Smetana: Má Vlast Czech Philharmonic & Semyon Bychkov

• Bedřich Smetana (1824 - 1884): Má Vlast, JB1:112:
• 1 Smetana: Má Vlast, JB1:112: I. Vyšehrad 15:59
• 2 Smetana: Má Vlast, JB1:112: II. Vltava 13:09
• 3 Smetana: Má Vlast, JB1:112: III. Šárka 10:37
• 4 Smetana: Má Vlast, JB1:112: IV. Z českých luhů a hájů 12:47
• 5 Smetana: Má Vlast, JB1:112: V. Tábor 13:47
• 6 Smetana: Má Vlast, JB1:112: VI. Blaník 15:25
• Total Runtime 01:21:44

Info for Smetana: Má Vlast

Musical contemplation on the meaning of home: The Czech Philharmonic and its Chief Conductor and Music Director Semyon Bychkov present a new recording of Bedřich 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, recognised 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.

Czech Philharmonic
Semyon Bychkov, conductor

Semyon Bychkov
Chief Conductor and Music Director of the Czech Philharmonic, Semyon Bychkov marked the Orchestra’s 130th anniversary in 2026 with extensive tours of Asia and Europe and, PENTATONE’s release of Mahler’s Nine Symphonies. In 2026/27, he returns to the repertoire of his formative years, and alongside Czech masters will conduct works by Shostakovich, Rachmaninov and Mussorgsky. “What amazes me is how strongly Shostakovich’s existential music resonates in a world which seems, outwardly, very different from the one in which he was fighting for his life both as a human being and a composer. But maybe we’re all faced with a struggle to be true to ourselves against odds of various kinds, even insidious ideologies which hide their true nature.”

Born in Leningrad in 1952, Bychkov emigrated to the United States in 1975 and, since the mid-1980’s has lived in Europe. He enjoyed success as Music Director of the Grand Rapids Symphony Orchestra and the Buffalo Philharmonic and, following a series of high-profile cancellations leading to engagements with the New York and Berlin Philharmonic orchestras and the Concertgebouw, returned to St Petersburg in 1989 as the Philharmonic’s Principal Guest Conductor. He was named Music Director of the Orchestre de Paris (1989); Chief Conductor of the WDR Symphony Orchestra Cologne (1997); and Chief Conductor of the Dresden Semperoper (1998). From August 2026, Bychkov will be Music Director Designate of the Paris Opera, assuming the title of Music Director in 2028.

Bychkov conducts in all the major opera houses including La Scala, Milan, London’s Royal Opera House and New York’s Metropolitan Opera. In Europe he is frequent guest of the Concertgebouw, Munich, Berlin and Vienna Philharmonics, the Leipzig Gewandhaus, the Orchestre National de France and the Accademia Nazionale di Santa Cecilia; while in the US, he conducts the New York Philharmonic, Chicago Symphony, Los Angeles Symphony, San Francisco Symphony and, Philadelphia and Cleveland Orchestras. The warmth of Bychkov’s relationships is reflected in honorary titles at the Royal Academy of Music and the BBC Symphony Orchestra, who he regularly conducts at the BBC Proms.

Semyon Bychkov was named Conductor of the Year by the International Opera Awards (2015) and, by Musical America (2022).

Born in Leningrad (now St Petersburg), Semyon Bychkov was 22 when he left Russia to make a new start in the USA. With extensive experience in Europe and throughout the world, he has been a truly international artist for more than a quarter of a century, yet he firmly believes his Russian upbringing is of crucial importance to the man and artist he has become.

‘Those years were vital,’ he says. ‘They were what allowed me, later on, to be enriched by other cultures. I believe that everything we live through can be, and should be, considered beneficial. Whether it is joyful or painful is beside the point.

Even the negative aspects of my time in the Soviet Union were of value. They taught me to distinguish between what is positive and what is negative. And the negatives make you stronger, because if you have the willpower to resist them you are going to be OK.

‘This, I guess, is what people call ‘roots’. I think the deeper the roots and the wider they spread the better. And, of course, you do not grow up alone. I had the extraordinary privilege to encounter people who played an enormous role in my upbringing, musical and personal.’

One of the most significant of these people was the legendary conducting teacher Ilya Musin, who taught in Leningrad/St Petersburg for 65 years. ‘Musin was everything,’ says Bychkov. ‘At 95 years of age he still had something to learn, progress to make.

“He was able to develop a philosophy of conducting that combined the three fundamental questions that exist in everything one tries to do. The first is ‘what?’, the second is ‘why?’, the third is ‘how?’.

Conducting is the youngest musical profession anyway and still not really understood. But a great part of Musin’s genius was that once he had figured out the answers to those three questions for himself, he still took into account that every person has their own physique and personality. One person will be tall with short arms; another will be short with long arms; some people are immediately able to ape someone else’s movements, others are so inhibited that they can never do it. He was able to appreciate the capabilities and the mental constitution of a very individual student. And then he would help this person to achieve what he or she wanted, as opposed to producing another model from the assembly line.

Musin was a very kind man, full of very quiet humour. But occasionally he would get so hot, so mad – and it would last exactly five seconds. He would calm down just as quickly.’

Booklet for Smetana: Má Vlast