# Bohuslav Martinu



## Sid James

The only well known Czech composer of the C20th, apart from Janacek. Listening recently to a recording of his first two symphonies, I realised that Martinu's music is more about tone, texture and colour rather than melody. Thus, there seems to be an almost throw-away quality to most of his work. He lacked the facility of either Dvorak or Janacek, but this did not stop him from being one of the most prolific composers of the century, composing not only symphonies and concertos, but choral, chamber, solo instrumental and stage works of various kinds (most of which are infrequently performed). The haunting _Field Mass _is probably his best work.

Born in Bohemia in 1890, his early studies in Prague included learning the violin and organ, and after working in an orchestra there, he moved in 1923 to Paris. Being part of the avant-garde, his music was eventually blacklisted by the Nazis and he moved in 1940 to the United States. The conductor Serge Koussevitzky commissioned his 6 symphonies and numerous other works. Despite the end of the war, he remained an exile largely due to the Communist take over of Czechoslovakia, and he died in Switzerland in 1959.


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## Me.Antonia

I played a funny quartet by him...clarinet, cello, snare drum, and french horn.


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## JTech82

I like Martinu. I think he's still a very underrated composer. His symphonies are really good.


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## Bach

There's a copy of his complete symphonies lying around at school - I've never really decided whether it's worth my time or not..


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## JTech82

Bach said:


> There's a copy of his complete symphonies lying around at school - I've never really decided whether it's worth my time or not..


Bach, give them a shot. You might be pleasantly surprised, but then again, you might not be. You'll never know until you try them out.


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## ecg_fa

I like a lot of Martinu's music. Lately his violin concertos have been recorded nicely
on Hyperion Records & I think other labels too. I like the symphonies, some of the 
piano music too. He has some affinities also with Dvorak-- if 'modernized.'

Ed


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## JTech82

ecg_fa said:


> I like a lot of Martinu's music. Lately his violin concertos have been recorded nicely
> on Hyperion Records & I think other labels too. I like the symphonies, some of the
> piano music too. He has some affinities also with Dvorak-- if 'modernized.'
> 
> Ed


For me, his symphonies really do the trick. I have the box set with Bryden Thomson conducting the Scottish National Symphony Orchestra. I think it would be hard to top these performances. Definitely an essential set if you like Martinu's music, which unlike the poster said, is nothing but melodic and memorable. Many great melodies found in these symphonies. He borrowed, like many composers did, from the folk music of his home country (Czechoslovakia) and he also borrowed from jazz music.

Wonderfully underrated composer that composed some beautiful music. How dare this poster, who acts like he's an enemy of the music, instead a fan, call Martinu's compositions throwaways. That's probably the most absurd comment I've ever read from a poster on this forum and that's saying a lot considering the crap that I've read.

Andre, open your ears. I'm almost positive he hasn't heard the Thomson set I was talking about above. You're certainly entitled to your opinion, as I am mine, but I think you really should reconsider the harsh judgements you made.


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## Sid James

JTech82 said:


> Wonderfully underrated composer that composed some beautiful music. How dare this poster, who acts like he's an enemy of the music, instead a fan, call Martinu's compositions throwaways. That's probably the most absurd comment I've ever read from a poster on this forum and that's saying a lot considering the crap that I've read.
> 
> Andre, open your ears. I'm almost positive he hasn't heard the Thomson set I was talking about above. You're certainly entitled to your opinion, as I am mine, but I think you really should reconsider the harsh judgements you made.


I was merely echoing what I have read in books on music. Martinu and Villa Lobos were two of the most prolific composers of the C20th. But I know Martinu didn't like revising his works, he seemed to churn out alot of "bread and butter pieces" (to quote the music book which I read years ago) but also unqualified masterpieces. So his output was very varied, a mixed bag. I suppose to appreciate the man, we have to include these aspects as well as his more praiseworthy ones.

In your comments you seemed to have summarised his style better than me, so I think that you've bought some balance to this thread. So thanks for that, I was only echoing what I've read about Martinu. It's not my opinion, just a fact about his methods of working, and the quality of SOME (not all!) of his huge output.


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## Sid James

I also forgot to mention that I am a fan of Martinu, and some of his pieces (like the _Field Mass_) are masterpieces. I also have a recording of his _Piano Concerto No.5_ and _Double Piano Concerto _(on Supraphon) which I think rank amongst the best concertos of the C20th. Theymix neoclassicism with a modern, edgy restlesness. They have been unfairly neglected, in my opinion. Even his less profound pieces have charm and offer rewarding listening, like the _Sinfonietta Giocosa_ for piano and orchestra, which I also own. I mean, not everything has to be grand and eloquent. So having echoed some of the criticism which I have picked up from music books, I still recommend his music to anyone who has an interest in other composers of his generation.


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## JTech82

Andre said:


> I also forgot to mention that I am a fan of Martinu, and some of his pieces (like the _Field Mass_) are masterpieces. I also have a recording of his _Piano Concerto No.5_ and _Double Piano Concerto _(on Supraphon) which I think rank amongst the best concertos of the C20th. Theymix neoclassicism with a modern, edgy restlesness. They have been unfairly neglected, in my opinion. Even his less profound pieces have charm and offer rewarding listening, like the _Sinfonietta Giocosa_ for piano and orchestra, which I also own. I mean, not everything has to be grand and eloquent. So having echoed some of the criticism which I have picked up from music books, I still recommend his music to anyone who has an interest in other composers of his generation.


Andre, I don't need a book to tell me what I like and don't like. Just remember everybody has an opinion.

Here's the problem I have with classical people, and this is no offense to you, but it seems they buy into what other people write a little too much instead of relying on what they feel inside of themselves and if they don't like something, then they think it's crap. Well that somebody else might like it and that's for them to decide whether they do or not.

This is also the problem with people who listen to the news media. There's factual information and then there's opinion. There's a huge difference.

If you like Martinu's music, then you shouldn't have to over-intellectualize anything and figure out why you like him. People need to put down the books and start listening to their inner self for a change.


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## bassClef

I'm attending a concert in a week or so, primarily to hear Stravinsky's Rite of Spring live for the first time. But the first piece on the programme is Martinu's "Spectre's Bride". Does anyone know anything about it? Seems to be a vocal work.


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## Tapkaara

I've tried a few times getting into The Epic of Gilgamesh. The music is difficult, meandering. Maybe I'm just not ready.


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## bdelykleon

I really like martinu. Julietta is a crazy but fantastic opera. And I also like very much his symphonies, they have such an expansive sound and are a very fine piece of 20th century symphony, and also I enjoy his long list o chamber music.


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## jim rybka

*Understanding Martinu*

I knew Bohuslav Martinu personally and have just completed his biography--which is now looking for a publisher. Much of what has been written about him is erroneus because, for one big thing, no one knew that he had Asperger syndrome. I am a doctor and his autistic condition has been quite well documented. This has explained his extraordinary prolific output. He composed with unusual ease and could put out some complex beautiful works with dispatch. This was thanks to his Aspergers which gave him the unusual brain to do it. On the other hand, Aspergers has also caused previous biographer (Brian Large) to severely damage Martinus reputation by saying, because of his great output, he must have been "flawed--rarely revised his works--was uneven" This unsupported opinion unfortunately found itself into the New Grove Dictionary where it sat and sat for years--unchallenged, with lesser musicologists simply Copying and Pasting it rather than judging for themselves. That is where Andre probably got the idea that much of his music is "throwaway" (I forget the exact pejorative he used). Martinu should not be judged only by his symphonies (I believe #2 and #4 and 5 are outstandingl). He is no Mahler--never was of the Mahler-R Strauss neoRomantic school. He looked for newer sounds, He was closer to Debussy --Stravinsky---Prokofiev but with Czech motifs and rhythms ingeniously brought into the 20th C. Look into his enormous chamber works--some are absolutely delightful.. It seems that Martinu is finally comming back with the NY PHil performing 2 of his works this season. ANyway, Icould go ON and ON. (This is my first blog answer--hope I have done it well.) F. James Rybka MD


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## Sid James

I was not aware that Martinu had Aspergers. That is interesting.

My initial criticism, mirroring things that I've read, makes me think of how we tend to look down a bit on composers who had unusually large outputs (eg. Martinu, Villa-Lobos, Milhaud, Hovhaness). Since that post, I am reassessing my original stance, and have acquired some of the music of these composers to judge for myself. It's also somewhat unwise to make a judgement of these composers, which can not only be based on what one's read (this can be erroneous and subjective, as you suggest) but also on the limited amount of recordings available to us. I have enjoyed most of what I have heard of Martinu's music, and doubtless will acquire more in the coming years...


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## StlukesguildOhio

Interesting that this thread should pop up. I'm currently listening to Martinu: _Nipponari, Magic Nights and Czech Rhapsody._ The works are clearly rooted in late-Romanticism with echoes of Mahler, Strauss, Zemlinsky, and especially Szymanowski... but there are also elements suggestive of Impressionsim... and elements quite unique (no doubt rooted in Czech musical traditions). _Nipponari_ is based upon a collection of Japanese poetry while _Magic Nights_ is based upon Chinese poetry... from the same collection which Mahler used as the basis of his _Das Lied von der Erde_. There are definite elements of _Japanisme_ or Western attempts to capture something Japanese (or Chinese). The music is certainly worth further exploration. I might add that two of my favorite recent purchases are the collections _Love Songs_ and _Songs my Mother Taught Me_ by Magdalena Kozena which include some lovely songs by Martinu (and other Czech composers).


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## starry

Alot of his work doesn't appeal to me, he's another of those first half of the century composers who some rate so highly but I question that rating. The 5th symphony however has some good material.


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## Sid James

I've now come to really like his symphonies; I've heard Nos. 1, 2 & 4. He wrote all of the 6 in the USA, after he was forced into exile there by the Nazi invasion of France. Many Czech inspired melodies and rhythms pop up in these symphonies, as if to talk to the composer's homesickness, but there's also a sense of optimisim. For example, in the 3rd movement of the _Symphony No. 2_ I can hear hints of marching bands (maybe a nod to Ives or is it also about military invasion?). The Symphonies also have a very clear kind of classical structure, some of the movements are split up exactly as Haydn did. But as Stlukesguild suggests, many influences are apparent in Martinu's music, but I really like how he uses rich textures to convey a sense of contrast between darkness and light, and his uses of ostinati in his slow movements especially, which seems to prefigure what the minimalists would do decades later. The other American composer whose monumentalism of the 1940's was similar to Martinu's was Copland. I hear some similarities between Martinu's _Memorial to Lidice _and Copland's _Fanfare for the Common Man_; they are both really grand statements about the human condition.


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## starry

Well the last time I listened to the symphonies - as I said - I found the 5th the most consistently inventive. There are nice parts to the others as well, but also bits where I lose interest.


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## Sid James

I haven't heard all of the symphonies yet, so I can't judge, but I especially like the _Symphony No. 2_ which Martinu described as kind of "pastoral." It's only around 25 minutes, but he packs alot into that short time. There's a Haydnesque clarity to the structure of the work, and some suggestions of Czech folk rhythms & melodies. As I said above, the 3rd movement is one of my favourite works by Martinu, quite upbeat, but with an underlying sense of militarism (perhaps?). One never knows with Martinu, like Ives he seems to delight at contrasts, changing mood and tone at every turn. I think, with Ives, Martinu was one of the first composers to use such a "collage" technique, incorporating many "found" elements into his music.

I also like his concertos, I've recently acquainted myself with those for _Piano, Timpani & two string orchestras_, for _string quartet and orchestra_, and the _sinfonia concertante for oboe, violin, cello, bassoon and orchestra_. The slow movements are what strikes me most about these works, Martinu's use of ostinati sounds quite innovative, and mirrors Bartok's night music slow movements in his concertos. & as can be seen, he was not one to shy away from writing for combinations of instruments that might have seemed somewhat bizarre at the time, having more to do with practices in the Baroque period than the modern.

Another interesting work is from the 1950's, a three movement tone poem called _The Frescoes of Piero Della Francesca_, composed after Martinu saw these during a trip to Italy. This is one of his most colourful, lush and sonically textured scores. I think that he composed many gems like this which should be better known, because they are quite accessible but at the same time modern. It is true, however, that his music does not always immediately 'grab' you, like say his contemporaries Bartok, Prokofiev or Shostakovich. It takes repeated listening to appreciate Martinu's music (and I admit I was somewhat wrong earlier when I created this thread to label some of his music as 'throw-away')...


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## starry

Andre said:


> (and I admit I was somewhat wrong earlier when I created this thread to label some of his music as 'throw-away')...


He does alot of well crafted music, I'm just not sure how memorable some of the ideas are that he uses. 'Throw away'? He wrote alot of music and some of it I'm sure I wouldn't want to listen to much, other stuff is worth giving more of a go no doubt. He obviously can have a distinctive style, although on its own that isn't enough for me.


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## emiellucifuge

Its quite amazing how many concertos he wrote.


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## starry

Actually I'm changing my mind a little bit on the 2nd symphony, not because I wasn't listening before but because I was hearing another performance. This time round I listened to Neumann and he is far better than Jarvi who I had heard previously. The first movement actually has character and vigour under Neumann, the ideas feel linked together and reacting to each other. Under Jarvi they just felt detached and boring. This is the kind of music that needs some life injected into it. The middle section of the third movement is also better under Neumann, although the outer sections maybe could have been done better (although it's passable). The last movement though still doesn't convince me under Neumann, feels still like the ideas aren't that great and there's some padding out of the movement as well maybe.


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## andruini

I find Martinu to be very interesting, and his music has a very distinctive character, I think..
I've been listening to his String Quartets lately, and if maybe not groundbreaking, they're lovely and unique.. The first three I found to be extremely pleasing, especially the 2nd, which I now count as one of my favorites. The first is great, if a bit confused and jumbled.. The 4th and 6th, I admit, lost me at parts, but I know they're better than I gave them credit for.. The fifth, however, is a real gem, a quasi-perfectly crafted piece. And last but not least, the 7th which is decidedly more cheerful than the rest, and is a real delight to listen to. 
Also on the disc are his Madrigals for Violin & Viola which are charming, and a great addition to the repertoire of said configuration, if the pair becomes sick of playing the Halvorsen Passacaglia .
I really recommend these works, and although so far I'm only familiar with Martinu the chamber composer, I can't wait to delve into his symphonic output.


