Bohuslav Martinů - Sinfonietta Giocasa - Toccata e due canzoni - Jazz Suite - Claire Désert & Lidija Bizjak, Pianos - Orchestre de Picardie, Pascal Verrot - Calliope 2008

Sinfonietta Giocosa has always been one of my favorite Martinu works. The best recording imo is to be found on Chandos - I shared it perhaps a year (or more) back, no idea if the link is still active at this point however. This version is very fine, as are the performances of "Toccata.." and "Jazz Suite".

Enjoy.

Martinů-SinfoniettaGiocosa_ToccataEDueCanzoni_JazzSuite-Tzadik.zip

http://www81.zippyshare.com/v/pW3a1T9a/file.html

Bohuslav Martinů - Early Orchestral Works, Volume Two "The Shadow", Ballet In One Act Toccata Classics 2016

I think I have already posted Volume 1 in this series but then again I'm not certain. Anyhow here's Volume 2 dedicated to the early ballet "The Shadow".

Enjoy.

Martinů-The_Shadow-Ballet_in_1_act-Tzadik .zip

http://www102.zippyshare.com/v/6uGdWuZ5/file.html

Bohuslav Martinů - Cello Concertos - Concertino for Cello, Wind Instruments, Piano and Percussion - Raphael Wallfisch, Cello - Czech PO, Jirí Bēlohlávek Chandos 1992/2009

I have the original Chandos recording from 1992 but as I cannot locate my original this is my father's newer Chandos "classics" (same great recording remastered) version of the disc.

Enjoy.

Martinů-Cello_Concertos_Concertino-Tzadik.zip

http://www81.zippyshare.com/v/eoNOXN2q/file.html

Concertos for Cello & Winds: M. Larsson Gothe, Concerto for Cello & Winds - Martinů, Concertino for Cello, Winds, Percussion & Piano - Ibert, Concerto for Cello & Winds - H. Rosenberg, Symphony for Winds & Percussion - BIS 2002

To those of you who woke up this morning thinking "oh, I am really going to need a cello mingling with a wind section to get through this day" I say do not worry; you will soon be satiated for sure. A lovely recording this, and as far as the actual music most of you will likely only know the Martinů, and the Ibert. I didn't know anything about Mats Larsson Gothe before this disc, and I have a handful of the neglected Swedish composer Hilding Rosenberg discs (I do recall a good one on CPO) someplace. In the booklet notes Gothe Larsson says that his concerto grew to be an homage to Lutosławski, and was inspired by the Polish master's cello concerto. It's the true 'contemporary' work here, and it's a good opener. The Martinů Concertino is an early work (another version can be heard on a Supraphon disc I posted some time ago), and it's a tie for "favorite" along with the charming and unorthodox Ibert Concerto. Favorites on this disc that is, not in the repertoire. Hilding Rosenberg's Symphony is...indeed a symphony and in no way a concerto. Although the Symphony imo is lacking in personality compared to the rest of the program, it is still a fine and engaging enough listen.

Enjoy everyone

Concertos_for_Cello_&_Winds-Tzadik.zip

http://www77.zippyshare.com/v/ReykZbyD/file.html

Bohuslav Martinů: "Maxim Rysanov plays Martinů" Rhapsody-Concerto for Viola & Orchestra - Three Madrigals for Violin & Viola - Duo No. 2 for Violin & Viola - Sonata for Viola & Piano - Maxim Rysanov, Viola BBC S.O., Jiri Belohlávek - BIS 2015

This fine Martinů disc was a wise purchase by my father. The "Rhapsody-Concerto" for Viola and Orchestra is his favorite work by one of his favorite (like father like son) Czech composers. It's a late work that practically marks the beginning of his final major stylistical development towards Neo-Romanticism. It's a beautiful work and in the Hands of Jiri Belohlávek with the BBC Symphony Orchestra it receives a knock-out performance. The three other works are duos for viola & violin and viola & piano, respectively. Now I want to go back and listen to my other recordings of these three delights for comparison's sake, however I'm pretty sure that these are the finest performances of all three pieces! Without any doubt if you are a Martinů fan you are in for one hell of a treat! The sound is as outstanding (what one expects from BIS) as the playing from all artists involved. I believe I have posted all four of these works before, so no further comments are really needed.. 

Enjoy!

