Bedřich Smetana was a pillar of Czech musical nationalism. The gifted composer and pianist’s work resonates not only within the national boundaries of the Czech Republic but also throughout the world.
Smetana’s Early Life and Passion for Music
Born in the Bohemian town of Litomyšl, Smetana was introduced to music by his father, an amateur violinist. He was a natural talent, giving his first public performance at the tender age of six. His father, a successful businessman, was initially reluctant about Smetana’s musical ambitions but eventually conceded to his son’s relentless passion for music.
As a teenager, Smetana moved to Prague, the cultural hub of the region, with dreams of becoming a professional musician. Living on the edge of poverty, he survived by teaching piano to the family of a wealthy nobleman. His early compositions were small salon pieces and dances for piano, but his ambitions were far grander. Inspired by the likes of Franz Liszt and Mozart, he aspired to become a Liszt in technique and a Mozart in composition.
Formal Musical Education and Inspiration
Despite his early lack of formal musical training, Smetana’s talent and self-belief drove him to pursue his musical dreams. At the age of 20, he enrolled as a private student of the blind pianist and composer Joseph Proksch. Under Proksch’s tutelage, Smetana honed his composition skills, refined his piano technique, and broadened his musical horizons.
During this period, he was greatly influenced by two prominent composers of the time. The first was Hector Berlioz, whose revolutionary works, particularly the Symphonie fantastique, left a profound impact on him. The second was Franz Liszt, whose music became a model for some of Smetana’s compositions. Liszt’s support and friendship played a crucial role in Smetana’s career and aspirations.
Smetana’s Rising Status and Nationalist Sensibilities
The political upheaval following the 1848 Revolution in Prague stirred Smetana’s nationalist sensibilities. He began to assert his Slavic roots and slowly mastered the Czech language, his first language being German, as was common among the middle classes in the Hapsburg empire.
In 1856, Smetana moved to Gothenburg, Sweden, in search of work and success. Although his advanced compositions were not well-received in the Swedish city, his time there was crucial for the development of his conducting career. However, his stay in Gothenburg was marred by personal tragedy with the death of his wife.
In 1862, Smetana returned to Prague, where he gradually gained appreciation and influence over the development of Czech musical life. He founded a short-lived teaching institution and became the principal conductor of the Royal Provincial Czech Theater. His opera, The Brandenburgers in Bohemia, was performed at the theater after being entered anonymously for a competition. Following its success, Smetana was commissioned to write what would eventually become his most famous opera, The Bartered Bride.
Smetana’s Contributions to Czech Opera
Smetana was not the first to write operas in the Czech language, but the eight operas he wrote were the first to survive in the repertoire. He firmly believed that a genuinely national Czech music could be achieved through powerful representation of the nation on the operatic stage. However, he rejected the notion of creating national works merely by appropriating folk song, arguing that it would not result in a unified artistic whole.
His first opera, The Brandenburgers in Bohemia, was a milestone in Czech music. The opera’s scenario takes place during the medieval era when Prussian invaders were occupying the Czech lands. Smetana’s second opera, The Bartered Bride, demonstrated a mastery of comic writing akin to Mozart and became immensely popular.
His other operas, Dalibor and Libuše, contain sublime music but have failed to secure a place in the repertory outside of the Czech Republic. Dalibor, a powerful drama with a plot strikingly close to Beethoven’s Fidelio, and the monumental Libuše were written under the influence of Wagner.
Smetana’s Later Life and Works
In 1874, Smetana resigned from his conductorship at the Prague Theater due to the onset of deafness in one ear. Despite this setback, he continued to compose, producing the cycle of six symphonic poems under the collective title Ma vlast (My Country) between 1874 and 1879.
His two string quartets are among his finest works. The first, subtitled “From My Life,” reflects upon his former happier existence, brutally interrupted in the finale by the depiction of his oncoming deafness. The second quartet, with its elliptical structures, turbulent mood swings, and occasionally harsh dissonances, provides an uneasy premonition of his mental decline.
Smetana’s fame increased with the 100th performance of The Bartered Bride, and in 1881, his new opera, Libuše, was chosen to open the new National Theater. However, his mental health deteriorated, and he was committed to an asylum in 1884, where he died within three months.
Smetana’s Legacy
Smetana’s death in 1884 inspired an outpouring of national mourning. His friend Liszt lamented his passing, declaring that “he was undoubtedly a genius.” Smetana’s works, notably The Bartered Bride, My Country, and the piano trio, continue to be performed throughout the world.
Even in death, Smetana’s influence on Czech music remains undeniable. His pioneering work in developing a distinctively Czech style of music has earned him the title of the father of Czech musical nationalism. His life and works continue to inspire and influence generations of musicians, serving as a testament to his enduring legacy.
Bedřich Smetana’s life was a testament to the power of self-belief, talent, and perseverance. From his humble beginnings to his eventual recognition as a pillar of Czech musical nationalism, his journey serves as an inspiration for all musicians and lovers of music. His rich legacy continues to influence the world of music, ensuring his place in the annals of music history.