Vyšehrad to Blaník: Exploring the Symphonic Poems of Bedřich Smetana's Má Vlast

Hi friends,

Welcome back to my blog.

My core passion is 'classical' music - or orchestral music. I have played the Bassoon since I was 12 and over the years I've performed with various local orchestras from my school orchestra to the local city orchestra and I have collaborated with Opera North in the UK when I performed Igor Stravinsky's Firebird and Carl Orff's Carmina Burana. With much in between. These days I tend to play for my own pleasure but recently I have thought about joining an informal woodwind quartet or similar. Hopefully that will develop.

With that in mind I always intended that this blog would include my thoughts on music and the various genres I enjoy.

A close friend has planned a trip to Prague in the coming weeks (a city I have visited a couple of times) and he asked what he should consider listening to and learning about before he arrives in Prague.

Naturally I sent him links to fabulously rich recordings of Dvořák his question got me thinking about Smetana. Perhaps the underrated Czech composer. I started to listen - again - and so today I will delve into the vibrant world of the illustrious Czech composer Bedřich Smetana, a pivotal figure in the Romantic era known for his pioneering contributions to Czech music. Among his many celebrated works, Smetana's symphonic poem cycle, "Má Vlast" ("My Homeland"), stands as a monumental tribute to his homeland, capturing the essence of Czech landscapes, history, and folklore through evocative and richly textured music. Who was Smetana? Can we unravel the enduring legacy of Má Vlast, a masterpiece that continues to resonate with audiences worldwide for its profound emotional depth and nationalistic fervor?

Introduction

Bedřich Smetana was born on March 2, 1824, in Litomyšl, a small town in the Austrian Empire, now the Czech Republic. From an early age, Smetana exhibited a prodigious talent for music, fostered by his father, a brewer and amateur musician. By the age of six, he was already performing publicly, and his precocious abilities soon led him to study under distinguished teachers. Despite a tumultuous early education marked by disciplinary issues, Smetana’s passion for music remained undiminished. In 1843, he moved to Prague, where he attended the Prague Conservatory and immersed himself in the city's rich musical culture. Influenced by the works of Beethoven, Schubert, and Liszt, Smetana began to compose, seeking to create music that reflected the unique spirit and heritage of his homeland. His marriage to pianist Kateřina Kolářová in 1849 further solidified his dedication to his craft. Though his early years were financially challenging, Smetana's fortunes began to improve as he gained recognition for his compositions and performances. His time in Sweden, where he served as a conductor and music teacher, also played a crucial role in his development. However, it was his return to Prague and his deepening involvement in the nationalist movement that truly shaped his legacy. Committed to the idea of creating a distinctly Czech musical identity, Smetana produced works that celebrated his nation's history and landscape, culminating in his magnum opus, Má Vlast. Through his innovative compositions and his role in establishing the Czech national opera, Smetana clearly emerged as a seminal figure in the formation of Czech musical identity, leaving an indelible mark on the world of classical music.

The composition of Má Vlast marks one of the most significant achievements in Smetana’s career and in the broader context of Czech national music. It is a cycle of six symphonic poems, each depicting various aspects of the Czech lands and legends and it was composed between 1874 and 1879 during a period of both personal triumph and profound adversity for Smetana. The impetus for Má Vlast came partly from Smetana’s deepening involvement in the Czech nationalist movement and his desire to express the natural beauty, folklore, and heroic history of his homeland through music. If you have visited Prague and the surrounding countryside and you have listed to any of the six poems, you will know..

The journey of creating Má Vlast began in 1874, shortly after Smetana faced a devastating personal crisis: he became completely deaf - a familiar story, Ludwig?. Despite this, his resolve to compose remained unshaken.

The Six Poems

Vyšehrad

The first poem in the cycle, "Vyšehrad," named after the ancient castle fortress overlooking Prague, was completed in late 1874. It sets the tone for the entire series with its majestic and lyrical depiction of the fortress’s history and the Vltava River at its foundations.

It opens with a grand and majestic harp motif that symbolises the ancient castle overlooking the Vltava River in Prague. This harp introduction sets a noble and reflective tone, evoking the grandeur and historical significance of Vyšehrad. As the piece progresses, the harp motif is taken up by the strings, creating a lyrical and expansive melody that conveys the castle's storied past.

The primary theme, introduced by the strings, is broad and stately, featuring a rich harmonic palette that emphasises the majesty and timelessness of the fortress. Smetana utilises a range of dynamics to build a sense of drama and grandeur, with the music swelling to powerful climaxes that evoke the castle's formidable presence.

Throughout Vyšehrad, Smetana employs contrasting sections to depict various aspects of the castle's history and legends. The use of orchestral colour is particularly noteworthy, with the woodwinds adding a delicate, pastoral quality that suggests the natural beauty surrounding the fortress. The brass and percussion sections are used to great effect, providing a sense of strength and heroism.

