If asked to predict the next mid-20th-century composer likely to see a resurgence in popularity, many might consider Bohuslav Martinů (1890-1959). A new recording of his six symphonies by the Bamberg Symphony, conducted by Jakub Hrůša, challenges conventional views about the Czech composer, often labeled as the “Czech Stravinsky” or a successor to Dvořák. Instead, the recording reveals Martinů’s unique and original musical voice.
Although Martinů’s works enjoyed some recognition in the United States at one point, they have since faded from mainstream awareness. Critic Virgil Thomson noted Martinů’s distinct style during the New York premiere of his Symphony No. 1 in 1942. He described the composer’s approach, stating, “He has had no need of demagogy from the brass or of sob stuff from the strings. He uses both as musical instruments of an ensemble that constantly sings.” Thomson appreciated the vibrant colors and timbres in Martinů’s compositions, emphasizing their clarity and integration into a “shimmering pattern.”
The recent Deutsche Grammophon release of Martinů’s symphonies aims to reintroduce audiences to this compelling body of work. As listeners explore these recordings, they may find an undeniable freshness that sets Martinů apart from his contemporaries, suggesting that appreciation for his contributions to 20th-century music may be on the rise once more.