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## Sid James

At first, when listening to Martinu's _*Double Concerto for Piano, Timpani & two string orchestras*_, I was struck by the lack of resolution (or development?). But then I mentioned to someone (my mother) that it was written in 1938, and she said that was the year of the Nazi invasion of Czechoslovakia, and the work began to make sense. The brutal and stark theme thumped out by the strings & timpani, basically crushing the piano, is repeated throughout the whole work. Even when the piano gets a solo in the second movement, the atmosphere is quiet and hushed, almost to highlight a person's fear of speaking out against the oppression. The outer movements by contrast are very frenzied & chaotic. No wonder the Nazis banned this work, and then everything else by Martinu. They could probably understand what the composer was saying, even though at first, I couldn't (separated as I am by time from the events that inspired the work). Anyhow, I think this is a masterpiece of C20th music, and everyone into this type of repertoire should hear it.


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## JAKE WYB

i got his symhpnies (valek) for christmas - Its symphnies 1 & 6 which when i first listnend I could scarcely believe what i was hearing for its absolute orginal and exciting sound world the other symhpnies have some amazing music though seem less coesive o first listen than 1&6. I am devastated I missed the BBCSSO at Glasgow city halls this season who are doing a complete cycle

One thing I think Martinu symphoneis are defficient on is truly effective endings

nevertheless i havent ever been so excited about exploring a composers wider output before


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## starry

Listened to Neumann in symphonies 6 and 3, but didn't really like them still. The 4th though sounds more interesting, could be one of his best. The first is interesting in parts for me, mainly just the first part of the first movement though. The theme in the last movement may be repeated a few too many times as well.


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## Scarpia

Recently listened to the Concertino for String Trio and String Orchestra from this release conducted by Conlon:










Really a fantastic piece. Wonderfully complex contrapuntal texture from the orchestra, and the quirky melodies and harmonic progression that instantly sound like Martinu.


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## Head_case

andruini said:


> I find Martinu to be very interesting, and his music has a very distinctive character, I think..
> I've been listening to his String Quartets lately, and if maybe not groundbreaking, they're lovely and unique.. The first three I found to be extremely pleasing, especially the 2nd, which I now count as one of my favorites. The first is great, if a bit confused and jumbled.. The 4th and 6th, I admit, lost me at parts, but I know they're better than I gave them credit for.. The fifth, however, is a real gem, a quasi-perfectly crafted piece. And last but not least, the 7th which is decidedly more cheerful than the rest, and is a real delight to listen to.
> Also on the disc are his Madrigals for Violin & Viola which are charming, and a great addition to the repertoire of said configuration, if the pair becomes sick of playing the Halvorsen Passacaglia .
> I really recommend these works, and although so far I'm only familiar with Martinu the chamber composer, I can't wait to delve into his symphonic output.


Absolutely - just gorgeous stuff.

The Concerto de Camera (string quartet no. VII) seems to be the most frequently recorded string quartet of his; it's overtly jolly character probably paves that way.

Your taste in Martinu is strikingly identical to mine 

I enjoyed listening to the Wihan Quartet play his string quartet no. II: the hauntingly moving entrance to the string quartet is a world apart from the rest. There's a review of the concert here:

http://www.bachtrack.com/Wihan+Quartet+play+Czech+music

I love the Parisian lightness of being conveyed in his first string quartet; the darker themes in the middle quartets work their way through to the listener in motifs. One reason why I love listening to different quartets interpret the same music (referred to as "duplication" by some  ) is that it really opens up the string quartet to reveal very specific nuances and treasure etched on the bow strings and music.

Although I've heard the Panocha Quartet and the Stamitz Quartet classics, its the Naxos' Martinu Quartet version which is my daily fodder.

The exemplary Prazak Quartet have collaborated with their friends in the Kocian Quartet to complete what is probably the most stunning cycle, sadly shared between two quartets, instead of consistent from just one. I've had a taster of this and can't wait to hear the complete cycle on the superb Praga label.


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## HarpsichordConcerto

Head_case said:


> Although I've heard the Panocha Quartet and the Stamitz Quartet classics, its the *Naxos' Martinu Quartet version* which is my daily fodder.


That good, uh? I did my homework just now. Naxos has three CDs of the seven Martinu SQ. They received fine reviews. Above all, if Head_case gives it a 10/10, then I shall take note. 

Anyone recommend a fine set of his piano concertos? (My favourite instrumental genre).


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## StlukesguildOhio

My interest in Martinu has remained focused upon his vocal works. In addition to the works I sited above, I have added _Three Fragments From the Opera: Juliette_... again with the marvelous Kozena. I also greatly enjoyed the _Epic of Gilgamesh_, an oratorio... which is a truly powerful piece. I currently have his _Greek Passion_ on order. Considering the recommendations made for the Naxos recordings of Martinu's string quartets, I will certainly look into these... in spite of the fact that string quartets rank near the bottom of of field of musical interest.


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## Scarpia

HarpsichordConcerto said:


> Anyone recommend a fine set of his piano concertos? (My favourite instrumental genre).


I don't think there are many options, but Leichner is the standard recommendation for the complete set (although it may be out of print).


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## Huilunsoittaja

Does anyone one know the piece "Memorial to Lidice" by Martinu? I played that in an all-state orchestra, and it was very moving, sort of like movie music.


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## Scarpia

Huilunsoittaja said:


> Does anyone one know the piece "Memorial to Lidice" by Martinu? I played that in an all-state orchestra, and it was very moving, sort of like movie music.


It is probably Martinu's most well known piece. It was composed as a memorial to a villiage that was willfully destroyed by the Nazi's during WWII. The piece is included in the recording by Conlon I mentioned a few posts previous. Probably the "reference" recording is by Ancerl. I have another fine recording of the piece conducted by Metzmacher, included as a filler on one installment of his Hartmann symphony cycle.


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## joen_cph

*The Bohuslav Martinu Museum in Policka*

THE MARTINU MUSEUM IN POLICKA

Just came home from a nice 23-day budget holiday in Czechia, revisiting Prague - that incredible city - and Northern Bohemia around Nove Mesto Metuji, Rychnov nad Kneznou, Litomysl and Hradec Kralove. It is a very convenient country to travel in, transport is cheap, accomodation likewise, and there are innummerable cultural and natural sights to explore.
About 20 kms south of Litomysl is Policka, the birth town of Martinu, and its museum´s exhibitions deal especially with him. Conferences and concerts are held, and there is a very modest musical tourism taking place. Smetana´s birtplace in nearby Litomysl is much more well-known, popular and sought-after, but after all Martinu is becoming fairly well-known not at least in Western Europe and the USA.

Here are some low-pixel photos from my visit there, from about a week ago.

View attachment 1114


Policka´s central square has a nice Baroque town hall and a typical Plague Column, everything very much as when Martinu was a child. There was some roadwork going on .

View attachment 1115

The town museum is just nearby. It has been recently modernized. There are also exhibitions on the town´s history.

View attachment 1116

The staff people were very kind, an English-speaking lady gave me a free guided tour. I was allowed to take photographs. Of course, they were taken without flash, in order not to damage any exhibited material. This is an early drawing by Martinu, a satire on the difficulties of learning to play the piano. It is a self-portrait and he has drawn himself with a mouse-like face; the lady told me that he used to joke about his looks being that of a mouse and that he now and then called himself "the mouse".

View attachment 1117

The exhibition is varied and entertaining, and there is a beautiful English-language documentary being shown as well. There is also a reconstructed classroom, where he went to school. Here are some of Martinu´s personal documents, and the double portrait of Martinu and his wife (a bit to the right) was taken by the famous and important, music-loving Czech photographer Josef Sudek.

View attachment 1118

The burial place of Martinu and his wife on the town´s churchyard. From there, one can look towards the Gothic tower of the town´s main church. Martinu actually lived in it, in a small flat, during his childhood years.


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## joen_cph

MARTINU IN POLICKA II: THE TOWER

View attachment 1119

One upper floor at the tower functioned as a miniature flat for Martinu and his family during his childhood years. From the tower it is possible to look down to most of the town and straight to the window of Martinu´s school classroom. The sight of the green, strolling hills around the town is beautiful.
The tower is currently undergoing restauration work.

View attachment 1120

The flat is very small and the furniture has been taken out, but on a table one can see pictures of the furnished room. The sound of the church bells directly outside, and not at least the town´s fire alarm bell, is said to be very, very loud.

View attachment 1121


View attachment 1122

There is a guest book for visitors. One is led up the 192 steep steps to the room by the guardian, Mr. Dubrovsky.

View attachment 1124

Me at the entrance to the tower, next to a Martinu memorial plaque.


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## science

*Somewhat Obscure Composers 3: Martinu*

What are your favorite works by this composer? Feel free to recommend works or specific recordings.


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## Huilunsoittaja

In Memory of Lidice, I played it in State-Senior Orchestra. It was very touching, almost like movie music.


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## emiellucifuge

His 6th symphony made it into the top 100


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## Guest

His string quartets might be some of the best ever (certainly some of the best of the 20th century). The symphonies are also great, as are the piano concertos.


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## Art Rock

Huilunsoittaja said:


> In Memory of Lidice, I played it in State-Senior Orchestra. It was very touching, almost like movie music.


My choice as well. His symphonies, concertos, string quartets and Gilgamesh are also very much worthwhile.


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## jurianbai

that's right, the string quartet cycle with the Stamitz quartet recording. the violin concerto especially no.2. 
the chamber madrigal for winds.


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## starry

http://www.talkclassical.com/4658-bohuslav-martinu.html


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## science

Starry - I'm sorry, I hadn't realized the purpose of that part of the forum when I started this series of threads. This will be the last one. I won't start any more.


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## Ukko

science said:


> Starry - I'm sorry, I hadn't realized the purpose of that part of the forum when I started this series of threads. This will be the last one. I won't start any more.


Hah! You started the thread, but you can't end it.

Aside from being a composer both skilled and having an excellent muse, Martinu went through distinct 'periods', thus broadening his appeal. He really wasn't 'obscure' anyway, except to people new to classical music and not from middle Europe.


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## Norse

He's a composer on my 'planning to explore further' list. I haven't heard a lot of him yet. His second piano concerto was the subject of a "Discovering Music" program on BBC3. I think it's an enjoyable, 'radiant' work, maybe not particularly 'deep', although I mean that more as a general description, than actual criticism. I love lots of music I wouldn't necessarily deem as 'deep'.


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## HarpsichordConcerto

I have his piano concerti, some chamber music and some symphonies. Of these, I would pick the piano concerti deserving an occasional listen.


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## Aramis

I stopped to explore him at he point I got to his cello sonatas. It's just not my aesthetic.


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## Ukko

Aramis said:


> I stopped to explore him at he point I got to his cello sonatas. It's just not my aesthetic.


If I remember correctly (not at all a certainty), there is a cello sonata from more than one of his 'periods'. Did you listen to all of them?


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## Aramis

Two of them and aditionally made short ride through the third one. And the third one, I think, was his 2nd and I've listened entirely to 1st and 3rd. I'm not sure though.


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## Ukko

Well, there are multiple æsthetics there, but no reason why any of them should be yours.


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## Charon

I've heard his Cello Concerto's No.1 and No.2 before. I wouldn't consider them among my favourite pieces of music, but they are enjoyable.


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## Sid James

A bit difficult to assess him, as he was very prolific. He churned out works of varying degrees of quality, and didn't really like to revise. When buying a Martinu recording, you might get a really good work, or a work that has some good qualities but doesn't live up to your expectations after hearing some of his "better" works.

His slow movements are what grab me the most. He liked to use ostinatos and had a sense of structure which he seemed to repeat across many works. I haven't heard any of his chamber works, but I do like the concertos that I have heard & some of the symphonies. _The Frescoes of Piero della Francesca_ is a very colourful work, and is one of my favourites. I also like the _Memorial to Lidice_, that quotation at the end of the opening theme from Beethoven's 5th grabs me every time - wonder why he put it there? A sense of fate?...


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## starthrower

I have the Brilliant Classics set of his six symphonies. So far I'm not finding these works all that interesting. I'll give them another go round eventually.


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## Ukko

starthrower said:


> I have the Brilliant Classics set of his six symphonies. So far I'm not finding these works all that interesting. I'll give them another go round eventually.


I have a set of the symphonies around here somewhere, probably different performances. The music is OK, and the progression through Martinu's 'periods' is interesting. There was some critical complaint from the modernist crowd that his last two symphonies were too 'conventional'. Maybe _some_guy_ has some input there.


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## starthrower

It's been a few months since I listened to some of these symphonies, but overall the orchestration struck me as being rather bland.


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## Ukko

starthrower said:


> It's been a few months since I listened to some of these symphonies, but overall the orchestration struck me as being rather bland.


Hmm. I wonder if that impression is due to the performance - or the recording. I also wonder if I can find my set, so I can refresh my memory (which could really stand refreshing).


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## starthrower

The set I have was conducted by Neeme Jarvi, someone I'm usually quite satisfied with. Of course, my impressions may change with more listening. Nos. 5 & 6 are the symphonies I listened to a couple times through back in September.


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## Ukko

starthrower said:


> The set I have was conducted by Neeme Jarvi, someone I'm usually quite satisfied with. Of course, my impressions may change with more listening. Nos. 5 & 6 are the symphonies I listened to a couple times through back in September.


Yeah, Jarvi ought to be OK. First scan didn't find my set. I sort of recall that symphonies 3 and 4 are marked by a shift in Martinu's thinking. The last two symphonies were (I think) composed after he arrived in the US, having fled the war zone in Europe.


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## clavichorder

I do find the 1st cello concerto pretty enjoyable.


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## pollux

All the works in this one are really enjoyable, and his _Nonet _ in particular is a masterpiece:

http://www.musicweb-international.com/classrev/2002/Oct02/Martinu_Chamber1_Timpani.htm


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## violadude

starthrower said:


> It's been a few months since I listened to some of these symphonies, but overall the orchestration struck me as being rather bland.


I dont think the trouble with the orchestration is that it's bland. I think you are hearing that his symphonies tend to swim in big thick woodwind chords.


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## Ralfy

I've _Gilgamesh_ published by Marco Polo, and the recording is very good.


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## starthrower

violadude said:


> I dont think the trouble with the orchestration is that it's bland. I think you are hearing that his symphonies tend to swim in big thick woodwind chords.


I'll keep that in mind when I revisit some of these.


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## JAKE WYB

I think Martinu has one of the most vivid and exciting orchestral sounds of anybody - how it can be described as bland in works like symphony 6, piano concerto 4 or the frescoes is beyond me thouggh in some of his neo baroque stuff can be a bit tedious.

