# Collector's corner: Bohuslav Martinů Symphony No. 4



## Kiki (Aug 15, 2018)

How do you like this symphony? Some commentators described it as the most joyous among the six. The late Bělohlávek described it as "impressionistic, cosmopolitan, colorful and joyful." Do you believe (or not believe) that the slow movement and the Finale reflects his state of mind as he learnt the Nazis had surrendered to the Allies while writing this symphony?

I certainly hear optimism, serenity, a frenetic dance, a pastoral song, a dreamy landscape, a dignified resolution and (a trace of?) jubilation towards the end.

Martinů removed 3 bars of piano solo from the Largo in the 1950 published score together with other revisions including toning down other piano parts... Now, who have restored these 3 missing bars? These are the ones that I know -
▪ Rafael Kubelik 1948 (Supraphon). Strictly speaking, this was recorded before Martinů removed those 3 bars.
▪ Martin Turnovský 1965 (Supraphon).
▪ Jiří Bělohlávek 2003 (Supraphon) & 2010 (Onyx); but not in the earlier 1979 (Panton) & 1992 (Chandos).
▪ Walter Weller 2007 (Fuga Libera); but not in the 1979 (EMI).

These 3 bars do change the complexion of the slow movement. Why did Martinů remove them? Sharon Andrea Choa, who edited the 2014 edition of the score, offered this explanation, "Here there is debate over why the composer cut three bars of piano music from the score of this movement: cuts which seem to distort the thematic, tonal and expressive logic. It may be because they appeared as a piano solo, which may have led some to perceive as inappropriate in a symphony."

Do you concur? I like these 3 bars of music. While the music has been going through a "trance", the music suddenly starts a short glissando upturn, and these 3 bars appear, as if this is a call from reality, and then the music starts transforming into something more conscious. I think these 3 bars sound amazing.

I also have a couple of, um, obsessions about the Scherzo. Firstly, the two thwacks on the percussion following the climax in the minuet section. I do not know what the score says, but I think most conductors on records played them too softly. It sounds anti-climax that way. Secondly, Is the trio section a song, or a dance? Perhaps Martinů's relative obscurity, and therefore a lack of performance tradition, has led to more varied ways of playing it. I've always looked forward to hearing how the trio section would be played whenever I came across a new recording which, unfortunately, did not happen very often.

Here's a list of recordings that I know of. Is there any missing?

What are your favourite recordings?


ConductorOrchestraRecorded inLabelErnest AnsermetOrchestre de la Suisse Romande1967 LiveCascavelleJiří BělohlávekPrague Philharmonic Orchestra1979PantonJiří BělohlávekCzech Philharmonic Orchestra1992ChandosJiří BělohlávekCzech Philharmonic Orchestra2003SupraphonJiří Bělohlávek ●BBC Symphony Orchestra2010 LiveOnyxArthur Fagen ●National Symphony Orchestra of Ukraine1995NaxosNeeme Järvi ●Bamberger Symphoniker1987BISRafael KubelikCzech Philharmonic Orchestra1948Supraphon / IMG ArtistsCornelius Meister ●ORF Radio-Symphonieorchester Wien2011-2017 LiveCapriccioVálav Neumann ●Czech Philharmonic Orchestra1977SupraphonWolfgang SawallischCzech Philharmonic Orchestra1975 LiveSupraphonKlaus TennstedtRadio-Sinfonieorchester Stuttgart des SWR1973ICABryden Thomson ●Royal Scottish National Orchestra1989ChandosMartin TurnovskýCzech Philharmonic Orchestra1965Supraphon / Apex / PantonVladimir Válek ●Prague Radio Symphony Orchestra2008SupraphonWalter WellerRoyal Liverpool Philharnonic Orchestra1979EMIWalter WellerNational Orchestra of Belgium2007Fuga Libera

●Part of a complete cycle.


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## Becca (Feb 5, 2015)

Alan Gilbert and the Berlin Philharmonic did this symphony a few years ago, the video is in the Digital Concert Hall Archive.


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## Kiki (Aug 15, 2018)

Becca said:


> Alan Gilbert and the Berlin Philharmonic did this symphony a few years ago, the video is in the Digital Concert Hall Archive.


Yes! I forgot that. Thanks Becca.

And there is also Andrés Orozco-Estrada conducting the Frankfurt Radio Symphony on their "hr-Sinfonieorchester" youtube channel; plus a few others also on youtube that I'm not sure if they are authorized.


