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Symphonic Landscapes Program Notes
Má Vlast (1874-1879)
Bedřich Smetana (1824-1884)
Premiere of complete Má Vlast: November 5, 1882; Prague, Prague Philharmonic Orchestra under the direction of Adolf Čech
Bedřich Smetana was pivotal in the burgeoning nationalism that swept through Europe during the latter half of the 19th century. This era witnessed composers across the continent turning away from purely cosmopolitan ideals and instead seeking inspiration in their homelands' unique histories, landscapes, and folk traditions. The symphonic poem, a genre championed by Franz Liszt, proved an ideal vehicle for this artistic impulse, allowing composers to weave narrative and evocative musical tapestries without the constraints of traditional symphonic form. Má Vlast, which translates to “My Country” from Czech, was conceived of as a set of individual yet interconnected works and stands as a powerful testament to this nationalist zeal, with each movement painting a vivid sonic picture of an aspect of Bohemian culture, countryside, or history.
The fervent nationalism that fueled Má Vlast was a significant force in 19th-century European music. This movement was particularly potent in Bohemia, then under the control of the Austro-Hungarian Empire. While the elite often spoke German and were trained in Austrian musical traditions, composers like Smetana sought to forge a distinct Czech musical identity. For the Czech people, this yearning for self-determination found a powerful voice in Smetana's music, celebrating their unique cultural heritage against the reality of imperial rule. Smetana, often hailed as the "father of Czech music," found his nationalistic voice, and in Má Vlast, he gifted his nation an enduring and resonant symbol of its identity.
The genesis of Má Vlast is intertwined with a deeply personal tragedy. In 1874, after suffering a series of severe headaches, Smetana tragically lost his hearing. This devastating blow, likely the result of a syphilitic infection, plunged him into isolation. Yet, remarkably, it was around this time that the initial melodies for Má Vlast began to take shape. Despite his profound disability and subsequent decline into mental illness, leading to his death in an asylum a decade later, Smetana persevered, completing the first two of the six-movement cycle, Vyšehrad and Vltava, by the end of that same year.
Vyšehrad (The High Castle)
The cycle opens with Vyšehrad, a majestic tone poem that evokes the ancient fortress of the same name, a historical site overlooking the Moldau River and once the seat of Bohemia's earliest rulers. In a letter from May 1879 to his publisher, František Urbánek, Smetana himself described the work: "The harps of the bards begin; a bard sings of the events that have taken place on Vyšehrad, of the glory, splendor, tournaments, and battles, and finally its downfall and ruin. The composition ends on an elegiac note.”
The work begins with a noble and expansive chorale theme, a musical reminiscence of Bohemia's heroic past and the grandeur of its early kings. The prominent use of the harp evokes the ancient bards and their tales of bygone eras. As the piece unfolds, we hear echoes of past glories, musical depictions of grand processions and valiant battles. The latter part of the tone poem takes on a more somber character, hinting at the eventual decline and ruin of the once-mighty castle, culminating in a poignant and reflective conclusion.
Vltava (The Moldau)
Vltava, more commonly known by the German name “Moldau,” offers a more literal yet equally evocative depiction of Bohemia's longest river, the lifeblood of the country.
The piece opens with delicate figures in the flutes and clarinets, representing the two springs joining to form the river. The lilting central theme emerges, gracefully flowing and expanding as the Moldau gathers strength. Smetana masterfully employs "tone painting" to depict the various scenes along the river's course: the sounds of a hunt with lively horn calls, the joyous atmosphere of a peasant wedding with its characteristic rhythms and melodies, the ethereal dance of water nymphs in shimmering passages, and the majestic reflections of castles and fortresses – a clear nod to Bohemia's rich history. The music intensifies dramatically as the river reaches the St. John Rapids, depicted through turbulent and swirling figures. Finally, the river broadens and flows majestically towards Prague, where the powerful theme from Vyšehrad returns, linking the landscape to the nation's historical heart. The river then continues its journey, fading into the distance.
The captivating primary theme of Vltava, while undeniably Smetana's own, bears a resemblance to an Italian Renaissance tune, "La Montovana," and also appears in an old Czech folk song, "Kočka leze dírou" ("The Cat Crawls Through the Hole"), highlighting the interconnectedness of musical traditions. Vltava has become the most beloved and frequently performed movement of Má Vlast, its evocative power transcending national borders.
Má Vlast is scored for two flutes, piccolo, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, harp, and strings.
Mycelialore (2024)
Chelsea Komschlies (b. 1991)
Premiere: February 1 and 2, 2025; Tucson Symphony Orchestra
Wisconsin-born composer Chelsea Komschlies’ music blends familiar and unfamiliar. According to her website, Komschlies prioritizes the perception of her music by the human brain and shared experiences among listeners. Her compositions, each a distinct fantasy world, evoke vivid multisensory imagery and a range of psycho-emotional landscapes, from whimsical nostalgia and camp to eerie disquiet, altered states of consciousness, and glittering spiritual awe. Komschlies’ early inspiration came from the dramatic cinematic fantasy film scores of Howard Shore and John Williams and other sources such as Celtic folk music and 70s progressive rock. Komschlies’ work has been acknowledged and supported by the Virginia B. Toulmin Foundation, the Hermitage, Fromm, and ASCAP Foundations, the Alfred Casella Award from the Curtis Institute of Music, and the Copland House.