Maxim_Rysanov_Plays_Martinů-Tzadik.zip

http://www79.zippyshare.com/v/4tRdPEVA/file.html

Benjamin Britten - Scottish Ballad for Two Pianos & Orchestra - Bohuslav Martinů - Concerto for Two Pianos & Orchestra - Fantasie for Two Pianos - Three Czech Dances - Joshua Pierce & Dorothy Jonas, Pianists - TRATSOO Luxembourg, Ettore Stratta - 1994 Carlton Classics

Benjamin Britten's "Scottish Ballad" is a fine work that is rarely heard and has rarely been recorded; I do have another version on Centaur Records (coupled with RVW's Concerto for Two Pianos), however other than that, whatever else exists is long out of print. Martinů's "Concerto for Two Pianos" is the better known piece here, however it still remains in the shadows of his extraordinary (solo) piano concertos as well as other concertante works (such as the sublime Rhapsody-Concerto). 

Martinů's concerto is a work of great energy and invention, and has a suggestion of the composer's earlier neo-baroque style with an element of Czech folk melody. Also rarely heard are the two two-piano works "Fantasie" and the "Three Czech Dances", both lively works, mostly full of good cheer (Czech Dance II makes a melancholic entrance, however it is lovely with its quiet sense of longing). 

My only quibble with this recording is the sound quality; it is far from crisp, however a few adjustments on your amplifier will remedy this satisfactorily. Otherwise the performances are commendable, and exciting.

Britten's Scottish Ballad for Two Pianos and Orchestra was given its first performance in the winter of 1941 by two musical acquaintances of the composer ''on the keys'' - the husband and wife piano duo Ethel Bartlett and Rae Robertson. Eugene Goosens directed the Cincinnati Symphony Orchestra. After Britten's return to England in 1942, Bartlett and Robertson made successful tours of America and Europe performing the "Ballad" and other works, but soon after the Scottish Ballad simply fell from the concert repertory. Whether or not is has been performed in concert at all over the last several decades I know not. 

The Thematic material is derived from old Scottish tunes to "evoke", says Britten, "a sequence of ideas and emotions that have have been characteristic of the life of the Scottish people during centuries of stormy history". The work is in one continuous movement, in three distinct sections. In the first section, a Lento introduction uses the psalm tune "Dundee" as a basis for variations. The central section is based on the lament "Flowers of the Forest", and the repeated motif by the pianos contrast with the mournful interjections of the orchestra. "Dundee" is recalled before the final section, where, in the Scottish custom of dancing reels after a funeral, pianos and orchestra vie with each other in a lively, headlong chase. 

Martinů's "Concerto for Two Pianos and Orchestra" was written early in 1943 and given its first performance the following November by Eugene Ormandy and the Philadelphia Symphony Orchestra. Playing the fiendishly difficult solo parts were Pierre Luboschutz and Genia Nemenoff. The composer wrote: "I have used the pianos for the first time in a purely solo sense, with the orchestra as accompaniment. The form is free; it leans rather towards the concerto grosso. It demands virtuosity, brilliant piano technique, and the timbre of the same two instruments calls forth new colors and sonorities". -Some astute listeners may notice that the main theme from Martinů's wonderful "Sinfonietta La Jolla" is quoted here, especially in the first movement! 

The first movement is contrapuntally complex, with soloists complementing the orchestral texture with arpeggio figures and fast-moving passages. Much of the second movement is for soloists alone, with the orchestra playing in the central section. The last movement is more energetic and light-hearted, though the soloists have a cadenza in a contrasting slow tempo. This is, all around, a knockout concerto!

The "Fantasie" for Two Pianos is an earlier work, begun in Bohemia and completed in Paris in 1929.

It is harmonically and rhythmically complex, with a strongly bitonal flavor. Though it is written in a neo-classical style, there is an emphasis on dissonance, and the work emerges as a virile, invigorating essay in pianism. 

Martinů moved to Paris in 1948 but returned to New York in the autumn. The following spring saw the completion of "Three Czech Dances", written (as was the Concerto for Two Pianos) for Bartlett and Robertson. Once more, Martinů's music demands a formidable technique; of the three dances, the second compliments the outer, toccata-like movements.  

