Bohuslav Martinů

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Bohuslav Martinů ([ˈbɔɦuslaf ˈmarcinu:] (help·info); December 8, 1890—August 28, 1959) was a Czech composer.

1 Life
2 Music
3 In his own words
4 Works
5 Media
6 See also
7 External links

[edit] Life

Portrait of Martinů

The church tower where Martinů was born and lived his youngest years

Martinů was born in a bell tower in Polička, 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"^{[citation needed]}. 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.

Martinů spent his later years in Switzerland, never returning to his homeland.^{[citation needed]} He died in Liestal on August 28, 1959.

[edit] Music

Martinů 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 consistently fine 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 seven string quartets and a flute sonata.

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.^{[citation needed]}

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, tellingly titled Fantaisies symphoniques, with previous efforts from the 1940s.

One of Martinů's lesser known works is a piece featuring the theremin commissioned by Lucie Bigelow Rosen. Martinů 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 Boom.

[edit] In his own words

“

The artist is always searching for the meaning of life, his own and that of mankind, searching for truth. A system of uncertainty has entered our daily life. The pressures of mechanisation and uniformity to which it is subject call for protest and the artist has only one means of expressing this, by music.

”