Martinu - Špalíček Suites Nos.1 and 2; Rhapsody - Concerto for Viola and Orchestra

Bohuslav MARTINŮ (1890-1959)

Spalícek, Movement: Suite No 1

Spalícek, Movement: Suite No 2

Rhapsody-Concerto for Viola and Orchestra

Mikhail Zemtsov (Viola)

Estonian National Symphony Orchestra

Neeme Järvi

This stunning album, recorded in the spectacular Estonia Concert Hall in Tallinn, features  works by Bohuslav Martinu (1890-1959), performed by the Estonian National Symphony Orchestra under the direction of Neeme Jarvi. Martinu was one of the most diverse composers of music for the stage. Spalicek was originally published as a ballet, but is better described as an opera-ballet, showcasing the composers love for experimenting with different kinds of media in his works. Rhapsody-Concerto, written in 1952, shows the nostalgic depression that the composer was facing at the time of composition. The viola soloist performing on this recording is Mikhail Zemtsov.

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We haven’t heard much of Neeme Järvi’s Martinů since his distinguished Bamberg symphony cycle for BIS, completed in 1988, though with his Estonian orchestra he’s now returned to the composer’s output for his latest album of Czech music for Chandos, which strikingly couples the Špalíček suites with the very different Rhapsody-Concerto for viola and orchestra.

Written in Paris in 1932 and reworked for larger forces in 1947, Špalíček (‘Chapbook’) is in some ways unclassifiable. It’s usually simply called a ballet, though in his booklet-notes Jan Smaczny argues that ‘opera-ballet’ is a better description. In essence, it’s a piece for players, dancers and singers, somewhat like Stravinsky’s Pulcinella. The narrative weaves together familiar fairy tales (Cinderella, Puss-in-Boots) with Czech folk legends, and the score shows Martinů at his eclectic best, juxtaposing folk themes, mock-Baroque flourishes and Les Six-inflected modernism. The orchestral suites, arranged by Martinů’s compatriot Miloš Říha, are wonderfully elegant and witty, though the second, closely following the Act 2 narrative, has a stop-start feel with the vocal numbers omitted. Järvi conducts with bags of panache and charm, and there’s real magic in Cinderella’s ball scene, where a poised cabaret waltz forms the theme for a set of variations that eventually glows with passion. It will probably leave you hankering after the whole thing, in which case you need to turn to František Jílek or Jiří Bělohlávek (both Supraphon).

The nostalgic 1951 Rhapsody-Concerto has been well served on disc, not least by Maxim Rysanov’s poised account with Bělohlávek and the BBC Symphony Orchestra (BIS, 6/15). Järvi and Mikhail Zemtsov are altogether more emotive, big-boned and overtly Romantic. Zemtsov plays with dark, moody lyricism throughout. The orchestral strings sound very plush – a bit too much so in places. Bělohlávek just has the edge here, but this is an affecting performance nevertheless.

Gramophone