Tracklist:

Benjamin Britten

1) Scottish Ballad, Op. 26 (13:10)

Bohuslav Martinů

Concerto for Two Pianos and Orchestra

2) Allegro non troppo (6:13)

3) Adagio (9:58)

4) Allegro (6:29)

5) Fantasie for Two Pianos (6:54)

Three Czech Dances

6) Allegro (3:26)

7) Andante moderato (4:53)

8) Allegro non troppo (4:57)

It's been a rough week for me, so I will try to post more tonight and during the weekend for everyone.

Enjoy!

Martinu_Britten-Two_Piano_Works-Tzadik.zip

http://www49.zippyshare.com/v/jD16wSS7/file.html

Bohuslav Martinu - Kammermusik - Phantasie for Theremin, Oboe, String Quartet & Piano - Mazurka-Nocturne for Oboe, 2 Violins & Cello - Quartet for Oboe, Violin, Cello & Piano - Duet for Violin & Viola - Duet for Violin & Cello Nos. 1 & 2 - Bayer Records 2007

There isn't exactly a ton of great repertoire for the theremin. Indeed, aside from the "Turangalila" Symphony by Messiaen, a bit of Radiohead, and "Good Vibrations" by the Beach Boys, most listeners would be hard pressed to name any pieces written for the electronic instrument once pithily described as "that woo-woo machine." But imo the best piece of chamber music for the instrument is surely Bohuslav Martinu's obscure "Phantasie for Theremin, oboe, string quartet, and piano". The theremin can often sound "spacey" (as in the cosmos) and almost always strange; here however it is seamlessly and masterfully incorporated, at times almost sounding more like a recorder, to these ears anyhow. Written by the expatriot Czech composer in 1944 for renowned theremin virtuoso Lucie Bigelow Rosen, Martinu's Phantasie expertly integrates the instrument into a classical ensemble by using the plangent tone of the oboe as the glue to hold the work together. This is quite the soulful performance with the theremin player Valerie Hartmann-Claverie, the Stamitz-Quartet, oboist Lajos Lencses, and pianist Helena Sucharova. One of Martinu's most delightful chamber works I think!

Unfortunately I have to run to work, and thus I have no time to comment on the rest of this recording

for now... I do hope everyone enjoys...

Martinu_ Kammermusik-Tzadik.zip

http://www82.zippyshare.com/v/6469sVfD/file.html

Bohuslav Martinů - Half-Time, Rondo for Orchestra - La Bagarre - Intermezzo - Thunderbolt P-47 - The Rock - Brno State Philharmonic Orchestra - Petr Vronsky - Supraphon 1984

Here is another rare Martinů disc from the Czech label of labels, Supraphon.

After taking residence in Paris to study under Roussel, Martinů was surprised by the extent of Stravinsky's influence and a general flux in stylistic orientation due to frenetic experimentation.  He became the leading Czech music correspondent in Paris, relating his discoveries about the Parisian music scene to the Czech cultural press.  In his essays from this time, he frequently commented on the 'outdated' and 'Romantic' musical values he felt still persisted in Prague's musical life.  Among the earliest results from his Parisian years was his "orchestral–rondo" "Half–time" (1924), a work clearly inspired by Stravinsky's Russian ballets.  Although he rightly defended the work from being a Stravinskian plagiarism, his polemical essays imply his desire to provoke the Czech critics with the sounds of the Parisian milieu. "Half–time" was premiered in Prague in December 1924 by the Czech Philharmonic under Václav Talich, who would remain Martinů's most powerful ally at home until the fall of the First Czechoslovak Republic in 1938.

Half-time celebrates 'American football'. As a frenzied crowd of fans grows ever more excited in the midst of a tense soccer match, a melody emerges fortissimo in the strings and harmonized in thirds, an obvious folk-inspired gesture. This tune clearly represents the crowd, en masse, in an excited state. It is the only extended melodic passage in the entire piece, and as such vividly stands out.

With "La Bagarre" the wit and exploration of the 1920s Parisian avant-garde trend continues, but with even more interesting implications. This is the work Martinů boldly offered to Koussevitsky when he spotted the conductor at a sidewalk cafe in Paris, and which the Russian conductor premiered in America with the Boston Symphony Orchestra to critical acclaim. Martinů submitted the following program notes for that occasion:

"La Bagarre is charged with an atmosphere of movement, dash, tumult, obstruction. ‘Tis a movement in grand mass, in uncontrollable, violent rush. I dedicate the composition to the memory of Lindbergh landing at Bourget, which responds to my imagination, and expresses clearly its aim and evolution.

