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Bohuslav Martinu
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Bohuslav Martinu (Martinu) (; (December 8, 1890 – August 28, 1959) was a prolific Bohemian Czech composer, who wrote six symphonies, 15 operas, 14 ballet scores and a large body of orchestral, chamber, vocal and instrumental works.
He became a violinist in the Czech Philharmonic Orchestra, and taught music in his home town. In 1923 Martinu left Czechoslovakia for Paris, and deliberately withdrew from the Romantic style in which he had been trained.
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Bohuslav Martinu (Martinu) (; (December 8, 1890 – August 28, 1959) was a prolific Bohemian Czech composer, who wrote six symphonies, 15 operas, 14 ballet scores and a large body of orchestral, chamber, vocal and instrumental works.
He became a violinist in the Czech Philharmonic Orchestra, and taught music in his home town. In 1923 Martinu left Czechoslovakia for Paris, and deliberately withdrew from the Romantic style in which he had been trained. In the 1930s he experimented with expressionism and constructivism, and became an admirer of current European technical developments, exemplified by his orchestral sentences Half-time and La Bagarre. He also adopted jazz idioms, for instance in his Kuchynské revue ("Kitchen Revue"). Of the post-war avant-garde styles, neo-classicism influenced him the most. He continued to use Czech and Moravian folk melodies throughout his oeuvre, usually nursery rhymes—for instance in Otvírání studánek ("The Opening of the Wells").
He emigrated to the United States in 1941, fleeing the German invasion of France. Although as a composer he was successful in America, receiving many commissions, he became homesick for Czechoslovakia. He never returned to his native country, and he died in Switzerland.
Life
Martinu was born in a bell tower in Policka, Bohemia, where his father (a shoemaker by trade) was a watchman. As a child he developed a local reputation, giving his first public concert in his hometown in 1905. In 1906 he became a violin student at the Prague Conservatory, where he studied briefly before being dismissed for "incorrigible negligence". He continued his studies on his own.
He spent the First World War in his home town as a teacher, where he pursued his interests in composition. He also joined the Czech Philharmonic Orchestra as a violinist. His ballet Istar was completed in 1922. He left Czechoslovakia for Paris in 1923, where he became a pupil of Albert Roussel, though he retained many links with his birthplace. When the German army approached Paris early in the Second World War, he fled, first to the south of France, and then to the United States in 1941, where he settled in New York with his French wife. Life in America was difficult for him, as it was for many of the other outstanding artists who arrived in similar circumstances. Lack of knowledge of English, lack of funds, and lack of opportunities to use their talents were problems common to all such émigré artists at first. However, Martinu did acclimatise himself. He composed a great deal and taught at the Mannes College of Music for most of the period from 1948–1956. His six symphonies were written in the eleven-year period 1942–1953, the first five being produced between 1942 and 1946.
His notable students include Alan Hovhaness, H. Owen Reed, Jan Novák, Vítezslava Kaprálová, Howard Shanet, Peter Pindar Stearns, and Burt Bacharach.
Martinu spent his later years in Switzerland, never returning to his homeland. He died in Liestal on August 28, 1959.
Music
Martinu was a very prolific composer, writing almost 400 pieces. Many of his works are regularly performed or recorded, among them his choral work, The Epic of Gilgamesh (1955); his symphonies, a modern cycle of six; his concertos, including those for cello, violin, oboe and five for the piano; his anti-war opera Comedy on the bridge; and his chamber music, including eight surviving string quartets, a flute sonata, and a clarinet sonatina.
His music displays a wide variety of influences: works such as La Revue de Cuisine (1927) are heavily influenced by jazz, while the Double Concerto for two string orchestras, piano and timpani (1938) is one of many works to show the influence of the Baroque concerto grosso. Other works are influenced by Czech folk music. He also admired the music of Claude Debussy and Igor Stravinsky, among other composers.
A characteristic feature of his orchestral writing is the near-omnipresent piano; most of his orchestral works include a prominent part for piano, including his small concerto for harpsichord and chamber orchestra. The bulk of his writing from the 1930s into the 1950s was in a neoclassical vein, but with his last works he opened up his style to include more rhapsodic gestures and a looser, more spontaneous sense of form. This is easiest to hear by comparing his sixth symphony, titled Fantaisies symphoniques, with its five predecessors, all from the 1940s.
One of Martinu's lesser known works is a piece featuring the theremin commissioned by Lucie Bigelow Rosen. Martinu started working on this commission in the summer of 1944 and finished his Fantasia for theremin, oboe, string quartet and piano on October 1, dedicating it to Rosen, who premiered the piece as theremin soloist in New York on November 3, 1945, along with the Koutzen Quartet and Robert Bloom.
His opera The Greek Passion is based on the novel of the same name by Nikos Kazantzakis.
In his own words
Works
External links
- Bohuslav Martinu- biography, bibliography, works and discography.
- (Italian) listen track on
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