In the middle section, a more introspective and lyrical passage emerges, featuring solo instruments like the flute and clarinet, which bring a sense of nostalgia and melancholy, perhaps reflecting on the passage of time and the changing fortunes of the castle. This section is characterised by its flowing melodies and subtle shifts in harmony, creating a serene and contemplative mood.

The piece concludes with a return to the grandeur of the opening theme, now fully orchestrated and more robust, symbolising the enduring legacy of Vyšehrad. The final passages are marked by a triumphant and celebratory character, with the full orchestra coming together in a powerful and resplendent coda that leaves a lasting impression of Vyšehrad's historical and cultural significance.

Smetana's masterful use of thematic development, orchestration, and dynamic contrast in Vyšehrad not only paints a vivid musical picture of the ancient castle but also sets the stage for the rest of the Má Vlast cycle, introducing listeners to the rich tapestry of Czech history and landscapes.

Vltava

Following Vyšehrad, Smetana composed "Vltava" (in the English translation, "The Moldau") in 1874, which is perhaps the most famous of the six pieces. Vltava musically traces the course of the river from its source through the Czech countryside to Prague, capturing the landscape’s serenity and dynamism with vivid orchestral colours.

The composition begins with a gentle, rippling motif in the flutes and clarinets, representing the river's origins as two small springs. This delicate and flowing motif is characterised by a repeating figure of rising and falling notes, creating a sense of bubbling water. As the springs merge into a single stream, the strings join in, enhancing the texture and giving the music a broader, more flowing quality.

The main theme of Vltava is introduced by the strings in a lyrical and sweeping melody that captures the river's serene and majestic flow. This theme is in E minor and features a graceful, arching line that moves smoothly over a gently undulating accompaniment, evoking the river's steady progress through the countryside. The use of legato phrasing and smooth, connected lines enhances the sense of the river's continuous movement.

As Vltava progresses, Smetana incorporates various contrasting sections to depict different scenes along the river's journey. One notable section features a lively polka rhythm in the woodwinds and strings, representing a peasant wedding celebration by the river. The dance-like character of this section, with its syncopated rhythms and buoyant energy, contrasts sharply with the serene main theme.

Another section depicts the river flowing through a forest at night. Here, Smetana employs a more mysterious and subdued orchestration, with muted strings and woodwinds creating an atmosphere of quiet enchantment. The use of darker timbres and softer dynamics enhances the sense of nighttime tranquility and the natural beauty of the river's surroundings.

The music then transitions to a more dramatic and turbulent section as the river approaches the St. John Rapids. Smetana uses rapid, ascending scales and agitated rhythms in the strings and brass to convey the river's increased speed and power. T he dynamic contrasts and energetic passages create a sense of urgency and excitement.

The final section of Vltava returns to the majestic main theme, now transformed into a triumphant and expansive melody in a major key. This closing section represents the river's arrival in Prague, where it flows past the Vyšehrad fortress. The full orchestra joins in a grand and celebratory conclusion, with powerful brass fanfares and rich harmonies emphasising the grandeur of the scene.

Throughout Vltava, Smetana's masterful use of orchestration, thematic development, and dynamic contrast brings the river's journey to life, creating a vivid and evocative musical portrait of one of Bohemia's most important natural landmarks.

The subsequent poems, "Šárka," "From Bohemia's Meadows and Forests," "Tábor," and "Blaník," were completed between 1875 and 1879. Each piece draws on Czech history and legend: Šárka tells the tale of a fierce female warrior from Czech mythology; From Bohemia's Meadows and Forests celebrates the pastoral beauty of the Czech lands; Tábor and Blaník reference the Hussite Wars, with Blaník culminating in a vision of a heroic future for the Czech people.

Šárka

Šárka, the third symphonic poem, is a vivid and dramatic musical depiction of a legendary tale from Czech folklore. The piece opens with an intense and turbulent introduction, characterised by rapid, aggressive motifs in the strings and brass, symbolising the rage and turmoil of the warrior maiden Šárka. The music immediately sets a tense and foreboding atmosphere, with sharp, staccato notes and dissonant harmonies creating a sense of imminent conflict.

The narrative unfolds through contrasting sections that illustrate the various elements of the story. A lyrical, flowing theme introduced by the woodwinds represents the deceptive beauty and charm of Šárka, who lures the unsuspecting Ctirad and his men. This melody is gentle and seductive, featuring smooth legato lines and lush harmonies. However, the mood quickly shifts back to tension and excitement with the arrival of the frenetic battle music, marked by powerful brass fanfares, vigorous string passages, and dynamic percussion. The use of sudden changes in tempo and dynamics heightens the drama, culminating in a climactic and forceful conclusion that vividly captures the fierce and tragic end of the legendary tale.

