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BOHUSLAV MARTINU
(1890-1959)
Suites from 'Spalicek', H 214 (1931-32, revised 1937, 1940)
44:53
(Chapbook)
Opera-ballet in Three Acts
Liidia Ilves piano
Suite No. 1, H 214A: 22:29
1.
I
Prelude (Predehra). Poco allegro
1:22
2.
II
Dance with the Hare (Tanec se zajicem).
1:31
Allegretto poco moderato
In the Magician's Palace (V paláci cernokneznikove)
3.
III
Dance of the Shadows (Tanec stinu). Moderato - Poco allegro - Allegro -
2:18
4.
III
Dance of the Lion (Tanec Iva). Moderato -
1:15
5.
III
Dance of the Sparrow-Hawk (Tanec krahujce).
0:37
Allegro vivo -
6.
III
Dance of the Little Mouse (Tanec malé mysky).
1:19
Allegretto - Poco vivo -
7.
III
Change of Scene and Dance of Puss in Boots
1:42
(Promena a tanec Kocoura v botách). Lento - Allegretto - Poco vivo
8.
IV
Cinderella's Ball at the Palace (Popelcin ples na
9:32
zámku). Lento - Moderato - Allegro moderato -
9.
V
The Wedding Polka (Svatební Polka). Moderato -
2:33
Poco vivo - Meno - Allegro - Poco vivo - Più vivo -
Suite No. 2, H 214B: 22:24
10.
I
Dance of the Devils (Tanec certu). Allegro
2:55
11.
II
The Shoemaker's Capricious Patron (Sevcova
1:22
rozmarná zákaznice). Poco vivo
12.
III
The Market - Dance of the Bumble-bee (Trh -
3:01
Tanec cmeláma). Moderato - Moderato (Un poco più vivo)
The Rescue of the Princess (Vysvobozeni princeznino)
13.
IV
1. The Black City (Cerne mesto). Andante -
1:49
Poco allegro - Andante -
14.
IV
2. The Unhappy Princess (Nestastná princezna).
0:58
Moderato
15.
IV
3. The Struggle between the Butterfly and the Giant
2:17
(Zápas motyla s obrem). Andante moderato -
16.
V
Dance of the Ladies-in-waiting and the Country Maidens
2:27
(Tanec dvornich dam a venkovskych devcat).
Andante moderato - Allegretto
17.
VI
At the Enchanted Castle (V zakletém zámku).
3:21
Poco andante - Poco allegro - Poco allegro
18.
VII
In the Magic Bag (V kouzelné mosne).
3:48
Moderato - Più moderato
Rhapsody-Concerto, H 337 (1952)
19:41
for Viola and Orchestra
19.
I
Moderato - Poco meno - Tempo I - Poco meno - Tempo I
9:42
20.
II
Molto adagio - Molto tranquillo - Poco vivo - Quasi cadenza -
9:54
Solo:Mikhail Zemtsov viola
Total time: 64:55
Orchestra: Estonian National Symphony Orchestra
Conductor:Neeme Järvi
30 September-3 October 2014 (Suites from Spalicek) & 2 and 3 July 2015 (Rhapsody-Concerto)
Notes
This album with the Estonian National Symphony Orchestra and its artistic director, Neeme Järvi, features two mature works by Martinu, recorded in the splendid acoustic of the Estonia Concert Hall in Tallinn.
One of the most wide-ranging composers of music for the stage, Martinu was also enthusiastic about the theatrical possibilities of including new media in his operas. Špalícek in many ways belongs to this experimental tendency. Although it was published and billed at its first performance as a ballet, it might best be described as an opera-ballet, as alongside the many dances there are extensive roles for chorus as well as tenor, soprano, and bass soloists. Martinu described the work on his manuscript as deriving from folk games, customs, and fairytales.
The lyrical Rhapsody-Concerto was written in 1952, at a time when Martinu was fighting homesickness and depression, worsened by the political situation in his native Czechoslovakia. The work is a marked move toward a more romantic sound world. The soloist here is Mikhail Zemtsov, principal violist of the Residentie Orchestra The Hague since 2001 and a prize winner at the first International Viola Competition (Vienna) and the Elisa Meyer String Competition (Hamburg).
The exploration by Järvi and the ENSO of hidden gems from the late nineteenth and early twentieth centuries has proved highly successful, their recent recording of works by Suchon (CHAN 10849) awarded the Choc de Classica.
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Reviews
“...A fine disc.” ****½
Andrew Aronowicz – Limelightmagazine.com.au – 19 May 2016
“... the sound here is wonderful ... If you don’t know this ballet you really need to invest in this recording... this is delightful music...”
Donald Vroon - American Record Guide - May/June 2016
“ Järvi conducts with bags of panache and harm, and there’s real magic in Cinderella’s ball scene, where a poised cabaret waltz forms the theme for a set of variations that eventually glows with passion Zemtsov plays with dark, moody lyricism throughout. The orchestral strings sound very plush an effective performance ”
Tim Ashley Gramophone magazine March 2016
",,, a beautiful disc."
Graham Rickson - theartsdesk.com - 13 February 2016
Performance **** Recording ****
David Nice - BBC Music magazine - March 2016
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