MA VLAST (Smetana)
Czechoslovakia has produced a Sarge number of excellent
composers, three of whom, Smetana, Dvofak and Janatek, are in
the very front rank. Of these, Dvorak is the best-known outside
his own country, but at home, and particularly in Bohemia, it is
Smetana who is the most esteemed. That he is not so highly
rated abroad is largely because he was primarily an operatic
composer. Symphonic works, in which Dvorak excelled, gain a
reputation abroad more easily than vocal music, especially when
the language concerned is a Slavonic one.
Of the six symphonic poems comprising the cycle Md Vlast
(“My Country”), Vitava, and, to a slightly lesser extent, From
Bohemia’s Meadows and Forests are often heard abroad, but a
complete performance of the cycle is a rarity. In Czechostovakia
this cycle is regarded as a nation epic, To appreciate it fully it is
necessary to hear all six poems in one concert as the composer
intended. Only Sdrka and From Bohemia's Meadows and Forests
are completely independent. The VySehrad theme reappears in
Vitava and Bianik, while Tabor and Blanik are so closely related,
both thematically and programmatically, that Smetana directed
they should not be performed separately. It therefore follews
that a performance of individual pieces to some extent falsifies
the composer’s intentions. For example, what significance can
the concluding section of Vitava, where the VySehrad theme
reappears, have for an audience that has not heard the opening
poem jn the cycle?
‘Md Viast is not only a great national epic but a symbol of its
composer's triumph over the greatest affliction that can befall a
musician—complete deafness. During 1874, the year he began
work on the cycle, Smetana suffered terribly from disordered
hearing, being unable to distinguish parts or intervals. Then
suddenly one night in October he became stone deaf. Undeterred
by this terrible blow, however, he continued working and by
1879 the cycle was complete. The composer's affliction did not
cause him to lose his sensitivity to tone colour. Speaking of
Tabor he said the work “signified the fervour of faith. It is grey
in colouring, but I wanted it so”. Such is the esteem with which
Md Viast is held in Czechoslovakia that every spring it opens the
Prague Music Festival.
1, VYSEHRAD
At the approaches to Prague stands a huge rock rising out of
the river Vitava. It is called Vy¥ehrad, which means literally
“high castle”, and it was here that Czech rulers lived in
splendour in bygone days. Libuse—the subject of Smetana’s great
national opera—held court there. Stylistically there is much in
common between Libue and VySehrad. The following
programmatic explanation was written by VAclar Zeleny, a critic
and staunch supporter of Smetana during the last century, with
the composer's full approval: ‘‘At the sight of the venerable rock
Vygehrad the poet’s memory is carried back to the remote past
and the sound of Lumir’s harp. There rises the vision of
Vyéehrad in its ancient splendour, with its gleaming golden
crown, the venerable and proud dwelling-place of the P¥emys!
kings and princes, filled with the renown of warriors. Here, in
the castle, knights assembled at the joyous call of trumpets and
cymbals to engage in its splendid tourneys; here the warriors
gathered for victorious combats, their arms clashing and flashing
in the sunlight. VySehrad was shaken by songs of praise and
victory. Yearning after the tong-perished glory of VySehrad, the
poet now beholds its ruin. The unbridled passion of furious
battles has thrown down its lofty towers, fallen are its
sanctuaries, and demolished the proud abode of princes. Instead
of songs of triumph and victory VySehrad quakes at the echo of
savage war-cries. The tempests are stilled. Vysehrad is hushed
and emptied of all its glory. From its ruins comes the
melancholy echo of Lumir’s song, so long silent and forgotten”.
Smetana himself did not mention Lumir by name in
connection with the work, but referred to the harps and the song
of the bards which dealt with the “happenings in VySehrad, the
glory and brilliance, the tournaments, the battles and the final
fall and decay”. He added that the work ends on an etegiac note.
