‘Vltava (The Moldau)’
Bedřich Smetana

The Czech composer, conductor and critic Bedřich Smetana was born in Litomyšl on March 2, 1824, and died in Prague on May 12, 1884. Widely viewed as the most important Czech nationalist composers of the 19th century, he wrote eight operas — the most popular being The Bartered Bride (Prodaná nevěsta, 1866). He is best known, however, for his cycle of six symphonic poems, known as Ma Vlast (My Homeland, 1872 to 1879), of which Vltava (The Moldau) is the most famous and frequently performed. Its premiere took place on April 4, 1875, with Adolf Čech conducting. It is scored for piccolo, two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, suspended cymbal, triangle), harp and strings. 

Every visitor to Prague carries away certain cherished memories of the many splendid vistas the magnificent city has to offer. One of my favorite venues is the ornate Karl’s Bridge that spans the Vltava (Moldau) River. The bridge itself, with its venerable history and statues, offers delights to the eye in every direction. One of the more romantic views is the one that is directed toward the ancient ruins of the castle Vyšehrad, by tradition a site that once served as the seat of the Kings of Bohemia. And if one is familiar with it, how can you fail at such a moment to call to mind the majestic strains of Smetana’s music?

Vltava, or The Moldau as it is better known throughout the world, is the second of the cycle of six tone poems that comprise Má Vlast (My Homeland). The composition of the cycle took place over a seven-year span (1872 to 1879), with Vltava appearing in 1874 (the same year, incidentally as another famous piece of eastern European nationalism: Musorgsky’s mighty Pictures at an Exhibition). The conception of Má Vlast, as well as some of its musical material, arose while the composer was at work on Libuše, a nationalistic opera. The six symphonic poems that comprise Má Vlast present, according to John Clapham in the New Grove Dictionary of Music and Musicians, a “conspectus of selected aspects of Czech legend, history and scenery.” The primary theme of the first poem, entitled Vyšehrad, is quoted toward the end of Vltava.

Smetana himself provided a kind of guide that leads the listener through the four principle sections of Vltava: 

“Two springs (depicted by flutes and clarinets) pour forth their streams in the shade of the Bohemian forest, the one warm and gushing, the other cold and tranquil. Their waves, joyfully flowing over rocky beds, unite and sparkle in the rays of the morning sun. The forest brook, rushing on, becomes the River Vltava (Moldau) (the memorable melody played by the strings). Coursing through Bohemia’s valleys, it grows into a mighty stream. It flows through dense woods from which come joyous hunting sounds (fanfares in the brass section), and the notes of the hunter’s horn drawing ever nearer and nearer.

“It flows through emerald meadows and lowlands, where a wedding feast is being celebrated with songs and dancing (duple meter polka in strings and winds). By night, in its glittering waves, wood and water nymphs hold their revels (shimmering tunes played by strings and flutes). And these waters reflect many a fortress and castle — witnesses of a bygone age of knightly splendor, and the martial glory of days that are no more. At St. John’s Rapids, the stream speeds on (reprise of Vltava main theme, followed by agitated full orchestra), winding its way through cataracts and hewing a path for its foaming waters through the rocky chasm into the broad riverbed (main theme in the major mode), in which it flows on in majestic calm toward Prague, welcomed by the time-honored Vyšehrad (hymn-like appearance of theme from the first poem of Má Vlast), to disappear in far distance from the poet’s gaze.”

Much discussion has taken place about the origin and fate of the extraordinarily attractive principle theme of Vltava. 

Some have suggested it comes from a Swedish folk song, which is possible since Smetana lived and worked in the late 1850s in Göteborg. Indeed, many Czechs know it as a folk song. Still others have noted the similarity of Hatikvah (The Hope), the unofficial national anthem of Israel, to this splendid tune, although the Encyclopaedia Judaica traces Hatikvah to a Rumanian folk song. The moral of the story here may be that we should beware of defining national musical themes in too narrow a fashion. After all, how many people realize that, despite its name, the polka comes from Bohemia (Czech lands), and not Poland?

