I u.C. BERKELEY UBRAkY
y%tSd^r\ UC-NRLF
B H 440 3Sfl
THE MUSIC OF BOHEMIA
LADISLAV URBAN
^j^^ 3- -^cu^ V^o-o^ ^t^o4. cA
,_ to Wc. i/^fc ^t ^^ ^^^
c f- n j^ OVujtX .
AMERICA
,vith
consummate art. We found it
impossible to realize that this
broken voice only two years ago.
et of male voices in two groups
songs demonstrated by crisp
self worthy of being regarded to-day i
the chief exponent of Czecho-Slovak folk
songs, although he is better known
abroad as a concert and operatic bari-
tone. Three or four other promising
voices made their debut in this recital —
Augusta Kupec, Caroline Kozlik and
Tilly Ludra. The second singer, with a
heavy dramatic voice made a definite
contrast with the first, whose voice is
that of a light coloraturist's while the
third voice, an unusual contralto, showed
much latent power and intelligent study.
The work of Stevo Stojanovic's pupils
showed painstaking scholarly teaching
both of violin and piano. Mr. Stoja-
JAN HUS HOUSE CHERISHING MUSIC OF
CZECHO-SLOVAKIA FOR ITS PEOPLE HERE
Under Mr. and Mrs. Francis Pangrac, Neighborhood House Is
Keeping Alive the Native Songs— A Concert by the East
Side Students — Stevo Stovanovic and Mme. Wetche Also
Among the Workers
country b
ardent patriot, havinpc served two years
in the front line trenches in Servia. Mr.
Stojanovic faithfully upholds the Old-
World standards in his art, and co-op-
erates whole-heartedly with Mr. Pangrac
in his efforts to establish a fii-st-class
violin school, in the manner of the great
Sevcik.
The gem of the evening was clearly
the national anthem "Kde Domov Muj
("0 Home Land Mine"), sang by a sex-
tet of young girls who made a profound
impression this past season at the Fes-
tival of Liberty when they give with-
'Tnrirutcm.ip«iili/ient « Eohetnian Chorale
written in the Czech tongue in the ninth
century, adding also a cycle of five folk
songs both harmonized and conducted by
Anna Fuka Pangrac. In this second ef-
fort Mme. Pangrac has achieved some-
thing of unusual appeal; the voices pour
out like one great round voice, delicately
shaded and richly colored; the tragedy
of Bohemia throbs through the music.
Mme. Pangrac is a pianist composer, a
singer, but above all an organist. "'
w
i came upon the Jan Hus House
.suddenly. It loomed big, stately
hildren. babies, old mothers, young
iiothers, push carts and fruit stands.
me treaded one's way slowly on the
tiect and on the road, stepping over the
kippins; ropes and watching for the al-
eys and tops, and at the same time
liiJt'iiic the flying balls. It was a grand
Then out of the darkness loomed the
!f 'valls of this Czecho-Slovak Neighbor-
M'uil Huuse, a fit monument of the na-
lon's pride and hope for her children in
:iiis other land — America. One felt the
atmosphere at once in the quaint hall,
with it.s huge fire place, and in the simple
lines of the peasant chairs and tables
sometimes touched with gay color.
Coming to the East Side this night as
a willing martyr — a martyr who would
listen to ambitious East Side music
tauKht by semi-volunteers to semi-will-
int; students at intermittent periods, we
had expected some cheap, snappy music
mtermlngled with some badly mangled
L-ro-l music. We heard neither. While
^M listened to the violin quartets, the
[oaiio solos and the vocal sextets, our mind
i[irniisciously forgot that this was a re-
cital on the East Side for here first-class
toailiing methods and accepted musical
-tandards certainly prevailed.
This music work is under Mr. and Mrs.
1 the first '
Bohemi!
the organ as a concert
■ • ■ ntly -
take
thi:
appeari
, her American audi-
r among the fine or-
i of the dav. Mme. Pangrac brings
to this work the attitude of her historic
university, where she was established till
the war forced her into exile in America.
She is an uncompromising adherent of
classical standards, whether she works in
the Conservatoire of Prague or m the
East Side Neighborhood House of Czecho
Slovakia.
Nor are these all the opportunities of-
fered by the Neighborhood House in mu-
sical education. Mme. Vojackova Wet-
che, a pianist of prominence, and also a
graduate of the Conservatoire of Prague
and well known as the accompanist of
.Sevcik, accentuates the classical atmos-
phere of the House by adding
of the national traits of Bohemia, a
joyousness, a bubbling enthusiasm, a
he'arted sympathy. To teach here
takes time from her crowded caret
a pianist, teacher and one of the fai
Czecho-Slovak trio (of which Mr.
big-
also
She
ponent of the Effa Ellis Perfleld School
of Pedagogy sometimes called the New
Thought, Theory, Harmony and Composi-
With these workers the Jan Hus House
is making Americans and musicians of
the little Czecho-Slovak children of the
East Side. M. B. S. .
of the Czecho-Slovak
race to the music lovers of America
through his Victor records, is perhaps as
successful a teacher as a singer. He
brings to his work such a warmth, such
a definite training, such a system, that
success could not fail him, especially in
provokes wonder and adm
Rarely have we heard anything more
delightful than the voice of Arthur Jed-
licka in a selection from the Bohemian
opera, "The Bartered Bride," by Sme-
tana. The voice has a witching timbre,
clear and round, and the young singer,
interpreted the rollicking yet tender mu-
JAN HUS HOU|
CZECHO-SLO\
Under Mr. and Mrs
Keeping Alive
Side Students—
Among the W
17 E came upon the Jar •
' » suddenly. It loomed f
nd permanent in a swirli: •
lildren, babies, old mo i
lothers, push carts and
ne treaded one's way s[
reet and on the road, stej
[ipping ropes and watchij
ys and tops, and at t|
)dging the flying balls, j^^^
ibel of noise, color and ml^
Then out of the darknes\ (^.
g walls of this Czecho-Slovi
)od House, a fit monumen
3n's pride and hope for he
is other land — America,
mosphere at once in the^
ith its huge fire place, and
les of the peasant chaii
metimes touched with ga
Coming to the East Side
willing martyr — a mart
;ten to ambitious Eas^
ught by semi-volunteers to semi-\^
^^'^m^^mmM
*i,.