The work opens with a passage for two harps, but it can be,
and often is, played by one only. The very first bar already
anticipates the VySehrad theme with its accent on the second
beat. The first full statement of this theme is given to horns and
bassoons, and its repetition to all the woodwind. Quiet trumpet
calls suggest a martial atmosphere and these become more
insistent once the strings have entered. During the following
climax a six-note figure appears, which is put to much use
throughout the work. The appearance of the second subject is
long delayed. It is a tune in folk-song style, first played by flutes,
oboes and horns, and accompanied by the six-note figure, now
extended by two extra notes. The main theme is subjected to
many modifications which serve to change the character of the
palanin
2. VLTAVA (THE MOLDAU)
In the Sumava forest in the south of Bohemia, the
Vitava—Czechoslovakia's most important river and a tributary of
the Elbe—has its sources. Smetana follows its course from its two
beginnings, a cool and a warm spring, as far as Prague. Running
semiquavers, divided between the two flutes, depict the first
source, and a little later clarinets suggest the second. A mere
trickle soon becomes a small stream as the strings join in, and
then we hear for the first time the Vitava theme (violins doubled
by an oboe). It is in E minor, but towards the end there is a brief
excursion into E major, suggesting the mighty river further
downstream. But for the moment we are still in the forest where
a hunt is taking place. Strings, no longer playing the theme,
depict the river itself, while the wind, particularly horns and
trumpets, suggest the sounds of the hunt. Next we reach a village
where a wedding is taking place, and the lively strains of a polka
are heard. Night descends and in the moonlight Rusalkas or
water nymphs—those legendary figures much favoured by
Slavonic mythology—are playing in the water. The scoring
here—with its fast-moving passages for flutes and clarinets, a
chordal theme for muted strings in their top register, and the
splashes of colour from the harp—is both enchanting and very
atmospheric. After this episode the Vitava theme is repeated
(still in the minor); then suddenly the river’s easy flow is broken
by the Rapids of St. John. The turbulent waters are vividly
depicted by the whole orchestra, and especially by the
fast-moving strings. (Incidentally, owing to the construction of a
dam, these Rapids, formerly situated about twenty miles south
of Prague, no longer exist.) This musical outbust then subsides,
leading to a final powerful statement of the Vitava theme in the
major. The small stream has become a mighty river. As it reaches
Prague and flows past VySehrad, there is a majestic statement of
the main theme of the first symphonic poem followed by the
six-note figure from the same work. Here Smetana ends his
journey, watching the Vitava fade away in the distance on its
way to join the Elbe. Two loud chords round the work off.
3. SARKA
., Among the best-known of ancient Czech legends is that of
Sirka, a young woman of outstanding beauty who, having been
scorned by her lover, swore vengeance of men in general,
becoming an Amazon and leading an army of women. The
subject later formed the basis of an opera by Fibich and, shortly
after, of another by Janaéek. Smetana deals with the subject in a
concentrated manner. The legend has it that the queenly Sérka
repented of her actions and wished to avert the massacre of
Ctirad and his army. This episode offers much scope to the
operatic composer, but here Smetana only hints at it for a few
Baediareelices (ort henuongeo ae sod once ee Un aaa
of Bohemia which bears Sarka’s name, but, as he put it, the
composition “does not reflect the countryside but action .. . . it
begins with a description of the maddened girl, who swears
revenge on the entire male generation for the infidelity of her
lover”, The main theme of the work is heard at the outset.
Despite Smetana’s references to madness it should not sound
hysterical, but dignified though exasperated. Smetana’s marking,
allegro con fuoco, ma non agitato, is important, particularly the
second part of it. This theme is developed at some length before
giving way to a striking march tune. Ctirad and his warriors are
approaching to humiliate and castigate the women. But Sarka
has ordered her followers to bind her to a tree, and presently,
against the march tune, a slow-moving theme for the clarinet
depicts Sirka’s pretended anguish. Suddenly the march is
interrupted by a phrase on the bassoon and ‘cello. Ctirad has
seen Sarka. The clarinet has a few bars unaccompanied, and the
‘cellos answer it. The key now changes from minor to major.
Ctirad, dumbfounded by Sirka’s beauty, immediately falls in
love with her and releases her from her bonds. The next section,
with its theme on the violins doubled by some of the upper
woodwinds, comprises the “love music”. Then we see the scene
in Ctirad’s camp, where much celebrating, aided and abetted by
Sirka, is taking place. This section is in % and has the nature of a
somewhat gruff dance. Towards the end of it the alcoholic state
of Ctirad’s army is suggested by “wrong” low notes on the
second bassoon; a graceful descent depicts the men falling into a
drunken slumber. When all is almost quiet Sarka’s signal rings
out on the horn and is answered in the distance an octave lower.
Then occurs the brief passage for clarinet in which Saka regrets
her action. But it is too late and with a sudden surge the
orchestra wishes into the final section marked frenetico, which
deseribes the tuassnere Of Ciirad and hit aemy.
4. FROM BOHEMIA'S MEADOWS AND FORESTS
‘Smetana said of this poem that it is “a general description of
the feelings which the sight of the Czech countryside conjures
up. From nearly all sides a song both gay and melancholic rings
out full of fervour from the groves and the meadows. The
woodlands (horn solo) and the gay fertile lowlands of the Elbe
and many, many other parts—everything is remembered in a
hymn of praise. Everyone may imagine what he chooses when
hearing this work—the poet has the field open to him, all he has
to do is follow the composition in detail”. On another occasion
the composer was more explicit, saying that the opening section
was meant to convey the impression of arriving in the country.
There is, however, no similarity to Beethoven's “Pastoral”
Symphony here. Smetana’s opening is vigorous and scored for
full orchestra. The key is G minor. After the climax has been
reached, the energy subsides, and against bare fifths from the
strings a fragment of the tune is heard quietly on the clarinets.
From this is derived a theme in the major for oboes and bassoons
in thirds. Smetana said that it pictured a country girl walking
through the fields.