In this symphonic rondo, 2-2, I have portrayed the tension of spectators at a game of football (sic). ‘Bagarre’ is, properly speaking, an analogous subject, but multiplied, transported to the street. It’s a boulevard, a stadium, a mass, a quantity which is in delirium, clothed as a single body. It’s a chaos ruled by all the sentiments of enthusiasm, struggle, joy, sadness, wonder. It’s a chaos governed by a common feeling, an invisible bond, which pushes everything forward, which moulds numerous masses into a single element full of unexpected, uncontrollable events. It is grandly contrapuntal. All interests, great and small, disappear as secondary themes, and are fused at the same time in a new composition of movement, in a new expression of force, in a new form of powerful, unconquerable human mass."

"La Bagarre", properly speaking, is a triptych, in which the intermediate phrase, usually free, is replaced (apparently by a more melodious movement) by a quicker tempo than that of the first and third, ending in a violent, presto coda.

Thunderbolt P-47 is the famed American fighter plane of World War II which this fiery orchestral scherzo aims to describe. On that note, I have to finish writing this later, time for work unfortunately..

Enjoy everyone

Martinů_Thunderbolt_La_Bagarre_etc._Tzadik.zip

http://www70.zippyshare.com/v/7vNQOndt/file.html

Bohuslav Martinů - Le Raid merveilleux (Ballet mécanique) - La Revue de cuisine (complete ballet, first recording) - On Tourne! (Ballet in 1 act) - Czech Philharmonic Orchestra, Christopher Hogwood - Supraphon 2004

This is a rather unknown Martinů disc from Supraphon, featuring lesser-known earlier works (Le Revue de Cuisine is likely the one piece here that listeners will know) which is a most exciting collection of ballet/jazz pieces; two for ensemble and one for full orchestra. All date from 1927, five years before Martinů’s move to Paris. This is one of my favorite early Martinů recordings; it is just overflowing with idiosyncratic beauty and charm-rare material done idiomatically and with an authentic zest.

"Le Raid Merveilleux" is concerned with the tragic failure of two French aviators, Charles Nungesser and François Coli, to fly across the Atlantic on 8 May 1927. Two weeks after the loss of the two fliers Charles Lindbergh succeeded where they had failed. Aviation references appear throughout the work's five movements. In the final segment, 'La Mer', the Morse code 'SOS' figure rings out on the piano rather like the homing signal in Barber's Second Symphony. The score is not at all dry as one might fear given the background, and the jazz influence is virtually undetectable. The outer movements 'Un Oiseau' and 'La Mer' as well as 'Les Cartes' (a gentle canon) are humane and quite beautiful and indeed the mature Martinů personality is very much to the fore in La Mer. I often listen to this score twice, as I do with all three pieces on this release...it's just that good to a Martinů freak like myself!

After not much of a pause we pitch into "La Revue de Cuisine". This is for six instruments and is in ten movements. The ballet music is playful, piquant, energetic and jerky and even carries a folk flavor (try the polka Prologue). Stravinsky (Petrouchka meets Pulcinella in chamber orchestration) is clearly an influence. There is also a strutting absurdist element akin to the Shostakovich First Piano Concerto. The Duel movement (track 11) is marked 'Tempo di Charleston' and that dance is prominent after the first minute or so. 'Oompah' and other popular dance elements flit to and fro through these pages. 'Le Fin du Drame' (track 15) vivaciously recaps the dances of the previous movements. This is the first recording of the complete ballet of La Revue. (Movements from it were famously included on a 1960s Supraphon LP later reissued on CD)

After the stripped-down and spare textures of the first two ballets, "En Tourne!" introduces the uproar of the full orchestra in signature Martinů full flow. There are eight movements with some amazing trumpet playing in the tumult of the first movement. (This is the CD premiere recording of the ballet On tourne!)

Hopefully I will have time for more rare Martinů after work (key word is 'hopefully'!)

Enjoy!