g students at intermittent periods, \ .^e
,d expected some cheap, snappy muW^
ACE PADEREWSKI ON THE
\aph of the Polish Premier W
He Had Handed His Peace Te
termingled with some badly mangled
od music. We heard neither. While
; listened to the violin quartets, the
mo solos and the vocal sextets, our mind
iconsciously forgot that this was a re-
\\\% '\'e\\\ punoj aABii'puB 'uo'os ■pui3
isodniq q^i^ i^l^j.oaiip Suipap 'p^:^UIId
n Su'iA^q' puB s;uauiasi;j8ApB aqi
uSis8p'*n^H 3^^ :guiJiq s^ qons 'Jiasi^ui
Llli<:j9A9 aUOP OSTB 8ABq T PU^ *SpU8I.IJ
to build and subsidize a
tion. Mr. rangrac, w^i^ t
•tjg'-Q^ 82 uo puGoas aq; -^
-nv uo u8atS aq UIM ;sjt J
-nv ui piaq aq o; n^ 'sa
JO s^iaoAV aq:^ jo qo^a saoi
JO sapXo aajq; jo c^stsuo
lBAi:^sa^ i^jnquo;s^lO aq (
-u^' BiuBiQ 3!sni\[ JO l^
.laAa SBU ai %^m adoDS ui i'
Eni
Gj
Abb,
RutI
to be
dram
the S(
mer,
had h
■>
i
^
JAN HUS HOU
CZECHO-SLO)l
Under Mr. and Mrs
Keeping Alive
Side Students—
Among the W
niTE came upon the Jai
' ' suddenly. It loomedt
nd permanent in a swirli
hildren, babies, old mo
lothers, push carts and
•ne treaded one's way s,
:reet and on the road, ste
dpping ropes and watchi
sys and tops, and at t
odging the flying balls,
abel of noise, color and mJS
Then out of the darknes\
g walls of this Czecho-Slov;
3od House, a fit monumen
on's pride and hope for he
lis other land — America.
:mosphere at once in the!^
ith its huge fire place, and
nes of the peasant chaii
imetimes touched with ga;'
Coming to the East Side
willing martyr — a martj
sten to ambitious Easi
"i }!tgfggirf -***^^:
to
ught by semi-volunteers to semi-\-^-
g students at intermittent periods,\ .^e
id expected some cheap, snappy muW- ^-i^^ ».
termingled with some badly mangled ^^°"-
)od music. We heard neither. While
3 listened to the violin quartets, the
ano solos and the vocal sextets, our mind
iconsciously forgot that this was a re-
iq; :ii3\\'\ punoj aA^q pun 'uo'os pui?
►isodniq ^^l^ ^n^a^iip Sun^ap 'pa^ui-id
L(:^ SuiA^q* puB S2[uaui9Si;j8ApB aqi
uSis8p'*n^4 9^^ ;^uuiq SB qons j^asi^ui
mAisA9 auoD osTB 8ABU T PUB 'spuaiJj
'ACE PADEREWSKI ON THE
\^Pt,°? tl»e Polish Premier M
He Had Handed His Peace T«
build
and
subsidize a
r. rangrac, w^xwj
■yg^"04 82 uo puooas aq; — f
-nv uo U8ATS 9q Uiav ;sji J
-nv ui ppq 9q o:^ n^ 'sa
JO s^iaoAV ^q:^ Jo qo^a saDi
JO sBpKo dBii\% JO :;sisuo
l^Anse^ y^anquo^s^lO aq |
-us" BiuBJQ oisnK JO l^
/
.laAa SBU ai l^m adoDs ui e
Enj
G
Abb
Rut]
to hi
dran
thes
mer,
had i:
THe
<JMUSIC OF BOHEMIA
BY
LADISLAV URBAN
I
CZECHOSLOVAK ARTS CLUB
OF NEW YORK CITY
1919
Cofiyright, 1919, ^ Ladislav Urban
D. B. U/idike • The Merrymount Pi^ess • Boston
U 1Q\
MUSIC
..IBSA.:'.'
6491
THE MUSIC OF
BOHEMIA
IT is the aim of this sketch to set forth the
comparatively unfamiliar facts of the
musical life of the Czechoslovaks, that
people who for so long lived submerged, or,
as the old Czech proverb has it, "mixed in the
same bag with Germans and Hungarians."
The various terms, Bohemian, Czech, Slovak,
Czechoslovak, used in this book would proba-
bly puzzle an American reader if not defined;
thus, to save the long historical and geographi-
cal explanations, we may be thoroughly assured
by the fact that all these different names mean
one nation only, that of the most western branch
of the Slavic race in Europe. "Czech" is the
Slav name for the Slav people and language in
Bohemia, Moravia, and Silesia. The terms used
to designate the whole country, the state, are
"Bohemia" and "Bohemian." The Czechs
themselves do not employ this distinction, but
use the word "Czech" in both senses. Slovaks
6 THE MUSIC OF BOHEMIA
are that people who live in the northwestern
part of Hungary, called Slovakia, which with
Bohemia forms the present republic and nation
of the Czechoslovaks/
Bohemian music is not so well known in
America as its artistic value and quality de-
serve. The reasons why it is not so well known
are : first, that it was often classed as German
music, since it was printed by German pubHsh-
ers ; and secondly, it was handicapped by false
criticisms by Germans, who saw in this Bohe-
mian musical enthusiasm a desire to further
national aims. It is true that the artistic works
of great masters help much to foster racial pride
and are great moral supports to national efforts,
^ Unfortunately, the proper term ' ' Bohemian ' ' has been con-
fusedwith its other mean ing,a synonym of the word "Gypsy."
Some Gypsies coming from Bohemia to France in the Mid-
dle Ages were called "Bohemiens" tlirough a misunder-
standing. The British composer Balfe, in the overture to his
opem T/ie Bohemian Girl, introduced by mistake a Bohe-
mian (Czech) folk-melody as a characteristic Gypsy tune.
See the Allegro theme.
As Gypsies are characterized by their carefree and adven-
turous life, the term, thus misapplied, assumed an entirely
different meaning : a class of people such as would-be ar-
tists, or people unhampered by convention.
THE MUSIC OF BOHEMIA 7
but it is more by means of their regenerative
artistic qualities than by sentimental national-
istic self-praise. The works of the great Czech
masters are worth studying by all lovers of
music.
The Czechoslovak nation has received po-
litical recognition by the Allied nations and the
United States , which has thus made their dream
of political independence come true. The people
of Czechoslovak origin in the United States,
being free and unrestricted under the Stars and
Stripes, were able to assist their old country
in fighting for freedom. Feeling that this help
was possible only in a country like our great
democratic nation, they gratefully try to recip-
rocate by bringing to the American people the
best of the Czechoslovak culture.