In particular I think his *2nd Piano quintet *is one of the very greatest - compares favourably to shostakovich, elgar, etc and as enjoyable if not as beutifully crafted as Dvoraks - has beautiful swills of colour and rythm as it comes in and out of focus - beautiful and ispired from beginning to end


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## superhorn

I enjoy this composer's very distinctive music ; you could never mistake it for any one else's . I like all six symphonies, especially the 4th , which seems to me the most inspired and memorable of them . 
If you can find the Supraphon recording of his strange but fascinating surrealist opera Julietta , grab it . It's the story of a man caught in a kind of weird surrealist word where 
no one recognizes him even after getting to know him and he searches in vain for a mysterious beautiful girl called Julietta . You might call it the operatic equivalent of the movie Groundhog Day . Check arkivmusic.com , by far the best place to seek hard to find classical CDs.


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## clavichorder

*Best works of Martinu?*

I'm becoming more interested in Martinu. I recently bought his complete symphonies, and I already know his Cello concerto and have Symphonies 1 and 5. I know he wrote a lot of music. What do you think are his best works? Is his chamber music as good as his orchestral?

I personally have really enjoyed the Cello concerto so far. I hope to learn more about him.


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## HarpsichordConcerto

A relatively popular piece is his _Double Concerto for Strings, Piano & Timpani_. Must listen.

Likewise, there is a _Sextet for Piano & Wind Instruments_ that's worth listening to.


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## violadude

I have his symphonies, his string quartets (of which there are 7) a duet for violin and cello, a duet for violin and viola and an early piece for string quartet called the three horseman and I can say that they are generally of very good quality. The only piece I'm not incredibly fond of is his 7th string quartet.


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## clavichorder

Apparently Martinu wrote concerto grossi! Has anyone heard them?


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## starthrower

I only have the symphonies, and so far haven't really warmed to them.


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## Sid James

I'm also a fan, of sorts. I've mainly concentrated on listening to his orchestral things so far.

He seems to have these contrasting "dark" and "light" sides, but maybe that's not so unusual.

Anyway, the *"darker"* works that I like are -

_*Double Concerto for Strings, Piano, Timpani*_ (as mentioned above, a key work) - Some see it as a protest against Nazi invasion of Czechoslovakia, 1938. In any case, the Nazis immediately banned it.

_*Memorial to Lidice*_ - Written in the USA, when Martinu heard of the massacre of that town's inhabitants by the Nazis (as revenge for Czech partisans assasinating Nazi goon Heydrich). It ends with a cryptic quote of the famous motto theme of Beethoven's 5th symphony.

*Field Mass* - Written as a memorial for dead soldiers of first world war. This is his choral masterpiece.

& *"Lighter"* works that I like -

_*Sinfonietta La Jolla*_ (piano & chamber orch.) - Written for a town in California which commissioned it, I think he also lived there. In any case, a bright work, sprightly rhythms in outer movements, and this minimalistic kind of spacy vibe in the middle slow movement.

_*Frescoes of Piero della Francesca*_ - A very colourful and atmospheric work, inspired by della Francesca's fresco paintings in Italy, which Martinu saw on a visit there after WW2. Comes across as a showpiece, a tour de force for orchestra, & I wonder why it's not better known.

*Piano Concerto #5 *- In America, Martinu took on this sound which makes me think of those wide open spaces and also a bit of a Hollywood vibe too. This work does have a bit of dissonance and banging on the ivories a la Bartok, but there's also some great big tunes, not least in the final movement.

*Symphony #2* - All his symphonies were written in USA, commissioned by Serge Koussevitzky, conductor of the Boston Symphony Orch. I have heard a number of them, but this one appeals to me the most, esp. the scherzo which comes across as Czech folkishness mixed with these marching tunes that remind me a bit of Charles Ives...


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## Sid James

clavichorder said:


> Apparently Martinu wrote concerto grossi! Has anyone heard them?


I think he did, but I've only heard works by him that are similar, eg. -

_- Concerto For String Quartet And Orchestra H207
- Sinfonia Concertante No. 2 in B-flat major for Violin, Cello, Oboe, Bassoon and Orchestra with Piano, H. 322 _(1949).

These, and a number of the other things I mentioned in my post above, are on THIS EMI 2 cd set which I've got, but it might not be in print now. However, most of these works are widely avaiable on other recordings, and there's a fair amount of Martinu's stuff on youtube as well...


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## Ukko

/\ Nice selection, _Sid_. I like His last two symphonies too.

Martinu's chamber works, maybe because the reduced forces bring it out, reflect 'where his creative mind was at' pretty strongly. Europe went thorough a sort of musical convulsion between the wars, several contrasting concept-schools borning and mostly dieing out. Martinu was influenced sequentially by some of them. So... some of his music is 'accessible', some of it 'cool', some of it French-style jazzy.


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## Sid James

Hilltroll72 said:


> /\ Nice selection, _Sid_...


Thanks for the compliment.



> ...So... some of his music is 'accessible', some of it 'cool', some of it French-style jazzy.


Which makes me think of one I missed, which is a lot of fun, Martinu's _*La Revue de cuisine*_. Haven't heard it in ages, but I remember it as a "hoot."


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## clavichorder

Hilltroll72 said:


> Martinu's chamber works, maybe because the reduced forces bring it out, reflect 'where his creative mind was at' pretty strongly. .


Interesting. So he's one of those composers? I'll have to be on the look out for the chamber music. I'm still really curious about the concerto grossi.


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## HarpsichordConcerto

I have this 2 CD set of Martinu's symphonies. Brilliant Classics (budget price) label.

You can listen to samples of it on Amazon and new at US$10+. Cheap as chips.


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## starthrower

^^^^^^^^^^^^^
That's the one I have.


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## violadude

I have the other one. With Bryden Thomson and the Royal Scottish National Orchestra.


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## clavichorder

violadude said:


> I have the other one. With Bryden Thomson and the Royal Scottish National Orchestra.


That's what I bought.


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## Art Rock

I have a fair selection of Martinu CD's in my collection, but in general to me he is an accomplished composer without touching me emotionally (a bit like the later Stravinsky in that respect). The big exception is the Field Mass which I would consider his best work IMO.


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## pollux

The Nonet is a masterpiece


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## Kostka

For me, Bohuslav Martinu has reached the heights that very few composers ever have. His complexity, profoundness and neverending invention and musical imagination is in a strange contrast with his compositional ease. His symphonies are all enjoyable and at his usual level of refiness, but some of them I find more stunning than the other. Number one is number six with number three right behind. Not the opposite, starry, listen carefully! Other most memorable pieces, for me, are Piano Concerto No. 4. (Incantations), Frescoes, Parables, Estampes, Field Mass, Tre Ricercari, Toccata e due canzoni and on and on... and of course, Doubleconcerto which has its special place even within Martinu´s work. I´ve only now discovered this discussion, so my post is a bit late. Anyway, it was interesting to read all the diversions here about one musical personality. Should probably check the other composers, too.


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## Toddlertoddy

His first violin concerto is an incredible piece that demands some crazy virtuosity. But it's still very expressive and I love it. It's definitely a hidden gem.


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## Kostka

Sid James said:


> I'm also a fan, of sorts. I've mainly concentrated on listening to his orchestral things so far.
> 
> He seems to have these contrasting "dark" and "light" sides, but maybe that's not so unusual.
> 
> Anyway, the *"darker"* works that I like are -
> 
> _*Double Concerto for Strings, Piano, Timpani*_ (as mentioned above, a key work) - Some see it as a protest against Nazi invasion of Czechoslovakia, 1938. In any case, the Nazis immediately banned it.
> 
> _*Memorial to Lidice*_ - Written in the USA, when Martinu heard of the massacre of that town's inhabitants by the Nazis (as revenge for Czech partisans assasinating Nazi goon Heydrich). It ends with a cryptic quote of the famous motto theme of Beethoven's 5th symphony.
> 
> *Field Mass* - Written as a memorial for dead soldiers of first world war. This is his choral masterpiece.
> 
> & *"Lighter"* works that I like -
> 
> _*Sinfonietta La Jolla*_ (piano & chamber orch.) - Written for a town in California which commissioned it, I think he also lived there. In any case, a bright work, sprightly rhythms in outer movements, and this minimalistic kind of spacy vibe in the middle slow movement.
> 
> _*Frescoes of Piero della Francesca*_ - A very colourful and atmospheric work, inspired by della Francesca's fresco paintings in Italy, which Martinu saw on a visit there after WW2. Comes across as a showpiece, a tour de force for orchestra, & I wonder why it's not better known.
> 
> *Piano Concerto #5 *- In America, Martinu took on this sound which makes me think of those wide open spaces and also a bit of a Hollywood vibe too. This work does have a bit of dissonance and banging on the ivories a la Bartok, but there's also some great big tunes, not least in the final movement.
> 
> *Symphony #2* - All his symphonies were written in USA, commissioned by Serge Koussevitzky, conductor of the Boston Symphony Orch. I have heard a number of them, but this one appeals to me the most, esp. the scherzo which comes across as Czech folkishness mixed with these marching tunes that remind me a bit of Charles Ives...


Sid James´ selection is really good and quite significant, including the parting to "darker" and "lighter" works. I think Piano Concerto No. 4 (Incantations) should be mentioned too, put perhaps into the third, "transcendental" box as well as Estampes. Other classics is Tre Ricercari or Toccata e due Canzoni, both with neoclassical allusions. From what I´ve discovered just recently but totally fallen in love for is the Epic of Gilgamesh, a wonderful one hour long cantata piece.

And Julietta is one of the best operas ever written!


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## Progstreaming

I love Martinu. It's a composer of whom often is said that his output is somewhat uneven. Yet, of all the pieces I've encountered so far, I haven't found a single composition that I do not at least like. He's a very underrated composer in my book. 

I own the Jarvi-box of symphonies listed above, as well as the renditions of Naxos. Both are excellent. I really like the adding of piano in all symphonies, especially noted in the 3rd and 5th, which are my current favorites. 

The string quartets are an adventure on their own. The first is his longest and most conservative, and reminds me of Brahms. The quartets 2 - 7 cover a whole range of sounds, and sound nothing like this first. I haven't reached the bottom of those (e.g. I haven't listened to it enough), but so far I like what I experience.

The (2) cello-concertos are great too, as well as his 3 cello-sonatas. I'm in the midst of exploring his Piano Concertos (his 2nd is now beginning to sink in) and his other chamber music. Lot's to discover, and I have so far not encountered any disappointments.


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## OboeKnight

I've only heard his second symphony and oboe concerto, both of which I enjoyed. I intend to listen to him more in the future.


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## Norse

I know his 2nd piano concerto pretty well. There was actually a Discovering Music (BBC Radio3) episode devoted to it, but it's probably not online anymore. To my ears it sounds, despite a certain romantic grandeur, somewhat unpretentious and it's definitely pretty accessible. Compared to some other works I've heard by Martinu, the style is fairly romantic, but there are enough modern touches to make it not sound too Rachmaninov/Medtner-ish.

I know it best from this recording, which is also on Spotify.


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## Prodromides

*et tu ... Martinů?*

_The Epic Of Gilgamesh_ (1955) gets my nomination as Martinů's magnum opus.










Another Martinů work from 1955 - _Les Fresques De Piero Della Francesca_ - is also one of his finest.
I like album programs of _Les Fresques_ which offer as a companion piece his 1938 _Double Concerto_ (another favorite).










Other candidates all hail from 1958, the year before Martinů's death: _Les Estampes_, _The Parables_ & ...










... the opera _The Greek Passion_, which is sung in English actually.


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## clavichorder

*Bohuslav Martinu: a composer of near genius?*

I have been listening more to Martinu. I love how its so utterly hyperactive and yet formally interesting ultimately. Tons of stuff goes into a consistent stylistic blend.

His symphonies are really impressing me the more I hear them. He was insanely prolific too. I think he may be one of the 20th century composers who is a true classic, but is neglected because in that period, we still focused way too much on the individual masterpiece.

What do you think? He could be considered a genius if history were different, I personally think. The same could be said for other composers. I personally just love his style.


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## Ryan

It's of course a matter of opinion however I would state that his work is something your ear must tune to over time, like all the fine things in life you must never love it at first. Instead you must engage it, explore it, take a step back and decide to like it and then and only then you can allow yourself to begin a romantic affair that will turn into a unconditional love.

Thank you so much

Ryan


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## Ukko

Martinu is another composer whose music can be classified in three distinct periods. His middle period is challenging to me.


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## science

I don't know about his periods or anything but there are a few works by him that I really love, and my favorite is his Field Mass.


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## ptr

I have a very ambivalent relationship with Martinů's music, much of it feels as it was composed by a quite undelivered genius... Be it Quartets, Symphonies, Concertos etc. I've not heard anything that really makes me feel that he reached his potential, there are seeds of inspiration but never the full bloom. 
There are works that I've found much entertainment in hearing like the Serenades and the Concerto Grosso.

/ptr


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## clavichorder

Ah see ptr, I feel like Martinu had fun with it! Someone who wrote so much and didn't try to be a genius, just was a really brilliant musical mind. That's inspiring to me.

He's like the Telemann of the 20th century, and you all know that I actually prefer Telemann's light hearted approach to Bach's great all encompassing genius.


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## ptr

clavichorder said:


> Ah see ptr, I feel like Martinu had fun with it! Someone who wrote so much and didn't try to be a genius, just was a really brilliant musical mind. That's inspiring to me.


I don't really think the bulk of his music is very fun... He might well have had jolly fun writing it, but for me, there is non (very little) of that fun translates when I listen to his music... But that's me and might not be valid for anyone else!



> He's like the Telemann of the 20th century, and you all know that I actually prefer Telemann's light hearted approach to Bach's great all encompassing genius.


If You look at contemporary historical writings on music/composers from the Baroque period, Telemann was one of the really big commercial composers of the era (the Michael Jackson if You will), the only one who could compete with his commercial success was Johann Adolph Hasse and later G.F. Handel, but who, but a select few Baroque Opera Fans mentions Hasse today? No one! ... Bach on the other hand, was a very regional (even if immensely skilled) composer, it is posterity who wrongly or rightly (I won't judge) has built his genius (IMHO and I'm a Bach fan!).
For me, Telemann was the German Vivaldi, but much more versatile and interesting then the Italian!

