Amongst the works of Bedřich Smetana, operas are at the forefront alongside the cycle of symphonic poems Má vlast as the linchpins of the composer’s creative legacy. Nine operas in all, the last being unfinished, demonstrate the composer’s dramatic talent and individuality.

The history of the Supraphon label has seen the making of a series of Smetana opera recordings interpreted by generations of Czech singers who performed mainly on the stage of the Prague National Theater. The first and only time Smetana’s operas were published as a complete set on record by Supraphon was within a vast four-part project covering his complete works released in the Year of Czech Music between 1984 and 1985. This representative set contained the recordings dating from the 1960s through the 1980s, but with the exception of The Bartered Bride, they are not currently available on the market as physical products.

To the still unsurpassed recording of The Bartered Bride and The Secret under the baton of Zdenek Košler, we are adding his exceptional 1983 production of Libuše for the reopening of the Prague National Theater. We are also including the only Supraphon recording of The Brandenburgers in Bohemia led by Jan Hus Tichý, Zdenek Chalabala’s still definitive reading of The Devil’s Wall, and Dalibor conducted by Jaroslav Krombholc.

This luxurious 17CD box contains seven separately packaged 2-CD sets plus one 3-CD set with detailed information about the individual operas, a 40-page booklet with a comprehensive study, a wealth of photographic documentation, and a link to the downloadable librettos in the Czech and English languages. This complete edition of Smetana’s operas is for the first time on CD, as we mark the occasion of the 200th anniversary of Smetana’s birth.

CONTENTS:

— The Brandenburgers in Bohemia

— The Bartered Bride

— Dalibor

— Libuše

— The Two Widows

— The Kiss

— The Secret

— Viola

— The Devil's Wall

The Neave Trio's program Rooted features a range of works based on folk music. Smetana's distinctive nationalistic style was largely based on the inclusion of bohemian rhythmic and melodic elements, and he was acclaimed in his native Bohemia as the father of Czech music. His Trio in G minor was composed in 1855 as a response to the death of his four-year old daughter and shows the influence of Liszt. Josef Suk was a favorite pupil of Dvorak's, and his early Piano Trio, whilst shorter in length and less intense than Smetana's, is embedded in that Czech tradition. Also deeply influenced by Dvorak, Samuel Coleridge-Taylor was inspired by his African heritage, as well, and his Twenty-Four Negro Melodies for Piano was a prime example of his research. He subsequently arranged five of these pieces into the suite for piano trio that we hear on this album. The program concludes with Frank Martin's Trio from 1925, which is based on traditional Irish melodies.

REVIEWS:

These four chamber works explore music of a definitive national identity. The members of the ensemble brandish their considerable skills in the service of otherwise neglected composers and scores, with astonishing brilliance in their recorded sound.

— Audiophile Audition

The program's characteristically eclectic mix of works nurtures the Trio's well-upholstered warmth, attention to detail, and compelling rapport.

— BBC Music Magazine

The story of the Prague Symphony Orchestra is closely related to the history of the Czech capital, which leaves an impression on their repertoire. After their successful recording of Karel Husa’s Music for Prague 1968 (Supraphon, 2021), the orchestra and its chief conductor are coming up with another album dedicated to Prague. This time, the program is focused on the late 19th century, i.e. the period when the Czech nation fought for its language, culture, and identity within the Austro-Hungarian Empire. The backbone of the record is Suk’s monumental symphonic poem Praga, based on the Hussite chorale, “Ktož jsú Boží bojovníci” (Ye Who Are Warriors of God); Vyšehrad from Smetana’s famous cycle Má vlast (My Country); and a rarity: Pohádka o Šemíku (A Tale of Šemík), which is a largely unknown symphonic poem based on an ancient Czech legend connected with Vyšehrad, by Otakar Ostrcil, composed when he was nineteen. And of course, there is Antonín Dvorák. In hardly any work of his is Dvorák as explicitly patriotic as in his overture My Home (which is not very well known either). It is based on the theme of the popular song “Kde domov muj,” which later became the Czech national anthem. Another rarity of this album is Dvorák’s fanfare for the opening of the National Jubilee Exhibition in Prague. After their acclaimed recording of the composer’s Slavonic Dances, the Prague Symphony Orchestra confirm that the Czech repertoire of late Romanticism is their native and most natural language. The romantic and legendary city of Prague on a record of the Prague Symphony Orchestra.

Franz Liszt, musical genius and piano titan. When he first came to Prague in 1840, he heard and remembered Josef Theodor Krov's melody "Tešme se blahou nadejí", which was then misinterpreted as an old Hussite song. Franz Liszt, inspired by this song, has written the "Hussiten-Lied". Another Liszt’s composition you will find on this CD that is inspired by Czech/Slavic culture is "Slavimo slavno slaveni!". Naturally, Liszt left an indelible mark among Czech musicians, so you will also find Czech composers on this album.