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## superhorn (Mar 23, 2010)

This is certainly one of Martinu's finest works and I'm very for of it . I first got to know it from an old LP on Supraphon with Martin Turnovsky & the Czech Philharmonic . I also have the Supraphon recording with Vaclav Neumann and the same orchestra .


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## CnC Bartok (Jun 5, 2017)

This and No.5 are my favourite Martinu Symphonies. It's a masterpiece in my book! Of those you list, I don't know or have the Ansermet, Tennstedt or Weller's second attempt. His first, on EMI, is not bad at all! But for me the finest is Turnovský, who incidentally made that recording after Karel Ancerl had rehearsed the Czech Phil in preparation. Kubelík suffers from awful sound, but is very fine too, otherwise it has to be Belohlavek on Chandos.

Pedant alert! Bělohlávek's first recording is with the Prague Symphony Orchestra (FOK). Very good indeed, but my CD has absolutely no tracks, only those very unpopular index points.


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## Heck148 (Oct 27, 2016)

For me, Martinu #4 is his best symphony.....3,5 and 6 are very good as well, but I think #4 has the consistency to put it on top. I have the Neumann/CzPO complete set...


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## Strange Magic (Sep 14, 2015)

CnC Bartok said:


> This and No.5 are my favourite Martinu Symphonies. It's a masterpiece in my book! Of those you list, I don't know or have the Ansermet, Tennstedt or Weller's second attempt. His first, on EMI, is not bad at all! But for me the finest is Turnovský, who incidentally made that recording after Karel Ancerl had rehearsed the Czech Phil in preparation. Kubelík suffers from awful sound, but is very fine too, otherwise it has to be Belohlavek on Chandos.
> 
> Pedant alert! Bělohlávek's first recording is with the Prague Symphony Orchestra (FOK). Very good indeed, but my CD has absolutely no tracks, only those very unpopular index points.


I rank Martinů's First as my easy favorite and also strongly endorse the Bělohlávek on Chandos, where you also get the Concerto for Double String Orchestra, Piano, and Timpani, another superb work.


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## Kiki (Aug 15, 2018)

CnC Bartok said:


> ... Pedant alert! Bělohlávek's first recording is with the Prague Symphony Orchestra (FOK). Very good indeed, but my CD has absolutely no tracks, only those very unpopular index points.


Yes indeed Bělohlávek's first outing was recorded with the Prague _Symphony_ Orchestra. Thanks for pointing that out! I also realised that the metadata in my rip has been wrong all along. That irritates the neat freak in me... You've saved my day, mate! 

And yes those index points are annoying. I had to modify my cuesheet to "recreate" those movements. Why Panton took the trouble to create these index points instead of tracks is beyond me. It's rather unusual.


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## anahit (Dec 10, 2018)

i have never heard it before but it is an amazing piece!


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## CnC Bartok (Jun 5, 2017)

anahit said:


> i have never heard it before but it is an amazing piece!


Five more to try, if you like this one!!! All clearly by the same composer (Martinu is a very difficult composer to mimic, and has a remarkably distinctive voice)


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## CnC Bartok (Jun 5, 2017)

Kiki said:


> Yes indeed Bělohlávek's first outing was recorded with the Prague _Symphony_ Orchestra. Thanks for pointing that out! I also realised that the metadata in my rip has been wrong all along. That irritates the neat freak in me... You've saved my day, mate!
> 
> And yes those index points are annoying. I had to modify my cuesheet to "recreate" those movements. Why Panton took the trouble to create these index points instead of tracks is beyond me. It's rather unusual.


Those index points were a supposedly good idea when CDs first came out. A single work as a track, movements as index points. However, this did rely on the player itself recognising index points; precious few did, and the practice died out very rapidly.

Another of my first ever CDs, Lorin Maazel's wonderful Mahler 4 on (then) CBS was a single track with index points. After my first proper CD player died, that CD hardly ever got another hearing. Now it's properly done, btw, as is the Dutoit recording of Ravel's Daphnis et Chloe!


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## Kiki (Aug 15, 2018)

^ I was lucky. I got the Dutoit Daphnis in Decca's 4-disc orange box. It had already got tracks! The other extreme are Abbado and Ozawa, both came in 24 tracks! :lol:


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## Kiki (Aug 15, 2018)

CnC Bartok said:


> anahit said:
> 
> 
> > i have never heard it before but it is an amazing piece!
> ...