/ptr


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## superhorn

Martinu has a very distinctive style of his own , and you could never mistake his music for anyone else's .
A curious mixture of Czech flavor with international influences , even Jazzy elements .


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## clavichorder

You are right, that's merely your perception, but I don't mean to sound arrogant about it, this is how think: I find his music very hyperactive and fun if a bit dissonant. Bouncy and yet a wash of wild textures.

What I like is that he was almost autistic in his fixations on certain rhythms. It seems like he was really devoted to good form and had fun messing with that. That's how I see it. It may be wrong, and if so, enlighten me?


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## ptr

clavichorder said:


> That's how I see it. It may be wrong, and if so, enlighten me?


There's no right or wrong in this game, just various individuals opinions! I fully respect Your conclusions even if I have reached a different set of results from my own investigations!

/ptr


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## clavichorder

ptr said:


> There's no right or wrong in this game, just various individuals opinions! I fully respect Your conclusions even if I have reached a different set of results from my own investigations!
> 
> /ptr


My investigations could use a lot of work on the more major composers of the 20th century...its a sort of backwards approach that I take.


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## joen_cph

Agree, a great composer. Favourite works - I´ve mentioned them before here - the 6th Symphony/Neumann, Concerto for Two Pianos/Lejskova, Double Concerto, Cello Sonata no.2, 4th Piano Concerto, Parables/Kosler ...I´ve picked up his works mainly on cheap LPs in Prague and there´s a lot to hear in depth yet. I no longer agree with the charaterizations of him as a "light-weight"-composer, and I vastly prefer him to Milhaud or Kodaly, for instance. At times you can hear a similarity with Janacek too, by the way. Recently digged into his 3rd Violin Sonata, which is nice too, it has the vitality of the 2nd Cello Sonata.

A couple of years ago, I visited the Martinu museum in Policka and posted some photos from it here, 
http://www.talkclassical.com/4658-bohuslav-martinu-3.html


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## PetrB

Martinu, by way of explanation, wrote very quickly and was known to 'just write,' and never look back. That means no second thoughts, trials, second drafts before final copy, revisions, etc. That also belies a certain 'facility,' often the word 'facile' being used as a pejorative slight.

This facility is most likely the underlying cause of the audible uneven quality of Martinu's music from piece to piece, the flaw showing sometimes from one movement to the next in a piece, or the overall relationships of movements.

He "just wrote" -- and that much and that much again of it 'really good,' is certainly one kind of real genius.

Of the neoclassicist bunch he used medieval forms / formats at least as often as the baroque-classical forms all the others were almost exclusively busy with.
After or along with Stravinsky and Milhaud, and the odd duck composer / piece here or there, I have Martinu as one of my favored neoclassical composers, though of the whole output it is only a handful of works.

"Lightweight" is a Leroy Anderson or an Albert Ketèlbey, so... puleeze 

I like also about 'the noise he makes' a very well grounded but highly fluent -- ready for any suitable part of any given piece -- approach and use of polyphony which never seems in the slightest 'pedant,' putting that aspect in the realms of 'genius' by my reckoning 

Toccata et due canzone ~ I; Toccata





Triple concerto for piano trio and orchestra ~





If you have not gotten around to the "Fresques de Piero della Francesca" it is a deservedly 'popular' work.
I Andante poco moderato





The concerto for double string orchestra, piano and timpani is a truly formidable (and sturdy  piece, with a rather astonishing middle movement as well...


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## clavichorder

@Petr

What is your handful of works of Martinu? What do you think of the 1st Cello Concerto? Or the 4th symphony?


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## PetrB

I am far less generally interested in 20th century symphonies built upon the 'grand' old symphonic tradition, and I recall surveying several and finding that within one movement there was too much 'drift' (as in 'Just Writing') or again the aforementioned not well unsettling uneven quality when one movement is in relation to the next. [ADD: I checked out the 4th again, lots of great bits, episodic, disconcertingly uneven to my ears, and with way too overtly 'late romantic style big peak moments,' for my liking. This one was 'too all over the map' for my preferences. I should / may give the others a listening chance. I connect much more directly with his Sinfionetta La Jolla, for example.
[ADD












END ADD]

I gave the 'Cello concerto a quick taste and liked very much what I heard of the first movement, so will 'be there' in near future.

I meant to say in the first post that no one should devalue or discredit a composer's work simply because the composer had a primarily ebullient musical nature. That 'critique' could be leveled at Ravel, Mendelssohn, and a host of others.

To that end, a way more than just 'servicable' rather wonderful piano quintet, No. 2




It is in a way also rather 'all over the map' [ADD - seems more of a whole to me than the 4th symphony. END ADD] and when it is cohesive enough to my ears, that fluidity, real ebullience all are an honest near-spontaneous sound which I usually applaud.

P.s. Time to mention that other little merit tick: fabulous orchestrator, writing at a desk idiomatically so well for each and all the instruments. -- if you haven't read or already guessed, a matter of fact virtuoso pianist of high rank and a virtuoso composer -- the same pair of strong suite cards held by each Bartok, Rachmaninov and Prokofiev.

(Pianocentric though I have been by formative influences, I have yet to drop in on the piano concerti, though I did listen to the two-piano concerto, which left me cold with 'no impression,' at all. Perhaps Bohislav and I are both 'uneven?'


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## hreichgott

I love Martinu, so far. I've only played the Etudes and Polkas book 2, which are at least as good as Bartok's collections of short dance-form piano pieces, and better than Dvorak's. Like Bartok, Martinu is a genius at creating original and vibrant music within the seemingly limiting meter and accent constraints of a dance form. I hope to add more Martinu repertoire sometime soon. I've listened to most of the symphonies at least a couple of times, and love them also. Thanks for making this thread -- it has some great recommendations for listening that I intend to follow up on!


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## clavichorder

I am really digging this movement of the 4th symphony:


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## clavichorder

ptr said:


> If You look at contemporary historical writings on music/composers from the Baroque period, Telemann was one of the really big commercial composers of the era (the Michael Jackson if You will), the only one who could compete with his commercial success was Johann Adolph Hasse and later G.F. Handel, but who, but a select few Baroque Opera Fans mentions Hasse today?
> /ptr


I have to disagree with this.

Telemann was more than commercial. He was an amazing baroque composer. Not a Michael Jackson, but just a solid craftsman with a crazily productive musical imagination. Composers back then were like artisans and working people, so I like to think. Bach was more than that, and Telemann was too, in a different way. If our current times were as good as those times in terms of music...maybe he'd be a pop composer... That's my bias, lol.


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## Vaneyes

I was enthusiastic in my early exploration of Martinu's work. Over time (a few years) this enthusiasm waned, and not much stuck. Throughout, his chamber music has held the most interest.

I currently have three recs., one orchestral and two chamber, which I enjoy with occasional listens. I don't see that number changing with any significance.

Re "near genius" question, I don't think that way about genius. You either are or you're not, and I don't hear that with Martinu. :tiphat:


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## clavichorder

What chamber works would you recommend?

I think Martinu had a fascinating talent for writing a lot of music of a good standard very quickly. His style is very distinct and I like a prominent style in a composer. I also like how it has so much "kinetic activity" in it.

Also, interesting connection Hreichgott made with Bartok and dance forms in music.


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## Alypius

Martinu is a rather recent discovery for me, but I've become a serious enthusiast.

Clavichorder asked for chamber recommendations but it doesn't look like anyone has answered for over a week. Let me venture a few:

Cello Sonatas #1-3. These are superb. A cellist friend of mine considers them among the finest in the 20th-century repertoire. Recommended performance: Steven Isserlis / Peter Evans, _Martinu: Cello Sonatas_ (Hyperion / Helios, 1988).

Piano Quintets #1-2. Recommended performance: Karel Kosarek / Martinu Quartet, _Piano Quintets, no. 1 & 2_ (Naxos, 2007)

String Quartets #1-7. Not sure how best to characterize these. A rough sketch: Czech rooted in melody and especially in rhythm, but urbane, jazzy at times. Favorites: #4 & #1. Recommended performance: 
Martinu Quartet, _Martinu: String Quartets, vol. 1: String Quartets no. 1 & 2 / Tri jezdci_ (Naxos, 2000)
Martinu Quartet, _Martinu: String Quartets, vol. 2: String Quartets nos. 3 & 6_ (Naxos,2002)
Martinu Quartet, _Martinu: String Quartets, vol. 3: STring Quartets nos. 4, 5 & 7_ (Naxos, 2002)
































Like most of his works, eminently accessible -- largely tonal.


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## clavichorder

I've been listening to Sinfonietta La Jolla, great piece. Also, that piano quintet is making a good first impression.


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## Alypius

Clavichorder, What other Martinu orchestral works are you familiar with? The Sinfonietta is very good, but I would look to other works before that one. Do you have his complete symphonies? There are two excellent and very reasonably priced box sets of his symphonies:

*Neeme Jarvi / Bamberg Symphony: Martinu: Complete Symphonies (Brilliant, 2008)*










*Bryden Thomson / Royal Scottish Symphony: Martinu: Symphonies (Chandos, 2005)*










More recently, *Jiri Belohlavek / BBC Symphony: Martinu: The 6 Symphonies (Onyx, 2012)*, which was awarded the 2012 "Best Orchestral" by Gramophone. It's a good deal pricier than those earlier ones.










You mentioned listening to Symphony #4 earlier in the thread. Symphony #2 is my personal favorite and #5 gets looks of recognition as well, but all are worth exploring. I'll post other orchestral & concerto recommendations if you are interested.


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## PetrB

_*Piano Quintet No. 2*_





_*Fresques de Piero della Francesca*_ 













_*Toccata e Due Canzoni; I. Toccata *_





_*Double concerto for two string orchestras, piano and timpani*_













_*Triple Concerto, for Piano Trio & String Orchestra*_





_*Garrick Ohlsson on Martinu's Piano Concerto No. 4*_




*Piano Concerto No. 4, 'Incantation.'*





_*Nonet*_ an ebullient, 'light / pleasant' piece....





BTW: back to that 'genius' thing. There are, I consider, 'true geniuses' who were both genius, prolific, and due to the prolific part, also 'sloppy.' (Martinu, Milhaud... etc.) 
Sloppy Genius, then, but 'genius' nonetheless.


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## Alypius

Let me follow up on Petr's recommendations. Favorite performances:

*Double Concerto for two string orchestras, piano and timpani*

Jiri Belohlavek / Czech Philharmonic Orchestra: _Martinu: Symphony no. 1 / Double Concerto_ (Chandos, 1992)










*Violin concertos:*

Josef Suk / Vaclav Neumann / Czech Philharmonic: _Martinu: Violin Concertos_ (Supraphon, 2009)










*Fresques de Piero della Francesca*

Karel Ancerl / Czech Philharmonic: _Janacek: Sinfonietta / Martinu: Les Fresques & Parables_ (Supraphon, 2009)


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## Vaneyes

clavichorder said:


> What chamber works would you recommend?



View attachment 16874
View attachment 16875


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## PetrB

Alypius said:


> Let me follow up on Petr's recommendations. Favorite performances:
> 
> *Double Concerto for two string orchestras, piano and timpani*
> 
> Jiri Belohlavek / Czech Philharmonic Orchestra: _Martinu: Symphony no. 1 / Double Concerto_ (Chandos, 1992)
> 
> 
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> 
> *Violin concertos:*
> 
> Josef Suk / Vaclav Neumann / Czech Philharmonic: _Martinu: Violin Concertos_ (Supraphon, 2009)
> 
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> 
> 
> 
> 
> 
> 
> *Fresques de Piero della Francesca*
> 
> Karel Ancerl / Czech Philharmonic: _Janacek: Sinfonietta / Martinu: Les Fresques & Parables_ (Supraphon, 2009)


I grabbed what was immediately handy on Youtube, and somehow 'acceptable.'

I am in 100% agreement with your picks here, and would recommend them as strongly as you do.


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## Neo Romanza

I don't think Martinu was a 'genius' but he was a fine composer nonetheless. His symphonic cycle continues to give me so much pleasure. I also admire his concerti especially for piano, cello, and violin. I listened to his _Oboe Concerto_ not too long ago and loved it. One of my favorite recordings of his music is the Belohlavek-conducted Supraphon release with _Magic Nights_, _Czech Rhapsody_, and _Nipponari_. I know these aren't mature Martinu but I don't care. They sound fantastic and capture a certain innocence which I don't hear in later Martinu. My favorite symphonies of his are the 2nd, 4th, and 5th, but the 3rd and 6th are outstanding as well. The 1st hasn't really grabbed me the way the others have but it does have many wonderful moments throughout. I also love Martinu's Neoclassical ballets like _La Revue de cuisine_, _On tourne!_, and _Le Raid merveilleux_.


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## clavichorder

I adore the second movement to this Symphony for some reason:


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## Neo Romanza

I would consider my Martinu collection quite large. I own most of the Supraphon recordings with a few of the chamber ones missing particularly the _Music for Viola and Piano_ recording. I have found that there's not a dud in his oeuvre or at least in my opinion. Sid James has pointed out that he's an 'uneven' composer because he composed so much music and that's certainly true --- he was very prolific, but, since composing seemed to come easier to him than many composers, there seems to be an almost conversational aspect of his music that just hits me right in the heart and mind. He clearly has written many works of great depth but he also wasn't afraid to get comical and even feel light-hearted which is evidenced in the jazz and Neoclassical-influenced works. I think one of the things I admire about him is the sheer versatility of his oeuvre. The man could compose anything he wanted.

Favorite Martinu works is always a tough one for me, but to start off I love all of the symphonies and concerti even the _Harpsichord Concerto_ and I hate the harpsichord!  Other favorite works include the orchestral trilogy: _The Parables_, _Les Fresques de Piero della Francesca_, and _Estampes_, the _Double Concerto_ (makes chop liver out of Bartok's _Music for Strings, Percussion, and Celesta_ IMHO), _Gilgamesh_, _Magic Nights_, _Nipponari_, _The Spectre's Bride_ (freakin' awesome work!), all of those Paris Neoclassical ballets (_La Revue de cuisine_, _Le Raid merveilleux_, _On tourne!_), the _String Trios_, _String Quintets_, and the list goes on and on.


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## Guest

Martinu was a scrawny kid who was raised in a church tower!
He moved to Paris, then the US.
He wrote quickly and impressed enough people to make a career.

I recommend
- clarinet sonata H.356
- piano concerto #2 H.237
- cello concerto #2 H.304

Although I don't have them yet, I'm sure his violin sonatas and cello sonatas are quite good too.

