=Bohemia.= In marked contrast to the above-mentioned limitation is the evolution of Bohemian orchestration, especially when one considers the fact that the pioneer, Smetana, was content to build upon Mozart's system of scoring, whereas already in the next generation his illustrious pupil, Dvo[vr]ák, developed that art to a point excelled by none. To mention these two men is synonymous for both the birth and the maturity of a native Bohemian school of composition. They both relied upon the Folk-song as a basis for operation, but Dvo[vr]ák advanced far beyond his master. A worthy successor to these two men has not yet appeared upon the horizon, even though Dvo[vr]ák's pupil, Joseph Suk, reveals latent possibilities for future prominence.[92] [Footnote 92: Joseph Suk (1874) continues to command critical favor, as evidenced, for example, by his successful appearance on the concert stage of Berlin in the fall of 1906. Particularly his "Scherzo fantastique" is widely known and well received.] SMETANA (1824-1884) is a typical Czechish composer. Though he studied for a short time under Liszt and showed himself an enthusiastic follower of the "New Movement," his melody and rhythm are thoroughly Bohemian; moreover, his music, like his orchestration, occasionally reveals a certain naïve touch of Mozart. Smetana wrote as many as eight operas, but the very first of these, "Die verkaufte Braut," not only gave him his foreign reputation, but has proved the best and most enduring of them all. The overture of this work, with its magnificent fughetta, forms an admirable concert number by itself. It might be incidentally added that this overture contains horn attacks of such difficulty as to have proved a stumbling block at public performance to no less an orchestra than the Royal band in Munich under Levi's magnetic baton some fifteen years ago. Smetana's affiliations with Liszt bore fruit in a worthy series of symphonic poems, whereas his native inheritance is emphasized in his national dances for pianoforte. III.