Have to concur! There is a large group of orchestral works to discover and beyond that also a whole world of concertante, chamber, ballet and vocal works, even operas.

This may sound silly, but his sound world often creates a picture in my head of a town square in a small Czech village in a bright sunny afternoon...


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## starthrower (Dec 11, 2010)

I'm gonna revisit these Symphonies. I'm not sure if I have the best cycles? I've got Jarvi, and the live set by ?? I can't spell his name. The Czech conductor that died recently. I've also listened to some of Martinu's opera Julietta, and it sounds great.


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## CnC Bartok (Jun 5, 2017)

Bělohlávek? If so, you've got two very very good cycles. My first choice by a slither would have to be Neumann, though.

Julietta is a wonderful piece, I was lucky enough to see it in Prague a couple of years ago. Weird, but at times immensely touching.


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## starthrower (Dec 11, 2010)

If I see an affordable copy of Julietta on Supraphon I'm going to buy it. I guess I'll start my Martinu listening with Jarvi. That's the first set I bought.


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## Kiki (Aug 15, 2018)

I have spent the last week or so listening to all the available recordings. I am not really surprised that my memory was not reliable for some recordings that I had not listened to for a while. Listening to them all in a short period of time was a rewarding exercise to reassess what I would find enjoyable from them.

*Rafael Kubelik*'s studio recording is the oldest (1948). It is also the fastest, and at times frantic, but it also maintains a high degree of lyricism. Unfortunately the percussion details are almost completely lost in this recording which is a real pity. *Martin Turnovský*'s 1965 recording is the second oldest and the second fastest. It is also driving hard like Kubelik, although the speed in most parts is more moderate than Kubelik, it is mostly faster in the Largo. I also love the haunting sound of the piano in the Largo. *Ernest Ansermet*'s 1967 live recording places lyricism and strong beats above drive and momentum. There is also a dancing quality to it. Although emotionally it may feel less involved. It is also a pity that it suffers from a brittle, squeaky recorded sound.

*Klaus Tennstedt*'s 1973 studio recording sounds affectionate throughout. At the climax of the Largo, do you hear Martinů's heartbeats in his dreams (metaphorically speaking)? It sounds quite amazing. *Wolfgang Sawallisch*'s 1975 live recording with the Czech Philharmonic sounds epic at times, and at other times intimate with a chamber-like quality in the strings, for example in the trio of the Scherzo, and this is even more apparent in the expansive slow movement, although timing-wise it's not even close to being slow. It also showcases some Charles Munch-style grunting from Sawallisch. *Válav Neumann* recorded his in 1977. Expressive and articulated, it can also go loud and powerful when called upon. Despite not being the the most relentless, nor the most beautiful; the orchestral balance, tempi and dynamics sound spot on and totally natural. It is a pity that the sound is starting to show its age. *Walter Weller*'s first recording was made in 1979. His second, made in 2007, is not all that different, although it tends to be faster and driving harder. Both really start getting into the groove from the Scherzo onwards, followed by an expansive and touching Largo, and then finish on a high in the Finale.

With *Jiří Bělohlávek*'s four recordings, made in 1979 (PragueSO), 1992 (CzechPO), 2003 (CzechPO) and 2010 Live (BBCSO), we are witnessing an epic journey of a conductor who had been a great champion of Martinů's music. My impression of Bělohlávek's records, not limited to Martinů, has always been more about sensitivity than sensation, but they can also sound exciting when needed. This impression is shared among all four recordings. Each new recording seems to have become more refined and the phrasing more purposeful. However, the most recent is not necessarily the most favourable. In fact, each has its own merit. The *1979 Panton* recording has sufficient grit, and a beautiful enough trio in the Scherzo, but it seems to lose a bit of steam in the Finale. The *1992 Chandos* recording is more vivid. It has got the most magical trio of the Scherzo and a fantastic Finale. The *2003 Supraphon* recording has got chamber-like strings in the Largo like that of Sawallisch. The Supraphon sound is more "highlighted" when compared to Chandos' relatively neutral sound. The *2010 Onyx* live recording has the widest dynamic range; but the balance of the BBCSO strings sound slightly quieter than the Czech PO. This Scherzo is also the most spirited; but it is a pity that the piano's balance sounds a bit on the quiet side. Overall, I think the *1992 Chandos* recording has the most beautiful trio of the Scherzo and the most upbeat Finale, the *2003 Supraphon* recording has the most touching Largo; while the *2010 Onyx* live recording has the most spirited outer sections of the Scherzo.