Martinu_Le_Raid_merveilleux_On_Tourne!-Tzadik.zip

http://www9.zippyshare.com/v/oUNU8SIn/file.html

Martinů - "The Butterfly that Stamped" - Ballet in one act after Rudyard Kipling - Prague Symphony Orchestra, Jiri Belohlavek - Supraphon 1986

Martinů has written many works that happen to have intriguing, mysterious names ('The Strangler', 'Legend of the Smoke from Potato Fires', 'Comedy on the Bridge', 'Inconstancy of the Life', 'Alexander Twice', 'The Kitchen Revue'....and of course The Butterfly That Stamped!) Yes, the title of Martinů's early one-act ballet makes me smile a bit, it just sounds so odd without the actual story of the winged friend. This is one of my favorite Martinů discs, and it's a real rarity at that. Martinů based it on an exotic story by Rudyard Kipling, employing a wordless female choir to further enhance the 'oriental' atmosphere. The score is full of Eastern spice and Martinů pulls it all off convincingly and to beautiful effect, with a sense of floating sonically, as if in a dream. 

"The Butterfly that Stamped" (Motýl, který dupal), H. 153, has never been performed-as far as I know. Martinů completed the Ballet in Paris on March 9, 1926, a time when the composer was still finding his voice; it is safe to say however, and easy to hear-that his was unique from the very beginning-with avant-garde outings such as "La Bagarre" or "Half-Time" as well as otherworldly, enchanting and impressionistic tinged scores such as "The Butterfly that Stamped". The ballet is charming and fresh, delicate in it's orchestral color and musical narration, providing a finely contoured version of the humorous tale of a butterfly and his quarrelsome female companion. Martinů took the story from Kipling's "Just So Stories", several short and fantastic accounts of how various phenomena came about. The stories typically have the theme of a particular animal being modified from an "original" form to its current form by the acts of man, or some magical being.

In "The Butterfly That Stamped", we join King Solomon, his lovely wife Balkis, his other nine-hundred ninety nine wives, and two charming but quarrelsome butterflies. Solomon (who mainly goes by Suleiman bin Daoud in the story) is a very wise man, but is very annoyed with his surplus wives and all their quarreling. He thinks they are very loud and ungrateful. He refuses to use his magic to do anything about it because he believes it is just showing off, something he will not do. One day, when walking in his forest, Suleiman bin Daoud stumbles upon two butterflies arguing. The male butterfly tells his wife he could stamp his foot and the huge palace and garden would disappear. The king hears the butterfly's story and finds the claim amusing, and so calls the butterfly over. The king asks the butterfly why he lied, to which the butterfly replies that it was to silence his quarrelsome wife. The King tells the butterfly that if he has to, he can 'help him'. Meanwhile, Balkis has a talk with the butterfly’s wife, who says she is only pretending to agree with him, because "you know how men are." Balkis tells her she should dare her husband to stamp his foot, as he must be lying, and then she can argue with him again. Really, she is hoping the disappearance of the palace will shock the other wives into obedience.

The female butterfly dares her husband, and the butterfly prevaricates by telling her the king called him over to ask him not to, because he is afraid of the butterfly. The wife insists he stamps, and he goes to the king, who tells him he will make it happen to help control his wife, sympathizing with the butterfly's plight. The butterfly stamps and the palace disappears. This makes the butterfly's wife scared, and she promises never to argue with him again as long as he brings it back, leaving Solomon in fits of laughter. But when the garden vanishes, Solomon's less pleasant wives are deathly afraid, believing that the king is dead and the heavens are mourning the news. Balkis claims it was the butterfly who was angry at his wife, and they realize that if the king will do this for the sake of a tiny butterfly, 'what will he do to us, we who have been making him miserable with our quarreling', and they in turn become scared of Solomon's powers, and are nice and quiet from then on.

There's a bit more but this is likely already more of the story than most of you bargained for ;)

I hope everyone enjoys this rather unusual Martinů gem as much as I do!

Martinů_The_Butterfly_That_Stamped_Tzadik.zip

http://www22.zippyshare.com/v/47155357/file.html

Bohuslav Martinů - Memorial to Lidice - Symphony No. 4 - Concertos (Richard Hickox, Rafael Kubelik, Walter Weller)