Incidental Music to A ‘Midsummer Night’s Dream,’ Op. 61
Felix Mendelssohn

(Jacob Ludwig) Felix Mendelssohn(-Bartholdy) was born Feb. 3, 1809, in Hamburg and died Nov. 4, 1847, in Leipzig. The Overture and Incidental Music to Shakespeare’s A Midsummer Night’s Dream are separated by some 17 years (1826 and 1843, respectively). The music is scored for two flutes, two oboes, two clarinets, two bassoons, two horns, two trumpets, two trombones (incidental music) tuba (ophicleide), timpani, percussion and strings. 

On the one hand it is altogether fitting to list Mendelssohn’s Overture and Incidental Music to A Midsummer Night’s Dream as separate works since 17 years elapsed between the composition of the overture in 1826 — inspired by the splendid translations of Ludwig Tieck and Friedrich Schlegel — and the 13 pieces composed at the behest of King Friedrich Wilhelm IV of Prussia to accompany a performance of the play in 1843. Judging from the standpoint of stylistic consistency, however, one would scarcely be able to tell the difference.

Why is this so? Had Mendelssohn and his musical skill matured so little between ages 17 and 34? It is more appropriate to conclude, I would suggest, that the seamlessness of the two works bespeak at the same time the maturity of the youth, and the mature self-confidence of an adult who realized then, as we still do, that his youthful imagination was true to the essence of Shakespeare’s fanciful comedy. The most frequently performed numbers from the Incidental Music of 1843 are the Scherzo, Nocturne, Intermezzo, and Wedding March.

The major set pieces of the Incidental Music were intended to fit into the play as follows:

No. 1: Scherzo (Allegro vivace) – After Act I, leading directly into a dialogue between Puck and one of the fairies – “How now, spirit! Wither wander you?”

No. 2: Continuation of same dialogue and music, followed by a new musical theme (also Allegro vivace).

No. 3: Song with Chorus (Allegro ma non troppo) – “You sotted snakes, with double tongue”

No. 4: Andante and Allegro molto – (short excerpt with dialogue, music derived from the Overture)

No. 5: (Intermezzo) (Allegro appassionato) – after Act II (“A Wood in Athens”), where two pairs of lovers desperately wander through the woods at night.

No. 6: Functional music for dialogue

No. 7: (Nocturne) (Con moto tranquillo) – A sublime music for the close of Act III, where Puck lulls the lost lovers into a magic sleep. The opening music bears the distinctive color of horns and bassoons.

No. 8: More functional music for dialogue, using music from the nocturne and the fairy and hunting themes of the Overture.

No. 9: Wedding March (Allegro vivace) – after the end of Act IV. The best known of the Incidental Music and a favorite of brides throughout the world. The music celebrates the union of Theseus, Duke of Athens and Hippoly ta, Queen of the Amazons at the beginning of Act V.

No. 10: Royal hunting music and a Funeral March (for an “enactment” of the story Pyramus and Thisbe)

No. 11: A Dance of Clowns (Allegro di molto) – A short piece with music derived from the Overture representing the folly of the braying Bottom and his comrades.

No. 12. A short snippet from the Wedding March leading to the fairy music of the Overture.

No. 13. Finale – Chorus and orchestra invoke the fairy music of the Overture, ending with Puck’s apologia to the audience (“If we shadows have offended”).

Tonight’s performance by the Chautauqua Symphony Orchestra will bring us the Scherzo, Intermezzo, Nocturne, and Wedding March.

Folk Songs for Orchestra
Huang Ruo

Composer, pianist and vocalist Huang Ruo was born in 1976 on Hainan Island, located off the south coast of China, just as the Cultural Revolution was coming to an end. As a result, he received a thorough musical education in both classical and popular Western idioms, as well as native musical styles. His first teacher was his father, who also was a composer. Huang later studied at the Shanghai Conservatory of Music. After winning the Henry Mancini Award in the 1995 International Film and Music Festival in Switzerland, he continued his studies at the Oberlin Conservatory and Juilliard School of Music. He now is on the faculty of the Mannes School of Music. According to the website of his publisher, Ricordi, his “inventive musical voice draws equal inspiration from Chinese ancient and folk music, Western avant-garde, experimental, noise, natural and processed sound, rock and jazz to create a seamless, organic integration using a compositional technique he calls “Dimensionalism.” Huang Ruo’s diverse compositional works span from orchestra, chamber music, opera, theater and dance, to cross-genre, sound installation, architectural installation, multimedia, experimental improvisation, folk rock and film.” His Folk Songs for Orchestra comprises four movements and was composed in 2012. Tonight’s performance will feature three movements: “Flower Drum Song from Feng Yang,” “Love Song from Kang Ding,” and “Girl from Da Ban City.” The work is scored for three flutes, three oboes, three clarinets, three horns, three trumpets, three trombones, tuba, percussion, and strings. It also was published in a version for chamber orchestra, reducing the number of wind and brass instruments.

