626:, and his magnificent master bedroom opened onto a terrace. One night, Martinů took his customary walk on the terrace, a section of which had no railing, and he fell off, landing on concrete, and was hospitalized with a fractured skull and concussion. He drifted in and out of a coma, but survived. After several weeks he was released to recuperate with friends. By this time, Roe Barstow had entered his life. She was an attractive divorcee of independent means, who lived alone in Greenwich Village. With Charlotte away in France, she was at Martinů's side, assisting in his recovery, during which their relationship deepened. After Charlotte returned in the late fall, she found that her husband was a different man: gaunt, irritable, crippled and in pain from the accident. It required a few years before he was able to return to his former state as a solid composer."
966:(DSM-IV). This evidence was reviewed by a well-known autism neuroscientist who concurred that the composer had good evidence of having had an autistic spectrum disorder, most likely Asperger syndrome. This was described in their publication. In 2011, Rybka published a Martinů biography, in which such traits are reviewed, such as his failure of social reciprocity, his flat affect and stolidity, his phobias and extreme stage fright, his strict adherence to a ritualized schedule, and his zoning out into an aura, while walking with his mind deeply engrossed in composing. The biography concludes that there were both positive and negative ways Asperger's affected his life. It seems to have facilitated his extraordinary memory for music, and his ability to compose prolifically and skillfully, but it also left him unable to promote or showcase his music in public.
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better. For his interviews of Martinů, he had the benefit of having Jan Löwenbach, a friend of both men, present as an interpreter. Downes' defense of the composer came out in an article, "Martinu at 60". "Martinu is incapable of an unthorough or conscienceless job. He works very hard, systematically, scrupulously, modestly. He produces so much music because in the first place, his nature necessitates this. He has to write music. In the second place, he knows his business and loves it." The composer David
Diamond knew Martinů both in Paris and New York. In an interview years later, he expressed amazement at how extraordinary Martinů's mind was in developing a whole orchestral score while taking a walk.
606:, Queens, close to the Rybkas. This leafy, residential neighborhood was conducive for him to take long solitary walks at night, during which he would work out music scores in his head. On several occasions he would "zone out" in deep concentration about the music, becoming oblivious of his surroundings and getting lost, and would then call a friend with a car to come find him and take him back home. Thereafter, he began to compose actively. When he contacted Serge Koussevitzsky, the conductor told him that his Concerto Grosso would receive its premiere in Boston the following season. One of the first compositions Martinů wrote in New York was the
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Stanislav Novák, who was an excellent student and a brilliant violinist. They frequently attended concerts together at which Martinů became engrossed in analysing new music, particularly French impressionist works. He could memorize much of it, to the extent that when back in their room, he could write out large parts of the score almost perfectly. Novák became astonished at how meticulously Martinů could do this. He became convinced that his roommate, while lacking in other subjects, possessed an incredible brain for analysing and memorizing music.
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him. Close friends found him to be a kind, gentle, self-effacing, unbiased person. In 2009, Rybka launched a retrospective study of the composer's unusual personality, based upon interviews of people who knew him, as well as a study of letters he had written to his family and friends. Evidence of his having an autism spectrum disorder was compiled and evaluated, using the established criteria found in the
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563:. Charlotte wrote: "We fell in love with Aix: the delicate murmur of its fountains calmed our agitated feelings and later Bohus was inspired by them." Finally, on 8 January 1941, they left Marseilles for Madrid and Portugal, eventually reaching the United States in 1941 with the help of his friend, the diplomat Miloš Šafránek, and especially from Martinů's Swiss benefactor,
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his older sister. In school he was known to be very shy, and did not participate in the plays or pageants with his classmates. But as violinist, he excelled and developed a strong reputation, giving his first public concert in his hometown in 1905. The townspeople raised enough money to fund his schooling, and in 1906 he left the countryside to begin studies at the
641:. With the communists' seizure of power, music, along with the other arts, became an instrument of propaganda along Soviet ideological lines. Martinů was branded as a formalist and émigré traitor, and he chose wisely not to pursue any kind of professional engagement in his native land from this time forward. Martinů became an American citizen in 1952.
438:, whose individualistic style he respected, and began a series of informal lessons with him. Roussel would teach Martinů until his death in 1937 by helping him focus and bring order to his compositions, rather than instructing him in a specific style. During his first years in Paris, Martinů incorporated many of the trends at the time, including
618:"As the War was coming to an end, the Martinůs encountered marital difficulties. Charlotte, who never did like America, wanted strongly to return to France. He did not, so when he accepted Koussevitzky's offer to teach at the Berkshire Music School for the summer of 1946, she went to France alone for a prolonged visit. In
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border. His father, Ferdinand, a shoemaker, also worked as the church sexton and town fire watchman. For this, he and his family were allowed to live in the tower apartment. As a small boy
Bohuslav was sickly, and frequently had to be carried up the 193 steps to the tower on the back of his father or
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A characteristic feature of his orchestral writing is the near-omnipresent piano; many of his orchestral works include a prominent part for piano, including his small
Concerto for harpsichord and chamber orchestra. The bulk of his writing from the 1930s into the 1950s was in a neoclassical vein, but
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Martinů is usually credited with seven string quartets, but his String
Quartet in E-flat major of 1917 (Halbreich no. 103) was premièred in 1994. There is also believed to have been a string quartet from 1912, given the number H. 60 but which is missing, and likewise two other missing quartet works
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According to Rybka, Martinů was quiet, introverted, and emotionally stolid when meeting persons he did not know well. He typically answered questions very slowly, even when conversing in his native Czech. He might fail to reciprocate socially when people would compliment his music, or do favors for
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By 1930, Martinů had withdrawn from his seven years of experimentation to settle on a neo-classical style. In 1932, he won the
Coolidge prize for the best of 145 chamber music works for his String Sextet with Orchestra. This was performed by Koussevitzsky with the Boston Symphony Orchestra in 1932.
