Page:The music of Bohemia.djvu/43

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THE MUSIC OF BOHEMIA

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\new PianoStaff << \override Score.TimeSignature #'stencil = ##f
\new Staff { 
  \key e \major
  \relative c' {
  << {
  \autoBeamOff
  <gis gis'>8[ <b' b'>8^^] <a a'>8^^[ <fisis fisis'>8^^] | 
  \tuplet 3/2 { <eis eis'>8^>[ <dis dis'>^> <cis cis'>^>] }
  <b b'>8.^>[ <a a'>16^>] | <a a'>2
  } \\ {
  r16 <cis e>16 s4. | s2 | r16\( <bis dis fis>16\)[ <bis dis fis>16]
  } >>
} }
\new Staff {
  \clef bass \key e \major \time 2/4
  \relative c' { gis,,8_> r8^\f <gis'' e'>8^^ r8 | r4 r8. gis,,16_. | gis8 r8 s4} }
>>

As a composer for the piano Smetana left a considerable number of works, especially Polkas, which he idealized in a very poetic form. His Polka No. 1, op. 7, was one of Liszt's favorites; the subject of this dance will not be thought devoid of interest in this place:

{ \new PianoStaff <<
 \new Staff << \key fis \major \time 2/4 \tempo \markup \italic "Allegro commodo"
  \new Voice \relative a''' {
    \ottava #1 <ais fis>16-.\p <gis cis,>-._\markup \italic "espress il canto" <fis ais,>-. <gis cis,>-. <fis ais,>-. <cis gis>-. <ais fis>-. <cis gis>-. \ottava #0 |
    <ais fis>-. <gis cis,>-. <fis ais,>-. <gis cis,>-. \stemUp <fis ais,>^. <cis gis>^. ais^. cis^. |
    b^( dis) b^. ais^. \slashedGrace ais8 gis16^( fisis gis ais) }
  \new Voice \relative f' { \stemDown
    s2 s4 s8 fis _~ | fis eis4 eis8 } >>
 \new Staff << \key fis \major \clef bass
  \new Voice \relative a { \stemUp
    r8 ais4^\( cis8 ^~ | cis fis4 cis8\) ^~ | cis dis4^( b16) ais }
  \new Voice \relative c { \stemDown
    <cis fis,>8_. r\< <cis fis>_. r | <fis ais>_. r\! q_. r\> |
    <cis gis'> r q\! r } >>
>> }

Two cycles of piano compositions, of which the first bears the title Rêves, and the other The Bohemian Dances, especially deserve the attention of the pianist. In this later work the