I have really enjoyed this work..composed in 1854 when hopes of Emperor Joseph becoming King of Bohemia were high. This is Smetana's only formal symphony and he used the Austrian Imperial anthem. I've been listening to the Naxos release... quite charming.
https://www.amazon.com/Smetana-Festive-Symphony-Bartered-Overture/dp/B07BN4TB1Z/ref=sr_1_1?dchild=1&keywords=smetana+festive+symphony&qid=1587994920&sr=8-1
I've tried many times to like this work, but find it overblown and wearing. However, to each his own...
I like the Scherzo, which sometimes (in any case very seldom) is performed on its own and seems to me to stand out.
I agree, Alberto, but overall the Symphony just doesn't work. Smetana's forte was clearly descriptive music, not absolute.
Yes. All of Smetana's best work has an extra musical association like a death of a child, ringing in the ears etc. He was a lot like his mentor and idol Liszt in that way.
I wouldn't call the string quartet in E descriptive (and definitely not the piano trio.) (The second quartet is less popular but is as good a piece as the first.)
That's why I called them extra musical. Fact is, Smetana couldn't create something in abstract terms. A string quartet couldn't just be a string quartet with him it had to have some sort a personal connection for him - his deafness in this case - as an example.
so what's that supposed to be for the 2nd quartet? (this sometimes seems circular- some works with names and stories- eg Smetana 1, Haydn's misnamed Miracle,...become more popular than equally good works by the same when one has a name/story, the other not)
His second string quartet could be called "from my life part 2" it's a veritable sequel to the first one. It sounds anguished, unsettled and uncertain just like Smetana must have felt toward the end of his life. It's not a carefree work is what I'm getting at.
Goalposts moved. So noted.
What are you talking about goalposts? I'm very much a Smetana expert and I've read commentators say it's related to the first one which I agree with. They even compare the work to Janacek.
are you familiar with the expression "moving the goalposts" in a discussion-related language context??
Look, we'll have to agree to disagree. It not worth my time arguing with you.
And with that, back to the thread's subject, please.
I find this symphony more interesting than many "unsung" ones.
Could you explain, please, as I find it tedious, apart from the scherzo.
It has always seemed to me that particularly Czech performances of this symphony do their level best to make the quote from the Austrian/(later)German anthem at the end sound as little as possible like the modern German anthem. I particularly remember an old Sejna recording that attempts to drown the melody in pretty much everything else.
This symphony, the Scherzo, has what is for me one of those "earworms". I remember vividly when I first heard the work: I was at a minor league baseball game of all places, with my Sony portable cd player and the then new Marco Polo cd. The tune, or maybe the rhythm, of that scherzo stuck in my head and I frequently find myself thinking about it these 30+ years later. Odd. Other than that, the work never made much of an impression, I've never sought out newer recordings. It's also one score that is somehow, strangely, missing from IMSLP.
Why strangely? Most works first published that recently are not on IMSLP either. A piano reduction of the scherzo was published in 1935 by Urbanek and might be PD outside the US, and that could be uploadable but someone needs to upload it, but I think the rest waited to 1964.
There is a MPH reprint of the full score, I see. (This is not uploadable to IMSLP either, but it exists, anyway...)
Yes I agree with MartinH: "This symphony, the Scherzo, has what is for me one of those "earworms"." I can hear it in my mind as I am typing this out.