University of Cincinnati

U UNIVERSITY OF CINCINNATI Date: August 12, 2009 I, Erin K. Bennett , hereby submit this original work as part of the requirements for the degree of: Doctor of Musical Arts in Piano Performance It is entitled: Czech Nationalism in Music: A Study of Smetana's "Czech Dances, Book 2" for Piano Erin K. Bennett Student Signature: This work and its defense approved by: Jonathan Kregor, Ph.D. Committee Chair: Elisabeth Pridonoff Eugene Pridonoff Approval of the electronic document: I have reviewed the Thesis/Dissertation in its final electronic format and certify that it is an accurate copy of the document reviewed and approved by the committee. Committee Chair signature: Jonathan Kregor CzechNationalisminMusic: AStudyofSmetana’sCzechDances,Book2forPiano = Adocumentsubmittedtothe = GraduateSchool oftheUniversityofCincinnati inpartialfulfillmentofthe requirementsforthedegreeof = = DOCTOROFMUSICALARTS = = intheKeyboardStudiesDivision oftheCollegeConservatoryofMusic = August2009 = by = = ErinKathleenBennett = = B.M.,RiceUniversity,2001 M.M.,UniversityofFlorida,2004= = = = = = = CommitteeChair:JonathanKregor,Ph.D. ====== = = ABSTRACT = = ThisdocumentexaminesBedichSmetana’sCzechDances,Book2,forpiano, throughthelensofnineteenthcenturyCzechnationalism.Thisworkisrelativelyrare inSmetana’soutputforitsovertquotationandparaphrasingofCzechfolktunes.The historicalbackgroundofCzechnationalismisexplored,incorporatingitscultural antecedentsandtheconflictsanddivisionsthatresultedasthemovementexpanded.To examineSmetana’sroleincreatingaconsciousnationalstyle,thisdocumentwill investigatetheroleofmusicincontributingtonationalidentityandhow“Czechness” isexpressedinmusic.Afterconsideringthecircumstancessurroundingthecomposition oftheCzechDances,thecollectionwillbeanalyzedforitsvariedusageoffolkmaterial, employingrecentscholarshiponthefashioningofnationalmusicasaframework. iii = = ACKNOWLEDGEMENTS = = Thisdocumentisthefinalstepinadegreethatwouldnothavebeenpossible withouttheassistanceandsupportfromseveralimportantpeople.Iwouldliketo extendasincerethankyouDr.JonathanKregorforhistimeandenergyinhelpingto guidemeonthepathtowritingthispaperduringoneofhismosteventfulsummers.I wanttothankmypianoprofessorsandmentors,EugeneandElisabethPridonoff,and Dr.MichelleConda,fortheirunfailingcommitmentandinspiration.Fromthethreeof themIlearnedhowtobecomeaconfident,independent,andselfmotivatedartistand scholar—qualitiesIneededinspadesduringtheresearchingandwritingofthis document.ImightneverhavebeenintroducedtoSmetana’spianomusicwereitnotfor myformerpianoteacher,BoazSharon,andforthat,Iwillalwaysbegrateful.Thanks alsogoouttoTomKernanandAmyZiglerforcomingthroughwithextramaterials whenIwasawayfromthelibrary.Manythankstomyparents,whohavealways providedmewiththeirunwaveringsupportandlove,evenwhenIhavechosenthe roadlesstraveled.Finally,anenormousthankyoutomyhusband,Jason,forhis patienceandsupport,hiseditingprowess,andhisabilitytoanswereverystylerelated questionIcouldthrowathim. v = = CONTENTS ABSTRACT ................................................................................................................................ iii ACKNOWLEDGEMENTS....................................................................................................... v= LISTOFEXAMPLES ................................................................................................................viii Chapter INTRODUCTION ............................................................................................................... 1= 1. THERISEOFCZECHNATIONALISM.................................................................... 4= = DefinitionsandTheoriesofNationalism = AHistoricalBackgroundofBohemia = TheOriginsofCzechNationalism = TheDevelopmentoftheObrození= = Restoration,Reconstruction,Reinvention = PoliticizationoftheObrození= = TheDevelopmentofCzechMusic= 2. NINETEENTH8CENTURYNATIONALMUSIC .................................................... 36 = MusicandNationalIdentity = = FrédéricChopinandPolishMusic = = FranzLisztand“HungarianMusic = = TheRoleofFolkMusicinNationalIdentity vi = = CzechnessinMusic = = CzechMusicbeforeSmetana = = SmetanaandNationalMusic 3. CZECHDANCES,BOOK2 .......................................................................................... 72 = TheDances ==Furiant = = Slepika = = Oves = = Medvd = = Cibulika = = Dupák = = Hulán = = Obkroák = = Sousedská = = Skoná= = “Czechness”intheCzechDances CONCLUSION.................................................................................................................... 98 BIBLIOGRAPHY .................................................................................................................100 vii = = ILLUSTRATIONS Figure Page 2.1. Erben,PopularCzechSongsandNurseryRhymes,#588 ...................................... 