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Stories of Symphonic Music / A Guide to the Meaning of Important Symphonies, Overtures, and Tone-poems from Beethoven to the Present Day cover

Stories of Symphonic Music / A Guide to the Meaning of Important Symphonies, Overtures, and Tone-poems from Beethoven to the Present Day

Chapter 116: SMETANA
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About This Book

The guide offers concise, non-technical explanations of symphonies, overtures, and tone-poems, arranged by composer, that orient concert-goers to the illustrative or poetic intentions behind each work. A preface argues for knowing a composition's programme when it is central to the music; individual entries summarize a work's descriptive basis, thematic outline, and salient orchestral effects without indulging in speculative interpretations. Coverage ranges from Beethoven through late-nineteenth and early-twentieth century composers and selects items likely to appear on contemporary orchestral programs, providing practical background to enhance informed listening.

SMETANA

(Friedrich Smetana: born in Leitomischl, Bohemia, March 2, 1824; died in Prague, May 12, 1884)

"MY FATHERLAND," A CYCLE OF SIX SYMPHONIC POEMS [138]

Smetana, an ardent nationalist and incorrigible patriot, composed for the glorification of his country a cycle of six symphonic poems under the general title, "My Fatherland" (Má Vlast), dedicated to the city of Prague. The titles and the programmes (in outline) of the six parts of the cycle are as follows:

I. "VYSEHRAD"
[1874]

A famous and historic Bohemian citadel at Prague. The splendid life there in its past day of glory and renown. The poet, at the sight of the fortress, beholds visions of the past. "Vysehrad rises up before his eyes in its former glory, crowned with gold-decked shrines and the edifices of the Premslide princes and kings, rich in warlike renown. The brave knights assemble in the castle courts, to the sound of cymbals and trumpets, for the festal tourney; here are drawn up beneath the reflected rays of the sun rows of warriors in rich, glittering armor, ready for victorious contests.... Whilst contemplating the past glory of the sublime dwelling of princes, the poet sees also its downfall. Unchained passion overthrows the mighty towers in bitter strife, lays waste the glorious sanctuaries and proud, princely halls. Instead of inspiring songs and jubilant hymns, Vysehrad is become dumb, a deserted monument of past glory; from its ruins resounds the echo of the long-silent song of the singer-prince Lumir through the mournful stillness!"[139]

II. "VLTAVA"
[1874]

The river Moldau—the scenes through which the course of the beloved river leads—beauties of nature, historic edifices, deeds and achievements of men, apparitions of nymphs and naiads.

III. "SÁRKA"
[1875]

Sárka, the "noblest of the Bohemian Amazons," was betrayed in love by one of the hated race of men against whom the Amazons wage ceaseless war. Craving vengeance, she has herself bound to a tree, and, in simulation of distress, impels the knight Ctirad, who is swayed by her beauty, to release her. Ctirad and his warrior band, striking camp for the night, fall asleep after long-continued revels. Sárka then summons her companions by a blast of her horn; they fall furiously upon the sleeping warriors and put them to the sword.

IV. "FROM BOHEMIA'S FIELDS AND GROVES"
[1875]

A tonal celebration of natural beauties; music of pastoral character.

V. "TABOR"
[1878]

The fortress of the Hussites.—A sonorous tribute to the Taborites, their valor, and their heroic devotion to their cause.

VI. "BLANIK"
[1879]

The name of the mountain on which are sleeping in glorious death the Hussite warriors, awaiting the resurrection which will restore them to renewed service for the faith.