Bohuslav Martinů (1890-1959)

[Archaic Torso of Apollo]

Hmm, yes, but the way I read it, that 'pointless' wasn't insulting you as the questioner, just a statement of the fact that he thought that answering the question would in the long run be fruitless, for other reasons.

Yes, thanks for understanding me 

As for Mirror, I'm glad DD was helpful to him. However, I don't think I'll bother engaging him in the future, if he's going to see insults where none were intended.

[Dancing Divertimentian]

I appreciate your time in explaining to me your opinions of the two different quartets. Thanks a lot!

Sure. Happy to do it.

FWIW, if owning the Panocha and Martinu isn't enough Czech representation in this repertoire I do have one more Czech recording of three of the quartets: the Kocian Qt on Praga.

Comparisons, as usual, are revealing. All I can say after comparing all three Czech bands is there's obviously more than one way to approach this music and still make it work. The thumbnail is: the Kocian go for a more 'airy' approach, light and supple, with more color than the Martinu yet not as energetic as either of the other two. The net effect is the music takes on a sort of 'otherworldly' characteristic, as if the Kocians see the music as drifting in from some sort of early-morning mist, with just enough illumination to make contours visible and eek out some contrast.

It's certainly Martinu, no doubt about it. But a more ethereal Martinu. It's a style I've yet to form a real opinion about but can certainly appreciate its qualities. Will have to (eagerly) listen more...






(Then there's the one non-Czech recording I have in this repertoire. Report at ten... )

[Dancing Divertimentian]

I'll tell you some orchestral Martinu which never gets mentioned, but which Safranek, in his biography of the composer, places great importance on - some of the music on this weird and sometimes wonderful disc:

I actually had this disc in my hands a few years ago but decided against buying it. Don't recall why. Your advocacy has me kicking myself now, so, the remedy: off to the Amazons...

[Luke]

I was listening to it yesterday - interesting stuff. Le Jazz, as the CD notes say (though my kids lost them in the car  ), will be a surprise to anyone who knows the Martinu of the symphonies. It's all banjo, woodblock, upwards shifting modulations, sliding trombones...all the cliches of 'sweet jazz'. Plus the oddest jazz singing you can imagine - something like a bit of Fuxian species counterpoint applied to the basic line. I wonder if Martinu meant it as satire, or if it's a miscalculation. Or if I'm hearing it with wonky ears, of course. Half-time, La Bagarre and Thunderbolt P-47 are somewhat more familiar in style, I think one would probably guess they were Martinu fairly quickly, but they don't have the inimitable fingerpirnts of the later pieces. And then the other works, all jazzy....great fun.

[not edward]

Thunderbolt P-47 is actually from 1945.

I've been relistening to volume 2 of the Matousek/Hogwood series and really wishing that the works on it were better known. The violin/piano concerto I've thought of as one of Martinu's greatest achievements from the moment I first encountered it, but the Concerto da camera keeps growing on me--one of the composer's darkest works, almost a Double Concerto with the sustaining pedal.

[Archaic Torso of Apollo]

I've been relistening to volume 2 of the Matousek/Hogwood series and really wishing that the works on it were better known.

I think it's time for me to re-engage with that disc. The Violin/Piano Cto. acquired a semi-legendary rep during its years of unavailability (I saw messages in various places claiming it was one of his very best works). On first hearing it, I liked it for sure, but wasn't quite blown away as I had expected. For one thing, since it was from his "kaleidoscopic" last decade, I expected something like the 6th Symphony or Frescoes in concerto form, and it's more retrograde than that. The Concerto da camera I haven't properly listened to at all.

[not edward]

I think it's time for me to re-engage with that disc. The Violin/Piano Cto. acquired a semi-legendary rep during its years of unavailability (I saw messages in various places claiming it was one of his very best works). On first hearing it, I liked it for sure, but wasn't quite blown away as I had expected. For one thing, since it was from his "kaleidoscopic" last decade, I expected something like the 6th Symphony or Frescoes in concerto form, and it's more retrograde than that. The Concerto da camera I haven't properly listened to at all.

Yeah, the violin/piano concerto has almost nothing to do with the rest of his '50s output; at times it almost sounds to me as if it was an experiment in simplifying his 40s style and making it somewhat less chromatic. To me, it's one of those fascinating "paths not taken."

[karlhenning]

Zowie. Dig ye this.

[Scarpia]

Honestly, I re-registered because I have been itching to comment on this recording:



I haven't listened to it all yet, but the Concertino for string trio and string orchestra (H232) is revelatory.  I don't know of another recording of this music, but it grabbed me from the moment I put it on.  Outer movements are wonderfully vigorous, with odd melodic fragments and harmonies that are the hallmark of Martinu (to me) and lots of fascinating contrapuntal writing for the string orchestra.  The slow movement is a tremendously focused and intense.  Just a great piece, performed perfectly.  I'm looking forward to the rest of the disc.  (I also listened to the Memorial for Lidice, which was also good but which did not displace my favorite recording, Metzmacher on EMI.)