From Bohemia's Meadows and Forests

From Bohemia's Meadows and Forests is the fourth symphonic poem of Ma Vlast. It is a lush and pastoral work that celebrates the natural beauty of the Czech countryside. The piece opens with a serene and expansive melody in the strings, evoking the gentle rolling meadows and tranquil forests. This main theme is characterised by its lyrical, flowing lines and warm harmonies, creating an idyllic and peaceful atmosphere. The use of woodwinds further adds a delicate, airy texture, further enhancing the sense of a picturesque landscape bathed in sunlight.

Throughout the piece Smetana employs rich orchestration and dynamic contrasts to paint a vivid musical picture of the Bohemian countryside. The middle section features a lively, dance-like motif introduced by the strings and woodwinds, reminiscent of folk dances and village celebrations. This rhythmic, spirited passage provides a joyful contrast to the more serene opening theme. As the piece progresses, Smetana seamlessly weaves together these contrasting elements, using lush harmonies, varied orchestral colours, and dynamic swells to capture the diverse and vibrant character of Bohemia's natural landscapes. It concludes with a return to the peaceful and expansive main theme, leaving the listener with a sense of the enduring beauty and tranquility of the Czech countryside.

Tábor

This is a powerful and resolute piece that draws its inspiration from the Hussite Wars and the historical city of Tábor. The composition opens with a bold and commanding motif in the low strings and brass, featuring a stern, march-like rhythm that evokes a sense of determination and defiance. This theme is derived from the Hussite hymn "Ktož jsú boží bojovníci" ("Ye Who Are Warriors of God"), and it permeates the entire work, symbolising the steadfast spirit of the Hussite warriors. Smetana employs yet more rich orchestration, with dramatic crescendos and sharp dynamic contrasts, to enhance the sense of conflict and triumph. The music builds through layers of intense, driving rhythms and dissonant harmonies, creating an atmosphere of tension and anticipation. As the piece progresses, the recurring hymn theme is developed and varied, leading to a climactic and triumphant conclusion that reflects the enduring strength and unity of the Hussite movement.

Blaník

This is the final symphonic poem of Má Vlast. It serves as a stirring and heroic conclusion to the cycle. The piece opens with a solemn and mysterious introduction in the strings and woodwinds, evoking the legendary Blaník mountain where it is said that a group of knights lies dormant, ready to defend the Czech nation in its time of greatest need. This introduction is marked by a brooding, contemplative atmosphere with dark, rich harmonies and a slow, deliberate pace. As the music progresses, a triumphant and uplifting theme emerges, characterised by bold brass fanfares and sweeping string melodies, symbolising the awakening and rallying of the knights. Smetana continues to use dynamic contrasts, building from quiet, reflective passages to powerful, celebratory climaxes, to convey the theme of hope and national renewal. The recurring Hussite hymn from Tábor reappears, now transformed into a victorious anthem, underscoring the unity and resilience of the Czech people. The symphonic poem concludes with a grand and exuberant coda, featuring full orchestral forces, that leaves a resounding impression of triumph and national pride.

Conclusions

The entire cycle of Má Vlast was first performed in its entirety in 1882, conducted by Adolf Čech. The reception was overwhelmingly positive, affirming Smetana’s role as a national composer who had successfully encapsulated the spirit and identity of his people through music. Despite his deafness, Smetana's imaginative prowess and profound connection to his heritage allowed him to create a work that not only resonates deeply with the Czech people but also holds a universal appeal, celebrated for its rich orchestration, thematic depth, and emotional power.

As we reach the end of our exploration for me this remarkable work transcends its historical and cultural roots to become a source of profound inspiration and emotional resonance. Personally I turn to its stirring melodies in times of need as Má Vlast serves not just as a reflection of Czech pride and beauty but as a powerful testament to the universal human experience. Each symphonic poem, from the majestic heights of Vyšehrad to the hopeful triumph of Blaník, offers a unique blend of grandeur, nostalgia, and vigour that can uplift the spirit and enhance the mood. Whether it’s the serene flow of Vltava, the heroic fervour of Tábor, or the pastoral tranquility of From Bohemia's Meadows and Forests, Smetana’s masterwork continues to inspire and motivate me. It continues to remind me of the beauty and strength that lie within both our own lives and the world around us. In embracing Má Vlast, I not only honour a monumental piece of musical heritage but also connect with a deeply emotional journey that resonates across time and space, enriching my lives with every listen.

And with that in mind friends I listened to the entire cycle whilst preparing this blog which might explain why it became somewhat long-form. No harm done, I hope.

As always, thank you for reading.