Huang Ruo’s Folk Songs for Orchestra represent a happy blend of authentic Chinese melodies, dressed up in brilliantly orchestrated clothing. The “Flower Drum Song from Feng Yang” starts off the work in a lively fashion, while “Love Song from Kang Ding” offers a more lyrical interlude that shines a spotlight on the oboe, flute, and bassoon. “Girl from Da Ban City” is a high-energy affair that gives the horns, trumpets, strings and flute a chance to strut their stuff before the full orchestra brings this cross-cultural adventure to a colorfully exciting conclusion.

‘Capriccio Espagnol,’ Op. 34
Nikolai Rimsky-Korsakov

The Russian master, Nicolai Andreyevich Rimsky-Korsakov, was born in Tikhvin on March 18, 1844, and died in Lyubensk, near Luga (now Pskov district), on June 21, 1908. He was a brilliant composer, arranger and teacher, whose illustrious students included Igor Stravinsky. A member of the group of composers known as “The Five,” Rimsky-Korsakov (along with Mussorgsky, Balakirev, Cui, and Borodin) played an important role in developing an idiosyncratic Russian musical voice. The author of a manual on orchestration, and prized by all as a master of the same, Rimsky-Korsakov is best known for his orchestral showpieces, including the Great Russian Easter Festival Overture, Capriccio Espagnol, and the most popular of them all, Scheherazade. Capriccio Espagñol received its first performance on Oct. 31, 1887, in St. Petersburg with the composer leading the Imperial Orchestra. The work is scored for piccolo, two flutes, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion (including castanets), harp and strings.

Few composers can match Nikolai Rimsky-Korsakov for sheer sonic opulence. This Russian master who was father and uncle to a family of musicians, not to mention the teacher of many composers, including Igor Stravinsky, carefully studied the orchestral scores of great masters during his youth and tour of duty as midshipman in the Russian Imperial Navy. Among the books he read was the Treatise on Instrumentation of the flamboyant Hector Berlioz. Not surprisingly, Rimsky-Korsakov himself later authored his own manual on orchestration.

While most audiences in the West associate Rimsky-Korsakov with his brilliant and popular orchestral compositions — Sadko, the Antar Symphony, Scheherazade, Spanish Caprice (Capriccio Espagnol), and the Russian Easter Festival Overture foremost among them — he was even more active as a composer of operas. As one of the Russian nationalists known as the “Mighty Five” — Modest Mussorgsky, Alexander Borodin, Cesar Cui and Mily Balakirev making up the remainder of the group — it is not surprising that Rimsky-Korsakov would be interested in setting Russian texts to music.

Capriccio Espagnol is cast in five sections that run into each other without pause. The energetic first part is titled Alborada and evokes the spirit of a cheerful dawn in Asturia. The clarinet and solo violin are the featured instruments. This is followed by a slower movement, Variazioni, which begins with a melody in the horns that is picked up by the English horn and other instruments, and eventually by the entire orchestra. This, in turn, leads to an altered reprise of the Alborada. A bravura roll on the snare drum announces a fanfare in the trumpets and horns, as the solo violin plays a short cadenza. The drum then sets the scene for Scena that offers brief solos for the flute and clarinet. All this sets up the fiery Canto gitano (Gypsy song) complete with flourishes in the solo violin and other solo instruments. The solo harp prepares the way for the final movement — a dramatic and lively Fandango Asturiano in which strings and winds imitate guitar-like effects. A new tune emerges in brass and winds, colorfully accompanied by tambourine, castanets and triangle. The work ends with a speeded-up return of the Alborada theme, bringing the fiesta to a brilliant conclusion.