The Music of the Czecho-Slovak Races. IV (Continued) Author(s): Rosa Newmarch Source: The Musical Times, Vol. 59, No. 910 (Dec. 1, 1918), pp. 541-545 Published by: Musical Times Publications Ltd. Stable URL: http://www.jstor.org/stable/909187 Accessed: 20-06-2016 15:37 UTC

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This content downloaded from 155.69.24.171 on Mon, 20 Jun 2016 15:37:28 UTC All use subject to http://about.jstor.org/terms THE MUSICAL TIMES.-DECEMBER I, 1918. 541 suggestion that some special provision was needed In his book entitled 'A bird's-eye view of Czech for singing in training camps, and the outcome was Music' (Strucny frehled dejin Leske hudby), a little ' Pocket Sing-Song Book' (Novello), containing Dr. Jaromir Bovecky has done great service in tracing a large number of national, folk, and popular songs. the influence of the Bohemians on music in general. When the list was nearly complete, he said, 'Don't Doubtless there remains still more to be done, for we you think they would like a few hymns?' And a are not yet quite free from the traditional belief that short selection of old favourites was added. When all that glitters in music is necessarily German. tunes came under discussion he referred to the It may be at once conceded that Bohemia's enormous power of early association, and remarked contribution to the music of the I8th, and early about 'Sun of my Soul,' that there are several 19th, centuries does not take the form of a beautiful modern settings for this hymn, but in a tight series of monumental works. During that period, not corner it would always be the bairns' tune that would one of the exiled composers was strong enough to come back to him, and he hummed very softly: write music in which the cut of the melodies, the elasticity of the rhythms, the whole idiom and inspiration should proclaim its national origin. ?eJ Compromise is the only path open to an oppressed He continued humming in reminiscent manner the race, and the language of music, as well as the spoken next two lines, and then concluded with full voice word, is generally constrained to follow it. But and words: contained in the modest creative works of the Czechs cres. before Smetana's time is much melody of a freshness and simplicity that has helped to leaven the music of other lands. The amount of melodic material WCeWe lose lose cur our -- selvesselves inin heavenheaven a -- bove.bove. borrowed consciously or unconsciously from the Slavonic fountain - head by the Viennese and other THE MUSIC OF THE CZECHO-SLOVAK composers can never be exactly computed, but it is possible to acknowledge the source generously without RACES. trying to measure it in a pint pot. BY ROSA NEWMARCH. Europe is also indebted to Bohemia for a never- failing supply of music-teachers and talented (Continuedfromn November number, page 497..) executants, although often unaware of their Slavonic IV. origin. While Germany was sending out teachers to Once again we must glance back to that fatal year, England, Russia, and other lands, she was accepting 1620, when the battle of the White Mountain sealed them from Bohemia; but usually under conditions the doom of Bohemian independence for three which led to their changing their names and becoming centuries to come. In other countries at that period Germanized. The pedagogic activities of the Czechs modern music was beginning to emerge from the old during the latter part of the 18th century were polyphonic school. But just when Monteverde had remarkable. If we compare the musical conditions shown in his 'Arianna' how to express intensity of of Russia with those of Bohemia at this period, we emotion in dramatic music by the poignant uses of shall find in the first instance great love of music, discords, and the outlook of the art was bright with much brilliant amateur talent, and scarcely any native new hopes and undreamed of possibilities, Bohemia, teachers; while among the Czechs there was an equal so richly endowed with musical intelligence, lost her devotion to the art, much trained talent, and a place among the nations and was reduced to the phenomenal teaching capacity. status of a German province. It is not my intention to give in this article a long Ferdinand II., a conscientious bigot, proceeded from list of Czech names, with such biographical details religious persecution to the systematic stifling of all as may be found in most musical encyclopaedias, but civil liberty and