PART I
BEk;iNNiNG with the earliest historical events
in Bohemia we discover a thread running
without interruption through the ages, up to
our times; it is a red thread of continuous strug-
gle with the German race, which endeavored
to crush and conquer a liberty-loving people.
The first clash between Czechs and Germans
occurred during the reign of King Wenceslas
(921-935 A.D.), ending with the assassination
of that ruler. Wenceslas, proclaimed a saint,
soon after his tragic death became a symbol of
patriotism ; and was, and still is, an adored pro-
tector of the Czech Catholic Church. There ex-
ists a spiritual folk-song composed in the thir-
teenth century in honor of this national saint,
one of the oldest recorded musical and literary
relics in Europe, exclusive of Latin and He-
brew compositions. This song still lives and is
sung in the churches in Bohemia.^
^ The poetry of the choi-ale contains this famous prayer : *' St.
Wenceslas, do not let thy nation perish ! " referring to the
peril coming from Germany. See the Meditation, page o7.
THE MUSIC OF BOHEMIA
ST. WEJ^CESLAS' CHORALE
If
4^-1
Xm CENTURY
-J 1—
^.
as
j^i ^^l
W-
^1
dolce
$
3
s
^
J.
mi
fe
1=F
The fifteenth century saw the great refor-
mation in Bohemia under the Czech reformer,
John Huss, who in Bethlehem Chapel, Prague,
mercilessly criticized the abuses in the Church.
His flaming sermons fired with enthusiasm the
souls of the truth-seeking Czechs. It is hard
to describe the anger of the people when John
10 THE MUSIC OF BOHEMIA
Huss was burned at the stake, in the year
1415, after he had been condemned by the
Great Council of Constance, before which he
had been summoned to renounce his heresies.
The righteous indignation of his loyal follow-
ers was voiced in a solemn protest to those in
power : *' We hold it to be a perpetual infamy
and disgrace to our most Christian Kingdom
of Bohemia and the most renowned Margra-
vate of Moravia, as well as of us all. " ^ A great
army of * * God's Warriors' ' was raised, which,
under the leadership of John Zizka the One-
Eyed, harassed the military forces of so-called
Christian Europe for sixteen years, never los-
ing a battle. The great battle hymn of the
Czechs was a spiritual folk-song, beginning
^^ Ye Warriors who for God are Fighting." ^
Whenever this was sung in a charge it sowed
terror and confusion broadcast among their
enemies. The chorale contains two motifs : The
^ Dickinson: Excursions in Musical History. 1917.
^ Tliis chorale was used by Bedrich Smetana as the main
theme in two symphonic poems, Tabor and Blanik.
THE MUSIC OF BOHEMIA n
first, assaulting, with its characteristic ham-
mering rhythm, Hke repeated blows of weap-
ons ; the second, deeply religious, expressing in
its restrained but sweet melodic form abso-
lute faith in the final victory of truth.
HUSSITE WAR SOJVG
FIRST HALF OF XV CENTURY
,^^-T^^ \ 1 ^-
m
Warriors who for Godarejighting-, and for His di-
:t=t=fe:
^•^^^
=;=[=
w
i^^
:^=s^
t=X
^
=S=
-vine law. Pray that His helfi bevouchsafedyou ;
I I
With trust un - to Him draw; With Him you
^f ~ - /
12
THE MUSIC OF BOHEMIA
w-^if3r^^"^'
con - quer, in your foes in-sfiire awe ; with Him you
J?-
7T^. — =* '==' r» ^ ' 2
a
i^f^
i~^
con-quer, in your foes in - sjiire
The blood of God's Warriors was not shed
in vain ; the scarlet seed shot up and flowered
into peaceful reformation, wisdom, and bro-
therhood, reaching its climax in the Church
of "Bohemian (Moravian) Brethren;" they
were no more "warriors," but "brethren"
in this Unitas Fratnim. Amos Comenius, the
great educator, and John Blahoslav, a remark-
able musical theorist, represent the height of
the spiritual quality of this church. Come-
nius himself composed songs for educational
purposes, and Blahoslav wrote Musica, in the
year 1558, the first theoretic work in music
THE MUSIC OF BOHEMIA
13
published in Bohemia in the Czech language.
Singing was an important part in the service
of the Bohemian Brethren, as the great num-
Woodcutfrom Blahoslav's Musica
ber of their original chorals proves. One of
these songs should be mentioned here because
of its beauty ; it is the Evening Hymn of the
Moravian Brethren }
^ " When Peaceful Night," the Evening Hymn of the Mo-
14 THE MUSIC OF BOHEMIA
After the glorious time of the Bohemian re-
formation, and during the Catholic reaction in
the seventeenth century, the promising growth
of Czech culture was suddenly stopped. In
the year 1620 Bohemia lost her independence.
About thirty thousand Czech families left their
fatherland rather than live under laws inimical
to the high ideals for which their forefathers
had so bravely died. Among the emigrants was
Amos Comenius.
The new tyrannical government under Fer-
dinand II tried to destroy all records of the art
and life of the glorious days of the reformation
by burning all the choral and hymn-books,
especially those related to that period. The
people in Bohemia had to be supplied with new
songs. This aim the Jesuits accomplished by
manufacturing new tunes and texts and by
taking over for church use many of the secular
Czech folk-songs . We find in the Catholic song-
books in Bohemia, songs in which a folk- tune
ravian Brethren. Published by Schirmer, New York. Organ
variations on this choi-ale were made by Johannes Barrend
Litzau, a Dutch organist.
THE MUSIC OF BOHEMIA 15
with the folk-poetry were fitted for use in the
church by changing a lover's name to that of
a saint.
The so-called counter-reformation under the
Jesuits was too unpopular among the Czechs to
lead to the production of original spontaneous
songs among the people; but at the same time
there began the development of Bohemian clas-
sical music as a part of the European classi-
cal period. The Bohemian masters of this time
whose art was appreciated in foreign countries
were : Bohuslav M . Cernohorsky (1684-1 740) ,
the teacher of Giuseppe Tartini and Christoph
W. Gluck; Anton Reicha (1770-1836), who
was the successor of Mehul at the Conserva-
tory of Paris ; and Georg Benda (1722-1795),
a significant name in the history of melodrama
or recitation with music.