I don't care much for his violin concerto #2, Les Fresques, or even the famed double concerto, but others like them.


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## Guest

So my question is...shall I focus on the symphonies or the piano concerti?


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## clavichorder

I only know the symphonies, and they are are worth focusing on. But there are so many other pieces of his that are great that fall into neither category, many of his best.


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## Vaneyes

clavichorder said:


> I only know the symphonies, and they are are worth focusing on. But there are so many other pieces of his that are great that fall into neither category, many of his best.


Yes indeed, such as, Double Concerto, Concerto for String Quartet & Orchestra, Sinfonia Concertante.

Suggested recording, w. Endellion SQ, London Sinfonia/Hickox (rec.1989). :tiphat:

View attachment 21042


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## Blake

I like you Sid. But I don't know why you started a guestbook that was pretty much downplaying the artist... calling it throw-away music, not as solid as Dvorak, etc... Those are all heavily biased opinions, my friend. You should've just given the objective facts about the artist in the first post. Simply because you read something in a book doesn't make it cosmic-law. Books also contain a huge amount of nonsense.


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## Blake

By the way, for anyone who hasn't heard Belohlavek's symphony cycle with the BBC Orchestra should check it out. Very nice.


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## Orfeo

ptr said:


> I have a very ambivalent relationship with Martinů's music, much of it feels as it was composed by a quite undelivered genius... Be it Quartets, Symphonies, Concertos etc. I've not heard anything that really makes me feel that he reached his potential, there are seeds of inspiration but never the full bloom.
> There are works that I've found much entertainment in hearing like the Serenades and the Concerto Grosso.
> 
> /ptr


I kind of agree with you here. I think his symphonies, for instance, are generally well written (his Sixth a masterpiece no doubt closely followed by the Fourth), but the ideas sound flat-footed (or pedestrian) in places. His greater range of imagination is found, to me anyhow, in his piano music (an excellent Naxos set is truly worth exploring), though even there, some of the music is not so inspired. His Epic of Gilgamesh is superb (though only in one or two recording(s)?).


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## starthrower

Karel Ancerl was one of the greatest Czech conductors. I have the Martinu symphonies by Jarvi, and they've never clicked for me.


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## samurai

Alypius said:


> Clavichorder, What other Martinu orchestral works are you familiar with? The Sinfonietta is very good, but I would look to other works before that one. Do you have his complete symphonies? There are two excellent and very reasonably priced box sets of his symphonies:
> 
> *Neeme Jarvi / Bamberg Symphony: Martinu: Complete Symphonies (Brilliant, 2008)*
> 
> 
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> 
> *Bryden Thomson / Royal Scottish Symphony: Martinu: Symphonies (Chandos, 2005)*
> 
> 
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> 
> More recently, *Jiri Belohlavek / BBC Symphony: Martinu: The 6 Symphonies (Onyx, 2012)*, which was awarded the 2012 "Best Orchestral" by Gramophone. It's a good deal pricier than those earlier ones.
> 
> You mentioned listening to Symphony #4 earlier in the thread. Symphony #2 is my personal favorite and #5 gets looks of recognition as well, but all are worth exploring. I'll post other orchestral & concerto recommendations if you are interested.


I received the Jarvi/Bamberg Cycle by post today, and have just finished giving *Symphonies 3 and 4 *a spin. So far I am very pleased, with both the content and their performances.


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## Blake

I've heard some of the Belohlavek cycle and it sounds great.


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## Alypius

There was a question about Martinu over on another thread. Let me copy here some of what I posted there. Some of my recommendations square with others earlier in this thread. I discovered Martinu's vast oeuvre of music about two years ago. I return to it often. I would situate him in the wake of Stravinsky's neoclassical phase. He was a fine melodist and had a terrific rhythmic sense, very much in the Czech tradition of Dvorak and Janacek. And like many composers he was caught up in the tumult of World War II ended up in the U.S. (much like Stravinsky, Schoenberg, Bartok, Hindemith, and many others). I believe he died here.

Where to start? *Double Concerto for 2 String Orchestras, Piano & Timpani *(similar in some way to Bartok's Music for Strings, Percussion and Celesta)










There are two excellent (and inexpensive) collections of his *6 Symphonies* (Bryden Thomson / Royal Scottish on Chandos and Neeme Jaarvi / Bamberger Symphoniker on Brilliant):








:

My favorite is #2, but most think #5 is the finest. His symphonic works sometimes sound like Copland (they date from his time in the U.S., and so Copland may be a direct influence). Big grand melodies, vibrant rhythms.

I especially enjoy his chamber works (and it is vast). Where to start? I would recommend his three *cello sonatas*, arguably the best of the century (try the inexpensive and superb version by Steven Isserlis / Peter Evans on Helios).










That's the tip of the iceberg. There are 6 string quartets (very reasonable-priced versions on Naxos), a great pair of piano quintets (also on Naxos). I am very fond of his two violin concertos (esp. #1) and his five piano concertos (esp. #4). And then there's _Les fresques de Piero della Francesca_ (would you call it an orchestral suite? a tone poem?). I've been pleasantly surprised how popular he has become. It is well deserved.


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## Guest

Great picks! My favorites are probably the *double concerto* (I have the disc that also comes with the *Frescos* and the *Field Mass*), the same disc for *cello sonatas*, the *piano quintets* on naxos, the *harpsichord concerto*, and now the song cycle *Magic Nights*!

His orchestral stuff in general hasn't clicked quite as much for me as his chamber music, but I am persisting with his symphonies and other concertos, the ones you mentioned, but also the two cello concertos and the viola concerto.


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## joen_cph

Am now listening to









"_The Butterfly that stamped _...", 
a ballet from the Paris years and 1926. Seeing the title, I thought "well, it´s probably just another piece of Czech folklore". But no: I was unaware that Martinu had written such *an oriental piece*; it is scored for orchestra with piano and chorus. Though probably not a masterpiece, it is catchy and refreshing, lots of exotic rhythms, plaintive oboe solos etc. (the first chorus at times sounds like ... Morricone!). Definitely my list of Martinu works worth knowing.

Am listening to the Belohlavek´s complete recording (around 45 mins long, on LP), but there is only a suite from the work to be found on you-tube,


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## Lysistratus

A soviet composer's reply to just criticism?


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## lincrusta

Just recently checked out a copy of Martinu's "Fantasia" (the only score featuring a theremin at my school argh). Great piece!


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## Dirge

Martinů's seven string quartets are of variable quality and make for uneven listening, but they're always at least somewhat likable-or, at worst, difficult to hate. #1 (1918) is an overly ambitious, overly long early work of many and varied influences that are never fully subsumed/assimilated into a unique whole, the music always sounding derivative of this composer or that (this composer often being Debussy, and that, Ravel). The work exists in a sort of Romantic/Impressionistic never-never land, and the music is always pleasant and, in the first two movements, often ravishing in the manner of early Vaughan Williams in pastoral mode. That said, I generally can't make it through the third and fourth movements.

#2 (1925) and #3 (1929) find Martinů in Paris under the wing of Roussel, and these works treat their abstractly Bohemian thematic material in a vigorous neoclassical way that is recognizably Martinů-and it is in these works that he gives listeners a sense of his unique palette of tone colors. Debussy and Ravel still haunt #2 ever so slightly, but they're now assimilated into the Martinů whole, with "derivative" no longer coming to mind; Martinů himself considered this his first mature work. Coming after Martinů had been six years in Paris during the Roaring Twenties, the compact and spunky #3 deftly reflects the jazzy, avant-garde spirit of the place and time while still being neoclassical at heart, but it's now more Stravinskyan than Rousselian, with a touch of Bartókian thrown in.

#4 (1937) and #7 "Concerto da Camera" (1947) are more relaxed and conservative in nature, with #4 being laid out much like a Haydn quartet aside from the song-like slow movement and #7 being uncommonly clear and straightforward in design, harmonies being the focus. Neither work does much for me-although #4 is well thought of by many-so I'll give them short shrift and leave my remarks about them at that.

Although Martinů's first four quartets are nothing to sneeze at, to say that #5 (1938) comes as "an unexpected masterpiece" (as the Praga liner notes put it) is an understatement. It's often deemed the chamber-music counterpart to the contemporaneous Double Concerto, both being highly wrought (unusual for Martinů), earnestly passionate works inspired by the composer's ill-fated relationship with a much younger woman; this, of course, is in the time-honored tradition of Janáček and countless others before him and Shostakovich and countless others after him-aging composers are a randy but romantically inept lot. The Quartet strikes me as a more idea-rich and interesting work than the Double Concerto, however, and I lump it in with the best of twentieth-century chamber works. The work is rife with elements of personal anguish and frustration and strife of the kind found in Janáček's "Intimate Letters," but they're expressed not in the wildly temperamental and volatile manner of the impetuous old Moravian, but in the relentless, long-suffering, run-over-by-one-tank-after-another-after-another rhetorical manner of Shostakovich-but within a framework that sounds more like Bartók. (I exaggerate grossly only because it's a hell of a lot easier than being veracious and making fine distinctions.) The most Martinů_esque_ moment in the work comes a minute into the first movement when the otherwise agitated and insistent music unexpectedly gives way to a sort of ecstatic sigh somewhat similar to the high-flying theme that appears about 3'15" and 6'20" (in the Ancerl/CzPO recording) into the first movement of _Fantaisies symphoniques_ (1953). The Adagio second movement sounds like anguished "night music" punctuated by creepy pizzicato, which is unsettlingly sparing and not quite predictable, even morphing into quickly-stroked bowed notes for a spell. The rhythmically motivated Allegro vivo third movement has a scherzo_ish_ feel and alternates/morphs between forcefully trenchant music and delicately trenchant music. The downcast, almost funeral, atmosphere of the Lento fourth/final movement is interrupted for a time by a relatively disturbed and agitated middle section before returning in a less downcast but no less despairing temperament.

#6 (1946) is a postwar quartet in both time and temperament, conveying a sense of relief laced with sorrow and bad memories here and hope and optimism there-more of the latter on the whole, I'd say. It doesn't grab you by the collar and compel you to listen, but the more intently you listen, the more you get sucked in by the contrapuntal intricacy and internal dialog; indeed, this is one of the most naturally conversant quartets you'll encounter, epitomizing what Haydn set out to do in his quartets. This is also the Martinů quartet that has the strongest affinity with the Martinů symphonies: while it doesn't sound like a symphony in miniature, it does share many traits and gestures (and a somewhat amorphous structure) with the symphonies.

I listen frequently to quartet #5, somewhat regularly to #6 & #3, occasionally to #2, and rarely to #4, #7 & #1, but there's no accounting for taste.

* * *

Recordings were hard to come by in the old days, but the quartets have fared reasonably well on record since the Panocha Quartet produced their complete set in the late '70s/early '80s:

Panocha Quartet [Supraphon, 1979-82] complete, 3-disc set
Stamitz Quartet [Bayer/Brilliant, 1990] complete, 3-disc set
Martinů Quartet [Naxos, 1995-97] complete, 3 separate discs: (#1, #2) (#3, #6) (#4, #5, #7)
Pražák Quartet (#7) [Praga, 1996] ~ see note at post's end***
Kocian Quartet [Praga, 2005] #2, #4, #5
Zemlinsky Quartet (#1) & Pražák Quartet (#3, #6) [Praga, 2008 & 2009]
… plus several one-off discs and individual recordings

The Panocha, Martinů, and Stamitz recordings can be heard via Spotify, but the various recordings on the elusive Praga label cannot.

The Panocha Quartet gives savvily and suavely negotiated, deftly pointed and inflected, beautifully balanced and phrased performances that tend to generate greater inner tension, a richer atmosphere, and a more compelling dramatic narrative than other groups. The Pražák Quartet and the Kocian Quartet offer a wee bit more polish and refinement, but the Panocha aren't hurting in that respect. Unfortunately, forcefulness and dynamics are a bit subdued and angles a bit polished off. The playing isn't gentle or smoothed over, but I can't help but wish it were a degree or two more forcefully incisive/trenchant in the more rhythmically vigorous music-the other groups are variously more so, especially the Martinů Quartet, but often at a cost to other areas I value. Interpretations are always to my liking, especially in #5, and this would be my complete set of choice if I were limited to one. The recorded sound is a bit opaque and constricted but otherwise pretty good.

As for the Stamitz Quartet, crisply and cleanly defining/delineating form and rhythmic profile would seem to be job one, and it certainly accomplishes that one job, as all things vertical are well aligned and punctually spaced throughout. Unfortunately, the group's somewhat bland (and occasionally wiry) tone and industrial, business-like phrasing isn't particularly involving, and it doesn't generate much in the way of tension, atmosphere, or drama. The playing is proficient and energetic, and there's nothing objectional about the performances, they're just not especially engaging-or so say I. Other listeners, of course, disagree and like or even favor the Stamitz recordings, which have the great advantage of being dirt cheap and readily available on Brilliant Classics.

I always like the performances by the Martinů Quartet, but they're never quite my favorite in any particular work. The group plays with impressive physicality and trenchancy and produces a rich, weighty, full-blooded sound, and phrasing is direct and unfussy without being plainspoken. If the final result isn't quite as polished and refined as it might be, the phrasing not quite as finely appointed and stylish, it's always likable and satisfying-and the result has more visceral impact than you'll find elsewhere.

The Pražák Quartet matches or nearly matches the Panocha interpretively while being a bit more polished and refined _and_ a bit more forceful and incisive-and better recorded to boot. Indeed, I find myself wishing that the Pražák had recorded all the quartets, especially #5, though it's difficult to image any group having as strong an affinity with that particular work as the Panocha has. I give the Pražák the nod in all three works that it has recorded: #3, #6 & #7 (although it's been a while since I've heard the Pražák account of #7 … I seem to have misplaced the damn CD).

The Kocian Quartet sounds like a slightly streamlined clone of the Pražák Quartet: its execution is as polished and refined and proficient as the Pražák's, but its almost-too-clean phrasing is less inflected and characterful than the Pražák's or the Panocha's and it sometimes adopts tempos that are just slightly too fast. The Kocian doesn't challenge the Panocha in #5, but it's style is well suited to #2 and #4 and I might give it the nod in these works for sheer quality of execution. (Audiophiles rave about Praga's SACD sound here; I don't have SACD equipment, but the regular CD layer certainly sounds excellent.)