[karlhenning]

Honestly, I re-registered because I have been itching to comment on this recording . . . .

I knew that our communal enthusiasm for Martinů was a Force for Good! ; )

[pjme]

and



A French recording...but haven,'t heard it.

P.

[Sergeant Rock]

Zowie. Dig ye this.

Great find, and there's an English version too.

Sarge

[Mirror Image]

However, I don't think I'll bother engaging him in the future, if he's going to see insults where none were intended.

Velimir, there's no need to be that way. It was a simple misunderstanding (on my part) and I just took what you wrote the wrong way. Sorry, but I appreciate your input and enjoy conversing with you, but if you're going to let some silly misunderstanding keep you from engaging in conversation with somebody who loves music as much as you do, then that is your prerogative.

[Archaic Torso of Apollo]

Velimir, there's no need to be that way. It was a simple misunderstanding (on my part) and I just took what you wrote the wrong way.

No worries, MI. Misunderstandings do happen sometimes 

pjme,

I have that Chandos recording and I think it's terrific...I wonder though how it compares to the Prague Chamber Orch version of La Jolla and Toccata etc. Anyone heard both?

[Dancing Divertimentian]

I was listening to it yesterday - interesting stuff. Le Jazz, as the CD notes say (though my kids lost them in the car  ), will be a surprise to anyone who knows the Martinu of the symphonies. It's all banjo, woodblock, upwards shifting modulations, sliding trombones...all the cliches of 'sweet jazz'. Plus the oddest jazz singing you can imagine - something like a bit of Fuxian species counterpoint applied to the basic line. I wonder if Martinu meant it as satire, or if it's a miscalculation. Or if I'm hearing it with wonky ears, of course. Half-time, La Bagarre and Thunderbolt P-47 are somewhat more familiar in style, I think one would probably guess they were Martinu fairly quickly, but they don't have the inimitable fingerpirnts of the later pieces. And then the other works, all jazzy....great fun.

That all sounds mighty fun, Luke. And colorful. Found a new copy for cheap off Amazon. Looking forward to hearing this disc. 

[Archaic Torso of Apollo]

Though I cannot exactly call myself an opera fan (I've been to the opera maybe 5 times in my life), I'm thinking it's time to get to grips with Julietta, given how central it is to Martinu's output and how much influence it had on his subsequent work.

With that in mind, can anyone say a few words about the Mackerras-led Three Fragments disc on Supraphon? It's gotten good reviews (naturally), but I'm really interested in knowing if it gives you a good idea of the opera as a whole. The term "fragments" seems kind of unpromising in this respect.

[Luke]

Though I cannot exactly call myself an opera fan (I've been to the opera maybe 5 times in my life), I'm thinking it's time to get to grips with Julietta, given how central it is to Martinu's output and how much influence it had on his subsequent work.

With that in mind, can anyone say a few words about the Mackerras-led Three Fragments disc on Supraphon? It's gotten good reviews (naturally), but I'm really interested in knowing if it gives you a good idea of the opera as a whole. The term "fragments" seems kind of unpromising in this respect.

A few words? It's fabulous. There are two forms of fragments on the disc. The first is a short suite extracted from the work, three orchestral movements each of only about 4 minutes - but it seems a lot bigger and more imposing than that - this isn't a suite of character pieces but a sampling of some of the more intense music of the opera; like the opera as a whole, it's like eavesdroppping on a dream. But the second selection of fragments is much bigger, longer chunks of the opera itself, beautifully performed and sung, and in that it is pretty self-recommending. I'm sure you will enjoy it a great deal.

[Archaic Torso of Apollo]

A few words? It's fabulous. There are [useful review snipped]

Thanks - I'll have to get hold of this one.

[Mirror Image]

With that in mind, can anyone say a few words about the Mackerras-led Three Fragments disc on Supraphon? It's gotten good reviews (naturally), but I'm really interested in knowing if it gives you a good idea of the opera as a whole. The term "fragments" seems kind of unpromising in this respect.

When I recieve Three Fragments with Mackerras and listen to it, I'll tell you my impressions of it, Velimir.

[karlhenning]

Entirely pleased with all this chamber music (and the additional orchestral music) whose acquaintance I have been making this week!  Opening of the Allegro moderato movement which closes the first piano quintet has a fascinating resonance with one of the Prokofiev string quartets . . . nothing like plagiarism, I don't mean, just a resemblance as of musical cousins.