68 = 2.2. Smetana,“Furiant”fromTheBarteredBride,mm.114...................................... 68 = 2.3. Smetana,“Vltava”fromMáVlast,mm.4047..................................................... 69 2.4. Traditional,“Kokalezedírou”............................................................................ 70 2.5. Smetana,“Vltava”fromMáVlast,mm.333346................................................. 70 3.1. Smetana,“Furiant”fromCzechDances,Book2,mm.2936 ............................... 76 3.2. Smetana,“Furiant”fromCzechDances,Book2,mm.14................................... 77 3.3. Smetana,“Furiant”fromCzechDances,Book2,mm.167174 ........................... 77 3.4. Smetana,“Slepika”fromCzechDances,Book2,mm.1118 ............................. 78 3.5. Erben,PopularCzechSongsandNurseryRhymes,#592 ....................................... 80 3.6. Smetana,“Oves”fromCzechDances,Book2,mm.913..................................... 80 3.7. Smetana,“Medd”fromCzechDances,Book2,mm.516.................................. 81 3.8. Smetana,“Medd”fromCzechDances,Book2,mm.1724................................= 82 = 3.9. Smetana,“Medd”fromCzechDances,Book2,mm.104111............................ 82 3.10. Smetana,“Dupák”fromCzechDances,Book2,mm.18.................................... 84 3.11. Erben,PopularCzechSongsandNurseryRhymes,#471 ....................................... 85 3.12. Smetana,“Hulán”fromCzechDances,Book2,mm.1221................................. 87 3.13. Smetana,“Hulán”fromCzechDances,Book2,mm.4144................................. 87 = viii = 3.14. Smetana,“Hulán”fromCzechDances,Book2,mm.6275................................. 88 3.15. Smetana,“Obkroák”fromCzechDances,Book2,mm.5558........................... 89 3.16. Erben,PopularCzechSongsandNurseryRhymes,#114 ....................................... 89 3.17. Smetana,“Skoná”fromCzechDances,Book2,mm.12 ................................... 91 3.18. Smetana,“Furiant”fromCzechDances,Book2,mm.8188 ............................... 96 3.19. Smetana,“Furiant”fromCzechDances,Book2,mm.284291 ........................... 96 3.20. Smetana,“Furiant”fromCzechDances,Book2,mm.316323 ........................... 97 = ix = = INTRODUCTION = = BedichSmetana(18241884)iswidelyacknowledgedtobethefatherofaCzech nationalstyleofmusic.Hismostfamousworks,suchashisoperaTheBarteredBrideand hiscelebratedtonepoemVltava,fromthecollectionMávlast,glorifytheCzechlands andevokethesimplenobilityofitspeasants.Hisappealingmixoflyricalmelodies, heroicfanfares,folksonglikephrases,andnationaldancerhythmsinfluenced subsequentCzechcomposers,includingAntonínDvoák,LeošJanáek,andBohuslav Martin.ThesenationalelementscanbefoundinSmetana’sworksforsolopiano,as well.Yetthispartofhisoutputisrelativelyunknown,despitethefactthatitspans sevenvolumesinthecriticaleditionofhispianoworks,Klavírnískladby.1Withinthis outputtheCzechDancesrepresenttheculminationofSmetana’swritingforthepiano, demonstratinghisskillasapianistcomposer.Moreover,thecollection,withitsuseof Bohemianfolkmelodies,isanimportantillustrationofSmetana’snationalstyle. = TheimageofSmetanasinglehandedlyspearheadingtheCzechnational movementinmusic,however,ismisleadingandneglectshisfarmorecomplicated legacy.Czechnationalismasitdevelopedinthenineteenthcenturywasnota=unified concept,butacomplexandattimesconflictingcollectionofideals.NorwasSmetana’s 1BedichSmetana,Klavírnískladby(“PianoCompositions”),ed.JanNovotný(Prague:Supraphon, 198681990). 1 = musicstraightforwardlynationalistic.HisstylisticvoiceincorporatednonCzech influencesthatattimesputhimatoddswiththenationalestablishment.Totruly appreciateSmetana’smusicweneedtobetterunderstandnineteenthcenturyCzech nationalismandtheCzechculturalrevivalthatservedasitscatalyst. Thisdocumentexploresthenotionof“Czechness”inthesecondvolumeof Smetana’sCzechDancesforpiano,settingthecollectioninthecontextofthelarger nineteenthcenturymovementofEuropeannationalism.Thefirstchapterfocuseson broaddefinitionsandtrendsinnineteenthcenturyEuropeannationalismandtheir specificapplicationtotheCzechlands.Thesubsequentdiscussionincludesahistorical backgroundontheriseofnationalisminBohemia,fromitsoriginsintheCzech linguisticrevivaltothelargerculturalandpolitical“awakening”thattookplace.Czech nationalismwasacomplicatedmovement,comprisingawholesalereinventionofthe cultureandreinterpretationofBohemianhistory,andseveraldifferingideologies consequentlycompetedforCzechpatriots’allegiances.Thischapterwillhelpthe readerfullygraspthecomplexrootsofCzechnationalisminordertobetterunderstand= howthisaffectedtheculturalsceneinlatenineteenthcenturyPrague. Thesecondchapterfocusesontherolemusicplaysintheconstructionof nationalidentity.TobetterappreciatehowSmetanausedhiscompositionstoexpress Czechnationalism,thischapterexaminestwootherexamplesofnationalmusicalstyles fromtheHabsburgrealmthatservedasimportantmodelsfortheCzechcomposer:the

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