The notes on Musica Boema provided by Robert Ponto at the concert last night.  I found them to be well-written, thoughtful, inspiring, and somewhat humorous all at the same time:

“Musica Boema (Bohemian Music) was commissioned in 1977 and premiered in 1979 by the University of Wisconsin – Milwaukee Wind Ensemble under the direction of Stanley DeRusha.  Because of the hostile relationship between the United States and the Warsaw Pact of nations during those years, the music had to be smuggled out of [then] Czechoslovakia for its scheduled premiere.

To my knowledge, the composer never offered program notes or source materials for Musica Boema.  Consequently, I do not know whether the composition is derived from folk music, original themes, or a combination of both.  The work, consisting of two movements, is highly sectionalized.  Formally, it is almost cinematic in nature – perhaps a reflection of [Lukáš'] work in radio theater.

As a descendent of Central Europeans myself, I have long been fascinated by the sociological and artistic consequences of living in a part of the world that has served as a battleground for much of Europe’s history.  Bearing in mind this notion, here is my wholly personal narrative of this music:

The first movement begins with alternations of trumpet calls and solemn processions, each growing in numbers and intensity with each repetition.  Spurred on by ‘war drums’ (five tom-toms), these give way to other resolute hymns and dances, each one more restive and belligerent.

The opening trumpet calls soon return – and fade – as we are drawn in to an entirely different scene: a flute transports us to a dreamlike space suggesting, perhaps, reminiscenes of other times and places.  Harp, bells, and xylophone create a guileless, almost childlike, atmosphere.  This trio, along with droning clarinets, are soon joined by an optimistic quartet of saxophones.  As is the case with all good Central Europeans however, the cheerfulness must soon end as more militant voices – first heard at the beginning of the movement – return and demand obeisance.

If the first movement is a call to arms, the second is the battle proper.  From the very beginning, martial fanfares grow and spread throughout the ensemble.  During these, we hear brief vignettes, as though we briefly glimpse remote events concurrent with the battle in progress:  war songs;poignant farewells to loved ones; and the like.

A solo clarinet then calls for quiet, perhaps out of respect for a fallen soldier’s funeral cortège.  Outbursts of grief and anger can be heard as the procession passes.  Eventually, after oration by the bassoons, the military music resumes.

The battles and piece soon end – victoriously we presume – as the opening trumpet call from the first movement is heard once more, but this time in a major key.  The music is strong, optimistic, and indomitable.”

–Robert Ponto