*Neeme Järvi*'s 1987 recording has the most full-bodied sound in this symphony. The momentum is maintained throughout. The issue here may be that it is running the risk of sounding monotonous. Perhaps the Largo could have been a little bit more hypnotic as well. At the end of the day, the disciplined and straight forward performance wins. On the other hand, *Bryden Thomson*'s 1989 recording definitely has the loudest percussions especially in the upper register. It almost sounds festive at times! This is the one recording that sometimes presents a rather different character of the music than the others, for example the Largo opens with fantastic sounding brass, and later on it turns shattering, and towards the end I can hear plenty of mesmerizing undercurrents.

*Arthur Fagen*'s 1995 recording is the dark horse for me. First of all, I think the Ukraine orchestra played really well. Secondly, Despite being the second slowest overall (although the Scherzo's tempo is quite "normal"), it is still expressive while momentum is mostly well maintained (except in the opening movement). The big surprise for me is the expansive Largo, the slowest among all recordings, which sustains the tension rather well. *Vladimir Válek*'s 2008 recording is the slowest overall. One certainly hears a great deal of orchestral details (but not as much as in Meister's). The Scherzo is definitely NOT allegro vivo; but perhaps surprisingly, the brass "swings" magnificently at such a slow speed. The trio sounds like a lullaby at first, then turns into a pastoral song, which is rather nice. Válek's Largo is in fact faster than Fagan's, and is also good. And finally, *Cornelius Meister*'s live recording, recorded between 2011 & 2017. I like the orchestral balance that shows a lot of details. I also like those silky, beautiful, agonizing strings in the expansive Largo. However, I'm not so keen on the occasional fussy stretching or pushing.

There is also a 2016 live concert on the Frankfurt Radio Symphony's youtube channel conducted by their young principal conductor *Andrés Orozco-Estrada*. Occasionally the syncopated rhythm sounds broken up, most apparently in the first movement; but to be fair even some of the "specialist" performances listed above occasionally do that as well. Otherwise I find it expressive, exciting, and when needed, beautiful and spiritual. It does not push to thrill. This is a really good try! And really finally, *Alan Gilbert*'s 2009 live concert from the Digital Concert Hall. How do I put it nicely? Very loud. Very beautiful. Good piano balance. Some agonizing grunting from Mr. Gilbert in the Largo. And utterly BLAND from start to finish. This performance is also the least comfortable with the syncopated rhythm, doing stop-go-stop-go-stop-go-stop-go-stop-go-stop-go most of the time.

I think all the recordings have, to different extents, something musical to offer (excluding Mr. Gilbert's bland account). Personally, *Neumann* has always been my yardstick. *Järvi*, *Thomson* and *Weller* are safe bets. *Tennstedt* and *Sawallisch* offer extra bits of magic. *Kubelik* and *Turnovský* are the most exciting. *Ansermet* may sound flawed at places but it is still a great document. *Fagan* and *Válek* offer a more expansive view. *Meister* and *Orozco-Estrada* are certainly good tries. (If *Orozco-Estrada* should release a commercial reading of this symphony, or better still a complete cycle, I will definitely buy it.) At the end of the day, it is *Bělohlávek*'s refinement and purposefulness that I admire the most; and among his four recordings, I would probably pick the 1992 (Chandos) and 2003 (Supraphon) recordings as my favourites as of today. Tomorrow I might pick the 2010 (Onyx) recording though.


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## CnC Bartok (Jun 5, 2017)

I don't think I can disagree with any of the above! (Maybe I'd be a bit less charitable to messrs Fagen and Valek!)


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## Enthusiast (Mar 5, 2016)

CnC Bartok said:


> Five more to try, if you like this one!!! All clearly by the same composer (Martinu is a very difficult composer to mimic, and has a remarkably distinctive voice)


Indeed. In fact the first five were written so closely together that there is a real unity to the "set". They don't, as do the symphonies of many composers, cover a wide period of his life.


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## Kiki (Aug 15, 2018)

^ The early 1940s, when he wrote the first five symphonies, also marked a change in style from the sometimes headache-inducing neoclassicism into something more refined in rhythm and themes, to eventually something freer in form and rhapsodic in nature. (This late period has produced some of my favourite works of Martinů.  )


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