It's hard to say how the Zemlinsky Quartet might fare in the other quartets, but it's certainly well suited to #1. The work is also quite well served by the Panocha Quartet, but I have to give the nod to the Zemlinsky Quartet for the sheer unadulterated beauty of its playing and sound-the first two movements are well-nigh impossible to resist as presented here.

***The Praga disc including the Pražák recording of #7 is an album of odds & ends, the most entertaining of which is the recording by the Czech Nonet of Martinů's late but youthful Nonet for wind quintet, string trio & double bass (1959). The first movement sounds like an homage to neoclassical Stravinsky, with strong whiffs of _L'Histoire du Soldat_, _Pulcinella_, _Dumbarton Oaks_ and the like in the musical air; the second movement brings an unexpected depth and sounds as if Martinů is channeling Smetana and the Vltava for inspiration; the third/final movement is more gently neoclassical than the first and sounds more like Martinů, with themes and gestures reminiscent of _Fantaisies symphoniques_.


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## Becca

joen_cph said:


> Am now listening to
> 
> View attachment 42670
> 
> 
> "_The Butterfly that stamped _...",
> a ballet from the Paris years and 1926. Seeing the title, I thought "well, it´s probably just another piece of Czech folklore". But no: I was unaware that Martinu had written such *an oriental piece*; it is scored for orchestra with piano and chorus. Though probably not a masterpiece, it is catchy and refreshing, lots of exotic rhythms, plaintive oboe solos etc. (the first chorus at times sounds like ... Morricone!). Definitely my list of Martinu works worth knowing.
> 
> Am listening to the Belohlavek´s complete recording (around 45 mins long, on LP), but there is only a suite from the work to be found on you-tube,


OK, I'm 8 months too late but still ... The Butterfly that Stamped is a short story by Rudyard Kipling from his Just So Stories.


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## Becca

I have become very much a Martinu fan and one of his more light-hearted and attractive pieces is the _Sinfonietta "La Jolla"_ for Chamber Orchestra and Piano. The title of the piece comes from the commissioning group, The Musical Arts Society of La Jolla, a very upscale seaside community just north of San Diego.


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## Itullian

Whatever I've heard from him I've liked.


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## clavichorder

I have recently gotten into the Sinfonietta la Jolla and the Concerto Grosso. The latter, is not a work I hear commented on much, but I found it very tight, compact, and lively.


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## Albert7

clavichorder said:


> I have recently gotten into the Sinfonietta la Jolla and the Concerto Grosso. The latter, is not a work I hear commented on much, but I found it very tight, compact, and lively.


Thanks for sharing those wonderful Martinu pieces tonight with us. I really relished those quite a bit.


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## clavichorder

The Nonet no. 2 is also a very tight little piece. I keep coming back to the Concerto Grosso though, which is sort of a chamber orchestra masterpiece.


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## Albert7

clavichorder said:


> The Nonet no. 2 is also a very tight little piece. I keep coming back to the Concerto Grosso though, which is sort of a chamber orchestra masterpiece.


Thanks for introducing me more to Martinu, clavi. Really wonderful stuff that's for sure.


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## clavichorder

Sinfonietta Giocosa is another fantastic piece! I'm gonna have to try the Double Concerto advocated for above.


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## Steve Wright

Icarus said:


> Martinu was (...) raised in a church tower!


Fascinating - and true. "His family lived in a tiny room at the top of a church tower, where his father - a cobbler by trade - earned money by keeping an eye open for fires in the town below." So, what, a... fire-watcher? Fire sentinel? Guess we don't have this trade any more so the name has died out.
Just getting to know Martinu a little (starting with Symphony 1), and really liking what I hear.


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## Strange Magic

Martinu's Symphony No. 1 is a masterpiece, in my view, and is, along with Bartok's Concerto for Orchestra, yet another treasure we owe to Koussevitsky, who commissioned both works. My own view is that Martinu never again attained the peak he reached in that first symphony with any of the succeeding symphonies--to my dull and uncomprehending ears, he proceeded to write and rewrite a lesser version of same over and over. But that is merely my own take; others may and doubtless do derive great pleasure from any or all of the rest of his symphonies.


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## Becca

I really like the symphonies and Les Fresques de Piero Della Francesca, a piece very much in the Respighi/Church Windows mode. For a really fun, light-hearted piece which shows many of Martinu's fingerprints, try his Sinfonietta 'La Jolla'. As a little side-note, it was commissioned by the musical society of La Jolla, a very upscale community by the ocean just north of San Diego, and where I went to university.


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## norman bates

Of the works I've listened of him, Gilgamesh is the one I've liked the most (thank Prodromides!)


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## clavichorder

Strange Magic said:


> Martinu's Symphony No. 1 is a masterpiece, in my view, and is, along with Bartok's Concerto for Orchestra, yet another treasure we owe to Koussevitsky, who commissioned both works. My own view is that Martinu never again attained the peak he reached in that first symphony with any of the succeeding symphonies--to my dull and uncomprehending ears, he proceeded to write and rewrite a lesser version of same over and over. But that is merely my own take; others may and doubtless do derive great pleasure from any or all of the rest of his symphonies.


Interesting. I have always thought the 1st was really good and very inspired, but I also feel the 4th is an excellent one, though I can see it being perceived a re write, though maybe an improved or more polished one in some regards with it's own substance to offer. And I also feel that his 6th is something else entirely.

I really like some of the other works that are of symphonic proportions but aren't numbered symphonies, like Sinfonietta Giacosa or La Jolla, the Concerto Grosso, the Harpsichord Concerto, or the Cello Concerto no. 1.


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## Strange Magic

clavichorder said:


> I really like some of the other works that are of symphonic proportions but aren't numbered symphonies, like Sinfonietta Giacosa or La Jolla, the Concerto Grosso, the Harpsichord Concerto, or the Cello Concerto no. 1.


So noted. I will attend more closely to your selections above.


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## rrudolph

Prodromides said:


> _The Epic Of Gilgamesh_ (1955) gets my nomination as Martinů's magnum opus.


I concur wholeheartedly.


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## Vaneyes




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## Johnnie Burgess

I am enjoying his symphonies and string quartets.


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## Pugg

clavichorder said:


> Sinfonietta Giocosa is another fantastic piece! I'm gonna have to try the Double Concerto advocated for above.


I make sure I give it a spin, thanks .


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## Johnnie Burgess

superhorn said:


> Martinu has a very distinctive style of his own , and you could never mistake his music for anyone else's .
> A curious mixture of Czech flavor with international influences , even Jazzy elements .


He was one of a kind.


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## Bachiana

I totally agree, but you should mention the piano quartet H.287, too. It's a work that made the same impression on me as the Double Concerto did. I think it's a real gem, with an amazing Adagio that at the end has 20 unforgettable mesures.
As for the string quartets: I prefer the 2d and the 5th.


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## Merl

I have a few sets of his symphonies by Neumann (very good), Jarvi (decent) and Belohlavek (the best) plus some great individual performances. I particularly love Pinkas' tremendous account of the 4th Symphony, remastered beautifully for Warner Apex.


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## starthrower

clavichorder said:


> Sinfonietta Giocosa is another fantastic piece! I'm gonna have to try the Double Concerto advocated for above.


Got them on this CD.


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## Skilmarilion

There are frequent mentions of Martinu's Piano Concerti and the Concerto for Double String Orchestra.

I'll recommend a work which is almost a cross between those two arenas: the *Concerto for 2 pianos & orchestra, H. 292*. It's a rhythmic, jazzy and pulsating work which dazzles in the outer movements while the middle slow movement is lyrical, reflective and poignant.


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## Judith

Just bought his album of three Cello Sonatas performed by Steven Isserlis and Olli Mustonen. Heard the first one on Radio 3 the other week performed by Steven and was hooked!


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## chill782002

The Epic of Gilgamesh is a personal favourite of mine, it has moments of soaring beauty to it and a sometimes eerie, otherworldly feel. As a cantata, I would rank it alongside Orff's Carmina Burana although it's nowhere near as well known. Martinu was a very talented composer and deserves to be more widely heard.


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## arthro

Judith said:


> Just bought his album of three Cello Sonatas performed by Steven Isserlis and Olli Mustonen. Heard the first one on Radio 3 the other week performed by Steven and was hooked!


Yup heard that too and also liked it alot.

Treatment of piano reminded me of Bernard Hermann's score for the Day the Earth stood still, for a bit.

Seem to be really good pieces, listening to them a good deal. Cheers.


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## poodlebites

A few weeks ago, during the Storioni festival, they played this Martinu piece for string quartet, oboe theremin and piano and I think it was the one piece I liked the most. I had never heard anything from Martinu before, so I'm writting down all your recomendations.


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## Judith

arthro said:


> Yup heard that too and also liked it alot.
> 
> Treatment of piano reminded me of Bernard Hermann's score for the Day the Earth stood still, for a bit.
> 
> Seem to be really good pieces, listening to them a good deal. Cheers.


Reminded me a bit of Shostakovich who I love anyway!


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## manyene

No mention of the Greek Passion so far: not far behind Gilgamesh as a work of art (as well as music)


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## Janspe

To all fans of Martinů: his _pastoral-opera_ *What Men Live By* has just been released in a recording that is (I think) the first of its kind:









An important addition to the Martinů discography! The coupling was apparently part of a new complete symphony cycle, but that project was unfortunately buried when the conductor died.


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## starthrower

Belohlavek recorded a complete Martinu cycle with the BBC Symphony for the Onyx label.


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## Janspe

starthrower said:


> Belohlavek recorded a complete Martinu cycle with the BBC Symphony for the Onyx label.


He did indeed! This would've been an additional one.


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## CnC Bartok

Bělohlávek managed to record all but No.2 in his symphony cycle for Supraphon. Shame. This new CD is worth having for sure, although I am not convinced What Men Live By is some lost masterpiece....


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## Enthusiast

The thing with the symphonies is that Ancerl recorded a couple of them (5 & 6) and no-one comes close to what he does with them. I like several of the sets but with the Ancerl examples I am always left wondering what might have been.


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## CnC Bartok

...... couldn't agree more! But I'd add the handful of recordings done by Karel Sejna to that list, including his 3rd Symphony and the incomparable Double Concerto. Actually errrr, that's it! Wonderful how a reputation can rest on just two recordings!!!

Btw, there is a "Karel Ancerl" Martinů 4th out there...... He rehearsed the Czech Philharmonic for that one, but the recording ended up in the hands of Martin Turnovský. The exact reasons are hazy to me at the moment.

And on the now-defunct Multisonic label, Czech Radio recordings of Nos. 1, 3 and 5.









The term "genius" springs all to readily to mind...


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## Enthusiast

^^^ Ooh! Where can I find it? I have to find it!


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## CnC Bartok

https://www.amazon.de/Martinu-Symph...id=1546023957&sr=8-14&keywords=Martinů+ancerl

Best I can find, 12 Euros on Amazon Germany. $200+ in the US of A! £20 in the UK.

Hodně štěstí.


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## Enthusiast

Děkuji. I have written to them but am not sure they can do international through the Amazon system as they do not seem to be set up for it.


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## Jacck

for cca €6
https://www.bontonland.cz/ancerl-karel-gold-34-symfonie-c-5-a-6-symf-fantazie-pamatnik-lidicim/
I am not sure if they ship internationally


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## joen_cph

Bontonland is a nice, established shop in Prague, still has a good selection of CDs.


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## CnC Bartok

Agreed,. But the old Supraphon shop on Jungmannova was better.....


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## Enthusiast

Jacck said:


> for cca €6
> https://www.bontonland.cz/ancerl-karel-gold-34-symfonie-c-5-a-6-symf-fantazie-pamatnik-lidicim/
> I am not sure if they ship internationally


Thanks - but that is a different record and one I already have. I am after the one that Robert Pickett posted ...


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## Jacck

then used ones here
https://www.discogs.com/sell/release/7702850?ev=rb


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## Enthusiast

^^^ Yes! Strange as I did search DISCOGS but it didn't come up. Now there are many! Thanks.

EDIT - The cheaper one went 5 minutes ago! The next one is three times as much and has very expensive postage on top. I'll have to wait :-(


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## Enthusiast

Enthusiast said:


> ^^^ Yes! Strange as I did search DISCOGS but it didn't come up. Now there are many! Thanks.
> 
> EDIT - The cheaper one went 5 minutes ago! The next one is three times as much and has very expensive postage on top. I'll have to wait :-(


Good news! The nicely priced one returned to being on sale today - I think the seller had been on holiday - and it should now be on its way to me. Big thanks to my helpers!


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## jidlomonster

The International Martinů Circle has decided to launch a Facebook Group, 'Bohuslav Martinů enthusiasts', and we very much hope that you will join us. You may be aware of several Martinů pages on Facebook already but the Facebook Group will be very different. Instead of just reading information, you will be able to interact with other enthusiasts, share your opinions on Martinů's music, draw the attention of others to your favourite recordings or videos, advertise performances, arrange to meet other members at Martinů events or even canvas opinions by conducting a poll. In short, it is an excellent tool for bringing Martinů fans closer together and spreading the word about his extraordinary legacy.

The Facebook Group can found from outside Facebook by typing the following address directly into your browser:

https://www.facebook.com/groups/internationalmartinucircle

Although sponsored by the International Martinů Circle, this group will be open to anyone interested in the composer, whether an IMC member or not. We hope it will prove to be a stimulating new resource for Martinů's ever-growing band of admirers.


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## Phil loves classical

I just listened to his 4th through 6th symphonies the other day. The 4th wasn't nearly as impressive as I remembered it. The last 2 are much better to my ears.


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## flamencosketches

I heard a few of Martinu's works today and really enjoyed each of them, especially these:
















He strikes me as an extremely accessible composer, and perhaps this comparison isn't quite fair, but he seems like something of a Czech Hindemith. Another touchstone would be Ravel. I definitely want to hear more of Martinu's music. Anyone been listening to him at all lately?


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## Littlephrase

I love Martinu to death. Here's some of his music that I've listened to recently:


















He wrote so much great orchestral and chamber music, I have to force myself to stop. There is much to explore.


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## flamencosketches

Hmm, shouldn't this thread be in the composer guestbooks forum?


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## jim prideaux

If you have not already listened to the 2nd Symphony do so!

According to a number of 'critics'/comentators on all things musical it seems to be the least significant of his symphonies-they are wrong!


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## flamencosketches

jim prideaux said:


> If you have not already listened to the 2nd Symphony do so!
> 
> According to a number of 'critics'/comentators on all things musical it seems to be the least significant of his symphonies-they are wrong!