intellectual aspiration. Towns were merely to mention a few teachers and instrumentalists deprived of their charters, law courts of their powers in order to strengthen the claims I have put forward of jurisdiction, universities and schools of their on behalf of Bohemia's right to be regarded as a national character. power in the evolution of modern music. The Hapsburgs were henceforth to rule Bohemia The close of the I7th century saw the birth, at from Vienna; the German language everywhere Nymburk, in Bohemia, of Bohuslav iernohovsky replaced the Slavonic idiom, and the Jesuits became (Czernohovsky), whose church music was extolled by the capable, but unsympathetic, teachers of the all his contemporaries. Of Cernohovsky's creative gift spiritual decendants of Hus. Prague was left to fall it is now difficult to judge, for nearly all his manuscript into decay. With steadily decreasing opposition works were destroyed in a fire which took place at the Germans filled the highest positions in the land. A Minorite Convent at Prague in I753. The musician, proportion - overlarge - of the old Bohemian who was a monk of this order, migrated early in life to aristocracy Germanized themselves and followed the Italy, where he became choirmaster at the Santo at Court to Vienna. In many cases they took their Padua, and afterwards organist at Assisi. He was private musicians with them, while the patriotic spirits considered one of the foremost contrapuntists of his and staunch resisters languished and starved, dropped day. At Assisi, Tartini went to him for instruction. into oblivion, or reluctantly passed out of their country In middle life he made his way back to Prague and to seek a livelihood elsewhere. Then followed a time was appointed musical director at the famous when the history of Bohemian art and literature became Tyn Church, and afterwards organist of St. Jacob's indeed the history of the Muses in exile ; when it would in that city. At this time Gluck, who was eighteen nave been as vain to look to Prague for a Comenius years of age, came to Prague to study under the great or a Smetana, as to Jerusalem for a Spinoza or a master; in order to enjoy this privilege he underwent Mendelssohn, so pathetically complete was the banish- many privations, earning a precarious living by singing ment of the Bohemian spirit. in choirs and playing the violin at rustic festivals. The search now begins for Czech talent scattered Cernohovsky died in I742. throughout Europe under names that, chameleon-like, The Bendas furnish an example of a whole family took the etymological colour of the land in which absorbed into the ranks of German musicians. The the exile chanced to have his abode. father, George Benda (I709-86), who combined the

This content downloaded from 155.69.24.171 on Mon, 20 Jun 2016 15:37:28 UTC All use subject to http://about.jstor.org/terms 542 THE MUSICAL TIMES.-DECEMBER I, 1918. occupations of weaver and local musician, had four the changes of style and pianistic methods that sons who all did well in the musical profession, and, have succeeded each other since Dussek's day. in two instances, passed on their talent to their Vaclav Jan Tomalek (1775-1850), a composer of children. Frantisek Benda, the eldest, founded a chamber and symphonic music, once the autocrat of school of violin-playing, and succeeded Graun as musical life in Prague, says of Dussek's playing : concertmeister to Frederick the Great, ending his days at Potsdam. The second and fourth sons were 'His fingers were like a company of ten singers, endowed with equal executive powers, excellent violinists; but the third, George (i722-95), and able to produce with the utmost perfection was something more. Sent by the Duke of Gotha to whatever their director could require.' study in Italy, he turned his attention to composition, and in his duodrama 'Ariadne auf Naxos' he is The same authority tells us that Dussek introduced universally credited with the invention of melodrama. the innovation of placing his pianoforte sideways on The success of his works in this form reached as far the platform, a custom which other virtuosi were quick as Paris and Hamburg, where something like a to follow, 'though they may have no very interesting popular and national opera had long been in existence. profile to exhibit.' Wenzel Pichl (I741-1805), born near Tabor, accom- Jan Ladislav Dussek must not be confounded with panied the Archduke Ferdinand to Milan as Court his