Lithuanian city of Vilnius. where he had obtained a position of choirmaster. After spending two unhappy years there (his wife and newly born twins both died in Vilnius), he returned to Prague in 1874 and remained there until his death in 1900. In 1875 Fibich married Růžena's sister, the operatic contralto Betty Fibichová (née Hanušová), but left her in 1895 for his former student and lover Anežka Schulzová. The relationship between Schulzová and Fibich was important to him artistically, since she wrote the libretti for all his later operas including Šárka, but also served as the inspiration for his Moods, Impressions, and Reminiscences. Career Fibich was given a bi-cultural education, living during his formative early years in Germany, France and Austria in addition to his native Bohemia. He was fluent in German as well as Czech. In his instrumental works, Fibich generally wrote in the vein of the German romantics, first falling under the influence of Weber, Mendelssohn and Schumann and later Wagner. His early operas and close to 200 of his early songs are in German. These works along with his symphonies and chamber music won considerable praise from German critics, though not from Czechs. The bulk of Fibich's operas are in Czech, although many are based on non-Czech sources such as Shakespeare, Schiller and Byron. In his chamber music, more than anywhere else, Fibich makes use of Bohemian folk melodies and dance rhythms such as the dumka. Fibich was the first to write a Czech nationalist tone poem (Záboj, Slavoj a Luděk) which served as the inspiration for Smetana's Má vlast. He was also the first to use the polka in a chamber work, his quartet in A. Criticisms from Prague's musical community After his return to Prague in 1874, Fibich's music encountered severely negative reactions in the Prague musical community, stemming from his (and Smetana's) adherence to Richard Wagner's theories on opera. While Smetana's later career was plagued with problems for presenting Wagnerian-style music dramas in Czech before a conservative audience, Fibich's pugilistic music criticism, not to mention his overtly Wagnerian later operas, Hedy, Šárka, and Pád Arkuna, exacerbated the problem in the years after Smetana's death in 1884. Together with the music aesthetician Otakar Hostinský, he was ostracized from the musical establishment at the National Theatre and Prague Conservatory and forced to rely on his private composition studio. The studio nevertheless was well respected among students,