The enlightened eighteenth century touched
profoundly the spiritual life of the whole of
Europe. To the Czechs this meant a great Re-
naissance, a time of national awakening. For
two hundred years the people of Bohemia had
16 THE MUSIC OF BOHEMIA
been held in the grip of systematic German-
ization . Now, in the age of ' ' Liber te — Egalite
— Fraternite," the natural outcome of Bohe-
mian reformation, founded on the same prin-
ciples, was to lift up the torch of freedom and
reason.
Particular attention was paid during this
period to everything that had originality and
the essence of Czech culture. Music and liter-
ature had only one source — the folk-song. It
was the ' ' common ' ' people who in the period
of darkness under the feudal system had pre-
served their mother tongue in the unwritten
folk-poetry with its unwritten tunes. It is not
necessary for one to be educated in music or in
literature, if his mind is emotional enough and
his mouth and throat able to produce a musi-
cal sound ; then his natural desire for self-ex-
pression finds its outlet in the most natural mu-
sical form — in song. Thus the Czech people
expressed in their uncensored songs whatever
in their souls was uprising, — their love, their
passions, — paralyzing the misrule of their op-
THE MUSIC OF BOHEMIA 17
pressors. What an astonishing richness of folk-
art came to life, when the first collections were
published! It was a living encyclopedia of the
people; for there are among the Czech folk-
songs —
Religious and Patriotic Songs,
Historical Songs,
Songs about Nature and Animals,
Seasonal Songs,
Songs of Home : Parental love. Filial love,
Cradle Songs,
Love Songs,
Peasant Songs,
Workman Songs,
Motion Songs : National Dances — Play
Songs,
Humorous and Nonsense Songs,
Popular Philosophical Songs.
The Czech folk-songs are of a lively, rhyth-
mical, dance-like character; often they are real
dances.
^ An interesting anal}'sis of folk-poetry may be found in the
magazine ./^sm, for December, 1918, by L. Llewellyn : "The
Singing Czechoslovaks."
18
THE MUSIC OF BOHEMIA
bohemiajy love SOJVG
ENGLISH VERSION BY L. FOXLEE
^
Lively
3^
^-
A^one - ther do
I want but John - nie
TT tf~S — r^ — ffi? — F~
-^-^^^
J' h >
^ '* , ._r j*^ — p-
S '
-£ — ?-£=
— ! —
sogal-lant, JVo7ie o- ther do I want but my awn John j
I
S^
15=fc
j L ■< ■ <— i^
John will drive me near and far in a covered wa-
^
5^^
*
gon,
Covered wa - gon, with four hor-
a^P^i ^ ^-^i ^ ^j^j ^g;^
ses^ Heigh-Ho I My dear - est be - lorv - ed John I
The Slovak folk-songs contrast with the
Czech tunes by a more poetic form, a freer
rhythm, and a tendency to introduce church
modes/
The story of the world-known dance, the
^ ''Singing is the chief passion of the Slovaks. Nothing will
find its way so surely to the heart of the Slovak people as a
well-sung song. An old peasant woman once complained to a
friend of mine thather son was a useless disappointing fellow.
THE MUSIC OF BOHEMIA
SLOVAK LOVE SOJVG
ENGLISH VERSION BY A. J. LATHAM
19
Slowly
1. Ah, sinkfromthesJcy,drearsun!Dark-enthehillandplain,
2. Ah, sharp is the hurt I feel, Tom is my soul with love;
3. Gone, gonefrom the sky the sun. Darkening hill and plain.
^
i
3=l=tP=
-Ffe=
ll^jj ^ — p^- h p.
/7\
K ^ N N
v^ — fl
M^r-J' / ^ f-
=^=^
^s— ^
•j r r 1 , r
hold me. Gov - er all my
one knmv. Lit - tie sil - ver
brief night; Endless will be my
TZy\
Let no one be-
Sweetheart, you a - 1
Just for this one
pain !
dove!
pain!
^=F=^r — ^^=T^
r-^
rf"^^ —
=W=F
^Vh — ^— — r
tp — LA
E^=l^
k-^
Polka, Avhich is of Czech origin, seems to be
of peculiar interest. '* The Polka was invented
about the year 1830, by a country lass in Bo-
hemia, who was in service with a citizen in
' What was the matter ? ' inquired my friend ; ' did he drink
or would he not work?' 'Oh, no,' said the old woman, 'but
nothing will makehim sing. It's a great misfortune.' " Scotus
Viator (Seton Watson) : Racial Problems in Hungary.
20 THE MUSIC OF BOHEMIA
a small Bohemian place. The schoolmaster of
that little town, happening to witness the per-
formance by the girl of the dance, which she
had contrived merely for her own amusement,
wrote down the tune as she sang it while
dancing. The new dance soon found admirers,
and in the year 1835 it made its w^ay into
Prague, the Bohemian metropolis, where it re-
ceived the name Polka, probably on account
of the half step occurring in the dance, for the
word — pulka — designates Hhe half.' Four
years later, in 1839, this tune, which had now
become a great favorite in Prague, was carried
to Vienna. The Polka now became rapidly
known throughout Austria. In 1840 it was
danced for the first time at the Odeon in Paris,
by Raab, a dancing-master from Prague. Here
it found so much favor that it was introduced
with astonishing rapidity into the most elegant
and fashionable dancing salons and private
balls of Paris. From France it spread over all
Europe, and even through North America.
Celebrated composers wrote new tunes to it."
THE MUSIC OF BOHEMIA 21
Besides the Polka, there is another Czech
folk-dance with characteristic wild rhythm:
TheFuriant, which means a boasting farmer.
Dvorak in his First Symphony introduced this
dance, its rhythm only, instead of the usual
Scherzo. The most brilliant examples of the
Polka and Furiant are those in Smetana's opera
The Bartered Bride.
THE FURIAKT
THE ORIGINAL FOLK-TUNE
Vivace
p^r=^
^=s=t
m
^t=^-
It is no wonder that the richness of folk-art
was overestimated in Bohemia at the beginning
of the last century, and led to an error. Folk-art
was confused with nationality in art. A false
principle was constructed that '' national art"
must be based upon folk-music.^ Thus the
^ Tliis matter was also discussed in America, where some
22 THE MUSIC OF BOHEMIA
imitation of folk-poetry and folk-melodies was
approved as the real national art. It is astonish-
ing how long this principle, violating the natu-
ral law of progress, could endure. Ail works of
this feverish would-be-national period belong
to history. They live no more, being but imita-
tions. There is no room in this brief article for
mention of their names or works. ^
Into the artificial edifice, without solid foun-
dations, erected by this group of artists, struck
a thunderbolt of genius, who tore down their
flimsy structure and exposed their false theo-
ries. This genius was — Bedfich Smetana, the
founder of modern Czech musical art.
people saw national American music under the guise of
Indian music. Notliing is easier for a composer than to imi-
tate the melodies of different nations, preserving their rhyth-
mical or melodic mannerisms. Following this method, the
American or Czechoslovak national music would be accessi-
ble to the composer of any nation ; notice the great number
of so called "oriental" compositions of our day. Are they
national music of Egypt, East India, or China?