namesake Franz Dushek (Dussek), a native of composer. He must have taken his duties seriously, Chotiebof, who lived between 1736-99, and was noted for he wrote nearly seven hundred works-symphonies, in Prague as a pioneer of poetic feeling and an excellent concertos, masses, and operas poured from his pen interpreter of Bach. This Dushek was an intimate with a fatal facility. Nevertheless, as he received friend of Mozart from his Salzburg days. pressing invitations to become director of the Imperial While most of the gifted musicians of the I8th Court Chapel at St. Petersburg-probably in succession century were enticed abroad by the prospects of a to Paesiello or Galuppi-we may assume that he was better livelihood, leaving in Prague only the teachers a composer of considerable repute. of secondary ability, a few remained in their own While many Bohemian musicians were swallowed country from motives of patriotism. In a previous up by Germany, a few made their mark in other article I have mentioned Victorin Brixi, of Pod~brady. lands, notably Josef Myslive'ek (1737-81), who Of Franz Brixi (1732-7I), the late Prof. Sacchetti, of St. Petersburg, says in his ' History of Music': took up his abode in Italy. Here his operas enjoyed extraordinary popularity. Naples was the scene of 'His sacred works, especially his Masses, are his most brilliant triumphs, and the people would distinguished for their admirable declamation, hardly suffer him to visit any other centres. The attaining here and there to real dramatic pathos. fascinating and captivating Catterina Gabrielli Each part in his polyphonic compositions preferred his songs to those of any of his contem- has its own individual interest, and his modula- poraries, and Mozart recommends Myslive'ek's sonatas tions are simple, natural, and, at the same time, to the attention of his sister. It is interesting to know original.' that his oratorio 'Abraham and Isaac' passed for a long Another musician who exercised some influence time as the work of Haydn; but whether it contains on the art in general was Anton Josef Reicha any of the marked Slavicisms which abound in the (1770-1836), a native of Prague, who was a good music of the Croatian I am unable to say. The all-round musician at eighteen, and played second name of Myslive'ek did not trip lightly from the flute in the private band of Maximilian of Austria. tongues of the Italians, who adopted the alternatives While living in Vienna he frequented an interesting of Venatorini or ' II divino Boemo.' circle which included Beethoven and Haydn. In Charles Czerny (I791-1857), though born at Vienna, I8o8 he settled in Paris, and had the satisfaction of was of Czech blood. As a composer he showed that seeing three of his operas staged there : ' Cagliostro' combination of loquacity and industry peculiar to (I8Io), 'Natalie' (1816), and ' Sapho' (1822). In I818 many of his compatriots at that date. Among Reicha succeeded Mehul as Professor of Counterpoint his thousand works nothing is remembered but at the Conservatoire. His theories, much discussed a his Practical Pianoforte School, yet undoubtedly he century ago, need not concern us here. He composed exercised great influence upon the technique of piano- a good deal of chamber music for unusual combina- forte playing. tions of wind and strings ; the capacities of the former Even greater in this respect were the services of were well understood by him, and in encouraging the Jean Dussek (1761-1812), who hailed from Cdslav in study of wind instruments he followed a national Bohemia, the Slavonic form of his name being tradition, for Bohemia has been particularly rich in Jan Ladislav Dushek or Dushik. For a time wind virtuosi ; the oboists Fla'ka, Fiala, and the two Dussek studied with Philipp Emanuel Bach at Cervenkas; the flautist Sedlacek; Venceslas Batka, Hamburg. A renowned virtuoso on the organ, the Cejka, and later, Koprai, bassoonists; Fridlovsky, pianoforte, and the then fashionable harmonica, he the clarinetist ; Palsa, Mokowe'ky, and Janatka, settled in Paris until the rising tide of revolution made horn players-all these have helped to raise the it expedient for the favourite of Marie Antoinette to standard of orchestral-playing at home and abroad. withdraw to England. He remained with us twelve The national renaissance in Russia, which followed years, greatly honoured as a pianist and teacher. Napoleon's disastrous retreat in 1812, brought forward Having failed in the