Bohuslav MARTINU (1890-1959)
Early Orchestral Works, Volume I
Prelude en forme de scherzo, H181a [1:29]
Untitled orchestral movement, H90 [8:31]
Posviceni (Village Feast), H2 [6:18]
Nocturne in F sharp minor, H91 [8:27]
Little Dance Suite, H123 [42:49]
Sinfonia Varsovia/Ian Hobson
rec. 19-21 December 2012, Lutoslawski Concert Studio, Polish Radio, Warsaw
TOCCATA CLASSICS TOCC 0156 [67:34]
Bohuslav Martinů's early years were marked by a combination of Czech
folk spirit and French impressionism which is even more enjoyable for the
ears than it sounds. I simply don't understand how these are first recordings,
or how this music is so ignored. Granted, this doesn't have the rhythmic sharpness
or dramatic emotional commitment of Martinů's later music - the symphonies,
for example - and hints of the composer to come are infrequent, but gosh these
pieces are lovely.
We start with a Prelude from the composer's Parisian maturity, which
in 90 seconds reassures us that the performances are in good hands. Village
Feast is the composer's second known work, from when he was 15 or 16;
it's a brief, incredibly appealing set of Czech dances capturing the rustic
celebrations of the title. Almost a decade later we arrive at the work H90,
which according to the superb booklet “has no title page, nor ... any
tempo indication”, which suggests an unusual amount of interpretive
freedom for the intrepid performers. It's a sort of arabesque, with an exotic
cor anglais solo and parts for piano, harp and celesta working in tandem.
A bobbing up-and-down bass drone contributes to the spooky nocturnal atmosphere.
The Nocturne in F sharp minor includes a very important solo for viola,
and its climax, harmonically complex and powerful as it is, gives us a premonition
of the Martinů who wrote the first two symphonies. There's also a piano
in the orchestra, playing a role much like the one it does in his later work.
The showcase here, occupying more than half the disc, is the Little Dance
Suite, which is so-called not because of its size (43 minutes!) but because
of its minimal impact as a dramatic work. Václav Talich rejected the
piece because it was too “light”. Light it is, but the fact that
it had only been played complete once before this disc is mind-boggling. The
music all clearly shows Martinů's genius for orchestration, the tunes
are sound, and altogether the piece should have charmed the socks off audiences.
I understand that charming was not always a desirable goal for a young composer
seeking to prove himself, and that the rejection of this piece played a role
in Martinů's turn towards more sententious music to come, and also that
the scherzo - despite being luxuriously scored, with contrasting sections
featuring winds and strings - is too long for its own good. On the other hand,
if you like Dvořák's Czech Suite, American Suite,
Serenade, or Nature's Realm overture, or if you like Suk's Serenade
or Fairy Tale, you will love the Little Dance Suite.
All throughout, the playing of the Sinfonia Varsovia is impressively committed,
and Ian Hobson proves a terrific conductor of this music, skilfully weaving
together the threads of Martinů's impressionism, Czech heritage and overall
genius as a colourist. There's a long and excellent essay in the booklet by
Martinů scholar Michael Crump, which I enjoyed reading even while not
listening.
I feel like saying music that isn't serious scares away listeners and cheapens
its importance. So forget about whether or not this is serious. It made me
happy - it's an hour of sheer aural satisfaction, and it's downright bizarre
that this music isn't better-known. Treat yourself!
Brian Reinhart
Czech impressionism! With all the joys and colours that implies. An hour of
sheer satisfaction; treat yourself.
See also review by Dominy
Clements
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