Bohuslav Martinů - Film en Miniature
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- Опубликовано: 9 дек 2015
- - Composer: Bohuslav Martinů (8 December 1890 - 28 August 1959)
- Performer: Lada Valešová (piano)
- Year of recording: 2008
Film en Miniature, cycle of 6 pieces for piano, H. 148, written in 1925.
Martinů wrote over two hundred piano pieces. However, despite always having some of his virtuoso friends-including Rudolf Firkušný-willing to perform his compositions, Martinů’s output for the piano is not central in his overall work. It is perhaps fair to say that the composer used his piano output for testing ideas later employed in his major symphonic works. Most of Martinů’s piano pieces are usually collected in small cycles that are characteristic not so much for their cyclical form but rather for their playful atmosphere and rhythmical invention.
Such is the case of the cycle Film in Miniature (H. 148) composed not long after the composer’s relocation to Paris in 1923. The pieces are stylisations of the then modern dances beginning with an energetic tango, a nimble Scherzo, a gentle Ukolébavka (Czech cradle-song), a Valse, a Chanson, and concluding with a sunny, ringing Carillon.
It is evident from the autograph that the original title was ‘On the way, a cycle of piano compositions’. Different names were also ascribed to individual movements and they related to Martinů’s native village Polička or to parts of Paris (for example, the fifth movement was called ‘Paris: Jardin du Luxembourg’). It is not known why the original titles and order of the movements was in the end changed, however we know for sure from the composer’s correspondence that the change was authorised. 
Видеоклипы
Masterpiece.
00:05 - Tango
02:37 - Scherzo
04:22 - Berceuse
07:27 - Valse
09:53 - Chanson
11:20 - Carillon
I remember myself playing Tango and Carillon like 25 years ago at one piano competition in Ústí nad Labem (CZE)... Now it's time to learn the whole pack, I think.
The tango sounds like it borrowed the beat from Carmen's Habanera, whilst the scherzo reminds me of the opening of Petrushka.
Bohuslav Martinů:Miniatűr film H.148
1.Tangó (Tempo di tango) 00:05
2.Scherzo (Allegretto - Poco vivo) 02:37
3.Berceuse (Andante moderato) 04:22
4.Valse (Poco allegro - Tempo di valse) 07:27
5.Chanson (Allegro moderato - Moderato) 09:53
6.Carillon (Allegro - Moderato (meno) Tempo primo) 11:20
Lada Valešová-zongora
Norman Lebrecht was right on the mark when he wrote that Martinu was constitutionally incapable of composing badly.
+Mark R. Harris Hm, I'm not sure of that, Martinů did write his share of less inspired pieces... But his good pieces on the other hand, are very good!
@olla-vogala which ones would you recommend the most?
@@olla-vogala4090 I know a lot of his pieces, I didn't find any less inspired
Is it just me or are some phrases so damn close to his puppets? Love martinu btw u know his sonata for flute and piano too? If not definitley check it out!!
+1996Mrkeks Yes I know his flute sonata. It is very well possible some phrases are close to Puppets, which ones did you recognise?
I completely agree with you! "Loutky" is my favorite composition of his piano work, in it there are combined tenderness, melancholy, cheerfulness, lighthearted, irony, just like in the masks of the commedia dell'arte! and wherever he writes we can recognize his themes, his chords, the intervals and the rhythms that he uses.... that's very incredible... i Love him and his music, Martinů is Martinů🤭.
Ps. Unfortunately in Italy it is unknown, but if it were executed, I would go every day to hear it to enjoy those unique and magical sensations ...
@@andreafilidei3071 If interested, please let me invite you to listen to my record of Marionnettes. I recorded it like 2 years ago. You can find it here on my profile (or Spotify also).
The whole note in the left hand at the end of the Chanson should be B5, not D4. The change of clef doesn't come until after this note is played.
Why are the semiquaver chords at poco meno played so softly? They are marked staccato.
You can ask the performer, Lada Valešová, this is her website: ladavalesova.com/
I think they sound so soft because of the pedal as indicated in the score.
Artistic choice I think. Why do we have to follow the score exactly for 100%, taking note that even composers don't play exactly what they write?
@@jt3712 When composers play, they fulfil the role of a player with all his will of (sometimes too) free interpretation, even at their own work. When composers compose, they fulfil the role of a composer who writes down the idealistic version of his work for all times. If for example the composer writes accents and crescendo, the pianist shouldn't play no accents and diminuendo, like L. V. does in 6:42. If Martinu would do so, he wouldn't know that he wants
@@andreassorg7294 Are you saying that only composers would be able to depart from their own writing? Also, unfortunately strict obedience to the score is just simply not how things work these days. So many performers take liberty and don't always follow what is written. 'True way of playing' is simply just a wishful thinking. So does the concept of the 'correct (edition of the) score'