music business, which he a group of transitional composers all trying timidly to unwisely added to his artistic occupations, Dussek graft folk-melody upon traditional forms. The essays left England deeply in debt and returned to Bohemia. of Verstovsky, the Titovs, and Alabiev, were the steps Prince Louis Ferdinand of Prussia then adopted the by which Glinka mounted to his throne. In Bohemia, musician, rather as a friend than a servitor. The two composers of this type preceded Smetana: Prince's death at the Battle of Saalfeld in I806 Pavel Ki~ikovsky (1820-85), whose knowledge of the called forth from Dussek one of the most sincere folk-music went deep, wrote some excellent choral tributes ever offered from protfg6 to protector-his music : 'The Drowned Maiden' ('Utonala ') and 'Harmonic Elegy.' This work, together with 'The 'The Love Gift' ('Dar za lasku'), &c.; and Invocation,' 'The Farewell,' and some of the slow Frantiiek Skroup (1801oi-62) (whose portrait appeared movements from his sonatas-all for pianoforte-- in the September number of the Musical Times are practically the only works which have survived together with his national hymn, 'Kde domov muj '),

This content downloaded from 155.69.24.171 on Mon, 20 Jun 2016 15:37:28 UTC All use subject to http://about.jstor.org/terms THE MUSICAL TIMES.-DECEMBER I, I918. 543

the composer of the first opera in the vernacular, him on credit by the old, blind, but by no means 'The Tinker' ('Dratenik'), produced at Prague in incompetent teacher, Josef Proksch, of Prague, he 1826. began to realise his capacity for a wider musical The actual founder of the modern national career than that of virtuoso. By way of earning his School, the musician whose services to the Czechs living he entered the family of Count Leopold Thun may not unfittingly be compared with those of Glinka as resident music-master. The slight and immature to the Russians, was Bedrich Smetana (1824-84), works of this period, which include eight short pieces whose epic opera '' was first performed at for pianoforte, written for Catharine Kollar, whom he the Temporary Theatre, Prague, in May, 1868, married in 1849, show traces of the feeling for Nature thirty-two years after Glinka's 'A Life for the and the attraction of his country's romantic past which Tsar' had come like a revelation of their native characterise his later compositions. In 1850 Smetana artistic power to the Russian people. Smetana, was appointed concertmeister to the aged Emperor born at LitomyJl, in Moravia, was taught the Ferdinand I., who had recently abdicated. It is hard violin by the local schoolmaster, and took part in to imagine the lyric poet of Bohemia's beauties, joys, a quartet at five years old. His father, a brewer, and sorrows, as Court musician to a Hapsburg. The inhabited various districts in Bohemia during connection did not last very long. He composed Bedrich's youth, so that the lad knew and loved the a work for the marriage of the new Emperor, characteristic scenery of the whole country-the wild Francis Joseph I., based on the Austrian National highlands of the south-east, the plain' of Pilzen; the hymn written by the Croatian musician Haydn. Wide, melancholy vistas of the north-east ; and Prague, Smetana's ardent patriotism burned through the with its towers and gilded vanes, its historic, buttressed flimsy veil of obsequious language in which the bridge, spanning the wide, tawny river Vltava, called dedication was couched. The work was set aside by some Court official, and this was the beginning of a long series of rebuffs suffered for Bohemia's sake. One of the consolations of his life at this time was the generous appreciation and help accorded him by Liszt. But although he managed to earn a living in Prague, Smetana could make no headway against the tides of oppression and prejudice that swept aside all attempts to revive the national conscience of the Czechs during the 'fifties of last century. In 1856 he accepted the post of musical - director in the Swedish town of Goeteburg, in return for a comfortable salary and free musical activity. Here he remained five years, and did much to raise the standard of taste in his temporary home. His early symphonic-poems, 'Richard III.,' founded on Shakespeare's play, ' Wallenstein's Camp,' after Schiller, and 'Hakon Jarl' were written in Sweden. The improvement in the social and political condition of the Czechs in the early 'sixties, the project, long cherished, but