That's the only one of his symphonies that I've heard actually. I really enjoyed it! Very rich in ideas.

I ordered this:









... which also includes string quartets by Smetana and Janáček, another two composers that I want to explore further.

I think I want to purchase a set of Martinu's complete symphonies as well. I see the Chandos set with Bryden Thomson has gotten pretty good reviews, and it's quite cheap. Any opinions on this here?


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## CnC Bartok

Try and get Belohlavek on the Oxyx label, or Neumann's set on Supraphon. Oh, and anything conducted by Karel Ancerl!


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## Jacck

one of my favorite - if not the most favorite - works by Martinů is the Czech Rhapsody for baritone, chorus, organ and large orchestra.


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## CnC Bartok

^^^ Indeed, a lovely piece, as is the very different, other Czech Rhapsody for violin and piano!

Martinu's choral music is a wonderful world, including his gorgeous Opening of the Wells, the tough nut to crack Prophecy of Isaiah, and what I consider his masterpiece, The Epic of Gilgamesh. All deserve a hearing


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## Kiki

There are 7 sets of complete symphonies available on the market as of today. The Neumann set is arguably _the _yardstick. The sonics is good, but is starting to show its age. For better sound, I'd strongly recommend the sets by Bělohlávek (finesse), Järvi (beefy) or Thomson (powerful).


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## Enthusiast

flamencosketches said:


> That's the only one of his symphonies that I've heard actually. I really enjoyed it! Very rich in ideas.
> 
> I ordered this:
> 
> View attachment 122017
> 
> 
> ... which also includes string quartets by Smetana and Janáček, another two composers that I want to explore further.
> 
> I think I want to purchase a set of Martinu's complete symphonies as well. I see the Chandos set with Bryden Thomson has gotten pretty good reviews, and it's quite cheap. Any opinions on this here?


You got a great set of quartets, there. Years of pleasure! I'm very much with CnC Bartok on the symphonies, especially re Belohlavek and (another world completely) anything by Ancerl.


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## CnC Bartok

^^^ Did you ever get hold of the Multisonic Ancerl double CD of symphonies 1,3, and 5? If so, hope it lived up to expectations!


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## Enthusiast

^ I did indeed. I thought I had thanked you but sorry if I didn't. It is great (as you know).


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## CnC Bartok

^^ Glad you got it, was reminded of your quest by reading this thread a couple of pages back. It is worth having, isn't it! 

You probably did mention you'd got it, but there's a brain like a sieve this end! And not fishing for gratitude either!!! :tiphat:


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## Enthusiast

CnC Bartok said:


> You probably did mention you'd got it, but there's a brain like a sieve this end! And not fishing for gratitude either!!! :tiphat:


Oh no, I didn't think that! I just hoped I hadn't been rude! I really appreciated your help.


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## flamencosketches

Enthusiast said:


> You got a great set of quartets, there. Years of pleasure! I'm very much with CnC Bartok on the symphonies, especially re Belohlavek and (another world completely) anything by Ancerl.


awesome, thanks. I'm really excited to explore all these composers. A cycle of Dvorak's quartets is also on the list of important future acquisitions.

Anyway, I'll check out Belohlavek and Ancerl both. Thanks for the tips.


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## jim prideaux

Kiki said:


> There are 7 sets of complete symphonies available on the market as of today. The Neumann set is arguably _the _yardstick. The sonics is good, but is starting to show its age. For better sound, I'd strongly recommend the sets by Bělohlávek (finesse), Järvi (beefy) or Thomson (powerful).


would whole heartedly agree with you regarding those three more modern cycles-there is also an incomplete cycle conducted by Flor which is of a similar standard.


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## Guest

Kiki said:


> There are 7 sets of complete symphonies available on the market as of today. The Neumann set is arguably _the _yardstick. The sonics is good, but is starting to show its age. For better sound, I'd strongly recommend the sets by Bělohlávek (finesse), Järvi (beefy) or Thomson (powerful).


I found the Behlohlavek (BBC) to have unpleasant audio engineering. Jarvi or Thomson strike me as failing to understand the lyricism that is at the base of this music. You've cited my three least prefered cycles. 

Other than Neumann, my favorite is Valek, Prague Radio Symphony


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## jim prideaux

Baron Scarpia said:


> I found the Behlohlavek (BBC) to have unpleasant audio engineering. Jarvi or Thomson strike me as failing to understand the lyricism that is at the base of this music. You've cited my three least prefered cycles.
> 
> Other than Neumann, my favorite is Valek, Prague Radio Symphony


interesting alternate perspective (one of the main attractions of 'TC')…...Will now have to investigate this set!


----------



## Guest

jim prideaux said:


> interesting alternate perspective (one of the main attractions of 'TC')…...Will now have to investigate this set!


It's a "dark horse." Jarvi struck me as mindlessly kinetic. Thomson struck me as seeking big dynamic contrasts in music that is inherently rhapsodic. Valek strikes me as relaxed yet vibrant. Of course, most people don't agree with me.

But I don't put it above Neumann. I like the mature analog engineering of that set, although it is a challenge to rip, since it has "pre-emphasis" which needs to be removed by hand if ripped to FLAC as I do (foobar2000 or xld). Only iTunes is intelligent enough to automatically compensate when ripping.


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## CnC Bartok

^^ I'm afraid I can't agree with you on the Valek set. I find it relaxed and that's about it! Sorry! The only other disappointing cycle for me is Fagan, very flat all in all. And I am disappointed with Flor, in that the four he has recorded are very good indeed. A real shame it's incomplete. Cornelius Meister is a pleasant surprise. 

Don't forget Belohlavek also managed 3/6 on Chandos, (1,4&6) and those are brilliant; and now there are 5/6 on Supraphon, missing Jim's elusive 2nd. Some sound quality issues aside, most of these are preferable to the BBC set....


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## flamencosketches

Sprung for this one:









... with money I can't afford to be spending...  it was only $10, last one in stock, and I LOVED what I heard. Ancerl never recorded the complete cycle, did he?


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## CnC Bartok

^^^^ Well done! Sadly no complete Ancerl cycle, but your CD is about as good as it gets with Martinu!


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## flamencosketches

It sounded great! I listened to the 6th symphony, I believe this recording was made in 1958 or 1959, but the sound is excellent. I have nothing of maestro Ancerl in my library and I've been meaning to explore his work.


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## Littlephrase

I’ve only heard Ancerl with the Czech repertoire: Janacek, Dvorak, Martinu, Smetana etc. I’m particularly fond of his recordings of some of Janacek’s masterworks like Taras Bulba and Glagolitic Mass.


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## flamencosketches

Littlephrase1913 said:


> I've only heard Ancerl with the Czech repertoire: Janacek, Dvorak, Martinu, Smetana etc. I'm particularly fond of his recordings of some of Janacek's masterworks like Taras Bulba and Glagolitic Mass.


Noted, I will have to check those out. I listened to some of the Glagolitic Mass earlier today for the first time, it was the Michael Tilson Thomas recording. I just read a bit of Ancerl's backstory and gained some respect and curiosity for his life and work. I'll certainly be digging deeper, but I think this CD will be a good place to begin. I ordered it on Amazon prime so it'll be here soon enough 

Seriously, can we please get a mod to move this thread to the Composer Guestbooks forum? This is really irritating me, for whatever reason.


----------



## Kiki

jim prideaux said:


> would whole heartedly agree with you regarding those three more modern cycles-there is also an incomplete cycle conducted by Flor which is of a similar standard.


I concur with your suggestion of Flor. His incomplete cycle is one of my favourites. All four are good. I particularly like his No. 5, where there is a kind of "fluffiness" to it that makes the middle movement sound special. I like this No. 5 as much as the Ančerl's three magical No. 5s, especially the Toronto one.


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## Kiki

Baron Scarpia said:


> I found the Behlohlavek (BBC) to have unpleasant audio engineering. Jarvi or Thomson strike me as failing to understand the lyricism that is at the base of this music. You've cited my three least prefered cycles.
> 
> Other than Neumann, my favorite is Valek, Prague Radio Symphony


Oh, that's heartbreaking!  Tbh I think you pointed out the weakness of these 3 sets. On the other hand, I think they do have their strengths like Bělohlávek's sensitivity, Järvi's rich sonority and Thomson's excitement. No set's perfect, but we knew that all along, but hey I can even enjoy Fagan and Meister.

Válek? I wish he were faster and more exciting. Personal preference obviously, but I do find his No. 6 interesting (the zen...), which is the polar opposite of Charles Munch's crushing fire engine.


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## CnC Bartok

Littlephrase1913 said:


> I've only heard Ancerl with the Czech repertoire: Janacek, Dvorak, Martinu, Smetana etc. I'm particularly fond of his recordings of some of Janacek's masterworks like Taras Bulba and Glagolitic Mass.


Karel Ancerl did record beyond the Czech repertoire, not hugely, but significantly. Do try to hear any of his Stravinsky, Prokofiev or Shostakovich, especially the handful of the latter's symphonies he recorded.

His Bartok is interesting too! But I'd still say his most important recordings are of his compatriots' music.


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## Enthusiast

Yes, yes. Ancerl's Stravinsky - especially in the "neo-classical" works - is excellent. Few conductors understood Stravinsky's idiom as he did. And he did some great Shostakovich - like the 10th coupled with a really good Stravinsky Violin Concerto (see picture below) and his 1, 5 and 7 on Supraphon. And some pretty good Mahler, as well. Some of his Prokofiev has long been among the top recommendations. The trouble with his Martinu 5 and 6 record is that it always made me dissatisfied with everyone else in Martinu.


----------



## CnC Bartok

Enthusiast said:


> Yes, yes. Ancerl's Stravinsky - especially in the "neo-classical" works - is excellent. Few conductors understood Stravinsky's idiom as he did. And he did some great Shostakovich - like the 10th coupled with a really good Stravinsky Violin Concerto (see picture below) and his 1, 5 and 7 on Supraphon. And some pretty good Mahler, as well. Some of his Prokofiev has long been among the top recommendations. The trouble with his Martinu 5 and 6 record is that it always made me dissatisfied with everyone else in Martinu.
> 
> View attachment 122047


That's a great CD, including the Stravinsky Concerto, a work I really appreciate hugely.. I must admit that, while I agree wholeheartedly that Ancerl is supreme in Martinu, I found your last comment a little sad. No conductor has a monopoly on any composer, and I think that both Neumann, and even more so in terms of breadth, Belohlavek, have a special affinity with his music. I feel Belohlavek is more understated generally, but hearing his recordings of some of the supposedly lesser Martinu makes me appreciate his less attached approach. His Gilgamesh is superb, as are the operas he has done, and a whole range of orchestral pieces I couldn't do without. I hope you can sense the same.

Martinu's a good enough composer to survive more than one style of conducting, surely?


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## Enthusiast

CnC Bartok said:


> ........... while I agree wholeheartedly that Ancerl is supreme in Martinu, *I found your last comment a little sad. No conductor has a monopoly on any composer, and I think that both Neumann, and even more so in terms of breadth, Belohlavek, have a special affinity with his music. I feel Belohlavek is more understated generally, but hearing his recordings of some of the supposedly lesser Martinu makes me appreciate his less attached approach. His Gilgamesh is superb, as are the operas he has done, and a whole range of orchestral pieces I couldn't do without. I hope you can sense the same.
> 
> Martinu's a good enough composer to survive more than one style of conducting, surely?*


*

Yes, I agree. Am would generally argue for multiple approaches to great music and I do include much Martinu in that. Also also agree that Belohlavek's Martinu (and his Janacek) is superb. I do also like Neumann's Martinu ... perhaps not as much as you do, but it is good. So, I won't defend my statement! Still, it is a feeling that I had and I do think that Ancerl's Martinu is a foundation to an appreciation the composer.*


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## flamencosketches

^You are getting me excited to hear the CD I ordered


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## starthrower

Has anyone listened to the symphony cycle on Capriccio conducted by Cornelius Meister?


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## starthrower

flamencosketches said:


> N
> Seriously, can we please get a mod to move this thread to the Composer Guestbooks forum? This is really irritating me, for whatever reason.


The fact that constructive suggestions are ignored by the mods is what is irritating. * Please move this thread to the Composer's Guestbook section.*


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## Tchaikov6

starthrower said:


> The fact that constructive suggestions are ignored by the mods is what is irritating. * Please move this thread to the Composer's Guestbook section.*


Well, it's basically already there. If you go to the Information and Index Page it's listed as the thread for Martinu so people can still find it


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## starthrower

Tchaikov6 said:


> Well, it's basically already there. If you go to the Information and Index Page it's listed as the thread for Martinu so people can still find it


Still, it belongs in the other composer specific section.


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## starthrower

Baron Scarpia said:


> I found the Behlohlavek (BBC) to have unpleasant audio engineering. Jarvi or Thomson strike me as failing to understand the lyricism that is at the base of this music. You've cited my three least prefered cycles.
> 
> Other than Neumann, my favorite is Valek, Prague Radio Symphony


I'm liking the sound of this one. The Neumann recording sounds thin and grating. Valek seems to bring out the details better than Meister on Capriccio. And the sound is better. I'll probably pick up this set.


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## Kiki

starthrower said:


> Has anyone listened to the symphony cycle on Capriccio conducted by Cornelius Meister?
> 
> View attachment 126564


Great recording, lots of details; a bit volatile (rugged?) in the performance, occasionally caught out by the syncopated rhythm to sound stop-go-stop-go, but otherwise committed and is certainly worth hearing. ... My two cents.


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## starthrower

Yes, I noticed his no.1 sounded a bit more rugged and intense compared to Valek. But I think I could enjoy both. I played the first disc of Bolohlavek's BBC cycle last night and I thought the performances sounded great. Highly spirited and full of energy.


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## jim prideaux

starthrower said:


> Yes, I noticed his no.1 sounded a bit more rugged and intense compared to Valek. But I think I could enjoy both. I played the first disc of Bolohlavek's BBC cycle last night and I thought the performances sounded great. Highly spirited and full of energy.


I noticed that you had listened to 1 and 2...….the second is actually my personal favourite of the six ( I have mentioned this on a number of posts!) and I was wondering how you found it?


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## starthrower

I will have to listen to it again. I really enjoy listening to the Symphonies if Martinu and Bax but for some reason I can't seem to retain much of the music in my memory afterwards. Other than the swirling sounds of the opening to Martinu No.1.


Update: I listened again with headphones. I particularly enjoyed the beautiful 2nd movement, and the dance like 3rd.


