Smetana, Bedrich

and inscribed by him at the head : “Motiv Raracha ze zpevohry: Čertova stěna [the motifs of Rarach in the Singspiel The Devil's Wall... ”], comprising eight bars of music notated on up to three hand-drawn staves, the themes identified by the composer (a-c) and then combined as counterpoint (“...Vsechay 3 motivy”), outlining augmented harmony, and with an enharmonic version of the bass written by Smetana on a third stave

1 page, oblong 8vo (c.11 x 19.5cm), Jabkenice, 10 April 1882, light browning to edges

Condition is described in the main body of the cataloguing, where appropriate
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Autograph music by Smetana is of the greatest rarity at auction. Apart from one important six-page manuscript sold by Sotheby's on 21 May 2004, we have no record of any music by him appearing at auction since the 1980s.  This manuscript constitutes the composer's analysis of the main Leitmotivs rather than a direct quotation from the opera.

Certova stena was Smetana's last completed opera, begun in the autumn of 1879 and completed on 17 April 1882, ten days after the date of this manuscript. It was first performed at the New Czech Theatre in on 29 October 1882, eighteen months before the composer's death.  “The Devil's Wall” refers to a group of rocks in the river Vlata, traditionally supposed to have been placed there by the Devil to flood the land.  The Devil's themes are presented together, articulating the augmented chords that characterize Rarach (bass), in the main allegro of the orchestral prelude; they also recur repeatedly during Rarach's first appearance in Scene 1, accompanying his devilish laugh and again in Scene 4.  The three themes appear together when Rarach reappears at the end of Scene 5, and again in Act 3, Scene 7.