only now within sight of realisation, to erect a National Theatre in Prague, proved a turning- point in Smetana's life. In Sweden he was honoured and at ease, and his music was beginning to win for him a cosmopolitan reputation. Did some prescient inner voice warn him that in Bohemia bitter disap- pointment, eternal conflicts, awaited him? That he would too often be the prophet unhonoured in his own BEDRICH SMETANA. land? In any case, he felt deeply convinced of (From a Portrait by Max Svabinsky.) his mission to endow his people with a series of works in which they should recognise the reflection of their by the Germans the Moldau. All these prospects, life and soul. Thus he re-entered the atmosphere of familiar to Smetana from his early days, are Prague, perturbed, but still fusty with lingering intrigue reflected in the music of his maturer years, especially and the disloyalty inevitable among a people who had in the great monument of symphonic music which he lived for centuries between the upper and nether mill- bequeathed to his people, the series of symphonic- stones of political oppression and arrogant patronage. poems called 'Ma Vlast' ('My Country'). After one Bohemia, like all annexed and embittered countries, or two boarding schools, he was sent to finish his harboured some servile natures in the 'sixties of last education at Prague. A shy and somewhat rustic century. youth, he was looked down upon by his fellow There was, however, a heroic spirit in action, and students, the majority of whom were the sons of the Smetana lived his life to foster it. He became the well-to-do German bourgeoisie. His entire education conductor of the newly-founded choral society was conducted in German, so that we find this patriot 'Hlahol,' for which he wrote some fine choruses. apologising in his letters written a quarter of a century He advised the postponement of a great National later for the mistakes he made in writing the Czech Opera House until a wprthy monument could be language. erected, and the opening of the temporary or Interim Smetana had some difficulty in persuading his Theatre. Here the first of his national operas, 'The father to let him adopt music as a profession. The Brandenburgers in Bohemia' (' Branibori v Cechach ') brewer had fallen from affluence to poverty, and all he was produced in January, 1866. The story on which could do was to consent reluctantly to the project, and the work is founded is similar in some respects leave Bedrich with twenty florins in his pocket to get to that of Moussorgsky's 'Boris Godounov'; a on as best he might. His idea was to become a prince in his minority, a ruthless and ambitious pianist, but after some lessons generously given to guardian, Otto, Margrave of Brandenburg, and a host

This content downloaded from 155.69.24.171 on Mon, 20 Jun 2016 15:37:28 UTC All use subject to http://about.jstor.org/terms 544 THE MUSICAL TIMES.-DECEMBER I, 1918. of greedy Teutons swarming into Bohemia to join echo of the melodies of Paradise. The King orders forces with those who had already effected a 'peaceful Dalibor to be beheaded. The people, led by Milada, penetration.' The heroic defence of the Slavonic who loves him, make a vain attempt at rescue. element forms the theme of the book. Unfortunately Dalibor perishes on the scaffold, while Milada dies there was no Poushkin to inspire the librettist as in at the foot of the tower. This tragic ending was the case of ' Boris Godounov.' There is some national altered, probably by order of the censor, when the colour in the opera, but the literary material is too work was given at Vienna, and Dalibor was permitted flimsy to take the dye satisfactorily. to escape in time to receive the last embrace of the Smetana's second opera, ' dying woman. ' Dalibor' contains some of Smetana's finest dramatic music; the opening March with its ('Prodmna nevesta'), composed between 1863-66, and produced in 1870, is a sparkling and well-cut gem ringing fanfares and its sense of an on-coming tragic among operas. Its phenomenal success was not fate ; the music, so deeply national in feeling, which altogether a blessing for the composer, since it set a accompanies the entrance of Dalibor before the particular fashion and standard in operatic music, tribunal; and the lovely melody by which Zdenek and the public were unwilling to hear anything of consoles the hero in prison, are the favourite pages in Smetana's which did not conform to it. The spectacle the work. But its immediate reception was not of the public surfeiting on one particular work sympathetic. On all sides the composer was assailed by a composer, and obstinately ignoring all that with hostile comments, and the bitterest criticism led up to and followed it, is not peculiar to Bohemia. was that which accused him of copying Wagner. Smetana, angry at the neglect of his subsequent Undoubtedly, like the intelligent musician that he operas, was inclined to belittle 'The Birtered Bride,' was, Smetana gained something from hearing the music of which had cost him scarcely any effort to 'Meistersinger' at Munich, in 1868; the use of compose. 