|OPERA: Les Trois Souhaits; Jour de Bonté; Spalicek; Soldier and the Dancing Girl; Les Jeux de la St. Vierges.|
|ORCHESTRA: La Bagarre; Concerto for 'Cello and Orchestra; Symphony; Half-Time; Prelude and Entr'acte; Concerto for Violin and Orchestra; Inventions.|
|CHAMBER MUSIC: First String Quartet; Second String Quartet; Quintet; Trio; Duo for Violin and Violoncello; Third String Quartet; String Sextet.|
About Bohuslav Martinu:
Chesterian 13:48November 1931; Modern Music 8:29May-June 1931.
Important recording of music by Bohuslav Martinu:
NATIONAL GRAMOPHONE SOCIETY: Duo for Violin and 'Cello.
AMONG modern Austrian composers, Joseph Marx holds an important position. He was born on May 11, 1882 in Graz and, tho he was interested in music from boyhood days, he first obtained a more rigorous training in academic subjects at the University. As music became of greater interest in his life, he began to specialize in musicology at the University, finally acquiring a Ph. D. for a brilliant but abstruse thesis, "The Functions of Intervals in Harmony and Melody for the Comprehension of Time-Complexes."
Recognition for his creative work came to him at a comparatively early age. Still too uncertain of himself to venture into the larger forms of composition, he produced a group of songs which attracted considerable attention among discriminating critics because of their charm and delicacy.
As early as 1912, Ernest Newman criticized Joseph Marx's songs in this fashion: "I know nothing of him except that he has published two sets of Lieder und Gesange . . . almost all of which are remarkable. His harmonic idiom is among the richest of our time. . . . Some of the songs are masterpieces of ease and concision as Marienlied and Wie Einst--the latter in particular being a most beautiful specimen of what may be called the lyric prose of music. And altho a brooding intensity seems on the whole Marx's most characteristic emotional note, there are ample evidences even among this handful of songs that his scope is wider than this. He has at his command the fantastic, the ironic- humorous ( Warnung), the healthily glad ( Sommerlied) and the melancholy-bizarre ( Valse de Chopin)."
Until the beginning of the War, Graz remained his home. Then, when his early success convinced him emphatically that he wanted to become a serious composer, he left for the Capital city, where henceforth he was to be an important personality in musical life. In 1922, he was appointed director of the Academy of Music in Vienna, and since that time he has acquired great prestige both as teacher and as composer.