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## Fredrikalansson

CnC Bartok said:


> Karel Ancerl did record beyond the Czech repertoire, not hugely, but significantly. Do try to hear any of his Stravinsky, Prokofiev or Shostakovich, especially the handful of the latter's symphonies he recorded.
> 
> His Bartok is interesting too! But I'd still say his most important recordings are of his compatriots' music.


I had season tickets when Ancerl was conducting the Toronto Symphony. My introduction to Martinu was their performance of the 5th symphony. I was swept away. But Ancerl's recorded legacy does not reflect the broadest of his repertoire and sympathies. He excelled in 20th century works: in addition to his excellent Stravinsky, Shostakovich, etc., we heard Hindemith, Britten, Copland, Rachmaninoff, Ravel, Nielsen, etc. He also championed contemporary Canadian music. In addition, his Beethoven and Brahms never lacked for visceral excitement. I remember an astonishingly rhythmic Schubert 9th. A roof raising Mahler 2nd. The list goes on. It's a measure of his greatness that I can still remember those performances some 50 years later.

I owe my enthusiasm for Martinu to Ancerl. I might not know his music even to this day had it not for that performance of the 5th. For the record, Meister's recording of the symphonies is the one that most reminds me of Ancerl's approach. (I have Neumann, Jarvis, Thompson and Behalovek as well.)


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## Janspe

I've been under the spell of Martinů recently and thus I've listened to a lot of his works, most of them for the first time. His style is slowly becoming more familiar to me, and I'm really excited to explore more and more.

The 1st piano concerto is just so much fun, the 2nd string quartet kept me listening attentively, the 2nd violin concerto is a towering masterpiece, the 6th symphony is totally fresh and interesting... I could go on and on. How about the piano quintets? Thrilling works.

I'm partly this excited about Martinů because a recording of the two violin concertos, played by Frank Peter Zimmermann, will be released soon:









Zimmermann is a great violinist, and has recorded a lot of repertoire really well (Szymanowski, Shostakovich, Hindemith etc) so I'm very much looking forward to this release!


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## BlackAdderLXX

Janspe said:


> I've been under the spell of Martinů recently and thus I've listened to a lot of his works, most of them for the first time. His style is slowly becoming more familiar to me, and I'm really excited to explore more and more.
> 
> The 1st piano concerto is just so much fun, the 2nd string quartet kept me listening attentively, the 2nd violin concerto is a towering masterpiece, the 6th symphony is totally fresh and interesting... I could go on and on. How about the piano quintets? Thrilling works.
> 
> I'm partly this excited about Martinů because a recording of the two violin concertos, played by Frank Peter Zimmermann, will be released soon:
> 
> View attachment 144916
> 
> 
> Zimmermann is a great violinist, and has recorded a lot of repertoire really well (Szymanowski, Shostakovich, Hindemith etc) so I'm very much looking forward to this release!


I wasn't aware. Thanks for the heads up! I love Martinu. I saw his name around here but had no idea about his music until Hurwitz did his video a few months back. Like Bax, the first time I heard Martinu I was hooked.


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## CnC Bartok

Thanks for the heads up on the Martinů Violin Concertos. Will investigate asap!

Actually as much interested to hear what Jakub Hrůša is like in Martinů, a lot of hope pinned on that chap's shoulders.....


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## CnC Bartok

A heads up for those of you who aspire to become Martinů completists!

The early ballet, Istar, recorded by Supraphon in the mid-70s by the Brno Phil and Jiří Waldhans, has now been released as a download on Supraphonline. 

An interesting, if atypical piece.


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## MusicSybarite

I heard _Incantations_ (the 4th Piano Concerto) the other day and I was bewitched once again. With fair reasons: it's a masterpiece! I mean, how could Martinu conjure up such a myriad of moods and magic here? A ravishing creation.


----------



## Kiki

Has the Istar ballet suite on Supraphon ever been released on CD? Think I've only seen it on LP.

While looking at the Istar download on Supraphonline, by coincidence, I also saw the CD of the Bohuslav Martinů Philharmonic's Fantaisies symphoniques. Now that's a rare item! But it's available on CD only, and I don't think Supraphonline will deliver internationally. 

Recently also watched Andrés Orozco-Estrada's Double Concerto on hr-Sinfonieorchester's youtube channel, made during the lockdown. Think the last movement is especially good. I do wish Orozco-Estrada will commit his Martinů on discs.


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## CnC Bartok

Istar Ballet Suites were only ever on LP. So this is their first digital incarnation. Glad to have it, although it is not a major work, but my old LP was so crackly and awful it was really hard to listen to with any sense of comfort. Sadly a lot of Supraphon LPs were like that....


----------



## Sid James

*A Martinu diary - recent listening*

*Memorial to Lidice* (1943)

I see this as a musical equivalent to Picasso's _Guernica_, a defiant gesture to never forget the brutal massacre of innocent people. It echoes the sentiments of people across the world at the time, for example many towns where renamed Lidice.

It is a powerful but also cryptic work. The introduction is reminiscent of _Dies Irae_, after which a lyrical folk-like tune emerges. It is played with increasing intensity on the strings, with foreboding interjections by the brass. The fate motto from Beethoven's _Symphony No. 5_ is the climax of the piece. While it does provide a huge release of tension, it comes across to me as highly ambiguous. Is it a comment on Enlightenment values, the dichotomy between darkness and light? I don't know, but its certainly not ironic.

*Sinfonietta La Jolla* (1950)

Martinu wrote many chamber concertos which show the impact of his long stay in Paris. There, immersed in the world of Stravinsky, Ravel and Les Six, he could not fail to soak up neoclassicism and jazz. Common aspects of these works include crisp sonorities, energetic drive and song-like melody.

*Sinfonietta La Jolla* comes across to me as more memorable than most others of its type that I'm familiar with. Its busy and at times motoric outer movements encase a central slow movement which has a nocturnal quality. It's the emotional core of the work, combining a gently rocking rhythm, fragmentary phrases from the piano and a soaring melody played on strings. A climactic outburst settles down, and overall the mood is more restful than tense.

*Rhapsody-Concerto for viola and orchestra* (1952)

This piece, like _Sinfonietta La Jolla_, was composed in the USA. Martinu had an easier time compared to others such as Bartok or Schoenberg in establishing himself there. American audiences where already familiar with his music, and he had no shortage of commissions.

The *Rhapsody-Concerto* was written for the principal violist of the Cleveland Orchestra. It took me a while to warm to it, probably because of its informal structure and relative lack of drama. The viola part is cast less as a hero and more like a wandering minstrel. So, less like Berlioz's _Harold in Italy_ and more like Hindemith's _Der Schwanendreher_.

There is a sense of contentment and mellowness to this piece, similar in feel to some pieces by Brahms and Dvorak. It is in two movements. The first, which begins with a nostalgic melody, reads like a prelude to the second. There is more contrast in the second movement, the solo part is less ruminative and more animated, while the mood changes from dark to spiritual to agitated and back again. The work ends as it had begun, in a calm mood.

The recordings I listened to:

Memorial - Bamberger Symphoniker/Ingo Metzmacher, EMI 2 64350 2





Sinfonietta - Royal Liverpool PO/Walter Weller, EMI 2 64350 2





Rhapsody - Rivka Golani, viola/Bern SO/Peter Maag, alto ALC 1267


----------



## annaw

^ Very nice and interesting post!

I’ve been listening to a lot of Martinu recently, although his music took me some time to warm up to. I love the combination of modernism and folk tunes that he combines together even in his more serious works, and I greatly enjoy how he uses the almost omnipresent piano. I think it has created a thoroughly unique and individual compositional language. It is interesting how his identity as a Czech never seemed to leave him, no matter if he happened to be located in Paris or had immigrated to the States.

Although his style seems to be more serious in overall, and understandably so, there are a few works that I find very fun to listen to - his 2nd symphony, Rhapsody-Concerto, and both Špalíček Suites. His small opera "What Men Live By" was just very sweet.


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## Sid James

annaw said:


> ^ Very nice and interesting post!


Thank you, I'm glad you enjoyed it.



> I've been listening to a lot of Martinu recently, although his music took me some time to warm up to. I love the combination of modernism and folk tunes that he combines together even in his more serious works, and I greatly enjoy how he uses the almost omnipresent piano. I think it has created a thoroughly unique and individual compositional language. It is interesting how his identity as a Czech never seemed to leave him, no matter if he happened to be located in Paris or had immigrated to the States.


I think that's true, despite living abroad and absorbing many influences, in a musical sense he was never far away from his roots.



> Although his style seems to be more serious in overall, and understandably so, there are a few works that I find very fun to listen to - his 2nd symphony, Rhapsody-Concerto, and both Špalíček Suites. His small opera "What Men Live By" was just very sweet.


There's also a sense of landscape, or just space, to his music. This Guardian article relates this to Martinu living in a church tower when he was growing up. He had a bird's eye view of the landscape. Other sources mention how this open air aspect strengthened once he reached the USA, perhaps as a response to local composers like Copland or even Ives. Apart from Rhapsody-Concerto, I have heard the Symphony #2 but not the latter two (I am aware that Spalicek is highly regarded).

https://www.theguardian.com/music/2009/mar/27/bohuslav-martinu-czech-composer

Incidentally, I also found an interview with Martinu from 1942, probably recorded during a radio broadcast of his music. He cites the music of Czechoslovakia, English madrigalists and Debussy as his strongest influences:






Reading initial discussions of when I started this thread in 2009, this interesting contributor has since published his book on Martinu (link to review below).



jim rybka said:


> I knew Bohuslav Martinu personally and have just completed his biography--which is now looking for a publisher...


http://www.classical.net/music/books/reviews/0810877619a.php


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## CnC Bartok

Just been listening to a gem, Symphony No.2, performed by the Czech Phil under the peerless Karel Ancerl. Recorded off the radio in 1962, performance at Maida Vale.

Gets a huge thumbs-up from me, but the regret that he never recorded it commercially remains.....


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## Neo Romanza

Sid James said:


> *A Martinu diary - recent listening*
> 
> *Memorial to Lidice* (1943)
> 
> I see this as a musical equivalent to Picasso's _Guernica_, a defiant gesture to never forget the brutal massacre of innocent people. It echoes the sentiments of people across the world at the time, for example many towns where renamed Lidice.
> 
> It is a powerful but also cryptic work. The introduction is reminiscent of _Dies Irae_, after which a lyrical folk-like tune emerges. It is played with increasing intensity on the strings, with foreboding interjections by the brass. The fate motto from Beethoven's _Symphony No. 5_ is the climax of the piece. While it does provide a huge release of tension, it comes across to me as highly ambiguous. Is it a comment on Enlightenment values, the dichotomy between darkness and light? I don't know, but its certainly not ironic.
> 
> *Sinfonietta La Jolla* (1950)
> 
> Martinu wrote many chamber concertos which show the impact of his long stay in Paris. There, immersed in the world of Stravinsky, Ravel and Les Six, he could not fail to soak up neoclassicism and jazz. Common aspects of these works include crisp sonorities, energetic drive and song-like melody.
> 
> *Sinfonietta La Jolla* comes across to me as more memorable than most others of its type that I'm familiar with. Its busy and at times motoric outer movements encase a central slow movement which has a nocturnal quality. It's the emotional core of the work, combining a gently rocking rhythm, fragmentary phrases from the piano and a soaring melody played on strings. A climactic outburst settles down, and overall the mood is more restful than tense.
> 
> *Rhapsody-Concerto for viola and orchestra* (1952)
> 
> This piece, like _Sinfonietta La Jolla_, was composed in the USA. Martinu had an easier time compared to others such as Bartok or Schoenberg in establishing himself there. American audiences where already familiar with his music, and he had no shortage of commissions.
> 
> The *Rhapsody-Concerto* was written for the principal violist of the Cleveland Orchestra. It took me a while to warm to it, probably because of its informal structure and relative lack of drama. The viola part is cast less as a hero and more like a wandering minstrel. So, less like Berlioz's _Harold in Italy_ and more like Hindemith's _Der Schwanendreher_.
> 
> There is a sense of contentment and mellowness to this piece, similar in feel to some pieces by Brahms and Dvorak. It is in two movements. The first, which begins with a nostalgic melody, reads like a prelude to the second. There is more contrast in the second movement, the solo part is less ruminative and more animated, while the mood changes from dark to spiritual to agitated and back again. The work ends as it had begun, in a calm mood.
> 
> The recordings I listened to:
> 
> Memorial - Bamberger Symphoniker/Ingo Metzmacher, EMI 2 64350 2
> 
> 
> 
> 
> 
> Sinfonietta - Royal Liverpool PO/Walter Weller, EMI 2 64350 2
> 
> 
> 
> 
> 
> Rhapsody - Rivka Golani, viola/Bern SO/Peter Maag, alto ALC 1267


Great write-up you've done there, Sid , but don't forget that Martinů studied with Albert Roussel and there's no question that the Neoclassicism of this composer certainly rubbed off on him. The most fascinating aspect about all of this is that Martinů's unique compositional voice stayed intact even when he was writing jazz-influenced ballets or Neoclassical-inflected concertos. Take these influences and add in Moravian folk music and you have one strange admixture of influences, but there's no mistaking his style for any other composer's and I think this is one aspect that has kept him within the 'public ear' so to speak. I just wished he had a wider international status like Shostakovich or Stravinsky. He deserves it!


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## Neo Romanza

CnC Bartok said:


> Just been listening to a gem, Symphony No.2, performed by the Czech Phil under the peerless Karel Ancerl. Recorded off the radio in 1962, performance at Maida Vale.
> 
> Gets a huge thumbs-up from me, but the regret that he never recorded it commercially remains.....


A shame that Ančerl never recorded *all* of the symphonies, because, if he did, they would be the reference set without a doubt in my mind. But I'm thankful for what he did record: three recordings of Ančerl Gold Martinů.


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## Kiki

Saw this youtube video posted in the Bohuslav Martinů Enthusiasts Group on facebook. Has anybody watched this old BBC film about Martinů's life?

Warning: this is a Ken Russell film, so be warned of a certain degree of earthiness/controversy/un-subtleness about it. His films about Tchaikovsky and Mahler are both very strange, but this is even stranger.

The first half of the film depicts his life's events in a dream/fantasy-like setting. The second half explains the dream.

Mr. Russell certainly knows his Martinů orchestral/ballet music, and have made good use of them as soundtracks - this could probably be the only bit that is not controversial.


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