Composed after the onset of Smetana’s incurable deafness, Má vlast (‘My Fatherland’) is an unprecedented cycle of six related symphonic poems that evoke ancient Czech legends and celebrate the majestic beauty of the country’s landscapes. Heard here in critically acclaimed performances by the St. Louis Symphony Orchestra and Walter Susskind, this Vox Audiophile Edition recording was first released in 1975 and is newly remastered from the original tapes.

The Elite Recordings for Vox by legendary producers Marc Aubort and Joanna Nickrenz are considered by audiophiles to be amongst the finest sounding examples of orchestral recordings.

The Czech Philharmonic and its Chief Conductor and Music Director Semyon Bychkov present a new recording of Bedrich Smetana’s masterpiece Má vlast (My Homeland). The album celebrates both the bicentenary of Smetana's birth and, the start of 2024's Year of Czech Music which has been celebrated every ten years since Smetana's 100th anniversary in 1924. Má vlast (1874-1878) is a potent symbol of the Czech Republic's turbulent political history and has played an important role in the Czech national movement. Contemplating the landscape, history, and legends of Bohemia, Má vlast is best known for its world-famous Moldau melody. For Bychkov, who was born in Russia before emigrating to the United States, and now lives in France, the question of 'the homeland' is particularly poignant - how to take pride in the best of its heritage, while also coming to terms with its darker pages. For the Orchestra to revisit this seminal piece with Bychkov, with whom it has developed such a close working relationship over the past few years, makes the recording all the more personal and topical.

The Czech Philharmonic is one of the world’s orchestral gems, recognized for its rich tradition with the Czech masters as well as European repertoire. Semyon Bychkov who is internationally renowned for his interpretations of the core repertoire, began his tenure with the Orchestra at the start of the 2018/19 season. Together, they have so far recorded for Pentatone Mahler’s First, Second, Fourth, and Fifth Symphonies (2022-2023), part of the complete Mahler cycle to be released by the label. The Orchestra is also featured on the album Folk Songs (2023) recorded by Magdalena Kožená and Sir Simon Rattle.

REVIEW:

This recording of Smetana’s symphonic poem cycle Má Vlast made classical best-seller charts in early 2024, even with numerous versions of the work available. The orchestral work Bychkov gets from the orchestra ranges from good to extraordinary. All the many details in this reading come through fine, and the end result is a fresh recording that will provide hours of pleasure over multiple hearings. Physical album buyers will get an elegant little note from Bychkov on exile and home.

-- AllMusic.com (James Manheim)

Broadcast performances of the Fifth and Sixth symphonies complete a Sibelius cycle within the Thomas Jensen collection on Danacord. Their dramatic sweep and control demonstrate the conductor’s special affinity with this music, which he played under the composer’s direction as a cellist. Jensen worked tirelessly for Danish composers throughout his career; this volume includes newly published performances of works by three composers, now almost unknown outside their home country, who emerged from the shadow cast by Carl Nielsen to write in a distinctively individual but still quintessentially Danish idiom.

BEDRICH SMETANA 200 (1824-1884)

The most complete collection available of music by the father of Czech nationalism in music. Ma Vlast, The Bartered Bride and the String Quartet ‘From My Life’: all written within a decade of each other, all so fundamental in their different genres in forming a Czech national identity in music that it can seem incredible they were the work of a single composer.

This extensive collection contains the complete orchestral works, the two passionate and highly personal string quartets, the dramatic Piano Trio, a generous selection of piano music, including the complete Czech Dances, and the opera The Bartered Bride, sung in German.

Performers include the Janacek Philharmonic Orchestra conducted by Theodore Kuchar (Classics Today writes: “Performance: 9. Theodore Kuchar and his forces tackle Ma Vlast with plenty of enthusiasm and vigor; indeed, from Sarka onward this is one of the best versions available.”), the Czech Stamic Quartet, Czech pianist Antonin Kubalek, Roberto Plano, and the Staatskapelle Dresden/Otmar Suitner.

The performances here all won enthusiastic reviews on their original release; gathered together here, they make an ideal introduction to Smetana’s world.

‘One of the most dramatic sets of the tone-poems that I have ever encountered.’ Rob Cowan, Gramophone, September 2019

‘Wonderful conducting and playing of both familiar and unfamiliar Smetana.’ Fanfare, November 2008 (Orchestral works)

‘The Stamitz Quartet are one of the most impressive [Czech quartets]… Their performance of the E minor is on the grandest scale.’ Gramophone, March 2005

What do Bedřich Smetana and Miloslav Kabeláč have in common that they feature on Jan Bartoš’s new album? Both of them were distinguished composers, conductors and pianists. Both of them created modern and timeless music for piano, which, however, remains overshadowed by their symphonic works. Smetana was writing his cycle Rêves (1875) at the time when he was completing Šárka and From Bohemian Fields and Groves, perhaps the most remarkable of the six tone poems comprising Má vlast.

