Bohuslav Martinů – String Quartet No. 7 and opera fragments

   The first and still most comprehensive presentation of Bohuslav Martinů’s oeuvre was series of records published by Panton label. Fifth and last record program has character of additions - it comprises String Quartet No. 7 and fragments of last two operas Greek Passion and Ariadna. As a kind of bonus producers placed recording of Martinů’s voice made in May 1946. This recording features composer talking about his escape from Europe and first steps in US artistic life is nice. The series of records with selected Martinů’s music was starting level for next recordings in eighties. Of course the leadership has been lead by Czech artists. 

   Bohuslav Martinů was one of most consequent composers of neo-classical style in 20th century. Basing on ideas of Igor Stravinsky he started to develop his own style in thirties and shortly he became one of key neo-classical composers. Unlike Stravinsky who was permanently experimenting with various styles, Martinů didn’t turn out of his style so his later compositions were almost always in deep relations with neoclassicism. And he achieved interesting results also in his late works. In his chamber music this direction was clear and presented to his last works. In 1947 Bohuslav Martinů composed last of his seven string quartets and dedicated this work for his wife. Subtitle of String Quartet No. 7 given by composer is Concerto da camera. In three-part construction he concluded brilliant formation and compact exposure of neo-classical ideas with modern harmonic substance. 

Bohuslav Martinů – String Quartet No. 7 (1979)

   String Quartet No. 7 interpreted by Talich Quartet (Petr Messiereur, Jan Kvapil, Jan Talich and Evžen Rattay) is perfect example of highly inspired, perfectly outfitted work of mid 20th century modern music. Fragments from last two Martinů’s operas are hardly different although still related to neoclassical ideas. Composed in late fifties Greek Passion (1956-1959) and Ariadne (1958) are presented in short fragments – duo of Katharina and Manolios from Greek Passion and Ariadne’s Lament are presented by Alena Miková, Ivo Židek and Nad’a Šormová with Prague National Theatre Orchestra conducted by Václav Neumann. The cover art of whole series were paintings of Czech artists who were friends and coworkers of composer. This album exposes The Return of Theseus by Josef Šima, painting connected by subject with suitable Ariadna fragment.

Jazz Inspired Piano Compositions

Decades before jazz became ambitious and sophisticated stream of music for connoisseurs, when it was still a dance style strongly linked with night life and casinos, some composers pay attention to possibilities of improvisation as a medium forming an expression. One of greatest composers, Maurice Ravel was under great impression of technical and artistic possibilities he found in new dance music. In 1975 the leading Czech label Supraphon published the double album of piano music influenced by jazz. The collection of works by nine composers in interpretations of five pianists was a kind of the homage to inspiring power of early jazz music. Program of this album has been recorded in performances by Peter Toperczer, Jan Vrána, Emil Leichner, Jan Marcol and Miloš Mikula.

Jazz Inspired Piano Compositions

The French composers took place on the opening of this collection. Claude Debussy’s Golliwog’s Cakewalk (No. 6 from Children’s Corner Suite) is well known as semi-popular piece. In context of popular European dance music remain two cycles: Eric Satie’s Jack in the Box and Georges Auric’s foxtrot Adieu, New York! Also the cycle of Jazz Piano Preludes by George Gershwin, though it is still deep-rooted in romantic ideas, gives quite new glance to the bounds of early 20th century concert music with the jazz. In style of French composers remains works by Czech composer Erwin Schulhoff. And he is the only author presented by two cycles: Esquisses de jazz and Rag Music. 

Connecting to ideas draw from jazz music gave hope of reviving music in times of anti-romantic breakthrough. Almost ideal example is Suite “1922” op. 26 by Paul Hindemith. Interesting solution of creative dilemmas is the cycle Four Piano Blues by Aaron Copland. It has been based on a few idiomatic motifs, thus harmonic language is free of function tensions. Connection with blues in title of Copland’s cycle refers to emotional contents and characteristics of this style. Modern in style and in formal foundations are also Préludes by Bohuslav Martinů and American Suite for Two Pianos by Emil František Burian. These two Czech composers are closer to after-war jazz and third-stream experiments.

