Written by Anna Vorhes

Born
March 2, 1824, Litomyšl

Died
May 12, 1884, Prague

Instrumentation
three flutes (one doubling piccolo), two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and three percussion, harp, strings

Duration
12 minutes

Composed
the tone poem Ma Vlast between 1872-1879 with Vltava being completed December 8, 1874

World Premiere
April 4, 1875, with Adolf Čech conducting

Something interesting to listen for:
This is a true tone-poem, very clearly depicting the river that flows through Smetana's homeland.  The beginning features flutes and clarinets creating the merging of a cold stream with a warm stream at the headwaters of the Vltava. As the stream gains power and becomes a true river we hear the tune that will weave through the piece.  (This melody has been discussed, and it is unclear whether it is an existing folk song Smetana used or his composition.  Many musicologists connect it with a Swedish melody Smetana may have heard in his travels.)  As we continue down the river hunting horns are heard in the distance.  We observe some peasants having a wedding party on the bank.  As we move along the river we contemplate river goddesses in the form of nymphs.  We come upon St. John's rapids, with a wildly powerful river that makes us forget the humble beginnings.  In the distance we see the castle that is the mythical home of the Czech people, Vyšehrad.  The river flows on, diminishing as it is absorbed by the Elbe River.  Two final chords announce, "the end". 

Program Notes

Bedrich Smetana was a man of his times.  Compositional style reflected an interest in how nations were all different, and how national music could depict what was best about each country or region.  When Smetana decided to write a series of tone poems, the river through Prague is an obvious choice.  Vltava is the true name of the river Germans call the Moldau.  The Vltava is an important part of the life of the city, past and present.  In the past, the river was a major thoroughfare to move people and goods from place to place, and today it remains a vibrant part of the city.

Smetana chose to write about the river as one movement of a set of six tone poems, pieces that intentionally depict something extra musical.  Franz Liszt, the renowned pianist and composer, is credited with inventing tone poems.  Smetana visited Liszt in Weimar in 1857.  His discussions with the older composer led him to come away with a respect for the tone poem as a genre and a desire to create one of his own.  Smetana traveled the length of the Vltava, marveling at all he saw.  From the visit to Liszt that sparked the consideration, to the travel along the river that led to the actual music, Smetana was offering something new.  Of the six movements created in Ma Vlast (my country), Vltava is by far the most often played.

During the time Smetana worked on this composition his hearing failed.  He had contracted syphilis, for which there was no successful cure at the time.  By the time he finished this composition he was completely deaf.  The syphilis continued advancing until Smetana was confined to an asylum due to the effects of the disease.

Smetana himself gave us the program he was trying to depict.  We can hear what he describes as we listen, especially because he gives us a clear indication of the sound in the music meant to depict a scene:

"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 might 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 tune 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 the Rapids of the St. John 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 poem of Ma Vlast], to disappear in far distance from the poet's gaze."

Vyšehrad is a very interesting place.  It is first a large cliff rising up from the river.  At the top of that cliff is built a legendary castle.  The castle was the seat of Czech government for centuries, and in some folklore, it is the home of legendary knights that will return to save the world that all might become Czech (there are a number of places that have claimed to have the honor of housing the ghosts that will make the Czech people head of a new and safer world).  Perhaps the most interesting thing about Vyšehrad for music lovers is that both Smetana and Dvorak are buried in the cemetery there.