Kabeláč was composing the two piano cycles, Op. 30 and Op. 38, while also focusing on Mystery of Time, his symphonic magnum opus, which in recent years has been discovered by some of the world’s most renowned orchestras, in Berlin, Cleveland, London and elsewhere. Kabeláč’s life serves as a prime example of the fates that befell the Czech humanists, artists and intellectuals from the 1930s to the 1970s amid the turbulent historical events. While his music garnered success worldwide, he was silenced by the Communist regime in his homeland. Kabelác’s style evolved from complex to simple, thus in many respects ushering in the accession of post-modernism and minimalism. As attested to by his cycle Motifs from Exotic Lands, he was boldly inspired by non-European traditional music. Following on from critically acclaimed Leoš Janáček (Gramophone Editor’s Choice) and Vítězslav Novák albums, Jan Bartoš is now presenting Kabeláč and Smetana in live recordings made at the Dvořák Hall of Prague’s Rudolfinum. Jan Bartoš presents to the world little-known Czech piano gems.

The soul of Bohemia: familiar masterpieces and little-known gems for string ensemble by the five most famous Czech composers of the 19th and 20th centuries. The affection and vigor of Dvořák’s Serenade for Strings has kept its freshness while many other works from the same era have receded into obscurity. This performance by the Ciconia Consort lends it a new lease of life: as rhythmically springy and attentive to detail as the ensembles previous, critically acclaimed explorations of the string-orchestra repertoire of France, England, the US and Germany in beautifully curated themes. Janáček’s Suite for Strings is an early work, Romantic in character and recognizably descended from the String Serenades of Dvorák and Tchaikovsky, but nonetheless characteristic of the composer’s quirky language with its adoption of Czech speech rhythms. In 1931, Martinů was also inspired by Czech folk melodies when writing his Partita as a Czech émigré in faraway Paris. However, Martinů develops these melodies in a modern style reminiscent of Béla Bartók. Without slow movements, intimacy, or a poetic character, the character of the suite as a whole is spicy, tough and extrovert: inimitably Martinů. Smetana scored his tone-picture Rybár (The Fisherman), for harmonium, harp, and strings: it is a musical ‘tableau vivant’ after Goethe’s poem Der Fischer, which describes a fisherman who is overpowered by the mysterious and magical pull of the water. The theme of Rybár and Smetana’s haunting translation into music also make it a kind of study for his evocation of the river Vltava in Ma Vlast. A little more familiar is the grave Meditation on the Hymn to St Wenceslas by Dvorák’s student and son-in-law, Josef Suk, in which the old melody is treated like a family heirloom.

REVIEW:

CD Slavic Rhapsody begins at a high level and very excitingly with Dvořák’s String Serenade, which Dick van Gasteren and his Ciconia Consort, the string orchestra from The Hague, present not as a soft-boiled egg, but as a lively and energetic piece of music.

Very expressive, and rhetorically sharpened, with powerful gestures, the fast movements of the Suite for String Orchestra by Leos Janacek are also played, while the two Adagios become effective with great sensitivity.

Suk’s Wenceslas Meditation also benefits from this dynamic, its chorale possessing a moving depth.

The Czech composer Bohuslav Martinů (1890–1959) composed his Partita Suite in 1931. It is a neoclassical work in which the underlying folk-musical tone cannot be ignored. The Chamber Orchestra from The Hague enlivens the somewhat academic form with gripping and urgent playing.

Smetana’s short portrait of a fisherman with strings, harmonium and harp closes this CD with which the Ciconia Consort celebrates its 10th anniversary.

-- Pizzicato

Oliver Schnyder (piano), and Andreas Jahnke (violin) and Benjamin Nyffenegger (cello) perform Smetana's Piano Trio in G Minor and the famous "Dumky"-Trio by Antonín Dvořák. The Oliver Schnyder Trio made their debut at the Zürich Tonhalle in 2012. Their recording of Schubert’s Piano Trios was hailed “a new benchmark recording” by the magazine Die Bühne and was chosen as “Switzerland’s Best Classical Album of the Year” by the Aargauer Zeitung. This immediate success was confirmed by the recording of Brahms’ complete Piano Trios, which also received great critical acclaim and was given a “Milestone” from Musik & Theater. Past and present concert appearances and festival residences include the SWR Schlossfestspiele Ettlingen, WDR Funkhaus Köln, Liederhalle Stuttgart, Festspiele Baden-Baden, Alte Oper Frankfurt, Schloss Elmau, Meisterzyklus Bern, Ittinger Pfingstkonzerte, Menuhin Festival Gstaad, Wigmore Hall, Concertgebouw and Muziekgebouw, Musikdorf Ernen, the Hirzenberg Festival and the festival Universum Beethoven, where they took part in a complete cycle of Beethoven’s Piano Trios at Boswil and Muri, alongside the Trio Jean Paul and the Wanderer Trio.