Mycelialore came about in 2024 as a co-commission by the League of American Orchestras for the Toulmin Orchestral Commissions The program brings together a national consortium of 30 orchestras (including the Lima Symphony Orchestra) to partner with the composer. Mycelialore melds Komschlies’ interests in the human brain and fungi to create a fantasy world of mushrooms. Mycelium is the underground root-like structure of fungus. The composer explains, “The mycelium can form networks between trees and other plants, and there are many ways in which these networks can function like a human brain, like neurons firing. As a composer and fantasy enthusiast, I took that idea based in real science into a fantasy realm and asked the question: if these mycelium networks kind of function like a brain, then what if they had their own folklore and their own memory? If mushrooms can remember and tell their own stories, what would they say and how would they sound?”
Mycelialore is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, percussion, piano, harp, strings, and fixed electonics.
Grand Canyon Suite (1929-1931)
Ferde Grofé (1892-1972)
Premiere: November 22, 1931; Studebaker Theatre, Chicago, Paul Whiteman and His Orchestra
Born in New York City to German immigrant parents who were themselves accomplished musicians, Grofé spent his early life working odd jobs. However, his innate musicality found its footing by 1920 when he joined the Paul Whiteman Orchestra. This pivotal association provided him with a platform as a skilled pianist and quickly established him as the orchestra's chief arranger. In the early 1920s, Grofé's name became indelibly linked to a landmark moment in American music history: his masterful orchestration of George Gershwin's Rhapsody in Blue for its 1924 premiere. This arrangement, more than simply a transcription, shaped the sonic identity of a work that would come to define a new American sound, showcasing Grofé's intuitive understanding of orchestral color and his ability to bridge the worlds of popular and concert music.
Beyond his crucial role with Whiteman, Grofé carved out a substantial career as an orchestra leader for popular radio programs throughout the 1930s and 1940s, reaching a vast American audience. His activities extended to the concert hall, where he performed at prestigious venues such as Carnegie Hall and shared his expertise as a teacher of orchestration at the Juilliard School. In 1945, Grofé relocated to Los Angeles, where he remained a significant figure in the American musical landscape until his passing in 1972.
The Grand Canyon Suite, composed in 1931, is Grofé's most enduring and widely recognized work. The suite offers a vivid sonic journey through the awe-inspiring vistas of one of America's most iconic natural wonders in five distinct movements. Eschewing strict programmatic narrative in favor of atmospheric evocation, Grofé employs a rich orchestral palette to capture the grandeur, serenity, and dramatic power of the Grand Canyon.
Sunrise
The suite opens with a gradual awakening, characterized by delicate textures and rising melodic figures that paint a picture of the sun's first light illuminating the vast expanse. Grofé's skillful use of instrumental color creates a sense of burgeoning light and the gradual revelation of the canyon's immense scale.
Painted Desert
This movement shifts to the vibrant hues and stark beauty of the Painted Desert. Grofé utilizes more angular melodic lines and perhaps a more fragmented texture to reflect the unique geological formations and the play of light and shadow across the arid landscape.
On the Trail
Arguably the most familiar movement, "On the Trail" features the charming depiction of a mule train descending into the canyon. The steady, rhythmic pulse and the distinctive use of the clip-clop sound effects create a tangible sense of movement through the vast space. The melodic material is often folksy and approachable, reflecting the human element within this grand natural setting.
Sunset
A contemplative and often lyrical movement, "Sunset" captures the breathtaking beauty of the canyon bathed in the warm, fading light of day. Broad, sustained melodies and rich harmonies evoke a sense of peace and the majestic stillness of the landscape as the day concludes.
Cloudburst
The suite culminates in a dramatic depiction of a desert thunderstorm. Grofé unleashes the full power of the orchestra with crashing percussion (including the rarely used “wind machine”), swirling string figures, and dramatic brass fanfares to portray the sudden intensity and raw energy of a cloudburst within the canyon. The movement eventually subsides, leaving a sense of awe and a cleansed atmosphere following the storm.
In 1958, Disney released a short film of the same name featuring stunning color footage of the Grand Canyon synchronized with Grofé's music, further cementing the work's place in the popular imagination. The film, directed by James Algar, won an Academy Award in 1959 for Best Short Subject.
Furthermore, excerpts from various movements have appeared in commercials, radio programs, and film scores, highlighting the accessibility and evocative power of Grofé's musical language.
Grand Canyon Suite is scored for three flutes, piccolo, three oboes, English horn, three clarinets, bass clarinet, three bassoon, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion, harp, piano, celesta, and strings.
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