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Symphony No. 6 (Martinů)

From Wikipedia, the free encyclopedia

The Symphony No. 6 ("Fantaisies symphoniques"), H. 343, by Bohuslav Martinů was begun in New York City in 1951, after a hiatus of four years since its predecessor, and was tentatively completed three years later on 23 April 1953. In Paris, in the months following its completion, Martinů undertook some revisions to the score. It is dedicated to Charles Munch, on the occasion of the 75th anniversary of the Boston Symphony Orchestra, who premiered the symphony on 7 January 1955.[1] Martinů originally called the work Fantaisies symphoniques, and this is sometimes regarded as its only correct title.[2]

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Transcription

Instrumentation

The Sixth calls for the smallest orchestra of all of Martinů's symphonies, and notably lacks either piano or harp.[3] It is scored for three flutes, piccolo, three oboes, three clarinets, three bassoons, four horns, three trumpets, three trombones, tuba, timpani, percussion (cymbals, tam-tam, triangle, tambourine, bass drum, side drum), and strings.

Analysis

The symphony has three movements:

  1. Lento—Allegro—Lento
  2. Poco allegro (4/4)
  3. Lento

The symphony is quite unlike the previous five symphonies. In Paris in the autumn of 1955, Martinů described it to Miloš Šafránek as a work "without form. And yet something holds it together, I don't know what, but it has a single line, and I have really expressed something in it".[4]

The Sixth Symphony is distinguished from its predecessors by a canzona-like structure, with an exceptionally high level of invention. Motivic development is carried out in series of extended sections each with a distinct texture, steadily increasing in speed through to the end of the second movement. The reversion in the finale to the lento tempo of the opening movement is accomplished more rapidly, with the correspondence becoming exact only close to the end.[2]

The symphony opens with an hallucinatory, otherworldly texture that sounds like music only just in the process of being formed—music without rhythm, melody, or harmony. This is created using only nine instruments: three flutes, three trumpets, and three solo strings, in superimposed rhythmic layers that divide the slow beat into nine, ten, and twelve subdivisions simultaneously. The complexity produces what is in effect an aleatory texture, "a gateway into the imprecise realm of fantasy".[5]

Discography

References

  • Crump, Michael. 2010. Martinů and the Symphony. Symphonic Studies, no. 3. London: Toccata Press. ISBN 9780907689652.
  • Evans, Peter (Autumn–Winter 1960). "Martinu the Symphonist". Tempo. (new series) (55–56): 19–26, 31–33. doi:10.1017/S0040298200045551.
  • Llade, Martín (July–August 2009). "Las sinfonías de Bohuslav Martinů". Melómano: Revista de Música clásica. 14 (144): 58–62.
  • Šafránek, Miloš (Spring 1965). "Martinu's Musical Development". Tempo. (new series) (72): 11–15. doi:10.1017/S0040298200033349.
  1. ^ Llade 2009, p. 61.
  2. ^ a b Evans 1960, p. 25.
  3. ^ Crump 2010, pp. 371–2.
  4. ^ Šafránek 1965, p. 14.
  5. ^ Crump 2010, pp. 374–5.

Further reading

  • Crump, Michael David. 1986. "The Symphonies of Bohuslav Martinu: An Analytical Study". M.Litt. diss. Birmingham: University of Birmingham.
  • Halbreich, Harry. 2007. Bohuslav Martinů: Werkverzeichnis und Biografie, second, revised edition. Mainz, London, Berlin, Madrid, New York, Paris, Prague, Tokyo, and Toronto: Schott. ISBN 9783795705657.
  • Layton, Robert. 1966. "Martinů and the Czech Tradition". In The Symphony: Vol. II: Elgar to the Present Day, edited by Robert Simpson, pp. 218–29. Harmondsworth: Penguin.
  • Powell, Larson. 2007. "Sound as Form: Martinů's Symphonies". Music and Society in Eastern Europe, no. 2 (December): 77–115.
  • Rathert, Wolfgang. 2009. "Die Sinfonien von Bohuslav Martinů: Ein Beitrag zur amerikanischen Musikgeschichte?" Musik-Konzepte neue Folge (November, special issue: Bohuslav Martinů), edited by Ulrich Tadday, 113–26. Munich: Edition Text + Kritik.
  • Šafránek, Miloš. 1962. Bohuslav Martinů, His Life and Works, translated by Roberta Finlayson-Samsourová. Prague: Artia; London: Allan Wingate.
  • Sal'nikov, Georgij Ivanovič. 1992. "O nekotoryh osobennostjah orkestrovogo stilja Martinů na primere Pamjatnika Lidice, Freski P'ero della Frančesca i šestoj simfonii". In Boguslav Martinů: K 100-letiju so dnja roždenija. Materialy naučnoj konferencii, edited by Nataliâ Aleksandrovna Gavrilova, 46–54. Moscow: Gosudarstvennaâ Konservatoriâ imeni P. I. Čajkovskogo.
This page was last edited on 17 May 2021, at 04:45
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