|ORCHESTRA: Suite; Les Dithyrambes; Esquisse; Guitarre; Rhythmes.|
|CHAMBER MUSIC: Quintet; Sonata for Violin and Piano; Trio.|
|STAGE: Oedipe Roi; Romeo et Juliette; La Nique à Satan.|
|CHORAL: Messe; Oratorio.|
"One of the most happily endowed musicians not only of Czechoslovakia, but of all contemporary Europe."--ANDRÉ COEUROY
BOHUSLAV MARTINU, one of the most talented and individual of modern Czechoslovakian composers, was born in the tower of the church of Policka, of which his father was caretaker, on December 8, 1890. Here he spent a childhood of complete isolation which, he informs us, was probably responsible for making him so introspective and retiring during the later years of his life.
His musical education began with the violin at the Conservatory of Prague when his ambition to become a concert- artist was the guiding influence in his life. For several years, after completing his studies, he served as violinist in the Czechoslovakian Philharmonic Orchestra.
As he grew older, the ideal of becoming merely a virtuoso became less and less attractive, and he turned to composition. Ideas came to him with facility--far too profusely for his blundering technique. He knew that he was meant to be a composer. At first acquiring the elements of harmony, counterpoint, theory and form autodidactically, he subsequently took a special course of study under Josef Suk, from whom he acquired a solid technique in musical composition.
Strange to say, Josef Suk's influence on Martinu was at first negligible. Suk was essentially a nationalist-composer1; but from the very beginning of his creative career Martinu was enormously affected by French mannerisms in composition. He was one of the very few Czechoslovakian composers who, at one____________________