■^ One of the composers belonging to this class was Jan Skroup,
whose song Where is my home ? was adopted by the Czechs
as the national anthem, more for the words appealing to
their sentiment than for the tune.
PART II
WHY Bohemian music or Czech music or
Slovak music or Czechoslovak music?
Does there exist any nationality in music?
Every nation, with its mother-tongue, its
peculiar customs, its distinct mode of life,
varies more or less in form of culture from all
other nations. The differences of geographical
positions, racial inclinations, and inborn tem-
per influence all departments of life — even
Art. '^ No man can quite emancipate himself
from his age and country or produce a model
in which the education, the religion, the poli-
tics, usages, and arts of his times shall have
no share. He cannot wipe out of his work every
trace of his thoughts amidst which it grew.
Above his will and out of his sight he is neces-
sitated by the air he breathes and the idea
on which he and his contemporaries live and
toil, to share the manner of his times, without
knowing what that manner is." (Emerson.)
And as a man cannot escape from his own
24 THE MUSIC OF BOHEMIA
people and his own time, so he cannot escape
from all peoples and all times. The greater the
artist, the more he expresses the Hfe of all man-
kind, the more he becomes the universal artist;
and strangely enough, the more he becomes the
pride of his nation. The world speaks of his
work as the representative art of his nation, and
discovers in it something that we call ' ' nation-
ahty . ' ' In this sense Smetana is the founder of a
style which is called "Czech national music."
Bedrich Smetana (1824-1 8 84 ) was endowed
by nature with a rare gift of musical initiative.
While a wee child of five he was already play-
ing the violin and composing ; as a poor stu-
dent he returned one evening from a concert of
chamber music and wrote down a string quar-
tet he had heard, because he could not buy a
copy of it. Like Beethoven, he lost his hearing
in the time of his most intensive period of cre-
ation. When deaf and persecuted by the ma-
lignity of his enemies, when fate knocked on
his door with its iron hand and robbed him of
his wife and child, his genius created the great-
THE MUSIC OF BOHEMIA 25
est works. The high spiritual plane of his life
as it touched the personal and the accidental is
revealed in the charming string quartet ' * From
my Life."'
"My quartet," says Smetana, "is not
merely formal playing with the tones and mo-
tifs, to show off the composer's skill ; but it is
the real picture of my Ufe. The tone sound-
ing for a long time in the Finale is that whis-
^ When Liszt heard this composition in Weimar he remarked :
"There is nothing to be said. It is very, very beautiful.
We really enjoyed your wonderful quartet." In this con-
nection it may be interesting to note the following anecdote
about Smetana and Liszt, who were great friends. On one
occasion Liszt introduced Smetana to his German friends,
who naturally pronounced his name with a wrong accent,
as the English would do. Liszt corrected them with a clever
musical joke, using two motifs from Beethoven's Leonore
and Fidelio overtures ; the first, pointing out the correct ac-
cent on the first syllable :
i
i =»~i ,. .i I J.^^ mH-'. JJTTra
Sme-ta-na, Sme-ta-na, Sme-ta-na am I!
The other pointing out the wrong accenton the second syllable.
N
Sme - ta - na
26 THE MUSIC OF BOHEMIA
tling sound of very high pitch, which had pre-
ceded my deafness. This Utde tone-picturing
I dared to insert in this composition because
it was so fateful for me."
Smetana always found in the small ensem-
ble of chamber music the proper interpreter for
expression of his most intimate feelings. Thus
the Trio, op. 15,^ was written to the memory
of his little daughter, whose death brought to
Smetana a great sorrow.
Smetana never accommodated his artistic
principles to the taste of the public. He was
too serious an artist to make a work pleasing
to the masses. His eight operas — except The
Bartered Bride — had to fight against a wall of
misunderstanding; and were victorious, only
after many years of dispute, because of their
originality and vitality. A real genius, Sme-
tana was much ahead of his time.
The Bartered Bride'' (1866), Two Widows
^ Trio in G minor, op. 15, for piano, violin, and violoncello.
^ Was performed for the first time in America in 1 909 at the
Metropolitan Opera House, New York, with great success.
THE MUSIC OF BOHEMIA 27
(1874), The Kiss {1^1 e>), The Secret {lS7S),
and The DeviPs Wall (1882) represent the
highest style of the modern comic operas. Each
of these works introduces a charming overture
of a pure musical beauty, classical in form.
Dalibor (1868), a historical-romantic opera,
became a favorite even outside its native land.
The story is based upon a Czech folk-legend
of the fifteenth century, which tells about
a knight, Dalibor, who was a prisoner at the
castle in Prague. He begged his jailor for a
vioHn to lighten the heavy hours of his captiv-
ity. After a time, it is said, he played with such
marvelous skill that the people came from far
and wide to stand outside the prison walls and
listen to the charming music. Likewise the
libretto to the festival opera Libussa (188 1),
is drawn from the Czech history. This work
marks the climax of Smetana's genius, and a
knowledge of it is indispensable to the student
of Czech musical art. The overture to this opera
is a masterpiece of form and festival mode.
It begins with a trumpet call, developed in a
28 THE MUSIC OF BOHEMIA
Maestoso
I
eS^Ei
/
tremendous gradation. Surely this work ought
to be heard at least in a concert hall.
Considering the technical side, Smetana's
works exhibit a great skill in the most prob-
lematic combinations of the polyphonic style
flowing so naturally, that the hearer does not
notice the difiiculties solved with such exquis-
ite grace and lightness. The melodies are fresh,
original,^ and impressive; and enriched with
Smetanian harmonic peculiarities. Speaking
of the harmony, I want to disclose this fact,
that in his piano sketch, ' ' A Scene from Mac-
beth," composed in the year 1859, there was
introduced for the first time in the history of
musical literature, the whole tone scale:
1 Smetana's inventive power was never exhausted; he was
often compared to Mozart. By no means should his melodies
be mentioned in relation with Czech folk-song ; the statement
about T/ie Bartered Bride that ' ' National melodies and Ra-
tional rhythms furnish the chief stock of the work," and
that "the overture is a masterly setting of folk-song mate-
rial in fugal style ' ' ( The O/iera, vol. ix in The Art of Music) ,
has to be corrected. There is no trace of Czech folk-song in
the whole opera.
