In the aftermath of the nationalistic uprisings that gripped Europe in 1848-49, Eastern European nationalities under the rule of the Austro-Hungarian Empire fought to revive and preserve their ethnic cultures. This trend accelerated in 1860 when Austria granted limited political autonomy to Bohemia (now the Czech Republic).

Bohemian Composer Bedrich Smetana was in the forefront of this cultural revival. “My homeland means more to me than anything else,” he wrote to a friend. At the age of 50, despite his sudden and profound hearing loss, he embarked on two symphonic poems celebrating aspects of the history and landscape of Bohemia, which eventually expanded into a cycle of six collectively called Má vlast (My Homeland). The best known is the second of the set, Vltava (The Moldau), composed in 1874 and premiered with great success a year later.

The tone poem is a pictorial description of the Vltava River as it flows from its source through the central Bohemian plain and the city of Prague, finally emptying into the Elbe. Smetana headed the score with a long, detailed description of the course of the river, painting the highlights in music. The opening flute passage depicts the cold spring that is the birthplace of the river, soon joined by the clarinets, as a warm spring becomes the first tributary. Together they gain strength as the river starts on its majestic course through forests where the horns represent hunting calls, then past merry dancers at a wedding. As the river flows on, the rising moon reveals the dance of water nymphs, portrayed by a soft melody on the woodwinds. The music turns slightly menacing as it describes the St. John’s rapids and the cataracts.

The music reaches its climax as the river broadens and flows towards Prague, passing under the ruins of Vyserhad, the fortress where tradition says the legendary Princess Libussa founded the city. After passing through Bohemia’s greatest city, Vltava slowly fades into the distance.

A note on the title: Because the German language dominated Middle and Eastern Europe’s cultural and political discourse until World War II, Smetana’s tone poem has traditionally borne the title of the German name for the river. Since the collapse of the Soviet Union and the autonomy of its former satellites, many orchestras worldwide have reverted to the Czech title.

Program notes by:
Joseph & Elizabeth Kahn
Wordpros@mindspring.com
www.wordprosmusic.com