Ati Metwaly goes Czech "From the Czech Velvet Revolution to the Egyptian Youth Revolution", Bed�ich Smetana: Ma Vlast, Cairo Symphony Orchestra, conductor Ji� Petrdl�k; Cairo Opera House Main Hall, 25 June Saturday 25 June saw the last concert of the Cairo Symphony Orchestra in the 2010/11 season. The finale carried a vivid accent thanks to cooperation from the Embassy of the Czech Republic. The orchestra performed Bed�ich Smetana's Ma vlast (My Fatherland), a set of six symphonic poems for orchestra. A nationalist, Smetana is widely regarded as the father of Czech music, the first who, through his compositions, cultivated national values, stressing the unique character of Czech culture. His music mirrors longings for freedom and independence. The Smetana concert was planned for May 2011 since the start of the season. The 25 January Revolution only emphasised the need to stress the revolutionary aspect of the evening. This is how Smetana's composition was linked to two historical events: the Czech Velvet and the Egyptian 25 January Revolution; it was postponed to 25 June to mark the ending of the symphonic season. "Smetana and two Revolutions" became motto of the concert, which was now named "From the Czech Velvet Revolution to the Egyptian Youth Revolution." It is worth noting that since the reopening of the Cairo Opera House, on 1 March, this was definitely one of the first evenings dedicated entirely if not too directly to revolution. To emphasise the Czech presence, Ji� Petrdl�k, a young Czech guest conductor led the Cairo Symphony Orchestra. The conductor gave a pre-concert lecture in which he briefly introduced the attendees to Czech history, Bed�ich Smetana and the composition. Ji� Petrdl�k brought along Smetana's original notation, which carries original markings by the famous Czech conductor Vàclav Smetàèek (1906-1986). The procedure of securing original notes and working on their copies is a form of respect in musical culture and it was practiced by the Cairo Symphony Orchestra, especially during the years when Ahmed El Saedi was its principal conductor and music director. An important axis of the evening linked Smetana to nationalist values and the call for freedom, which was the spirit that led the Velvet Revolution in 1989 (following Poland, Hungary and East Germany in removing the Communist Regime, the Velvet Revolution in Czechoslovakia established a new democratic order). In reference to the revolution, the Czech Embassy in Cairo organised a small exhibition of photographs from the Velvet Revolution, presented at the Opera Hall; they were displayed side by side with pictures taken during the Egyptian Revolution. Egyptian and Czech historical events are separated by 22 years but joined by the same energy and unprecedented numbers. To complete the Czech cultural evening, the embassy also organised a display of original crystal products from Bohemian glass factories. In his pre-concert lecture, Ji� Petrdl�k stressed the uniqueness of the evening: "Smetana was born in 1824 at a time when Czech Republic did not exist on the map of Europe, as it was part of the Austrian monarchy. This means that there was no place for Czech values in the fine arts and folkloric art forms were the only outlet for Czech nationalism." Petrdl�k mentioned Smetana's involvement in the cultivation of Czech culture especially in his operas performed in Czech language. Only one opera, The Bartered Bride, is known to the international audience, but Smetana laid important foundations of the Czech operatic repertory. Smetana started composing two symphonic poems from My Fatherland in 1874, the year that ended with the composer's completely deafness. Two initial poems were performed in 1875 in Prague. The remaining four poems saw the light of day in 1879, when Smetana decided to combine all six into a single composition, My Fatherland. "Understandably, Smetana never heard his composition," Petrdl�k continued. The conductor went on to describe each poem, speaking about stories hidden within them rather than their musical content: The first, Vyöehrad (The High Castle), talks about the Vyöehrad castle in Prague where the early Czech kings lived. Vltava, the name of a river running through Czech lands (also known as the Moldau) is the best known, and includes many folkloric motifs; it is often performed separately. Vltava paints a colourful picture of the landscape through which the river runs. The third poem, öàrka, tells of a warrior maiden from an ancient Czech legend, and the fourth, Z èeskych luhç a hàjç (From Bohemia�s Woods and Fields), is the musical story of forest and countryside. The last two poems are connected musically with Blan�k, the title of the first of them, after a mountain where, according to legend, knights sleep waiting for the day to come and lift up the Czech nation. The victorious ending in Tàbor, the last poem, recalls thematic material from The High Castle, effecting a circular closure. Even though the lecture was open and free, only a handful attended: embassy representatives, musicians, and hardly five opera regulars. Those were the people truly interested in classical music and having some knowledge of the musical material at hand. For the conductor it was an opportunity to delve deeper into the composition. The story told was an interesting reminder of the historical background and thematic elements of the composition. However, it would have been even more interesting had the conductor presented his own understanding of the composition and how he envisions it under his baton. His interpretation and how he hoped to apply it with the Cairo Symphony Orchestra would have been fascinating topics of discussion in this way. Petrdl�k expressed his appreciation for the Cairo Symphony Orchestra in a short interview following the lecture. "This is the first complete performance of My Fatherland in Africa," he said. Let us add that it is not common to listen to all six symphonic poems in one evening. When commenting on his work with the Cairo Symphony Orchestra, Petrdl�k called it "a superb experience". He added that the general rehearsal proved extremely successful. "The musicians became very curious about the composition, and the original notes helped them a lot in the process of understanding the music." Smetana's composition carries every possible musical colour. The thematic incorporation of history, legend, patriotic accents, nature, folklore results in a fascinating blend. Strong rhythmic elements in The High Castle move to captivating melodies in Vltava, which brings us the sound of hunting horns and nocturnal nymphs. Lines on flutes and clarinets add the requisite charm to. At the same time, a Polka from a rustic wedding energised the conductor so much that he adopted dance movements on his podium. As much as the light-hearted melodies inserted by Smetana into a symphonic composition move the spontaneous young Petrdl�k, sometimes their execution challenged the orchestra. The same energy however helped the conductor to draw sharp lines especially in the final Tàbor, where the hidden tension surfaces repeatedly, to conclude with a brief rhythmic march. No doubt Petrdl�k understands the musical material, yet possibly more preparation and work on details would have helped him to convey valuable ideas through the orchestra. The variety of shades and sometimes unexpected musical solutions make this composition attractive to the listener but very challenging to the performers. On a number of occasions, especially in the third symphonic poem, öàrkaI, Petrdl�k seemed to be losing his grip on the orchestra. Looking at the evening as a whole, it was definitely a unique opportunity for the Egyptian audience to be acquainted with Smetana. Linking the composer's nationalism, the Velvet and January Revolutions added a special flavour to the concert. And topped by the photography and crystals exhibition, the final symphonic concert will definitely remain in the minds of the audience for many seasons to come.