'Because after "The Brandenburgers" I leading-motives and the novelty of orchestration made was called a Wagnerian who could write nothing light a deep impression upon him. But his whole heart was or in the national style, I immediately had recourse to set upon endowing his country with operas as Slavonic Sabina for a libretto and I wrote "The Bartered in inspiration as Wagner's were Teutonic in spirit, and Bride " straight off the reel, in a way that beat he had no concern with Wagnerism, since, as he Offenbach hollow.' But he certainly thought the himself says, 'I have quite enough to do with music worth a good deal of polishing. The little Smetanism and only want my style to be sincere !' folk-drama, with its element of farcical comedy, is as Of the remaining operas, 'Libusa' (1868-72) was perfect in its consistency and deft use of national written for the opening of the National Theatre, and colour as Bizet's 'Carmen,' with which one is drawn was intended by the composer to be reserved as a to compare it in spite of the tragic content of Bizet's festival work for days of national importance. Dealing work. Both are jewels; 'Carmen' a 6lo ving, flame- with a Czech legend of great antiquity-the story of hearted ruby; 'The Bartered Bride' a clear, trans- the Virgin Queen and prophetess, Libusa, who takes parent emerald. The story of the opera is well-known, as husband and protector the agricultural worker thanks to the popularity of the vivacious overture. Premysl, and founds the dynasty of the Premyslids- The work itself was produced in London by a German the opera is frankly constructed on Wagnerian lines ; company in 1895, and again at Covent Garden in 1907. a work cast in a large mould and based on a series of On neither occasion did it achieve the success it met leading themes. 'Libusa,' written for the Czech with in Bohemia and South Germany. It awaits a Opera House, is not very likely to be transferred performance by Czech artists who can give us the elsewhere,, bit the Overture might with advantage true spirit of the work. Who knew what Russian find a place in our concert programmes. 'The Two opera was like until the Beecham productions by a Widows' (' Dye Vdovy') is a slight but finished little native company in 1913 and 1914? In America, comedy-opera in two Acts-a charming musical where 'The Bartered Bride' was given at the setting obfa French libretto transferred to Czech Metropolitan Opera House, New York, in 1909, and surroundings. Smetana describes it as'an attempt at also in Chicago, the enthusiasm it awoke was much opera in an elevated drawing room style, the music warmer. But in neither country has it led up to the of which is purely Czech and cannot be thought of least curiosity about Smetana's other operas, an anywhere else than in Bohemia.' indifference which we hope to see broken up now By this time the malady, attended by deafness, that the Czechs have shown us their value as allies. which ended in madness and death had begun to The triumph of ' The Bartered Bride' did not prevent torment Smetana. It prevented him from conducting Smetana from returning to the epic ideal in his the first performance of' Libusa' as early as 1874 : but, second opera, 'Dalibor,' written for the occasion of like Beethoven, he was able to compose long after the laying of the foundation stone of the new National deafness had cut him off from other musical activities. Theatre (Narodni Divadlo) at Prague, on May 16, After having spent a good deal of his modest income 1868. The actual performance took place in the in trying to find alleviation at the hands of specialists, Theatre of the New Town. ' Dalibor' is based upon he retired from Prague to Jakbenice, near Mlada a legend which is symbolic of the nature and destiny Boleslav, and lived with his daughter, who was of the Czechs. The opera takes its title from the married to a forester in the district. In this peaceful, hero, the Knight Dalibor, who has sacrificed his rural atmosphere he composed three operas. 