Compulsion to Compose
Early twentieth-century modernists in music eagerly explored various ways of breaking with the Romantic tradition. For Bohuslav Martinů (), born in a church tower above the Czech-Moravian Highlands, the initial point of departure was grounded in the debates about Czech national music. A highly talented but hopeless student at the Prague Conservatory, Martinů initially contributed the widely acclaimed patriotic cantata Czech Rhapsody in However, he simultaneously explored and appropriated the stylistic orientation of French modernisms, beginning with Debussy and Roussel, and culminating in his unabashed worship of Stravinsky. Martinů’s entire compositional oeuvre pays close attention to this duality of avant-garde cosmopolitan developments and his position as a composer of Czech national music. In addition, his deliberate sense of objectivity stems, according to the composer, from “growing up in a church tower where I only saw people and places from afar.”
Martinů was never comfortable in the highly conservative musical environment of Prague. As such, he packed his bags in and sought more satisfying artistic pastures in Paris. He joined the Czech art
Bohuslav Martinu
Bohuslav Martin&#; (Czech pronunciation:&#;[&#;bo&#;uslaf &#;marc&#;nu&#;]&#; (listen)) (December 8, – August 28, ) was a prolific BohemianCzechcomposer, who wrote six symphonies, 15 operas, 14 ballet scores and a large body of orchestral, chamber, vocal and instrumental works.
Martin&#; was born in Poli&#;ka, Bohemia. He became a violinist in the Czech Philharmonic Orchestra, and taught music in his home town. In Martin&#; left Czechoslovakia for Paris, and deliberately withdrew from the Romantic style in which he had been trained. In the s he experimented with expressionism and constructivism, and became an admirer of current European technical developments, exemplified by his orchestral works Half-time and La Bagarre. He also adopted jazz idioms, for instance in his Kuchy&#;ské 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 Openin
Composers
Bohuslav Martinu
Article by Thomas D. Svatos
Despite the fact he spent his last two decades in exile, Bohuslav Martin&#; (&#;) was among the most prolific composers of the twentieth century. Born in a church tower above the Czech&#;Moravian Highlands, he established himself in both Prague and Paris before the Nazi invasion of France forced him to flee to the United States. He became a star in the U.S. during the s, but returned to Europe permanently in His folk&#;cantata The Opening of the Wells () became enormously popular in Czechoslovakia, dealing with themes of purity, rebirth, and the pain of exile.
Life
Bohuslav Martin&#; was a Czech composer of Austro&#;Hungarian, Czechoslovak, and then American citizenship. His father&#;s dual occupation of fire watchman and shoemaker accounts for his childhood living atop the tower at St. Jacob&#;s Church in the Eastern Bohemian town of Poli&#;ka. Later in life, Martin&#; explained the objectivity of his music from this early experience, seeing people and places only from afar. He left Poli&#;ka for Prague in to study violin at the Prague Conservatory. A hopeless stud
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- From 10 June to 31 March emigrates via southern France, Spain, and Portugal to the USA. Most manuscripts remain in France: Martinu takes with him only four scores. In June Vitezslava Kapralova dies. While fleeing Martinu writes the Sinfonietta giocosa for piano and small orchestra. Settles in New York. Composes the Concerto da camera for violin and chamber orchestra. On 14 November scores a major success with the premiere of his Concerto grosso by the Boston Symphony Orchestra under Serge Koussevitzky.
- Composes the Symphony No. 1, premiered in November again by Koussevitzky. Writes another symphony in each succeeding year through Their premieres and frequent performances confirm Martinu's important standing in musical life in the USA. In the summer accepts an invitation from Koussevitzky to teach in the summer courses at the Berkshire Music Center. (Later he will teach at the Mannes School of Music in New York and at Princeton University.)
- Composes the Concerto for Two Pianos and Orchestra, the Concerto for Violin and Orchestra No. 2 for Misha Elman, and the orchestral Pamatnik Lidicim (Memorial to Lidice).
- Composes the Symphony No. 3 and
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