Bohuslav Martinu was a violinist himself; yet the piano colour in many of his symphonic scores is his actual signature. The two instruments are assigned...

Bohuslav Martinu was a violinist himself; yet the piano colour in many of his symphonic scores is his actual signature. The two instruments are assigned solo roles in the Concerto for Violin; Piano and Orchestra (1953); commissioned by Benno and Sylvia Rabinof; who duly premiered it in May 1954. Written concurrently with Symphony No. 6 (Fantaisies symphoniques); the remarkable work is hardly ever performed nowadays. Different is the case of Violin Sonata No. 3 (1944); created in the USA too; which has long been a staple of violinists’ repertoires worldwide. Amid the atmosphere of the imminent end of WWII and feeling homesick; Martinu conceived a monument whose duration is that of a symphony; a work teeming with contrastive drama and lyricism; and featuring a Dvorák-like nostalgia; evoking his Czech roots. In comparison with the two “American” works; the Cinq pièces brèves (1930); dating from Martinu’s Paris period; contain far rougher harmonies and piquancy; attesting to a penchant for the Charleston; as well as a propensity to the contrapuntal style.

On their album; the globally renowned artists Josef Špacek and Miroslav Sekera present Martinu as an astute creator of chamber music and concertos; a composer both international and Czech; widely known and still being discovered alike. Martinu’s music for violin and piano – a universe of intriguing contrasts