Bohuslav Martinů - Violin Sonata No.3

Antonín Moravec / Otakar Vondrovic
00:00 Poco Allegro
05:37 Adagio
12:17 Scherzo
18:33 Lento
Bohuslav Martinů (1890-1959) was a Czech composer. Martinu excelled and developed a strong reputation as a violinist in his hometown in Bohemia, giving his first public concert in his hometown in 1905. The townspeople raised enough money to fund his schooling, and in 1906 he left the countryside to begin studies at the Prague Conservatory. Whilst there he fared poorly as a student, showing little interest in the rigid pedagogy, nor the hours of violin practice required. He was far more interested in exploring Prague and learning on his own, attending concerts and reading books on many subjects. This was in contrast to his roommate, Stanislav Novák, who was an excellent student and a brilliant violinist.

Martinů finally departed for Paris in 1923, having received a small scholarship from the Czechoslovak Ministry of Education. He sought out Albert Roussel, whose individualistic style he respected, and began a series of informal lessons with him. Roussel would teach Martinů until his death in 1937 by helping him focus and bring order to his compositions, rather than instructing him in a specific style.
During his first years in Paris, Martinů incorporated many of the trends at the time, including jazz, neoclassicism, and surrealism. He was particularly attracted to Stravinsky, whose novel, angular, propulsive rhythms and sonorities reflected the industrial revolution, sports events and motorised transportation. The prime leader of new symphonic music in Paris at this time was Serge Koussevitzsky, who presented the biannual Concerts Koussevitzsky (1921–29). He became the conductor of the Boston Symphony Orchestra in 1924, but still returned to Paris each summer to conduct his Concerts. In 1937, Martinů became acquainted with a young Czech woman, Vítězslava Kaprálová. Born in Brno in 1915, she was already a highly accomplished musician when she arrived in Paris, supported by a small Czech government grant to study conducting with Charles Munch and composition with Martinů. Their relationship soon developed beyond that of student-teacher as he fell madly in love with her. After she returned to Czechoslovakia, Martinů wrote her many long, passionate letters. She died in 1940 at age 25.
He lived from 1941 to 1953 in the United States. He met Rudolf Firkušný there.
He had considered returning to Czechoslovakia as a teacher, despite having a powerful enemy there in the communist politician Zdeněk Nejedlý. Any plans to return were further hampered by the 1948 Czechoslovak coup d'état. With the communists' seizure of power, music, along with the other arts, became an instrument of propaganda along Soviet ideological lines. Martinů was branded as a formalist and émigré traitor, and he chose wisely not to pursue any kind of professional engagement in his native land from this time forward.
Martinů was a prolific composer who wrote almost 400 pieces.
Many of his works are regularly performed or recorded, among them his oratorio The Epic of Gilgamesh (1955, Epos o Gilgamešovi), his six symphonies, concertos (these number almost thirty – four violin concertos, eight compositions for solo piano, four cello concertos, one of each for harpsichord, viola, and oboe, five double concertos, two triple concertos, and two concertos for four solo instruments and orchestra), an anti-war opera Comedy on the Bridge (Veselohra na mostě), chamber music (including eight string quartets, three piano quintets, a piano quartet) , a flute sonata, a clarinet sonatina and many others.
One of Martinů's lesser known works features the theremin.
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