During the nineteenth-century Czech National Revival, it was the symphonic poem and opera that dominated musical proceedings. The former, with its programmatic clout, and the latter’s ability to embrace politics and pomp made for nimble agents in the nation’s search for its soul. Bedrich Smetana and Anton.n Dvorak, its prime musical movers and shakers, dedicated their lives to these totemic art forms, while the string quartet trailed quietly behind. Intimate and domesticated, its four-way dialogue was seemingly not for the national stage. But as Dvorak and later Smetana demonstrated, their music was not always about the grand gesture.
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