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Customer Reviews
Most Helpful Customer Reviews
33 of 33 people found the following review helpful
Format:Audio CD
To understand the music of the twentieth century Czech composer Martinu consider it a journey in search of his own authentic voice.The composers itinerant life took him from Czecheslovakia to Paris to refuge in the United States of America and finally back to Europe. This excellent double c.d.of most of his major concerto works for single piano and orchestra traces this evolution.One can hear the influence of jazz and "neo-baroque"in his first piano concerto.The third piano concerto shows a vast tragic sweep reminiscent of the 2 Brahms piano concerti.There are far eastern chant like textures in his fourth piano concerto.The fifth seems to be journey's end with a true authentic individual voice appearing. Martinu lived through the horrors of the second world war and forced exile from Europe.This was later extended by the advent of communism in his native Czecheslovakia.In spite of personal hardships suffered his music proclaims a very upbeat and cheerful philosophy and outlook on life.Joy and an optimism for the future can be found in the darkest hour even when his music traverses sad minor key sections.Light and good will prevail and the memory of childhood rural rolling landscapes will stay beautiful whatever the transient social or political reality of the day.Nostalgia is introduced as a companion which doesn't have to imply tears and gloom but can be uplifting and contented. This recording is robust and infused by the intelligent sensitivity of an orchestra and soloist who seem to revel in reclaiming their native Czech son.The piano playing is muscular and faultless even through the difficult dream like "incantations" of the fourth piano concerto,no one puts a foot wrong in the illumination of this subtle and introverted music. Don't be put off by the intimidating reputation of twentieth century music,Martinu is tuneful,accessible and rich in a musical language that engages the listener rather than antagonises.A gem of a recording,don't miss it.
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2 reviews
3 of 4 people found the following review helpful
Vintage Martinu
17 Feb 2010
Format:Audio CD
I consider Martinu one of the greatest composer of the recent century.
That said, I think this CD is a great introduction to the composer,the music is delicious, ingenious and the performances could not be better. The works span a large part of his life.
This is one of my favorite CD's.
That said, I think this CD is a great introduction to the composer,the music is delicious, ingenious and the performances could not be better. The works span a large part of his life.
This is one of my favorite CD's.
1 of 3 people found the following review helpful
Excellent. Marvellous music in first-rate performances
9 May 2010
Format:Audio CD
This 2-CD set has first-rate interpretations of Martinu's 5 Piano Concertos and the 1938 Concertino. (For an acceptably good series-in-progress, see my comparative review of the Naxos CD with his Piano Concertos Nos 3 & 5, & the 1938 Concertino by the Bohuslav Martinu Philharmonic Orchestra under Arthur Fagen, Giorgio Koukl on piano.)
As a model or microcosm of this set -- with Jiri Belohlavek with the Czech Philharmonic Orchestra, Emil Leichner at the piano -- I've chosen the closing Allegro of the 1938 Concertino. It is only one of its nine movements, but a representative sample for consider various vital aspects of this music.
The Czechs summon build-ups effectively in this movement, while also developing contemplative passages of great subtlety. The rhythmic core of the music is also far better in hand, through sharper execution, than the Naxos version. Better considered as well is the sound spacing to suit the music's needs. The sound is better adjusted in this Supraphon set, both in shifting instrumental groups for emphasis into the fore or background for emphasis, and in volume dynamics according to the drama.
All of these result in a performance that is full of conviction: strident and razor-sharp where needed, and well-nuanced where sensitivity is required. Belohlavek coaxes colour and ornamentation from the orchestra both to accent and add contour to the soloist's part, rather than acting in alternation with Leichner, the pianist - who ends up not as in the fore as Koukl, on Naxos. Under Belohlavek, his part is closely integrated with the orchestra (the same holds for the timpanist, incidentally, who also stands out much less than on the Naxos).
The Czech Phil's tighter ensemble delivers slow passages of great refinement while also managing robust, hair-raising fortissimo execution when that's called for. This last is done with jazzy flair on the trumpets' climactic entry (at 5:10): the players are all but seen to rise and blast out their brief part with dizzy exuberance. Closer attention to the shape of what remains after this peak also brings out some more tightly-wound, eventful music -- just listen to those lovely, long pizzicato lines of cellos and double basses shaping the closing passages, leaving no sense of disappointment when the end arrives.
You might also want to consider Bohuslav Martinu: Piano Concertos Nos. 2, 3 & 4 with Rudolf Firkusny on piano and Libor Pesek conducting the Czech Philharmonic Orchestra.
Still, for a complete set of these concertos this 2-CD album with Belohlavek conducting and Leichner on piano is unsurpassed. If you're considering which set to get, this is the one!
As a model or microcosm of this set -- with Jiri Belohlavek with the Czech Philharmonic Orchestra, Emil Leichner at the piano -- I've chosen the closing Allegro of the 1938 Concertino. It is only one of its nine movements, but a representative sample for consider various vital aspects of this music.
The Czechs summon build-ups effectively in this movement, while also developing contemplative passages of great subtlety. The rhythmic core of the music is also far better in hand, through sharper execution, than the Naxos version. Better considered as well is the sound spacing to suit the music's needs. The sound is better adjusted in this Supraphon set, both in shifting instrumental groups for emphasis into the fore or background for emphasis, and in volume dynamics according to the drama.
All of these result in a performance that is full of conviction: strident and razor-sharp where needed, and well-nuanced where sensitivity is required. Belohlavek coaxes colour and ornamentation from the orchestra both to accent and add contour to the soloist's part, rather than acting in alternation with Leichner, the pianist - who ends up not as in the fore as Koukl, on Naxos. Under Belohlavek, his part is closely integrated with the orchestra (the same holds for the timpanist, incidentally, who also stands out much less than on the Naxos).
The Czech Phil's tighter ensemble delivers slow passages of great refinement while also managing robust, hair-raising fortissimo execution when that's called for. This last is done with jazzy flair on the trumpets' climactic entry (at 5:10): the players are all but seen to rise and blast out their brief part with dizzy exuberance. Closer attention to the shape of what remains after this peak also brings out some more tightly-wound, eventful music -- just listen to those lovely, long pizzicato lines of cellos and double basses shaping the closing passages, leaving no sense of disappointment when the end arrives.
You might also want to consider Bohuslav Martinu: Piano Concertos Nos. 2, 3 & 4 with Rudolf Firkusny on piano and Libor Pesek conducting the Czech Philharmonic Orchestra.
Still, for a complete set of these concertos this 2-CD album with Belohlavek conducting and Leichner on piano is unsurpassed. If you're considering which set to get, this is the one!
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