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Seán wrote:The Third Movement – Šárka (leader of Bohem. Amazons)

This is the shortest of the six tone poems. It has five clearly defined sections and begins with a fierce, even hysterical violin melody depicting the violent and passionate Šárka. The remaining sections are a march portraying the arrival of Ctirad and his men (to this listener he seems to be a pompous git), Citrad freeing Šárka from the tree and, in a passionate episode, falling in love with her, the drinking party (signalled by a heavy-footed dance) at which the men fall into a stupor (snoring bassoons) and finally the climax, which Smetana with good reason marks frenetico. This is wonderful music.

There is wonderful musical scene setting in this Tone Poem. The two different aspects of Sarka’s personality are very well portrayed in the initial section; she must have been one fierce woman! I can see where you are coming from Seán in relation to Citrad’s pomposity. I think this aspect comes across better in the Talich version and one is vaguely reminded of Strauss’ Don Quixote and the images that sometimes portrayed! I really like the tenderness of the “falling in love” scene and it feels quite operatic. The mood is very well changed for the drinking scene and those bassoons are quite comical but evocative; recall a similar scene and effect in the Four Seasons by Vivaldi. One would also be reminded of the merrymaking scene in Beethoven’s Symphony No. 6. This Tone Poem really does end with a bang too; rousing stuff indeed!

Seán wrote:

jaybee wrote:My 3 year old wandered in wanting to know why I was listening to the crabs song...

I'm reliably informed Smetana recently featured in the Little Einsteins..!!!

Well I am glad that you are listening to Má Vlast but it's a long time since I had exposure to children's tv programmes as my youngest is now 19 years old; the 'crabs song', now that's a new one on me.

damn you grammar, damn you......

crab's song....

Incidentally, by making references to other composers’ musical scenes and their various works one is not in any way attempting to belittle or demean this great work by Smetna by direct comparison. One is merely trying to recall other exercises that we have been through and to illustrate how different composers, essentially with the same tools, paint similar scenes with musical language. People who are not so familiar may or may not find these comparisons meaningful but with a little focused listening one’s musical experience can be helped and enriched by attending to these little details. I am consciously bringing them up and pointing them out as they are relatively straightforward and easy comparisons to make.

I am really enjoying the music -- the notes are a great help.

I think knowing the story behind the music is more important than for previous listening projects in that the places and events are real [even if some are legendary] and important to the composer. Even with Strauss/Don Quixote I don't think the story is as important to the music.

james

james wrote:I am really enjoying the music -- the notes are a great help.

I think knowing the story behind the music is more important than for previous listening projects in that the places and events are real [even if some are legendary] and important to the composer. Even with Strauss/Don Quixote I don't think the story is as important to the music.

james

James, I am delighted with your feedback, thank you.

Tomorrow, I will post notes on the Fourth poem, Z Českych Luhů a Hájů (From Bohemia's Meadows and Forests).

In this composition Smetana’s aim is rather different from that seen in the three earlier Symphonic Poems. There is no suggestion of a narrative thread running through the work rather he translates into musical terms the profound impression that three aspects of life in the Czech countryside has made on him, first of all in the fields, then in the woodlands and finally during a period of peasant rejoicing. To this he adds a coda recalling earlier themes

In May 1879, Smetana provided a short outline of his fourth poem for his publisher F.A Urbanek:

There is a general impression of the feelings aroused on seeing the Czech countryside. Here from all directions fervently sung songs, some cheerful and others melancholy, resound from the groves and meadows. The woodlands (in solos for horns), the gay, fertile Elbe lowlands and various other parts besides, are all celebrating. Everyone may interpret this work as he pleases; the poet has a clear field before him, but naturally must consider the work in detail.

Smetana composed From Bohemia’s Field and Groves in the early summer of 1875 and completed the score on 18 October of that year. The symphonic poem was so warmly received when Adolf Cech gave the first performance in Prague on 10 December 1876, that he was obliged to play it a second time.








The Fourth Movement: Z Českych Luhů a Hájů (From Bohemia's Meadows and Forests)
The opening of the work conveys an image of a landscape teeming with life, both of nature and humans. There is a ‘native county girl’ theme for oboes and bassoons and a woodland section, a polka leads to the finale in which the themes are combined to generate a feeling of optimism and well being. The dance music is worked up to a thrilling conclusion for this work.

Rafael Kubelik had retired through ill heath in 1984, he had also sworn never to return to Prague after the communists assumed control in the forties. All that changed when the Czechs gained independence. And once again here is Rafael Kubelik conducting the Czech Philharmonic Orchestra at the legendary Má Vlast concert in 1990:

From 44’25” you may listen to From Bohemia's Meadows and Forests

The Fourth Movement: Z Českych Luhů a Hájů (From Bohemia's Meadows and Forests)

The opening for me depicts the grandiose aspect of the expanse of the countryside; a grand panorama if you will. We then get down to details and what a wonderful array of songs we hear; simple but beautiful. I am sure that each song has its own story to tell; the work is like a river of Nationalism flowing through a tapestry of cultural re-awakening and identification. One can see and understand why it was such a success on its premiere with that rich vein of Nationalism running through it; especially the dance sequences which I am sure got the blood flowing on the night! The Finale is also rousing stuff and, as you say Seán, the work ends on a note of great optimism. Interestingly I notice that Kubelik takes considerably more time over this work at 13:09 compared with the quicker tempo of Talich at 12:27.

Smetana was totally deaf when he composed the last two poems. Originally Smetana had intended to write just four tone poems but after a four year interval Smetana decided to complete Má vlast with an additional pair of related works celebrating the 14th century Hussites followers of the religious reformer, Jan Hus. Hus was burned at the stake in 1415 and is regarded as a national Czech martyr.

Tábor was completed In December 1878,and was premiered with the last tone poem in December 1882.


The Fifth Movement: Tábor (stronghold of the Hussites)
Master Jan Hus, a teacher at Prague University, preached at the Bethlehem Chapel. For him, the Bible was the greatest paradigm for living and the highest authority. He promoted the idea of a poor church. Coming closer to the perfect world of God was supposed to be the purpose of earthly endeavours. According to Hus and his followers, the disintegration of contemporary life throughout the country was indicative of the imminent arrival of the Anti-Christ. The German teachers at Prague University did not agree with Hus’s opinions. They apparently complained to the Pope himself about the alleged Czech heretics.

The pope declared an interdict (i.e. a ban on church ceremonies – funerals, weddings, christenings, etc.) on Prague for as long as Jan Hus resided there. Jan Hus went to the Council of Constance, which had been called by the king’s brother Sigismund Luxemburg, in order to defend the rightness of the Bohemian remedy for the Church. Jan Hus went to the Council of Constance and on July 6, 1415, Master Jan Hus was burned to death in Constance. Today, this date is commemorated as a national state holiday in the Czech Republic. The delegates at the council managed to end the papal schism.In the spring of 1420, the followers of Jan Hus, known as the Hussites, and latter day protestants, founded their own town, Tábor, named after the mountain where Christ was expected to return at the Second Coming. The Hussites strove to realise their idea of a socially just and equal society.







In Smetana’s tone poem the faith of the Hussites is symbolised by the warlike hymn, “Ye who are God’s Warriors’ it is a robust, engaging and powerful melody that shows the Hussites preparedness for battle and the tense uncertainity of their fate, the closing of the movement leads to their ultimate defeat.

Enjoy: Rafael Kubelik and the great CPO, they play beautifully, it's in their blood, it's what defines them:

^^ thank you Sean, another interesting read... ;-)

Jared wrote:^^ thank you Sean, another interesting read... ;-)

Thanks Jared.