National prominence
[edit] Seeking recognition

In 1861, it was announced that a Provisional Theatre would be built in
Prague, as a home for Czech opera.[52] Smetana saw this as an
opportunity to write and stage opera that would reflect Czech national
character, similar to the portrayals of Russian life in Mikhail
Glinka's operas.[12] He hoped that he might be considered for the
theatre's conductorship, but the post went to Jan Nepomuk Maýr,
apparently because the conservative faction in charge of the project
considered Smetana a "dangerous modernist", in thrall to avant garde
composers such as Liszt and Wagner.[53][54] Smetana then turned his
attention to an opera competition, organised by Count Jan von Harrach,
which offered prizes of 600 gulden each for the best comic and
historical operas based on Czech culture.[53] With no useful model on
which to base his work€”Czech opera as a genre scarcely existed€”Smetana
had to create his own style. He engaged Karel Sabina, his comrade from
the 1848 barricades, as his librettist,[55] and received Sabina's text
in February 1862, a story of the 13th century invasion of Bohemia by
Otto of Brandenburg. In April 1863 he submitted the score, under the
title of The Brandenburgers in Bohemia.[55][56]
Prague Conservatoire (modern photograph): Smetana's bid to become its
director failed.

At this stage in his career, Smetana's command of the Czech language
was poor. His generation of Czechs was educated in German,[57] and he
had difficulty expressing himself in his native tongue.[56] To
overcome these linguistic deficiencies he studied Czech grammar, and
made a point of writing and speaking in Czech as his daily norm. He
had become Chorus Master of the nationalistic Hlahol Choral Society
soon after his return from Sweden, and as his fluency in the Czech
language developed he composed patriotic choruses for the Society; The
Three Riders and The Renegade were performed at concerts in early 1863.
[58] In March of that year Smetana was elected president of the music
section of Umělecká Beseda, a society for Czech artists.[56] By 1864
he was proficient enough in the Czech language to be appointed as
music critic to the main Czech language newspaper NárodnÃ* listy.[59]
Meanwhile, Bettina had given birth to another daughter, Božena.[60]

On 23 April 1864, Smetana conducted Berlioz's choral symphony Roméo et
Juliette at a concert celebrating the Shakespeare tercentenary, adding
to the programme his own March for the Shakespearean Festival.[53][56]
That year, Smetana's bid to become Director of the Prague Conservatory
failed. 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.[61] His hopes were
again dashed by his affiliation with the perceived radical Liszt, the
appointing committee choosing the conservative patriot Josef KrejÄ�Ã*
for the post.[62]

Almost three years passed before Smetana was declared the winner of
Harrach's opera competition.[53] Before then, on 5 January 1866, The
Brandenburgers had been performed to an enthusiastic reception at the
Provisional Theatre€”over strong opposition from Maýr, who had refused
to rehearse or conduct the piece. The idiom was too advanced for
Maýr's liking, and the opera was eventually staged under the
composer's own direction.[53] "I was called on stage nine times,"
Smetana wrote, recording that the house was sold out and that the
critics were full of praise.[63] Music historian Rosa Newmarch
believes that, although The Brandenburgers has not stood the test of
time, it contains all the germs of Smetana's operatic art.[64]
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