Bohuslav Martinů (1890-1959)

[Mirror Image]

Happy 127th, Bohuslav Martinů! You hardly look a day over 29!



--Bruce

+1

[Dancing Divertimentian]

Happy 127th, Bohuslav Martinů! You hardly look a day over 29!



--Bruce

+1

[kishnevi]

No love for the Oboe Concerto?

And tonight I listened to it for the first time.
Love would be too strong, but certainly it's a great piece of music.
(This recording
[asin]B002JP9I52[/asin]
)

[Mirror Image]

And tonight I listened to it for the first time.
Love would be too strong, but certainly it's a great piece of music.
(This recording
[asin]B002JP9I52[/asin]
)

Great, Jeffrey! I think, in time, love will be the only adjective you'll need.

[SurprisedByBeauty]

I knew I remembered that CD. I had reviewed the concert at which the Martinu was recorded:

...Martinů was good to hear as a conclusion to this evening of classical confections. Hiding in Martinů's vast output are many gems, and the more Martinů I hear, the more I tend to consider (them) gems. The Oboe Concerto for Small Orchestra and piano must be counted among them. (On that note, Hyperion's series unearthing the orchestral works with violin ought to be singled out for praise.)
Its wistful, overripe romanticism, its soft modern grain, and its classical proportions evoked a similar response in me as a very good performance of the Elgar Cello Concerto might. With Stefan Schilli as its astutely articulate, round toned ambassador and its concise form packed with great music and lucidly expressed, fresh ideas, the Oboe Concerto won the most heartfelt approval of an already enthused audience. That British emotional reference might have been aided by Schilli's encore: the first of Britten's Metamorphoses after Ovid.
Jens F. Laurson
[Seen&Heard]

[jidlomonster]

This upcoming release from Toccata Classics (Vol. 3 in their series of his early orchestral works) sounds very intriguing, to say the least:

[asin]B077MQC5YY[/asin]

I was pleased to see this recording getting some pre-release attention on this forum, having been responsible for producing the score and orchestral parts for the main work Vanishing Midnight.  I was also present at the recording sessions in January and can promise you an enthralling addition to the CD series of early orchestral works.  Vanishing midnight has never been recorded - indeed, only the central movement has ever been performed, and that just twice in the 1920s.  In this work Martinů seems to be summing up his achievements to date, before moving on to new territory in his next ballet Who is the Most Powerful in the World?.  The first movement begins with suggestions of his recent ballet Istar, but for the most part is an elaborate symphonic waltz gaining steadily in speed, rhythmic vitality until a dramatic collapse brings back the sounds of the opening.

The central movement has two distinct sections - the first is slow, unveiling an innocuous theme which will inflate to terrifying proportions when it reappears in the finale.  The textures are very complex, with the strings often divided into nine parts - but Martinů's characteristic luminosity of sound is present throughout.  The faster section brings rhythms reminiscent of Debussy - e.g. Fetes from his Nocturnes - stirring brass fanfares and dazzlingly bright orchestration.  Once more the music seems to collapse under its own momentum - the movement ends on a chilling note as two solo violins spiral upwards over eerie bitonal harmonies.

Despite the riches of the first two movements, I feel it is the finale ('Shadows') which will be the main talking point of this CD.  It depicts the disquiet that can arise in the human soul in the hours after midnight and sounds like nothing else Martinů ever wrote (with the possible exception of The Angel of Death, but we are a long way from being able to hear that  early symphonic poem).   Frantically billowing strings, sinister chromatic motives and tangled contrapuntal lines jostle for attention - like the soundtracks of horror films yet to be produced.  At the centre of the movement, harp and pizzicato violins suggest the ticking of a clock counting down to some unspecified disaster - and for me, one of the most impressive sections follows, as this material is developed and accelerated at length, opening out into a restatement of earlier material.  The conclusion is, unusually for Martinů, brutally pessimistic.

The release date is now January 5th 2018.  Having found this thread and started my post after 1am, I'm writing while too tired to describe Vanishing Midnight with the eloquence it deserves.  But I hope I've done enough to intrigue some of you to investigate it!

Michael Crump 

[kyjo]

I was pleased to see this recording getting some pre-release attention on this forum, having been responsible for producing the score and orchestral parts for the main work Vanishing Midnight.  I was also present at the recording sessions in January and can promise you an enthralling addition to the CD series of early orchestral works.  Vanishing midnight has never been recorded - indeed, only the central movement has ever been performed, and that just twice in the 1920s.  In this work Martinů seems to be summing up his achievements to date, before moving on to new territory in his next ballet Who is the Most Powerful in the World?.  The first movement begins with suggestions of his recent ballet Istar, but for the most part is an elaborate symphonic waltz gaining steadily in speed, rhythmic vitality until a dramatic collapse brings back the sounds of the opening.

