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Bohuslav Martin​ů​: Paris, Spring 1932 (Chamber music)

by Boris Krajný, Kocian Quartet, Daniel Wiesner, Olga Svobodová, Josef Klusoñ, Michal Kaňka

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1.
Two Dances for Piano, from the ballet Špalíček (The Chap-Book), H. 214 C I. Waltz (Valčík) - Allegro moderato 05:49
2.
Two Dances for Piano, from the ballet Špalíček (The Chap-Book), H. 214 C II. Polka - Moderato 02:09
3.
Sonata No. 2 for Violin and Piano, H. 208 I. Allegro moderato 04:33
4.
Sonata No. 2 for Violin and Piano, H. 208 II. Larghetto 04:18
5.
Sonata No. 2 for Violin and Piano, H. 208 III. Poco allegretto 03:39
6.
Ritournelles, Six Pieces for Piano, H. 227 I. Andante. Poco allegro 01:28
7.
Ritournelles, Six Pieces for Piano, H. 227 II. Andante moderato 01:46
8.
Ritournelles, Six Pieces for Piano, H. 227 III. Intermezzo I. Andantino 01:47
9.
Ritournelles, Six Pieces for Piano, H. 227 IV. Andante. Poco allegro 01:45
10.
Ritournelles, Six Pieces for Piano, H. 227 V. Intermezzo II. Andante 02:29
11.
Ritournelles, Six Pieces for Piano, H. 227 VI. Allegro vivo 01:36
12.
Sonata for Two Violins and Piano, H. 203 I. Allegro poco moderato 04:41
13.
Sonata for Two Violins and Piano, H. 203 II. Andante 05:02
14.
Sonata for Two Violins and Piano, H. 203 III. Allegretto 00:25
15.
Sonata for Two Violins and Piano, H. 203 IV. Allegro 03:17
16.
Two Songs for Contralto and Piano, H. 213 bis I. Chorý podzim 04:19
17.
Two Songs for Contralto and Piano, H. 213 bis II. Květ broskví 02:55
18.
Serenade No. 2 for Two Violins and Viola, H. 216 I. Allegro 01:47
19.
Serenade No. 2 for Two Violins and Viola, H. 216 II. Poco andante 02:58
20.
Serenade No. 2 for Two Violins and Viola, H. 216 III. Allegro con brio 02:19
21.
String Sextet H. 224 I. Lento - Allegro poco moderato 06:53
22.
String Sextet H. 224 II. Andantino 06:21
23.
String Sextet H. 224 III. Allegretto poco moderato 04:10

about

Bohuslav Martinů in Paris, Spring 1932

Martinů left a flowering of seemingly unpretentious chamber works, full of transparency and light, whose induced messages - as is sometimes the case with Mozart - allow themselves to be comprehended only after long familiarity with Martinů’s method of communication. After a childhood and the beginning of his career in Czechoslovakia, the discovery of the music of Ravel and Debussy, he left to try his luck in Paris in 1923 and would never again settle in Prague. He immediately presented himself at the door of Albert Roussel who took him on as a private student. He also discovered Stravinsky and the Groupe des Six. Young member of the School of Paris, he adapted quite well to the cultural life of the interwar period, frequenting the avant-garde theatre, painting and cinema, in addition to the musical life. His output already revealed four major influences: Czech-Moravian folk music, modal harmony and neo-Debussy technique of development (through the proliferation of brief motifs); the Renaissance English madrigal (in the area of counterpoint); and finally, persistent research into the possible modern transpositions of the original ‘concerto grosso’ form. With this bouquet of masterpieces from the spring 1932, Martinů became considered the most original Czech composer of the School of Paris. The capital’s atmosphere enabled him to combine modernism of style with Bohemian roots, those of his childhood, like those inherited from Mozart.

Awards: Choc by Le Monde de la Musique, 5 by Diapason

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250 111

credits

released January 1, 1998

Boris Krajný (Piano)
Kocian Quartet (Ensemble)
Daniel Wiesner (Piano)
Olga Svobodová (Mezzo-Soprano voice)
Josef Klusoñ (Viola)
Michal Kaňka (Cello)

Studio recordings, Prague, February 17-26, 1997

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