THE MUSIC OF BOHEMIA
29
i^s
i Jjn .X!5 :
3*:
:t=P
35^
?-t^-5
ff
As a composer for the piano Smetana left a
considerable number of works, especially Pol-
kas, which he idealized in a very poetic form.
His Polka No. 1, op. 7, was one of Liszt's fa-
vorites; the subject of this dance will not be
thought devoid of interest in this place:
Allegro rommodo
Two cycles of piano compositions, of which
the first bears the tide Ji^ves, and the other
The Bohemian Dances, especially deserve the
attention of the pianist. In this later work the
30 THE MUSIC OF BOHEMIA
Czech folk-melodies are preserved in very artis-
tic and pianistic style. Smetana's best known
composition, which is often played at concerts,
is his etude By the Seashore^ op. 17, a diffi-
cult but very eifecdve piece of music snatch-
ing the spell of the Northern Sea.^
In the last period of his creation Smetana ex-
pressed his love and admiration for his country
and its history in poems in a cycle called My
Country^ consisting of six charming symphonic
poems : Fysehrad^ the old castle, the seat of the
first Bohemian ruler; Vltava, the river of Bo-
hemia; Sdrka^ the Bohemian Amazon; From
Bohemian Meadows and Woodlands^ an id}dl ;
Tabor and Blanik^ which picture in tones the
glorious past epoch of the Reformation. With
this work the composer reached his goal. No
greater tribute to his success is needed than
Liszt's exclamation upon hearing of Smetana's
death — ''He was a genius!"
Anton Dvorak (1841-1904), the bestknown
^ It was composed in Sweden, in 1862, with original title
Vid Stranden, Mine af Sverige, while Smetana was a mu-
sical director in Goteborg.
THE MUSIC OF BOHEMIA 31
Czech composer, was a son of a village butcher.
From his early childhood his only passion was
music. In spite of many struggles and much
suffering, he did not cease to study and work.
Music was his consolation , his life. In j ust praise
it may be said that the high position of this
composer in the musical world is due chiefly
to his unparalleled perseverance under his own
criticism. To take a full orchestra score of a
completed opera and destroy it and then re-
write it, was characteristic of Dvorak's method
of attaining perfection. This self- teaching ex-
plains his temporary experimenting and un-
certainty in form.
The number of Dvorak's compositions is
vast, covering almost all forms of music. His
fame began with Slavic Dances^ brilliantly in-
strumented, which appealed to the larger pub-
lic. Of his five symphonies the last one, From
the J\'ew Worlds was composed while Dvorak
was teacher of composition at the National Con-
servatory of Music in New York, in 1892.
To this American period belongs the popular
32 THE MUSIC OF BOHEMIA
String quartet, op. 96, and his most beautiful
as well as his last vocal opus, the cycle of The
Biblical So??gs, op. 99.
Whoever wishes to have a clear idea of
Dvorak's genius must study and hear the won-
derful symphonic poems from the last period
of the composer's life. Here Dvorak, master
of classical and absolute music, pays his trib-
ute to the modern form of romantic program
music with great success. As a composer of
piano music, Dvorak could not subdue his em-
inent orchestral genius to clavier technique;
his piano compositions call for instrumenta-
tion. The seventh number from opus 101 has
become an extraordinary favorite in America ;
it is the celebrated Humoreske.
Of his seven operas the most beautiful is
Russalka^ which exhibits the best qualities of
the author's creative ability. It may be said,
however, that all Dvorak's operas are handi-
capped by a lack of conciseness. They cannot
be compared favorably with Smetana's works
in dramatic feeling. The interesting remark
THE MUSIC OF BOHEMIA 33
of Liszt, that ^Svhat Smetana deserved —
Dvorak has reaped," should be modified to
this extent, that these Czech masters never con-
sidered themselves rivals. Each fulfilled his
task in his own way, and each appreciated the
work of the other.
ZdenkoFibich (1850-1900) was the creator
of the modern melodramas — recitations with
34 THE MUSIC OF BOHEMIA
music. The first Czech composer who wrote
this unusual form was Georg Benda (1722—
1795). His melodramatic compositions, Me-
dea, Ariadna on the JVaxos, appeared only two
years after Rousseau's melodramatic experi-
ments. Benda did not know anything about
Rousseau's work and made his melodramas of
his own initiative. His technique was essen-
tially diiferent from that used later by Beetho-
ven in Egmojit, by Schumann in Manfred,
and by Fibich in his works. Benda never let
his music be performed simultaneously with
the recitations, but as an interlude between the
short sections of the poetry.
One hundred years after Benda, Fibich re-
vived melodrama in Bohemia, greatly chang-
ing and enriching its technique. Thus his tri-
logy, Hippodamia, performed in three even-
ings, is the first example in the history of music
where the modern orchestra supports contin-
uously the recitations of the actors. Fibich pre-
pared himself for the great task of writing scenic
melodrama by composing many concert melo-
THE MUSIC OF BOHEMIA 35
dramas, of which The Waterman became a fa-
vorite in Bohemia . These are very fine specimens
of the form so often anathematized by aesthetes.
Fibich wrote also six operas in which he
proved himself a master of dramatic style. It is
a pity that these works are not better known.
One of his operas, The Tempest^ takes its sub-
ject from Shakespeare's play.
36
THE MUSIC OF BOHEMIA
Modern Czech music is represented by the
works of Vitezslav Novak (l870), a pupil of
Dvorak. He is the greatest unrivaled talent of
present Czech musical art. It is necessary to
hear only his ocean fantasy, The Storm ^ op. 42,
for soli, chorus, and orchestra, to get an idea
of his elementary power of creation.
The principal theme from The Storm :
(Tfp-^-T-^
F^— B=1
—IS
1 ff
A i—
-^
=i —
\^Vi *• - -
The magnificent art of interpretation of the
Prague and MoravianTeachers inspired Novak
to compose male choruses containing very often
great difficulties for intonation; as an instance,
in the
CHRISTMAS LULLABY
OP. 37, V
Tranquillo motto
^JS_
Sleefi, Lit - tie Christ child, sleep. -
g^^
mormora
rando
THE MUSIC OF BOHEMIA S7
A special analysis would be necessary to dis-
cover Novak's melodic and harmonic richness
in chamber music, piano compositions, and
especially in songs. His Fan, op. 43, a poem
in tones for piano solo, is one of the most mar-
velous works of the modern piano literature.