'The possessions in order to live nearer to the hearts of Kiss' ('Hubicka') is a peasant drama of quite a different his suffering people. He invites his serfs to rebel type from 'The Bartered Bride.' Lukas, a young against their harsh government, and is imprisoned in widower, having lost the wife imposed upon him by the Hradcany tower. Dalibor has all the Czech his parents, returns to his first love, Vendulka. The passion for music, and is a famous player on the young people are passionately attached, but both are housla (a violin, not the gusslee, or horizontal harp, of strong-willed and hot-tempered. When Lukas tries the Russians). His gaoler smuggles an instrument to kiss Vendulka, she refuses him before marriage into the dungeon, and Dalibor's music draws the folk because of an old, ingrained Czech superstition that a in crowds to the prison walls. The housla is snatched kiss given before the wedding will cause the first wife from the knight, but still music sounds from the prison, to turn in her grave. A painful misunderstanding because the spirit of Dalibor's dearest friend, Zdenek, results. Lucas, exasperated, frequents bad company slain by a mutual enemy, comes to him and brings an and brings shame on Vendulka. Afterwards he is

This content downloaded from 155.69.24.171 on Mon, 20 Jun 2016 15:37:28 UTC All use subject to http://about.jstor.org/terms THE MUSICAL TIMES.-DECEMBER I, 1918. 545

filled with remorse, and goes to search for his the only beautiful things the composer has written. sweetheart, who has joined her aunt, the midnight When our choral societies resume activity, several carrier and agent of a band of smugglers. In the of Smetana's choruses might be introduced into their wild, romantic setting of the mountains the lovers repertories with advantage : such as 'A Czech Song,' meet again. At the sight of Lukas the girl is deeply 'Song of the Sea, and 'The Three Cavaliers.' moved, and, throwing herself into his arms, she offers When I started upon this series of articles I predicted which has been the cause of the trouble. But to the late editor of the Musical Times that before they now Lukas refuses it until he has asked her pardon in were finished the Czechs would be an independent the presence of the whole company. After this their nation and Prague a friendly city whence I could lips meet at last in a kiss of reunion. The music of draw all I wanted for the completion of my work. 'The Kiss' is as national as anything Smetana ever He smiled at my optimism, and undoubtedly events wrote, but it is touched with a realism and melancholy have moved faster than even I, in my heart of hearts, which sets the work in complete contrast to the light- expected them to do. All the same, they have not hearted gaiety of ' The Bartered Bride.' progressed so rapidly as to enable me to receive from '' (' Tajemstvi '), written between Prague material without which I could not write 1876-78, is another rustic opera; while 'The Devil's satisfactorily about the younger group of musicians Wall' (' Certova Stena '), completed in 1882, is a comic who followed in the wake of Smetana and Dvor6.k: opera based on a legend in which the devil masquerades Josef Suk, Vitezslav Novak, Kovaiovic, Josef Foerster, as a pious hermit. In both cases the libretti are and Otokar Ostz'il. I must therefore break off for unworthy of the music, for although the latter begins the time being the story of Czecho-Slovak music at to show traces of the composer's failing health, it still the point at which Smetana recovered for it an contains much that is fascinating, in little bursts and individual and national character. patches of inspiration. Smetana was at work upon a ninth opera, ',' when the long-threatened climax came. In March, 1884, a concert was organized in W. G. McNAUGHT. Prague to celebrate his sixtieth birthday, but his mental state was such that he could not attend in By ROBIN H. LEGGE. person. In April he entered an asylum, and about three weeks-later death delivered him from suffering. As* the years pass over one's head when one is It may never be possible to give any of Smetana's oneself no longer young, the joys of life naturally national operas in this country, other than 'The become fewer and fewer, and by some