Bohuslav Martinů – Rhapsody-Concerto; Piano Sonata

   In autumn of one’s life the lack of inspiration may be cause of repeating some ideas and even autoplagiarism. Some composers in their last years finishing creative attempts and retire of active musical life. But sometimes the late creative period means the best quality of freely and innovative works. For Bohuslav Martinů, this was the time for more open and creative viewing of many achievements from various moments of the European tradition and his own history. His, so called „fantasia period” was the time for loosing neoclassical formal bounds and constructing his works in more natural way. In his late years, he composed a great quantity of works which in emotional shape were precisely following spiritual and intellectual temperature of its times.

   It’s important to keep in mind Martinů was already well known composer when he wrote two major works of his last years – Rhapsody-Concerto and Piano Sonata. The Rhapsody-Concerto for viola and orchestra has been composed in 1952 – the last year of composer’s residency in United States. This is not typical set of concerto cycle. After five years of following the neoclassic formulas, Martinů submitted work in form of the double-part construction with lyric Moderato and more concertante in style second part Molto adagio ended in elegiac mood. It was sudden turn out of both neoclassic stylistics and traditional concerto form. Viola’s parts are warmth and fervour – lyric than firm. And whole concerto is about to be the reverse of baroque form, with its sequence of slow and fast movements ended by slow episode. Also Sonata for piano is one of most popular works by Martinů. The work has been composed for Rudolf Serkin in 1954 when after return from America composer and his wife were staying in Nice, France.

Martinů – Viola Rhapsody-Concerto, Piano Sonata (1979)

   Sonata for piano is more radical in expression, harmonics and in musical style than Rhapsody-Concerto. Based on dynamic and texture contrasts Sonata can be seen as a some kind of a test for technical and musical maturity. In Panton five recording series of Bohuslav Martinů legacy under the head ŽIVOT, DÍLO, MYŠLENKY, the performer of Sonata is pianist František Malý. On the same record (Panton 8110 0024) in Rhapsody-Concerto one can hear viola player Lubomír Malý and Prague Symphony Orchestra conducted by Václav Smetáček. This recording was also published on the monographic album of viola player Lubomír Malý. The record cover exposes the portrait of Paganini painted by František Tichý.

Bohuslav Martinů – Symphony No. 4, Sonata for Flute and Piano

Bohuslav Martinů is a composer of 6 symphonies, which he became to create in his fifties. Five of his six symphonies come into being in the time of composer’s exile during 2nd world war and in first years after the war – First in 1942 to Fifth in 1946. There is no doubt, this set is crowning of Martinů’s neoclassical period. Last symphony, Sixth, written 1953 and premiered in 1955, was titled Symfonické fantazie (Symphonic Fantasies) and its construction was rather free fantasy than typical symphonic form. The most  popular, clear in its idea and fresh in formal invention is Symphony No 4. This work is exceptional for its positive impact – Martinů completed his Fourth the 14th day of June, 1945.

This was most joyous time in whole history of his wartime exile. Nazi Germany were defeated, war was almost ended and his professional life was on the best way to success. Unsure how the future will look like, as many exiles, he was enthusiastic about upcoming months. This spirit predominate in the whole composition. Scherzo is the second part (Allegro vivo) and it is stormy hence intensive in emotional pressure. The dreamy trio makes impression of outward parts more catchy. Largo is masterpiece of dramatically marked stopping of narration. After the moment of reflection, final Poco allegro gives listener diverse communication content.

Next day after finishing his 4th Symphony, on June 15th 1945 Martinů begin to compose Sonata for flute and piano, one of most popular Sonatas in XX-century music. During spring of 1945 Bohuslav Martinů and his wife Charlotte were living in South Orleans on Cape Cod. One day they found in the garden injured bird. The bird appeared to be whippoorwill and after Martinů took care, cure, feed and thought him to fly, the bird stayed in the garden and was singing before the composers windows. This melody taken from the whippoorwill has been quoted by composer in his Flute Sonata.

Bohuslav Martinů – IV Symphony, Flute Sonata (1979)

These two compositions were recorded and published in 1979 (Panton 8110 0023) – Symphony No. 4 performed by Prague Symphony Orchestra and conducted by Jiři Bělohlávek and Sonata for Flute and Piano played by flutist Jiři Válek and pianist Josef Hála. On the cover editors used fragment of picturesque vision of The Desert painted by Alén Diviš who was close friends with Martinů when they were living in Paris before the war and later in New York. Friendship between artists is always important but that doesn’t mean their works are enough close to put them together. For two joyous and hopeful compositions set together on one record, probably any other picture would be more relevant than waste desert land. It's clear, this is a kind of cognitive counterpoint to show how deserted was the European continent in 1945. And there are indications some shadows of  this war will survive even our grief.

