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December 01, 2024
The Gaggle Music Club

This week's selection for The Gaggle Music Club is Bedřich Smetana's Má vlast ("My Homeland" ).

The work, a cycle of six symphonic poems composed between 1874 and 1879, is an iconic works of Czech classical music, celebrating the history, legends, and landscapes of the Czech lands. The cycle reflects Smetana's desire to create music that symbolized the cultural identity of Bohemia, which now is part of the Czech Republic.

Each of the six symphonic poems in Má vlast is distinct, yet they are often performed as a complete set. The sections are:

Vyšehrad (The High Castle):

This depicts the legendary Vyšehrad castle in Prague, a symbol of Czech heritage. It features a harp motif representing the castle’s bard and transitions to grandeur as the castle's history unfolds.

Vltava (The Moldau):

This is the most famous symphonic poem of the cycle, and is frequently performed by itself as part of the standard orchestral repertoire. The music traces the course of the Vltava River as it flows through Czech lands. It evokes scenes of forests, villages, and Prague itself, endowing folk tunes with sweeping orchestration.

Šárka:

This symphonic poem is based on a legend of a female warrior who lures men into a trap as part of a revenge story. The music alternates between violent and tender themes, capturing Šárka's cunning.

Z českých luhů a hájů (From Bohemia’s Meadows and Forests):

This is a pastoral piece celebrating the beauty of Bohemia's countryside.
It is rich in folk melodies, and evokes the natural charm and vitality of rural life.

Tábor:

This is named after the Hussite stronghold, it incorporates a Hussite chorale (Ktož jsú boží bojovníci, "Ye Who Are Warriors of God" ) as a symbol of Czech resilience and defiance.

Blaník:

It concludes the cycle by invoking the legend of Blaník Mountain, where sleeping knights await to defend the Czech nation in its time of need. It builds on the Hussite theme and ends triumphantly, uniting the cycle's nationalistic themes.

Smetana composed Má vlast during a period of rising Czech nationalism in the 19th century, as the region sought greater cultural and political autonomy from the Austro-Hungarian Empire.

Má vlast is today a staple of Czech musical heritage and is performed annually at the opening of the Prague Spring International Music Festival.

Here Má vlast is performed by the WDR Symphony Orchestra under the baton of Semyon Bychkov. It took place on Jan. 18, 2019 at the Cologne Philharmonic Hall.

01:23:07
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The Gaggle Book Club: “Show Trials: Stalinist Purges in Eastern Europe, 1948–1954” by George H. Hodos

Each week, The Gaggle Book Club recommends a book for Gagglers to read and—most important—uploads a pdf version of it.

Our practice is that we do not vouch for the reliability or accuracy of any book we recommend. Still less, do we necessarily agree with a recommended book's central arguments. However, any book we recommend will be of undoubted interest and intellectual importance.

Today's book club selection is "Show Trials: Stalinist Purges in Eastern Europe, 1948–1954" by George H. Hodos. Published in 1987, the book offers a comparative political history of the Stalinist purges in seven Eastern European “people’s democracies” from 1948, the year of the Stalin-Tito split, to 1954, the year after Stalin’s death.

Hodos's overall thesis is that the show trials were instruments of political discipline imposed by Moscow on its newly created satellite-states, designed to eliminate local autonomy, destroy potentially independent elites and enforce ideological conformity through terror.

Hodos was...

Show_Trials___Stalinist_Purges_in_Eastern_Europe,_1948-1954_--_George_H_Hodos;_Joseph_Stalin_--_Bloomsbury_USA,_New_York,_1987_--_Praeger_Publishers_--_9780275927837_--_219d61266ab448d9341f1ca05084d3ac_--_Anna’s_Archive.pdf
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@RepThomasMassie
·
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More Leftie Than Thou
"Jacobin" Magazine Celebrates A Strike Against Ol' Blue Eyes

Here at "The Gaggle" we have very little time for the "more Leftie than thou" school of thought--that's the approach to life according to which the only thing that matters is whether you take the right position on every issue under the sun from Abortion to Zelensky. No one in the world meets the exacting standards of this school of thought; any Leftie leader anywhere is always selling out to the bankers and the capitalists. The perfect exemplar of this is the unreadable Jacobin magazine. 

The other day I came across this article from 2021. It's a celebration of trade union power. And not simply trade union power, but the use of trade union power to secure political goals. Of course (and this is always the case with the "more Leftie than thou" crowd), this glorious, never-to-be-forgotten moment on the history of organized labor took place many years ago--in the summer of 1974 to be exact. Yes, almost half a century has gone by since that thrilling moment when the working-class movement of Australia mobilized and prepared to seize the means of production, distribution and exchange. 

Well, not quite. Organized labor went into action against...Ol' Blue Eyes, the Chairman of the Board, the Voice; yes, Frank Sinatra. Why? What had Sinatra done? Sinatra was certainly very rich, and he owned a variety of properties and businesses. But if the Australian trade union movement were, understandably, searching for the bright, incandescent spark that would finally awaken the working class from its slumber there were surely richer, greedier, more dishonest, more decadent, above all more Australian individuals it could have discovered. Australia was never short of them. Rupert Murdoch immediately springs to mind. Why Sinatra?

 

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