BEDICH SMETANA 1 OVERVIEW Smetana Family Compositions Ma

BEDŘICH SMETANA 1

OVERVIEW Ø Smetana Ø Family Ø Compositions Ø Ma Vlast highlights Ø The Moldau Ø Listening Guide Ø Bibliography 2

BEDŘICH SMETANA § Born: March 2, 1824, Litomyšl, Czech Republic § Composed Má vlast, some say most famous piece in modern society. § regarded his homeland, the Czech Republic as his Father § Started a Piano Institute in late August 1848 § Struggled with loss of hearing and mental illness § Died in May of 1844 3

FAMILY Ø Father František Smetana, brewer, violinist Ø Mother Barbora Lynková Ø Katerina Kolářová- Wife Ø Children 4 daughters, 3 died in infancy Ø Second wife Bettina Ferdinandova 4

SOME OF BEDŘICH SMETANA’S MORE POPULAR COMPOSITIONS Year 1874 -1879 Title Má vlast 1865 The Bartered Bride 1863 The Brandenburgers in Bohemia 1868 Dalibor 1877 Tajemství 1875 Hubička 1870 Libuše 5

MÁ VLAST http: //www. youtube. com/watch? v=kdt. Luy. Wu PDs 6

MÁ VLAST HIGHLIGHTS Ø Meaning "My country/homeland" Ø Actually six symphonic poems together Ø Composed between 1874 -1879 Ø six pieces were conceived as individual works Ø Each poem depicts some aspect of the countryside, history, or legends of Bohemia 7

THE MOLDAU § Composed between 20 November and 8 December 1874 Ø Second in six part Ø No lyrics Ø A homage to his home country Ø The Moldau premiered in Prague on April 4, 1875 Ø Appearances in modern culture include: § “The Tree Of Life” § “Kotsch” § “Tiny Toon Adventures” § “Tabu: A Story of the South Seas. ” 8

ü GENRE: Symphonic poem, LISTENING GUIDE THE MOLDAU taken from the whole piece titled 0: 00 Introduction My Country or (Má vlast) Flutes start the introduction of The Moldau section of Ma Vlast. The two flutes are used to represent a bubbling spring that join together. The tempo is rather fast in this introduction. The music is a steady piano, soft dynamic Though the tempo begins a building crescendo that you almost feel if you close your eyes and picture the river starting at its source, bubbling from the springs ü Allegro commodo (moderately fast) 0: 30 Intro Continued ü Instrumentation: piccolo, flutes , oboes, clarinet, bassoons, French horns, trumpets, trombones, tuba, Flutes continue, the volume is at a piano. Harps and clarinets join making the piece seem to speed up, thus making the listener believe that the river is slowly building and its speed increasing. He is able to do this by making the rhythm speed up, the tempo quickens with the above added instruments timpani, bass drum, triangle, cymbals, harp, strings 9

LISTENING GUIDE THE MOLDAU 1: 06 Chorus In this piece the chorus is the also known as the “river. ” Violins are added to theme in a minor key. Here, again the chorus is in a piano or soft dynamic with a building crescendo. The chorus is dominated by strings. The pitch fluctuates between crescendos and decrescendo or diminuendos, eventually with a decrescendo ending the chorus. This chorus is called the river because it is the main focus of the entire piece, the journey down the river; yes we see many different things throughout the trip but one thing is constant, the river. 1: 39 Bridge The river is building and getting wider as is reflected by the violins, clarinets and flutes all play together with the continued crescendo followed by the diminuendos. Strings are in the minor with low strings. 10

LISTENING GUIDE THE MOLDAU 2: 00 Chorus continued At this point of the chorus, the crescendo has peaked and the energy is at a high point of the piece. I would say the volume is at a mezzoforte now, it’s loudest so far. Violins continue to again have a crescendo followed by a diminuendo. The chorus is repeating itself, intentionally. Swirling sixteenth notes act as accompaniment, adding to the depth of the river 3: 00 Forest Hunt French horns and trumpets begin to play at a forte. Strings are added with running notes. The volume is raised through a rapid crescendo to a fortissimo level. Pitch is lower but fluctuates with the help of the strings in the background of the song. Melody has changed from the introduction and chorus 11