This double disc has "historic" (a.k.a. just older, in this particular case) recordings under the direction of Rafael Kubelik and Walter Weller on disc 1 (ADD), and entirely digital (DDD) recordings on disc 2 as directed by Richard Hickox. All works are taken from other discs within the EMI vault for this compilation (The Hickox, first 3 works anyhow- is from a Virgin Classics disc, an excellent one at that that I still own to this day). The works that make this set special for me are the "Double Concerto for 2 String Orchestras, Percussion and Timpani" and the still lesser heard/recorded "Concerto for String Quartet and Orchestra", plus The "Sinfonia Concertante for Oboe, Bassoon, Violin, Cello and Orchestra" is also a great addition, and it's excellently played by the City of London Sinfonia under Richard Hickox. "Memorial to Lidice" is hear offered also in a very good and emotional reading indeed. The "Sinfonietta la Jolla", one of my favorite Martinu pieces, on disc 1 is also well done however cannot hold a candle to the version on Chandos that I posted a month or two back. Symphony No. 4 is a stunning work, as are all of Martinu's Symphonies, and here the reading under Weller is imo good but not excellent. I prefer the Chandos and BIS (among several others) many times more. Either way Symphony No. 4 is still very worth hearing no matter who records it! Enjoy

Disc 1

Martinu.Sym4.S.La.Jolla.EMI.Disc1.Tz.zip

http://www38.zippyshare.com/v/49755132/file.html

Disc 2

Martinu.Memorial.Lidice.Concertos.EMI.Disc2.Tz.zip

http://www24.zippyshare.com/v/28917778/file.html

Bohuslav Martinů - The Epic of Gilgamesh

Gilgamesh is the first "known" hero apparently. The story goes back about 3,000 BC. It is a story

about "he who saw the deep" that is, death. Gilgamesh is not a traditional hero. He is depicted as a tyrant who uses his kingly right to deflower the bride-to-be at the wedding. Still, the epic celebrates him. The goddess Aruru creates Enkidu from the desert sand so that there might be someone to protect the people from Gilgamesh (not such a hero after all). Well Enkidu and Gilgamesh fight so that the men's brides will be safe. Gilgamesh wins and Enkidu becomes his sidekick. They travel around fighting beasts and monsters. One of the beasts has been sent by a goddess that Gilgamesh dumped. Gilgamesh kills it but the gods decide to kill Enkidu as revenge. Enkidu dreams of death ("who, my friend, is not defeated by death"?) and slowly fades away. Gilgamesh, in his grief, continues his journeys and sails across the waters of death. He races against time but realizes he cannot defeat sleep and will also die. He calls forth the spirit of Enkidu and they embrace. Gilgamesh (and the chorus) speak with the spirit of Enkidu asking questions about death, but Enkidu's replies are enigmatic. So it goes. With its mix of modally based orchestral themes, long-spanned rhythmic ostinatos, and phrases chanted by a bass soloist on a single note, this Oratorio sounds at times like a Martinů transmutation of Eastern Orthodox sacred services. It is a powerful work, deftly drawing upon three sections from the neo-Assyrian redaction of this sprawling and fragmentary religious cycle. Good stuff. Enjoy.

Martinu_The_Epic_of_Gilgamesh_Tz.zip

http://www13.zippyshare.com/v/9835627/file.html

Bohuslav Martinů - Flute Trios - Promenades - Madrigal Sonata

I'm rather frustrated trying to locate many Martinů discs that I must have stored away. I felt a 

"Martinů flood" coming on but I guess that will have to wait. As much as I love the symphonies I won't bother posting any as I think several blogs already have done justice there. I will continue to post other orchestral/concertante/chamber/solo/vocal and of course any rarities. 

This Naxos disc is simply joyous;

the Trio for Flute, Cello and Piano,  the Trio for Flute, Violin and Piano (the 3rd movement, track 6 marked Allegretto is too effervescent for words, I just love it!), Promenades for Flute, Violin and Harpsichord and the Madrigal Sonata for Flute, Violin and Piano are all charming charming charming works, really some of the sweetest and (for the most part) happiest of Martinů's neoclassical chamber works. And dear Bohuslav wrote *alot* of chamber music (and a lot of everything else; Martinů was

almost too prolific for his own good).  No matter the genre, when Martinů is neoclassical in his writing I'm always enchanted. Enjoy!

 Martinů_Flute_Trios_Promenades_Madrigal_Sonata_Tz.zip

http://www51.zippyshare.com/v/59120254/file.html

Bohuslav Martinů - Fantaisies symphoniques (Symphony No. 6) - Bouquet of Flowers

Historic recordings from 1955 and 1956 of Martinů's Symphony No. 6 and the "Bouquet of Flowers" a cycle of works to folk texts for mixed and children's choirs, soloists and small orchestra. Czech Philharmonic Orchestra & Chorus (and the Kuhn Children's Chorus) are conducted by the wonderful Karel Ancerl. Enjoy.