It consists of five parts: Prologue, Mountains,
Ocean, Woods, Woman.
Simultaneously with Novak came another
Czech modernist from Dvoi^ak's class in com-
position, Josef Suk (1874), the second violin-
ist in the famous Bohemian String Quartet.
He is a composer of absolute subjectivity with
incHnation to mysticism; a real poet, in both
the most complicate symphonic forms and in
short piano sketches. He wrote the first com-
position made under the suggestion of the great
war in Bohemia, his Meditation, op. 35, for
string orchestra, in which is heard the prayer
from the old St.Wenceslas' Chorale: ''Do not
let thy nation perish ! ' ' with a new solemnity
of accent.
PART III
ALTHOUGH the saying, ** Where there is a
-^ J^ Czech — there you hear music," may be
exaggerated, nevertheless it was the observa-
tion of the neighboring nations that the people
of Bohemia were from earliest times very fond
of music. Richard Wagner, in his novel, The
Pilgrimage to Beethoven^ pays high tribute to
the Czech performing musicians. He relates in
it a story of a young musical enthusiast, who
traveled from Paris to Vienna to see Beethoven.
In the woods on the Bohemian border he met
a group of wandering Czech musicians, who
on the road under the blue sky played for him
Beethoven's Septet with such profound under-
standing that he pronounced their performance
of this work the best he ever heard.
It was the enthusiasm of a real love for
music which accomplished the formation, for
instance, of the Associations of the Prague and
of the Moravian Teachers of Public Schools,
two bodies which perform male choruses a ca-
THE MUSIC OF BOHEMIA 39
pella with ideal interpretation. It is the Czech
traditional musicianship which makes the
members of these Associations sacrifice their
time in exhausting rehearsals in order to secure
a perfect result. Wherever they have sung, in
France, Belgium, Germany, etc., the Czech
Teachers have gone out victorious from the
contest.
The pedagogical foundation for the educa-
tion of Bohemian musicians was laid, when
there was established, in the year 1811, the
Conservatory of Music of Prague, which is
placed now in a beautiful building, called
^'Rudolphinum," in the Old Town, the most
ancient borough of the city of Prague.^ This in-
stitution has sent into the world a large num-
ber of excellent artists. Every leading sym-
1 Pi-ague, the metropolis of Bohemia, preserved its reputa-
tion of eminence in musical art. In this town Mozart spent
the happiest days of his life. After his fatherland despised
its son, Bohemia welcomed the great master with open arms.
He was understood by the people among whom he so gladly
lived. Prague, the city of antique magnificence, was the
place where Don Giovanni was written in order to express
the thanks of the great master to his " dearest citizens of
Prague," for their ardent reception.
40 THE MUSIC OF BOHEMIA
phony or theatrical orchestra in the world has
among its members one or more Czech mu-
sicians, pupils of the Prague Conservatory.
The violin class especially became famous
under the leadership of Otokar Sevcik, very
well known among our American students of
violin. Jan Kubelik, the celebrated artist, was
one of his Czech pupils. From this Conserva-
tory came all the members of the Bohemian
String Quartet, an ensemble highly esteemed
in Europe.
Whoever wishes to hear Smetana's,Fibich's,
and Dvorak's operas perfectly produced,
should visit the National Theatre in Prague,
founded in the year 1868, w^here the orches-
tra is led under the baton of Karel Kovarovic, a
musician of rare power — a real Smetanian
conductor.
This sketch of Bohemian music would not
be complete without mentioning two names of
world-famous singers familiar to the Ameri-
can public — Emmy Destinn, the dramatic so-
prano, and Karel Burian, the tenor, known
THE MUSIC OF BOHEMIA 41
from their appearances at the Metropolitan
Opera in Ne\^' York. Madam Destinn inter-
prets wonderfully the title roles in Fibich's
Sarka; she is unsurpassed as Libussa, and as
Milada in Dalibor^ both by Smetana. Burian
is delightful as Lukas in The Kiss^ and mag-
nificent as Dalibor.
CATALOGUE OF PRINCIPAL WORKS
OF CZECH MUSIC MASTERS
BEDRICH SMETANA
Piano Works
Six Morceaux caracteristiques. Op. 1.
Album Leaves. Op. 2.
Trois Polkas de Salon. Op. 7.
Trois Polkas poetiques. Op. 8.
Sketches. Op. 4 and 5.
Three etudes.
By the Seashore. Op. 17. Published by Schirmer, New
York.
Fantasy on Czech Folk-Songs.
Rgves. Six morceaux caracteristiques.
Bohemian Dances.
Chamber Music
Trio for piano, violin, and violoncello. G minor. Op. 15.
From my Life. A string quartet. E minor.
Second string quartet. D minor.
From the Homeland. A duo for violin and piano.
Symphonic Works
Triumph Symphony. E flat major.
Richard III (Shakespeare's Richai^) . Op. 1 1 .
Wallenstein's Camp (Schiller). Op. 14.
Hakon Jarl, Op. 16.
THE MUSIC OF BOHEMIA 43
My Fatherland. A cycle of six symphonic poems:
(a) Vysehrad.
(b) Vltava.
(c) Sarka.
{d) From Bohemian Meadows and Woodlands.
(e) Tabor. 1 An organ arrangement by L. Urban was
(/) Blanik. J published by the Gray Co. , New York.
Operas
The Bartered Bride.
Dalibor.
Libussa.
Two Widows.
The Kiss.
The Secret.
The Devil's Wall.
NB. Smetana's very first opera is The Brandeburgers in
Bohemia; the last one, Viola^ was left unfinished.
ANTONIN DVORAK
Piano Works
Waltzes. Op. 54.
Poetic Impressions. Op. 85.
Humoresques. Op. 101.
Songs
Duos. Op. 38.
Gipsy Songs. Op. 55.
Biblical Songs.
44 THE MUSIC OF BOHEMIA
Chamber Miisic
String Quartets :
A minor. Op. 16.
D minor. Op. 34.
E flat major. Op. 51.
C major. Op. 6 1 .
E major. Op. 80.
F major. Op. 96.
A flat major. Op. 105.
G major. Op. 106.
Piano Quartets :
D major. Op. 23.
E flat major. Op. 8 7.