apparently Bartered Bride.' There are practical difficulties evident process the sorrows increase. It is not in the way, and in spite of the success of certain that one's capacity for joy is lessened or one's Russian operas in London, we are still a long way appreciation of sorrow enhanced. It is just a plain from understanding the Slavonic nature ; things which fact, patent to all who are well past the half-century are tragic or humorous to the Slavs leave us unmoved. mark. In the last few years the sorrows of life have But we might reasonably hope to hear more often in predominated in the case of practically all of us. But our concert rooms some of the symphonic-poems it is not death in war that has been our only sorrow. which make up the series of works which Smetana Recently Death has been busy among those of older entitled 'Ma Vlast' (' My Country'). The poems are growth who were in the ways of peace. Within a few six gems strung on the thread of national history. The days it removed Hubert Parry and, W. G. McNaught, first, 'Vy'ehrad' (1875), depicts the lofty rock, 'the two of the outstanding workers in our little musical high burgh,' the seat of the first rulers of Bohemia. Cosmos, two of those whom we could least afford to lose. But the youngster of to-day can merely read of The poem opens with the harp of the bard Lumir the work of these two heroes: his elders knew each proclaiming the glory of the Czech race, and goes on to tell of its sorrows and oppressions, and its of them. To them is the sorrow. I would not lay unconquerable faith in its recovery and independence. claim to have been on very intimate terms of friend- The second, 'Vltava,' + traces the historic river from ship with McNaught; we were both far too busily its source in the Sumava mountains, through forests occupied to come as much in personal contact with each other as I am certain both of us would have and plains, and beneath the frowning walls of Vysehrad. 'Sarka' tells the legend of the beautiful wished. But there were times long ere the War came Czech Amazon in music that is perhaps too barbaric upon us when we frequently met at provincial and to please the general taste. Competition Festivals, and where it was my good ' Bohemia's Fields and Forests' is a lovely pastoral. fortune to discover for myself how true were the 'Tabor' recalls the Hussite wars, and introduces their stories of McNaught which I had heard ever since I great hymn-tune, 'All ye soldiers of the Almighty,' entered the musical profession. I got to know him at which forms also the thematic corner-stone of first-hand through many a lusty fight-not concerning Dvorak's ' Husitzika' Overture. Finally, 'Blanik' the turn that modern music seemed to be taking; on deals with an old myth which says that beneath the that point McNaught had a particularly open mind: hill of Blanik, in South Bohemia, slumbers a goodly but concerning this point or that in connection with company of warriors until the hour of the country's the competitions which we had just witnessed and h6ard, he as Lord Chief Justice, so to say, I as a greatest peril, when they will come to her aid. Truly humble writer. Readers of the Musical Times will the hour of their awakening has struck, and in many strange lands the spirits of the warriors of Blanik are possibly recall several outbursts of correspondence upholding their compatriots on the field ! that occurred between him and me, and it was always In 1909 Sir Henry J. Wood gave the entire series of a good deal of a joy to see that what I wrote in the 'Ma Vlast' in the course of the Promenade Concert Daily Telegrapf of this or that Festival was deemed season. Like many Slavonic works, they want to be of sufficient importance by him, the very crystallisa- heard frequentlybefore we take themto ourheart. Of all tion of the Competition Festival to warrant comment Smetana's music we like the Overture to 'The Bartered in these pages, of which he held editorial control so ably Bride' and 'Vltava' best; but this appreciation is the and long. He was as keen that I should tread the right result of familiarity, and does not signify that they are path as I was to tread it, and as both of us were enthusiastic each after his own fashion, so the fights + V stands for U. Ultava = Multava: hence the German name between us were as keenly contested as it was our Moldau. nature that they should be. But there was never a B

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