‘Sonn the. méite chattace from 2/4 10:3/4 for & section that ts
unlike anything else in the whole of Md Vast and forms one of
Smetana’s supreme achievements as a contrapuntist. The opening
part of it is a fugue for muted strings, but the music is
descriptive. According to the composer it represents “the
splendour of Nature at noon on a summer’s day....In the
forest there is a deep shadow; only here and there a shaft of light
pierces the tree-tops. The continuous figure (of ascending
quavers) represents the twittering of the birds; it persists in all
the counterpoint that follows, when the theme for the horns in
F major is heard against it. This was a great contrapuntal
task...” The horn theme to which Smetana referred is in the
nature of a folk chorale and is in complete contrast to the fugal
theme and its derivatives. It returns twice, and the second time is
built up to a big climax, but it is then swept aside by a snatch of
a polka which stops as abruptly as it began, giving way to a quiet
passage in imitative counterpoint for the strings. Again the polka
breaks in, but in another key, and again it abruptly ceases, being
followed by the string passage now a third higher. At the third
attempt the polka triumphs, and the rest of the work, in
Smetana’s words, “depicts a harvest festival, or any kind of
peasants’ merry-making”. There is more ingenious counterpoint
and before the end the horn theme returns on the woodwind.
5. TABOR
Between Prague and the Austrian frontier lies the old fortress
town of Tabor, which was the centre of the Hussite movement
early in the fifteenth century. In Czech the word “Tabor” means
“camp”, and even today the town shows evidence of its past
history in its old fortifications, which are still standing. At the
end of the main square stands a stronghold which is now the Jan
Hus museum; from this, underground passages, icy cold even on
the hottest day, run under the old town. During the Hussite wars
the famous Chorale “Ye, who are warriors of God!” became a
patriotic anthem. It is believed to have been written by a Hussite
soldier. Smetana wrote that ‘the whole structure of the
composition comes from this majestic song. In the main
stronghold, in Tabor, this song surely rang out most mightily and
most often. The work tells of strong will, victorious fights,
constancy and endurance, and stubborn refusal to yield—the
note on which the composition ends. The contents of the work
cannot be analysed in detail, for it embraces the Hussites’ pride
and glory, and their indomitable nature”.
Much of the music is derived from the first two bars of the
Chorale. In the slow opening section Smetana begins by using
only the first bar of the theme, which consists of repetitions of a
single note in the rhythm: short~short—long—long. The second
bar, with its predominant falling minor third, is added later.
These two elements are treated at length before the second main
theme, which is preceded by another chorale-like idea on the
woodwind. This second theme is of a triumphant nature and it,
too, derives from the Hussite Chorale, being the tune to which
the final verse, “To triumph in the end with Him”, is set. This
second theme is treated energetically and expansively until at
length the second bar of the Chorale forces its way back into the
texture, The coda (lento maestoso) brings with it a full
statement of the Chorale, and the poem ends as the rhythm of
the opening bar is thundered out.
6 RBLANIK
Smetana said of the final symphonic poem of Md Viast; “This
is a continuation of the preceding composition Tabor. After
their defeat the Hussite Heroes retire into the hollow hill of
Blanfk and wait, in profound sleep, for the moment when they
will come to the help of their country. The same motives as in
Tébor also serve Blantk as the foundation for the structure—i.e.
“Ye who are warriors of God!” On the basis of this melody (the
Hussite motif) the resurrection of the Czech nation, its future
happiness and glory develop; with this victorious hymn in the
form of a march, the composition and thus the whole cycle Ma
Viast is concluded. A short idyll is also included in the work as
an intermezzo—this is a sketch of the landscape around Blanfk,
in which a little shepherdboy rejoices and plays (oboe) and an
echo answers him”. The subject of Blanik also served Fibich for
an opera and Jandtek for a symphonic poem.
Blanik begins as Tabor ended with a loud statement of the
opening bar of the Chorale. The Chorale’s second phrase follows
and in the course of it there is an abrupt change of key. Smetana
would never have left the home key so quickly had he wished
Blantk to be heard as a separate piece; its tonic has already been
established in Tabor. In the long staccato passages heard after
this opening the falling third of the Chorale’s second bar is very
prominent. Then comes the pastoral section in which the strings
play a very minor role. There is a canon between the oboe and
the horn at two bars’ distance and another, more lengthy one for
oboe and clarinet at one bar’s distance. The next section makes
only slight reference to the Chorale and this is rhythmic. Then
Tdbor’s second main theme is heard on a solo horn and this
introduces the march, which leads to a grandiose statement of
the horn theme. After a quieter episode this is repeated, but it
now leads to a majestic statement of the VySehrad theme,
combined with the opening of the Hussite Chorale. Immediately
afterwards the VySehrad theme (on the brass) is combined with
the six-note figure that was so prominent in the first symphonic
poem. The final coda employs both the main themes from
Fale MALCOLM RAYMENT
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