Bohuslav Martinů - Double Concerto, Parables

Bohuslav Martinů was a prolific composer, an author of more than 400 works. And great amount of his opera were neoclassical in form and modern in content concerto pieces. His concertos became the field for searching the balance between expression and conceptual idea. One of supreme works among many Martinů’s concertos was Double Concerto for two string orchestras, piano and timpani. This concerto is great closure of prewar period in composers life. He finished working on score of this three-part composition on September 29th 1938, the same day Germany, France, Britain and Italy signed the "Munich pact" permitting German annexation of Czechoslovakia's Sudetenland and then whole country. This was the beginning moment of composer’s emigration, where he remained for the rest of his life.

Twenty years later in 1958 he wrote Paraboly (Parables), one of best works of his after war period. This poetic work focused on surrealistic connections of ideas, which makes it sounds more abstract than Double Concerto. Before the war Martinů was interested in jazz and in his compositions from this period jazz idioms were often the point of handling the creative work. After many years of teaching (his pupils were among many other composers Alan Hovhaness and Burt Bacharach) he was able to create his own, sometimes idiomatic, sometimes universal and generally polystylistic language. Paraboly is very universal in its firmly emotional an still abstractive narration. And it’s quite different than Double concerto. Both are three-part constructions but it’s hard to find more common form related issues. Despite of many differences both works correspond well on opposite sides of one record – both are dramatic and highly expressive.

Bohuslav Martinů - Double Concerto, Parables

In this recording (Panton 8110 0022) Double Concerto has been performed by Czech Philharmonic Orchestra under direction of Stanislav Macura and Paraboly was played by Czechoslovak Radio Symphony Orchestra in Prague conducted by Zdeněk Košler. Cover art featured painter František Muzika and his Requiem. Surrealistic connection was often mentioned in context of Paraboly and whole fantasy period of Martinů’s creative output. Painter František Muzika was one of Czech surrealists and author of scenography to 1938 setting of Julietta – one of Martinů’s great opera successes in Prague.

Bohuslav Martinů - Kytice

Bohuslav Martinů was probably the greatest Czech composer of XX century. He was born in Polička in 1990 and died in Liestal, Switzerland in 1959.  His style evolved in opposite direction from neoclassical forms to post-romantic idiom. Before the war he was continuing the tradition of romantic national Czech music. Cantata cycle Kytice (Bouquet of Flowers), connected directly to homeland folklore, was one of his best works. In fact, it was more syncretic fusion of modern solutions and elements of folklore than continuation of the school founded by Antonin Dvořak or Bedřich Smetana.

In 1979 Panton Records active in capital of former Czechoslovakian Republic issued a series of records with best known Martinů’s works. Set of five records has been opened by cycle Kytice (Panton 8112 0021). This cycle of works, composed to folk texts for mixed and children choirs, soloists and small orchestra, has been written in 1937. Performed by musicians of Czech Philharmonic Orchestra and Prague Philharmonic Choir and soloists – four singers, two pianists and one harmonium player under baton of Libor Pešek, these recordings became great opening of the series.

Bohuslav Martinů - Kytice

The record cover features Jan Zrzavý’s picture Krucemburk.  Jan Zrzavý was a famous Czech artist and a close friend of composer. This is why Martinů dedicated the whole cycle Kytice to Zrzavý. Vision of the town Krucemburk, where time slowly flows by and past meets the future in sleepy small marketplace, could be just an ideal background for creation of Martinů's work. The same way he is joining tradition and modernity.  Martinů made his cantata neoclassical in construction and its strong rhythms are close to the one used in Les Noces (The Wedding) by Igor Stravinsky. This connection is confirmed by using piano as a part of accompanying orchestra, which is characteristic not only for this cycle. In comparison to Stravinsky’s Les Noces, Martinů’s work is much more complex in using various sets of voices and instruments. In Kytice folk lyrics are the basis for creating simply and modern, strong and expressive picture of human joy and destiny.