11. Music of Bedřich Smetana (1824–1884)

Bedřich Smetana (1824–1884) was born in Litomsyl, Bohemia while under Austrian rule (now the Czech Republic). Smetana was the son of a brewer and amateur violinist. He was a talented pianist who gave public performances from the age of six. Bohemia under Austrian rule was politically very volatile. In 1848 Smetana aligned himself with those seeking independent statehood from Austria. After that revolution was crushed, Prague and the surrounding areas were brutally suppressed—especially those areas and people suspected of being sympathetic to Bohemian nationalism. In 1856, Smetana left for Sweden to accept a conductorship post. He hoped to follow in the footsteps of such music predecessors as Liszt. He thus expresses his admiration, “by the grace of God and with His help, I shall one day be a Liszt in technique and a Mozart in composition.”^[1]

As a composer, Smetana began incorporating nationalist themes, plots, and dances in his operas and symphonic poems. He founded the Czech national school after he left Sweden and was a pioneer at using elements of Czech folk tunes, rhythms, and dances in his major works. Smetana returned to Bohemia in 1861 and assumed his role as national composer. He worked to open and establish a theatre venue in Prague where performances would be given in their native tongue. Of his eight original operas, seven are still performed in Czech language today. One of these operas, The Bartered Bride, was and is still acclaimed. He composed several folk dances, including polkas for orchestra. These polkas incorporated the style and levity of his Bohemian culture.

Focus Composition: Vltava (The Moldau), from Má vlast (My Country)

Smetana also is known for composing the cycle of six symphonic poems entitled Má vlast (My Country or My Fatherland). These poems are program music, representing the beautiful Bohemian countryside, Bohemian folk dance and song rhythms, and the pageantry of Bohemian legends. The first of these symphonic poems is called Vyšehrad (The High Castle) and is symbolic program music representing his birthplace.

The second of these, Vltava, (The Moldau) is recognized as Smetana’s greatest orchestral work. Notes in the conductor’s score state:

“The Moldau” represents an exceptional expression of patriotic or nationalistic music. The musical poem reflects the pride, oppression, and hope of the Bohemian people. . . .

Two springs pour forth in the shade of the Bohemian Forest, one warm and gushing, the other cold and peaceful. Their waves, gaily flowing over rocky beds, join and glisten in the rays of the morning sun. The forest brook, hastening on, becomes the river Vltava (Moldau). Coursing through Bohemia’s valleys, it grows into a mighty stream. Through thick woods it flows, as the gay sounds of the hunt and the notes of the hunter’s horn are heard ever nearer. It flows through grass-grown pastures and lowlands where a wedding feast is being celebrated with song and dance. At night wood and water nymphs revel in its sparkling waves. Reflected on its surface are fortresses and castles—witnesses of bygone days of knightly splendor and the vanished glory of fighting times. At the St. John Rapids the stream races ahead, winding through the cataracts, heaving on a path with its foaming waves through the rocky chasm into the broad river bed—finally flowing on in majestic peace toward Prague and welcomed by time-honored Vyšehrad (castle.) Then it vanishes far beyond the poet’s gaze.^[2]

Listening Guide

The BBC Symphony Orchestra, conducted by Vilem Tausky

Composer: Bedřich Smetana (1824–1884)

Composition: Vlatava (The Moldau)

Date: 1874

Genre: symphonic poem (tone poem)

Form: sectional

Performing Forces: symphony orchestra—piccolo, two flutes, two oboes , two clarinets, two bassoons, four French horns, two trumpets, three trombones, tuba, timpani, bass drum, triangle, cymbals, harp, and strings

What we want you to remember about this composition:

• The Moldau is a programmatic symphonic poem portraying the story of the main river in Bohemia as it flows through Smetana’s homeland countryside. Each section depicts a different scene, often contrasting, that the river encounters.
• This piece is a good representation of Czech nationalism and also of a romantic setting of nature.
• The composer wrote the work following a trip he took down the river as part of a larger cycle of six symphonic poems written between 1874 and 1879, entitled Má Vlast (My Country).
• Note that on the score each section of this work has its own descriptive title in bold print.

Timing	Performing Forces, Melody, and Texture
0:00	“Two Springs (Source of the river)” Flutes begin with a flowing/rippling melodic passage soon joined by the clarinets. The harp and strings (pizzicato) are heard periodically.
1:05	Rippling notes moves to lower strings that lead to the main river theme.
1:12	The River Theme Violins present the river theme in a minor key (E minor). Melody moves step-wise with running-note accompaniment in strings.
1:28	River theme repeated
1:43	Melodic answer to the river theme
1:59	River theme expanded (note the triangle with the orchestra’s crescendos)
2:17	Return of the river theme
2:32	Answer to river theme
2:47	Expansion/elaboration of river theme
3:05	Return of the river theme
3:19	“Forest Hunting Scene” French horns and trumpets create hunting calls.
4:10	Rippling continues (in the strings) and then dies down to a gently rocking motion. The music transitions to the next section and the repeated notes in the strings lead to a rustic folk tune.
4:36	“Peasant Wedding” Strings and woodwinds present a dance-like tune (polka). The section closes with repeated single notes in strings.
6:11	“Moonlight: Dance of Water Nymphs” Woodwinds start with sustained tones.
6:32	Rippling figures in flutes (similar to the opening); and muted violins in high register with a legato melody, with harp
8:27	Intensification; brass calling horns; gradually getting louder; flutes’ rippling melody, in a general descending motion, bringing back the river theme
9:27	Violins present the river theme in a minor.
10:10	River theme repeats in a major.
10:24	“St. John’s Rapids” Full orchestra; fortissimo with the brass, timpani rolls, piccolo, and cymbal crashes
12:07	“The River at its Widest Point” River theme, full orchestra in the loudest dynamic/volume; in a major key and at a faster tempo
12:42	“The Ancient Castle” The brass and woodwinds portray Vyšehrad, the ancient castle, in a hymn-like melody, slowed and then accelerated.
13:54	River Dies Away Music gradually gets quieter; woodwinds stop and then the brass stop; and the strings slow down, losing momentum.
14:30	Final cadence with the full orchestra, fortissimo

Here is a live concert recording performed by Nordwestdeutche Philharmonie, with conductor Marzena Diakun.