Phonograph Monthly Review, Vol. 4, No. 10 (1930-07)

330 The Phonograph Monthly Review July, 1930 of the Premysl dynasty (Vyshehrad means “the high castle”). The theme is taken up by the wood-wind, later by the strings and finally by the full orchestra: Vyshehrad in full glamor rises before the eyes of the poet. After an inter- mezzo the theme of which is only a counterpoint modification of the main theme, Vyshehrad’s .glory is evoked twice by new melodious themes; the castle trembles with glorious hymns. Then the catastrophe follows, wild passions overthrow the lordly towers. Over a tremolo of violas the doleful lament is heard. Only once more the main theme reappears as Smetana s prophecy that the glory of the Bohemian nation will re- turn, but for the present only a sad stillness pre- vails and brings the poem to its end. The second poem, “Vltava” (the name of this principle river of Bohemia is “Moldau” in Ger- man) , is the most popular part of the cycle. Writ- ten Nov. 20-Dec. 8, 1874, first performance April 4, 1875 at Smetana’s concert in Prague. First American production: Chicago, Thomas, Winter, 1893-1894. Vltava originates in the Bohe- mian Forest (southwestern frontier of Bohemia) from two creeks, the Warm and the Cold Vltava. Flutes depict the first creek, clarinets the other, and then both together form the river Vltava. The rapturous theme emerges in full splendor. The river flows now through dense woods (hunt- ing scene), then through lowlands (peasant wed- ding feast) and when night sinks upon its waves, the wood and water nymphs hold their revels in its stream. This moonlight episode is the most magnificent part of the cycle in respect to sound charm. Strings play the dreamy melody embel- lished by flutes, clarinets have an independent theme of undulating triplets, horns in pp and harps complete the sweet picture. The brass- wind introduces a new theme! ruins of castles, witnessess of bygone glory, are reflected in the Vltava’s waves. The main theme appears again, the river flows lustily until it comes to the St. John’s Rapids where it winds its way through rocks. The rich counterpoint has here the hard wild sound of rapids. The Vltava then emerges from the cataracts and flows in majestic calm to- ward Prague where the Vyshehrad theme greets it. The river disappears in the far distance from the poet’s gaze, and two chords of the full or- chestra, dominant and tonic, close the poem. The third poem, “Sharka,” is the most pas- sionate part of the cycle. Finished Feb. 20, 1875, first performance March 17, 1877, at the Slavonic concert of the University Students Society. All the premieres (with the exception of that ol Vyshehrad) were conducted by Adolph Cech, conductor of the National Theatre, Prague. The first American performance was in Chicago, Oc- tober 25-26, 1895, by the Theodore Thomas Or- chestra. Sharka, the leader of Bohemian Ama- zons, has been betrayed in love by one ot the hated race of men and swears revenge. Her wild theme is impetuously worked over tor 66 measures. It sounds very much like Richard Strauss who but twenty-five years later wrote such music. A new theme of marchlike charac- ter introduces the Knight Ctirad with his men. An expressive passage by the clarinet represents Sharka’s call for help. She let herself be bound to a tree by her girls in order to betray Ctirad. After a clarinet and violincello solo the passion- ate love song is heard: Ctirad, fascinated by Sharka’s beauty, releases her. A revelry of Cti- rad’s men follows, all gradually drop into slum- ber, the bassoon imitates the snoring of warriors. Horn calls are heard, Sharka’s signal and the reply of her girls. They fall upon the slumber- ing men and put everyone to death. The fourth poem, “From Bohemia’s meadows and forests,” is one of the most skillful works of the world music literature. Finished Oct. 19, 1875, first performance Dec. 10, 1876, at the con- cert of the Pension fund of orchestra and chorus members of the National Theatre. A majestic ff opens the poem, an expression of the vigorous impression when on a sunny summer day we admire the Bohemian meadows. We inhale the fresh breath of fields and prairies, we observe the simple beauty of peasant life. A theme of longing appears, then a fuga follows, its five voices showing again what a master of counter- point Smetana was. We enter a forest, birds are singing, and a wonderful melody in horns is heard for the first time to reappear after a repe- tition of the fuga in full splendor. At once frag- ments of polka rhythm are heard, and soon this gay polka depicting a peasant feast (harvest home) whirls in a gay outburst. A new theme in flutes, oboes and bassoons, then a presto brings the poem to its end in which we hear the long- ing theme once more, now in ff. The fifth poem, “Tabor,” is a grandiose mono- thematic work. Finished Dec. 13, 1878, first per- formance January 4, 1880 (together with the last poem) at Smetana’s Jubilee concert in Prague (this concert celebrated Smetana’s first public appearance 50 years before, when as a six and a half year old boy he played at a concert at Lito- myshl, his birthtown). The single theme is the Hussite war song “O ye warriors of God and His law.” Tabor was the stronghold of the blind leader of the Hussites, one of the most glorious figures of Bohemian history, the invincible war- rior and still today the symbol of Bohemian strength. A tremolo of kettledrums and a frag- ment of the war song, the first measures, opens the poem, the fragment is again and again re- peated, the second fragment follows, until the war song is shouted for the first time in its full vigor which put the crusaders at the beginning of the XVth century to the run whenever they heard it in the distance. In the middle part a short two measure fragment of the song is worked out by Smetana to a symphonic stream which reminds the hearer of the mastership re- vealed in the overture to “The Bartered Bride.” Finally a long graduation leads to the tremen- dous climax: the war song is thundered forth by all brass and wood-winds and in vain all the strings attack its wild waves; the Hussites and their Tabor resist all their foes victoriously. The last poem, “Blanik,” is the immortal prophecy of Bedrich Smetana. Finished March