Piano Trios :
B flat major. Op. 21.
G minor. Op. 26.
F minor. Op. 65.
Dumky. Op. 90.
Quintets :
G major. Op. 77. String quartet and doublebass.
E flat major. Op. 97. Two violas.
A major. Op. 81. String quartet and piano.
Serenade. D minor. Op. 44. 2 oboes, 2 clarinets, 2 bas-
soons, 3 French horns, violoncello, and doublebass.
Sonatina. Op. 100. Piano and violin.
Sonata. Op. 57 . Piano and violin.
Rondo. Op. 94. Violoncello and piano.
Bagatelles. Two violins, violoncello, and cabinet organ.
THE MUSIC OF BOHEMIA 45
Concertos
Op. 33. Piano.
Op. 5 3. Violin.
Op. 104. Violoncello.
Symphonic Works
First Symphony. D major. Op. 60.
Second Symphony. D minor. Op. 70.
Thiixi Symphony. F major. Op. 76.
Fourth Symphony. G major. Op. 88.
Fifth Symphony, i^rom/Ae New World. Yjimnor. Op. 95.
Three Sla\ic Rhapsodies. Op. 45.
Slavic Dances. Op. 46 and 47.
Legends. Op. 59.
Suite. Op. 98.
Overtures :
My Home. Op. 62.
Husitska. Op. 67.
In Nature. Op. 9 1 .
Carneval. Op. 92.
Othello. Op. 93.
Symphonic Variations. Op. 78.
Symphonic Poems:
The Wateraian. Op. 107.
The Midday Witch. Op. 108.
The Gold Spinning- Wheel. Op. 109.
The Dove. Op. 110.
Heroic Song. Op. 111.
46 THE MUSIC OF BOHEMIA
Operas
Dimitrij .
Jacobin.
Russalka.
The Devil's Bride.
Oratorios
Requiem.
St. Ludmila.
The Spectre's Bride.
The American Flag.
Stabat Mater.
ZDENKO FIBICH
Piano Works
Impressions and remembrances. Author's musical diary
containing 352 rather short compositions.
Painter's Studies. Op. 5 6. Six compositions which mir-
ror the composer's admiration for classical paintings.
Chamber Music
Piano Quartet. E minor. Op. 1 1 .
String Quartet. G major. Op. 8.
Quintet. E flat major. Op. 42. Piano, violin, violoncello,
clarinet, and French horn.
Symphonic Works
Symphony. E flat major. Op. 3.
Symphony. F major. Op. 17.
Symphony. E minor. Op. 53.
THE MUSIC OF BOHEMIA 47
Symphonic poems :
Othello.
Zaboj, Slavoj a Ludek.
Toman.
The Tempest.
The Spring.
At Evening.
Concert Melodramas
The Christmas Eve. Op. 9.
The Revenge of Flowers.
Eternity. Op. 14.
The Waterman. Op. 15.
Queen Emma.
Hacon. Op. 30.
Scenic Melodramas
Hippodamia:
Part I. The Wooing of Pelops. Op. 3 1 .
Part 11. The Atonement of Tantalus. Op. 32.
Part III. The Death of Hippodamia. Op. 33.
Operas
The Tempest (1894).
Hedy (1895).
The Bride of Messina (1883).
Sarka (1897).
Helga and Dargun (1898).
48 THE MUSIC OF BOHEMIA
JOSEF SUK
Piano Works
Fantaisie Polonaise. Op. 5.
Piano Works. Op. 7.
Poetic Impressions. Op. 10.
Piano Works. Op. 12.
Suite. Op. 21.
The Spring. Op. 22 a.
Summer Impressions. Op. 22 b.
Life and Dreams. Op. 30.
Chamber Music
Piano Quartet. C major, Op. 1, and A major, Op. 2,
Quintet. G minor. Op. 8.
Quartet. B flat major. Op. 11.
Symphonic Works
Symphony. E major. Op. 15.
Symphony. C mxinor. Op. 27.
Serenade. Op. 6, String orchestra.
A Fairy Tale. Op. 16.
Fantasy. Op. 24. Violin solo and orchestra.
Praga. Op. 26. »
Asrael. Op. 27.
A Tale of Summer. Op. 29.
Meditation. Op. 35.
THE MUSIC OF BOHEMIA 49
ViTEZSLAV NOVAK
Piano Works
Remembrances. Op. 6.
Serenades. Op. 9.
Barcarolles. Op. 10.
Eclogues. Op. 1 1 .
At Twilight. Op. 13.
Bohemian Dances. Op. 15.
Sonata Eroica. Op. 24,
Songs of Winter Nights. Op. 30.
Two Moravian Dances (from Wallachia). Op. 34.
Pan. Op. 43.
Exoticon. Op. 45.
Songs
Melancholy. Op. 25. Six songs.
Melancholic Songs of Love. Op. 30.
The Valley of a New Kingdom. Op. 31.
Twenty-five Slovak Folk-Songs.
Eight Nocturnes. Op. 39.
Eroticon. Op. 46.
Chamber Miisic
Quintet. A minor. Op. 1 5 . Piano, two violins, viola, and
violoncello.
Trio quasi una ballata. Op. 27. Piano, violin, and vio-
loncello.
String quartet. D major. Op. 35.
50 THE MUSIC OF BOHEMIA
Symphonic Works
In Tatra Mountains. Op. 26.
Slovak Suite. Op. 32.
Eternal Desire. Op. 33.
Orchestral and Vocal
The Storm. Op. 42.
The Wedding Shirt.
Operas
The Little Demon.
Karlstejn.
Note : The most valuable collections of Czechoslovak folk-
songs^ especially those of Vitezslav Novak (Slovak Songs)
and of V. J. Novotmy (Libicke pisne) , may be found at
the Webster Branch of the New Fork Public Library.
J
ETURN MUSIC LIBRARY
Oh^ 240 Morrison Hall
642-2623
2(^i^mER
2
3
5
6
ALL BOOKS MAY BE RECALLED AFTER 7 DAYS
DUE
AS STAMPED BELOW
DEC 18 1985
cr.
c
2 o ^:
— ' .-\j
DRM NO. DD 21, 12m, 6'76
UNIVERSITY OF CALIFORNIA, BERKELEY
BERKELEY, CA 94720
'■.r^y^'WT.
:s^.mm
ML3590.U861
C037428986
U C BERKELEY LIBRARIES
CD37MEfi^flb
DATE DUE
Music Library
University of California at
Berkeley