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

 

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

 

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.

 

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.

 

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.

 

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.

 

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

 

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.

 

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

 

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...

 

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).

 

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.

 

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.

 

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.

 

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')...

 

(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.

 

Its quite amazing how many concertos he wrote.

 

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.

 

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.

 

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.

 

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

 

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.

 

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.

 

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.

 

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.

 

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.

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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 .

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

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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".

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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.

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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.