LISTENING GUIDE THE MOLDAU 4: 00 Peasant Wedding Strings are playing at a forte or loud volume. The songs dynamic has totally changed now. Again we have a building crescendo, but the strings and triangle have made the song feel more like a dance or polka now. 3: 30 Forest Hunt Continued The dynamics change as the strings take over dominance from the horns at this time in the piece. The horns and trumpets have faded and are now only heard in the background. We close this section at a pianississimo 12

LISTENING GUIDE THE MOLDAU 4: 30 Peasant Wedding Continued The piece is at the peak of its crescendo at this section. Strings are still playing at a piano volume with a triangle playing in the background. Song dynamic has dropped to a pianississimo. Instruments are barely audible towards the end. 5: 19 Moonlight dance of water nymphs Woodwinds playing sustained notes at a pianissimo or soft tone. Flutes enter playing running notes at a louder piano. Rhythm is at its slowest pace of the piece so far, but the beat starts to fasten as we have a crescendo 13

LISTENING GUIDE THE MOLDAU 5: 50 Moonlight dance continued Violins enter at a pianissimo; the melody is a legato with flutes and harps accompanying violins. Rhythm has slowed to a longer more drawn out tempo. Tempo is steadiest, no real crescendo to find 6: 35 Moonlight dance continued Violins, harp, woodwind and flute are all playing. A subtle crescendo starts as the brass enters at a pianissimo. Throughout the moonlight dance section, you feel as if you are a fairy or something light and magical dancing across the river. 14

LISTENING GUIDE THE MOLDAU 7: 10 Moonlight dance continued The piece is in the middle of a crescendo. Woodwinds are playing running notes. Rhythm is much faster with the woodwinds playing. You can sense that the music is about to make a transition back into its chorus. 7: 59 The River (chorus) Violins playing river theme for the chorus again. A running note accompaniment in strings. Here, again the chorus is in a piano or soft dynamic with a building crescendo. The chorus is dominated by strings. The pitch fluctuates between crescendos and decrescendo or diminuendos, eventually with a decrescendo ending the chorus. 15

LISTENING GUIDE THE MOLDAU 8: 40 The Rapids All instruments are now playing or a full orchestra. With all the instruments playing theme is the fast, swift rapids. Fortissimo volume peaks. Piccolo playing with cymbals crashing. Strings playing at a pianissimo, with a quick crescendo 9: 30 The Rapids Continued Ascending minor scales alternate in the low brass and low strings in fortissimo. Jagged, piercing arpeggios in the piccolos. Both have dissonant chords. Timpani rolls and cymbal crashing together insinuate that the river is getting faster and very swift. 16

LISTENING GUIDE THE MOLDAU 10: 00 The Rapids Continue River is at its fastest, swiftest point. A full orchestra begins to play again, still at a fortissimo. Gradual shortening of the phrase lengths adds to building intensity. 10: 40 Chorus The chorus has returned but is now being played in a faster, accelerated way. It is now being played in a major. Also being played at another fortissimo, the loudest the chorus has been played so far. This is supposed to be the most powerful part of the river. 17

LISTENING GUIDE THE MOLDAU 11: 10 Ancient Castle The river is now passing the castle Vysehrad. Melody is filled by brass and is harmonized by full brass section. Tempo is now broad while still at a fortissimo 11: 30 Ancient Castle Continued River continues to pass the castle. Violins and harps play. Smaller yet noticeable crescendos build and slowly decrescendo. We are nearing the ending of the piece and the artist has made this apparent. It is as if the river is starting to calm again as we are closing. 18

LISTENING GUIDE THE MOLDAU 12: 01 Coda- Ending The river is starting to disappear into the distance. The final decrescendo is made here, playing at a pianissimo. Full orchestra for the chords play the ending piece in a fortissimo. The river is no more and we have ended our journey, our trip of the river through the countryside and its many changes. 19

BIBLIOGRAPHY v Roger Kamien, “An Appreciation of Music” v CD # 3 included in text, “An Appreciation of Music” v http: //www. britannica. com/EBchecked/topic/1666110/The-Moldau v http: //www. mhhe. com/socscience/music/kamien/student/olc/61. htm v http: //wps. prenhall. com/wps/media/objects/4107/4206309/pdfs/Ch_10. pdf v http: //en. wikipedia. org/wiki/M%C 3%A 1_vlast 20