The central movement has two distinct sections - the first is slow, unveiling an innocuous theme which will inflate to terrifying proportions when it re-appears in the finale.  The textures are very complex, with the strings often divided into nine parts - but Martinů's characteristic luminosity of sound is present throughout.  The faster section brings rhythms reminiscent of Debussy - e.g. Fetes from his Nocturnes - stirring brass fanfares and dazzlingly bright orchestration.  Once more the music seems to collapse under its own momentum - the movement ends on a chilling note as two solo violin spiral upwards over eerie bitonal harmonies.

Despite the riches of the first two movements, I feel it is the finale ('Shadows') which will be the main talking point of this CD.  It depicts the disquiet that can arise in the human soul in the hours after midnight and sounds like nothing else Martinů ever wrote (with the possible exception of The Angel of Death, but we are a long way from being able to hear that  early symphonic poem).   Frantically billowing strings, sinister chromatic motives and tangled contrapuntal lines jostle for attention - like the soundtrack to horror films yet to be produced.  At the centre of the movement, harp and pizzicato violins suggest the ticking of a clock counting down to some unspecified disaster - and for me, one of the most impressive sections follows, as this material is developed and accelerated at length, opening out into a restatement of earlier material.  The conclusion is, unusually for Martinů, brutally pessimistic.

The release date is now January 5th 2018.  Having found this thread and started my post after 1am, I'm writing while too tired to describe Vanishing Midnight with the eloquence it deserves.  But I hope I've done enough to intrigue some of you to investigate it!

Michael Crump

Thanks for the detailed and fascinating description, Michael! And great work producing the score and parts! I'm really looking forward to hearing Vanishing Midnight (what a great title)

[Mirror Image]

I was pleased to see this recording getting some pre-release attention on this forum, having been responsible for producing the score and orchestral parts for the main work Vanishing Midnight.  I was also present at the recording sessions in January and can promise you an enthralling addition to the CD series of early orchestral works.  Vanishing midnight has never been recorded - indeed, only the central movement has ever been performed, and that just twice in the 1920s.  In this work Martinů seems to be summing up his achievements to date, before moving on to new territory in his next ballet Who is the Most Powerful in the World?.  The first movement begins with suggestions of his recent ballet Istar, but for the most part is an elaborate symphonic waltz gaining steadily in speed, rhythmic vitality until a dramatic collapse brings back the sounds of the opening.

The central movement has two distinct sections - the first is slow, unveiling an innocuous theme which will inflate to terrifying proportions when it re-appears in the finale.  The textures are very complex, with the strings often divided into nine parts - but Martinů's characteristic luminosity of sound is present throughout.  The faster section brings rhythms reminiscent of Debussy - e.g. Fetes from his Nocturnes - stirring brass fanfares and dazzlingly bright orchestration.  Once more the music seems to collapse under its own momentum - the movement ends on a chilling note as two solo violin spiral upwards over eerie bitonal harmonies.

Despite the riches of the first two movements, I feel it is the finale ('Shadows') which will be the main talking point of this CD.  It depicts the disquiet that can arise in the human soul in the hours after midnight and sounds like nothing else Martinů ever wrote (with the possible exception of The Angel of Death, but we are a long way from being able to hear that  early symphonic poem).   Frantically billowing strings, sinister chromatic motives and tangled contrapuntal lines jostle for attention - like the soundtrack to horror films yet to be produced.  At the centre of the movement, harp and pizzicato violins suggest the ticking of a clock counting down to some unspecified disaster - and for me, one of the most impressive sections follows, as this material is developed and accelerated at length, opening out into a restatement of earlier material.  The conclusion is, unusually for Martinů, brutally pessimistic.

The release date is now January 5th 2018.  Having found this thread and started my post after 1am, I'm writing while too tired to describe Vanishing Midnight with the eloquence it deserves.  But I hope I've done enough to intrigue some of you to investigate it!

Michael Crump

Mr. Crump, I want to extend a hearty welcome to you on this forum! I have been eyeballing your book, Martinů and the Symphony for quite some time. Your efforts have not gone unnoticed by me. This recording on Toccata Classics looks utterly fascinating. Thank you for taking the time to write here. I hope you can find the time to continue to contribute to this thread as your expertise on this composer will be most appreciated.

[jidlomonster]

Many thanks for the welcome.  I've posted here before, though not often, and was very happy to see the Martinů thread so active upon my return.  I will update everyone here by letting you know that score and parts for a projected Volume 4 are in the final stages of preparation.  They are for the astonishing early ballet Noc ('Night').  Although a one-acter, the score is extremely demanding of resources - it calls for three harps, keyed glockenspiel, celesta, xylophone, piano, and a female choir behind the scenes (in addition to all the instruments you would expect).  Metrically, it is extraordinarily complex.  A fascinating piece with some exceptionally bold effects!

Since January 2017, I have been the chairman of the International Martinů Circle.  If anyone here is interested in joining, feel free to email me at michael.crump@sky.com.

Meanwhile, after midnight vanishes tonight, it will be a New Year - a happy one for all, I hope!

