did with the mazurka.
Smetana's early songs are settings of German poems for single voice. Apart from his Song of Freedom , he did not begin to write pieces for a full choir until after his Gothenburg sojourn, when he composed numerous works for the Hlahol choral society, mostly for unaccompanied male voices.
His final completed work, Our Song , is the last of four settings of texts by Josef Srb-Debrnov. Despite the state of Smetana's health, this is a happy celebration of Czech song and dance.
The piece was lost for many years, and only received its first performance after rediscovery in Apart from a juvenile fantasia for violin and piano, Smetana composed only four chamber works, yet each had a deep personal significance.
This E minor work, subtitled From My Life , was autobiographical in character, illustrating the composer's youthful enthusiasm for his art, his friendships and loves and, in a change of mood, the onset of his deafness represented by a long harmonic E in the final movement above ominous string tremolos.
Dissatisfied with his first large-scale orchestral work, the D major Overture of ,  Smetana studied passages from Beethoven , Mendelssohn , Weber and Berlioz before producing his Triumphal Symphony of Smetana's visit to Liszt at Weimar in the summer of , where he heard the latter's Faust Symphony and Die Ideale , caused a material reorientation of Smetana's orchestral music.
These works gave Smetana answers to many compositional problems relating to the structure of orchestral music,  and suggested a means for expressing literary subjects by a synthesis between music and text, rather than by simple musical illustration.
Although a follower of Wagner's reforms of the operatic genre, which he believed would be its salvation,  Smetana rejected accusations of excessive Wagnerism, claiming that he was sufficiently occupied with "Smetanism, for that is the only honest style!
The first of this final trio, The Kiss , written when Smetana was receiving painful medical treatment, is described by Newmarch as a work of serene beauty, in which tears and smiles alternate throughout the score.
She dominated the ailing composer, who had no say in the subject-matter, the voice types or the balance between solos, duets and ensembles.
Smetana's eight operas created the bedrock of the Czech opera repertory, but of these only The Bartered Bride is performed regularly outside the composer's homeland.
After reaching Vienna in ,  and London in ,  it rapidly became part of the repertory of every major opera company worldwide.
Newmarch argues that The Bartered Bride , while not a "gem of the first order", is nevertheless "a perfectly cut and polished stone of its kind.
Clapham believes that this has few precedents in the entire history of opera. Even in his own homeland the general public was slow to recognise Smetana.
As a young composer and pianist he was well regarded in Prague musical circles, and had the approval of Liszt, Proksch and others, but the public's lack of acknowledgement was a principal factor behind his self-imposed exile in Sweden.
Smetana's first noteworthy public success was his initial opera The Brandenburgers in Bohemia , in when he was already 42 years old.
His second opera, The Bartered Bride , survived the unfortunate mistiming of its opening night and became an enduring popular triumph.
The different style of his third opera, Dalibor , closer to that of Wagnerian music drama, was not readily understood by the public and was condemned by critics who believed that Czech opera should be based on folk-song.
In his final decade, the most fruitful of his compositional career despite his deafness and increasing ill-health, Smetana belatedly received national recognition.
Of his later operas, The Two Widows and The Secret were warmly received,  while The Kiss was greeted by an "overwhelming ovation".
Smetana has a star on the "Walk of Fame" in Vienna, opened to celebrate the th anniversary of the opening of the Theater an der Wien.
Smetana's biographers describe him as physically frail and unimpressive in appearance yet, at least in his youth, he had a joie-de-vivre that women evidently found attractive.
There is broad agreement among most commentators that Smetana created a canon of Czech opera where none had previously existed, and that he developed a style of music in all his compositions that equated with the emergent Czech national spirit.
According to the musicologist John Tyrrell , Smetana's close identification with Czech nationalism and the tragic circumstances of his last years, have affected the objectivity of assessments of his work, particularly in his native land.