Opening the book…
Bedřich Smetana
https://upload.wikimedia.org/wikipedia/commons/6/60/Smetana.jpg
Bedřich Smetana (b. 1824-1884) was born in Litomsyl, Bohemia while under Austrian rule (now the Czech Republic). Smetana was the son of a brewer and violinist and his father’s third wife. Smetana was a talented pianist who gave public performances from the age of six. Bohemia under Austrian rule was politically very volatile. In 1848 Smetana aligned himself with those seeking independent statehood from Austria. After that revolution was crushed, Prague and the surrounding areas were brutally suppressed—especially those areas and people suspected of being sympathetic to Bohemian nationalism. In 1856, Smetana left for Sweden to accept a conductorship post. He hoped to follow in the footsteps of such music predecessors as Liszt. He thus expresses his admiration, “By the grace of God and with His help, I shall one day be a Liszt in technique and a Mozart in composition.”(footnote 1)
footnote 1 Taken from his diary, 23 January, 1845 found at www.quotesquotations.com/biography.
As a composer, Smetana began incorporating nationalist themes, plots, and dances in his operas and symphonic poems. He founded the Czech national school after he left Sweden and was a pioneer at incorporating Czech folk tunes, rhythms, and dances into his major works. Smetana returned to Bohemia in 1861 and assumed his role as national composer. He worked to open and establish a theatre venue in Prague where performances would be performed in their native tongue. Of his eight original operas, seven are still performed in native tongue today. One of these operas, The Bartered Bride, was and is still acclaimed. To hear Smetana’s Bartered Bride Overture, go to www.52composers.com/smetana.html and click on the link. He composed several folk dances, including polkas for orchestra. These polkas incorporated the style and levity of his Bohemian culture. To hear his Louisa’s Polka, go to www.52composers.com/smetana.html and click on the link.
Má vlast (My Country)
Smetana also is known for composing the cycle of six symphonic poems entitled My Country. These poems are program music, representing the beautiful Bohemian countryside, Bohemian folk dance and song rhythms, and the pageantry of Bohemian legends. The first of these symphonic poems is called Má vlast (My Fatherland) and is symbolic program music representing his birthplace. To hear Smetana’s My Fatherland, go to www.52composers.com/smetana.html and click on the link.
Focus Composition: Smetana, The Moldau (Vltava) [1874]
The second of these, Vltava, (The Moldau) is recognized as Smetana’s greatest orchestral work. Notes in the conductor’s score state
The Moldau” represents an exceptional expression of patriotic or nationalistic music. The musical poem reflects the pride, oppression, and hope of the Bohemian people. . . .
Two springs pour forth in the shade of the Bohemian Forest, one warm and gushing, the other cold and peaceful. Their waves, gaily flowing over rocky beds, join and glisten in the rays of the morning sun. The forest brook, hastening on, becomes the river Vltava (Moldau.) Coursing through Bohemia’s valleys, it grows into a mighty stream. Through thick woods it flows, as the gay sounds of the hunt and the notes of the hunter’s horn are heard ever nearer. It flows through grass-grown pastures and lowlands where a wedding feast is being celebrated with song and dance. At night wood and water nymphs revel in its sparkling waves. Reflected on its surface are fortresses and castles—witnesses of bygone days of knightly splendor and the vanished glory of fighting times. At the St. John Rapids the stream races ahead, winding through the cataracts, heaving on a path with its foaming waves through the rocky chasm into the broad river bed— Flowing on in majestic peace toward Prague—finally. Flowing on in majestic peace toward Prague and welcomed by time-honored Vysehrad (castle.) Then it vanishes far beyond the poet’s gaze.” (footnote 2)
footnote 2:Preface to the original score, Philharmonic Symphony Society of New York, The Concert Companion p. 672
Listening Guide
| Composer: Bedřich Smetana (1824-1884) |
| Composition: The Moldau (Vlatava) |
| Date: 1874 |
| Genre: Symphonic poem |
| Form: Symphonic Poem (Tone Poem) |
| Performing Forces: piccolo, two flutes, two oboes , two clarinets, two bassoons, four French horns, two trumpets, three trombones, tuba, timpani, bass drum, triangle, cymbals, harp, strings |
| https://www.youtube.com/watch?v=hY0BJOcEiOM | ||
|---|---|---|
| Timing | Text and Form | Performing Forces, Melody, and Texture |
| 0:00 | Two Springs (Source of the River) |
Two Springs.(Source of the river) |
| 1:06 | Two Springs (Source of the River) | Rippling notes moves to lower strings that lead to the main river theme. |
| 1:16 | The River Theme |
The River Theme. |
| 1:31 | The River Theme | River theme repeated. |
| 1:46 | The River Theme | Melodic answer to the river theme. |
| 2:11 | The River Theme | The river theme is expanded (note the triangle with orchestral crescendos). |
| 2:18 | The River Theme | Return of the river theme. |
| 2:35 | The River Theme | Answer to river theme. |
| 2:52 | The River Theme | Expansion/elaboration of river theme. |
| 3:01 | The River Theme | Return of the river theme. |
| 3:20 | Forest Hunting Scene |
Forest Hunting Scene. French horns and trumpets, hunting calls. |
| 4:10 | Forest Hunting Scene |
Rippling continues (in strings); dies down to gently rocking motion. Transition to next section (strings). Repeated notes in strings lead to rustic folk tune, staccato in strings and woodwinds |
| 4:38 | Peasant Wedding |
Peasant Wedding. Strings present a dance-like tune (polka). Closes with repeated single note in strings |
| 6:15 | Moonlight: Dance of Water Nymphs |
Moonlight: Dance of Water Nymphs. Woodwinds, sustained tones. |
| 6:35 | Moonlight: Dance of Water Nymphs |
Flute passage (similar to opening of work). Rippling figures in flutes; muted string theme with harp, punctuated by French horn; brass crescendo, fanfare |
| 7:02 | Moonlight: Dance of Water Nymphs | Muted violins in high register with a legato melody. |
| 9:06 | Moonlight: Dance of Water Nymphs | Intensification. |
| 9:29 | Moonlight: Dance of Water Nymphs | Violins present the river theme. Played in the minor mode |
| 10:17 | Moonlight: Dance of Water Nymphs | River theme reappears in the major mode |
| 10:29 | St. John’s Rapids | St. John’s Rapids. Full orchestra, ff. Brasses, timpani roll, piccolo, cymbal crashes. |
| 12:09 | The River at its Widest Point |
River theme, Full orchestra, Loudest dynamic/volume. The River at its Widest Point. |
| 12:45 | The Ancient Castle |
The Ancient Castle. The brasses and woodwinds portray Vyšehrad, the ancient castle in a hymn-like melody. Slow then Accelerates |
| 14:05 | River Dies Away | River Dies Away, Strings slow down, lose momentum |
| Final Cadence | Final Cadence | Two forceful closing chords. |
This page titled 4.4.2: Music of Bedřich Smetana was last modified on Sat, 22 Aug 2026 23:52:59 GMT and is shared under a CC BY-SA 4.0 license and was authored, remixed, and/or curated by Clark, Heflin, Kluball, and Kramer (GALILEO Open Learning Materials) via source content that was edited to the style and standards of the LibreTexts platform.
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