Martinů_Sym_6_Bouquet_of_Flowers_Tz.zip

http://www27.zippyshare.com/v/24683222/file.html

Bohuslav Martinů - Piano Quintets Nos. 1 and 2 - Sonata for Two Violins and Piano

Naxos continues their impressive series of Martinů chamber music with this immensely rewarding disc of one of Martinu's indubitable masterpieces, coupled with two rewarding but less well-known works. The masterpiece in question is of course the second piano quintet, dating from 1944. It is immediately recognizable as Martinů (more accurately the Martinů of the middle symphonies) with the appealing blend of impressionism and sleekly elegant neo-classicism. Sporting wonderfully, almost dream-like melodies, the first movement is one of Martinů's most appealing creations, and the following Adagio is one of his most memorable slow movements. The finale, with its juxtapositions of buoyant and busy fast parts with lyrically reflective slow tempos is utterly unforgettable as well; in short, the piano quintet is one of the true masterpieces of the medium and should be known by any music lover.


The first quintet, from 1933, is - although recognizably Martinů - rather different in terms of his treatment of the material. More neo-baroque in style, the music is slightly more craggy and abrasive and the work sounds more like a concertante work for the piano - with the piano set in discursive opposition to a more unified string group. The melodies and figures are overall less memorable than those of the successor, but it is still a very appealing work. More or less the same applies to the playful and somewhat unpredictable Sonata for two violins and piano; overall an entertaining but hardly profound work with a great deal of charm. (GD) Enjoy.

Martinů_Piano_Quintets_Tz.zip


http://www12.zippyshare.com/v/21407081/file.html

Bohuslav Martinů - Who Is the Most Powerful in the World - Ballet Comedy

Here's an early~ish work by Martinů, his charm already fully apparent. It also happens to be the only ballet about the powerful kingdom of mice, surprisingly ;) Enjoy.

Martinu_Who_Is_The_Most_Powerful_Tz.zip


http://www1.zippyshare.com/v/40570108/file.html

Bohuslav Martinů - Sinfonietta Giocosa - Toccata e Due Canzoni - Sinfonietta La Jolla

One of my desert-island-Martinů-discs, this Chandos disc from 1990 is pure joy. The Sinfoniettas are sunny, lyrical, and neoclassical in temperament. The Sinfonietta Giocosa is one of my favorite works. It's pretty remarkable too that that the Sinfonietta Giocosa ("Jolly" or "Playful" Little Symphony) was composed largely on trains while he and his wife were fleeing the Nazi occupation of France. It really is jolly, though, and is guaranteed to make the listener's ears and mind excessively happy; it does that for me anyhow!! The Sinfonietta La Jolla is also a charming work, again in Martinu's oft neoclassical style. Toccata e Due Canzoni is opulently melodic and beautiful as well. The first movement is one of the best examples of "perpetual motion" that you're ever likely to hear. Enjoy!

Martinu_SinfoniettaGiocosaToccataSinfoniettaLaJolla.zip

http://www31.zippyshare.com/v/47392854/file.html 

Bohuslav Martinů - The Parables, Les Estampes, Etc.

Another great Martinů recording brought to us by Supraphon (their Martinů catalogue is huge!). Chandos too has put out magnificent Martinů discs, which I will get around to at some point.. Enjoy!

  http://www25.zippyshare.com/v/71535629/file.html

Bohuslav Martinů - Concertos for Harpsichord & Oboe - Concertino

Bohuslav Martinů has always been one of my favorite composers, his music is quite varied and he was really prolific. I have quite the soft spot for his neo-classical and neo-baroque
 concertos. This is Imo the best recording of these 2 concerti and the concertino. Enjoy.

Tracks:

Concerto for Harpsichord & Small Orchestra (1935)

1) Poco Allegro

2)Adagio

3)Allegretto

Concerto for Oboe & Small Orchestra (Finished in 1953)

4)Moderato

5)Poco Andante

6)Poco Allegro

Concertino for Cello with Piano, Wind, and Percussion Accompaniment (1924)

7) (Tempi is not listed on the disc)

http://www62.zippyshare.com/v/10809164/file.html