[Mirror Image]

Many thanks for the welcome.  I've posted here before, though not often, and was very happy to see the Martinů thread so active upon my return.  I will update everyone here by letting you know that score and parts for a projected Volume 4 are in the final stages of preparation.  They are for the astonishing early ballet Noc ('Night').  Although a one-acter, the score is extremely demanding of resources - it calls for three harps, keyed glockenspiel, celesta, xylophone, piano, and a female choir behind the scenes (in addition to all the instruments you would expect).  Metrically, it is extraordinarily complex.  A fascinating piece with some exceptionally bold effects!

Since January 2017, I have been the chairman of the International Martinů Circle.  If anyone here is interested in joining, feel free to email me at michael.crump@sky.com.

Meanwhile, after midnight vanishes tonight, it will be a New Year - a happy one for all, I hope!

Alright! Another volume is in the works! Wahoo! Looks like all of Martinů's early ballets will get recorded at some point. I do hope that the following ballets get a recording: Dances with a Veils, H 93, Christmas Carol, H 112, Istar, H 130, The Judgement of Paris, H 245, and The Strangler, H 317.

I hope you have a good New Year's as well, Michael!

[jidlomonster]

Sadly, not all your wishes can come true.  I'm afraid Dances with Veils and Christmas carol are lost (the libretto of the latter survives).  The Judgement of Paris was also thought lost for many years, but Aleš Březina has found a sketch for it.  As for Istar - we hope to record all of it one day.  Currently, the available performance materials are being assessed for completeness by the publisher.  The Strangler is, of course, a lot later and so would not be part of this project.  I heard it performed at the Guildhall in 1998, though without the exotic percussion that it requires.

[Mirror Image]

Sadly, not all your wishes can come true.  I'm afraid Dances with Veils and Christmas carol are lost (the libretto of the latter survives).  The Judgement of Paris was also though lost for many years, but Aleš Březina has found a sketch for it.  As for Istar - we hope to record all of it one day.  Currently, the available performance materials are being assessed for completeness by the publisher.  The Strangler is, of course, a lot later and so would not be part of this project.  I heard it performed at the Guildhall in 1998, though without the exotic percussion that it requires.

Thanks for the feedback, Michael. A shame those two ballet works are lost.

[jidlomonster]

I wonder how many people here have already bought the new Kytice recording.  It's high on my list, as I think the piece is wonderful, despite the inadequacies of the performances that have been available.  Reviews of the new CD seem positive.  What's the consensus?

[Mirror Image]

I wonder how many people here have already bought the new Kytice recording.  It's high on my list, as I think the piece is wonderful, despite the inadequacies of the performances that have been available.  Reviews of the new CD seem positive.  What's the consensus?

I preordered it. This kind of work is difficult to pull off well, but I think Netopil and his Czech cohorts does the music justice. The singing is superb. I only know Ancerl's performance and this is certainly many notches above that performance. I haven't heard Pesek's performance, but I've heard some of his Martinů before and wasn't too impressed with his interpretations.

[jidlomonster]

The new Kytice will be on my shelf pretty soon.  Thanks for confirming its quality.

[Mirror Image]

The new Kytice will be on my shelf pretty soon.  Thanks for confirming its quality.

You're welcome. I hope you enjoy as much as I have.

[kyjo]

Is it just me, or is there a certain melody that Martinu repeats in a good number of his works? It's a high-spirited, folksy melody that alternates between a bar of 2 and a bar of 3. I'm pretty sure I've heard it in Symphonies nos. 2, 4, and 5, Cello Sonata no. 1, and maybe another work or two. It's a great melody, don't get me wrong, but it's getting a bit old at this point! Or maybe I just need to go to bed...

[Daverz]

Is it just me, or is there a certain melody that Martinu repeats in a good number of his works? It's a high-spirited, folksy melody that alternates between a bar of 2 and a bar of 3. I'm pretty sure I've heard it in Symphonies nos. 2, 4, and 5, Cello Sonata no. 1, and maybe another work or two. It's a great melody, don't get me wrong, but it's getting a bit old at this point! Or maybe I just need to go to bed...

Sorry, I did chuckle reading this.  Yes, it's a sort of musical signature.  For me the quintessential example is in the Piano Quartet of 1942 (which Jim Svejda uses for the theme of his radio show).

https://www.youtube.com/v/iW9gLP48FEc

[kyjo]

Sorry, I did chuckle reading this.  Yes, it's a sort of musical signature.  For me the quintessential example in the Piano Quartet of 1942 (which Jim Svejda uses for the them of his radio show).

https://www.youtube.com/v/iW9gLP48FEc

Ok, glad I'm not going crazy Thanks for the confirmation, Daverz

[Mirror Image]

Yes, that repeated motif in Martinu's music is a signature and you're not going crazy Kyle! Oh wait....never mind about the going crazy part, you're already crazy as is everyone that frequents GMG.