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His symphonic career began when he emigrated to the United States in 1941, fleeing the German invasion of France. His six symphonies were performed by all the major US orchestras. Eventually Martinů returned to live in Europe for two years starting in 1953, then was back in New York until returning
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Life in the United States was difficult for him initially, just as it was for many other artist émigrés in similar circumstances. Lack of knowledge of
English, of funds, and of opportunities to use their talents were common to them. When they first arrived in New York, the Martinůs rented a studio
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and composition with Martinů. Their relationship soon developed beyond that of student-teacher as he fell madly in love with her. After she returned to
Czechoslovakia, Martinů wrote her many long, passionate letters. In one of these, he proposed that he would divorce Charlotte and then take her to
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Whilst there he fared poorly as a student, showing little interest in the rigid pedagogy, nor the hours of violin practice required. He was far more interested in exploring Prague and learning on his own, attending concerts and reading books on many subjects. This was in contrast to his roommate,
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Owing to the extraordinary volume of Martinů's oeuvre, some critics who never knew the man have stated that he composed too much, too fast, and therefore must have been careless in quality. However, he has been defended strongly by musicians and critics who did know him. Olin Downes knew Martinů
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Against this, Erik
Entwistle in his review of Rybka's publication emphasized three main points contradicting Rybka's conclusions. These are: firstly, that it is impossible to diagnose someone so many years after his death; secondly, that Asperger syndrome officially does not exist as a separate
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for violin and small orchestra, in fulfillment of a commission he had been awarded before the war by Paul Sacher. The following year, they moved back to
Manhattan into an apartment in a brownstone on 58th St, across from the Hotel Plaza. That was where they lived for the rest of their years in
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In 1926, Martinů met
Charlotte Quennehen (1894–1978), a French seamstress from Picardy. She was employed at a large garment factory and, after their romance began, she moved into his small flat and helped to support him. She would become an important force in his life, handling the cuisine and
470:(1928). Martinů found friends in the Czechoslovak artistic community in Paris and would always retain close ties to his homeland, frequently returning during the summer. He continued to look to his Bohemian and Moravian roots for musical ideas. His best-known work from this time is the ballet
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began to form a Czechoslovak government in exile set up in France and England. As a significant number of troops became organized into a Czech resistance force, Martinů tried to join them but was rejected because of his age. However, in 1939, he composed a tribute to this force, the
958:. Frank James Rybka promoted the idea that Martinů suffered from this kind of autism spectrum disorder. He met Martinů in 1941, when the composer was 51 and Rybka was only six years old; later on he met him in 1951 and then in 1959, a month before the composer died.
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and the Berkshire Music School (Tanglewood). At Princeton he was warmly received by faculty and students. His six symphonies were written in the eleven-year period 1942–1953, the first five being produced between 1942 and 1946. In addition, he composed the
450:. He was particularly attracted to Stravinsky, whose novel, angular, propulsive rhythms and sonorities reflected the industrial revolution, sports events and motorised transportation. Ballets were his favorite medium for experimentation, including
547:. In 1940, as the German army approached Paris, the Martinůs fled. They were sheltered by Charles Munch who had a place near Limoges. Soon, they journeyed on to Aix-en-Provence, where they stayed for six months while trying to find transit out of
135:. After leaving Czechoslovakia in 1923 for Paris, Martinů deliberately withdrew from the Romantic style in which he had been trained. During the 1920s he experimented with modern French stylistic developments, exemplified by his orchestral works
379:, a leading Czech composer. Suk encouraged him to pursue formal composition training, but this would not be possible until years later. In the meantime, he passed the state teaching examination and maintained a studio in Polička throughout
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Jan Smaczny commented that in the compositions of Martinů's last years "we find the composer attempting through his music a vicarious homecoming", although he never returned to Czechoslovakia. His prolific output continued in 1958 with
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America. It was while he was in this distraught, frenzied state that Martinů composed one of his greatest works, the Double Concerto for two string orchestras, piano and timpani. It was finished just a few days before the
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Apart from his domestic problems, Martinů was unsure about which country he would live in. He had considered returning to Czechoslovakia as a teacher, despite having a powerful enemy there in the communist politician
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164:, creating textures far denser than those found in composers treating Stravinsky as a model. He was prolific, quickly composing chamber, orchestral, choral and instrumental works. His Concerto Grosso and the
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They became friends for life. Dropped from the violin program, Martinů was moved to the organ department that taught composition, but he was finally dismissed in 1910 for "incorrigible negligence".
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in 1924, but still returned to Paris each summer to conduct his Concerts. In 1927, Martinů happened to see him at a café, introduced himself, and gave him the score of a symphonic triptych,
685:. His symphonic scores were performed by most of the major orchestras: Boston, New York, Philadelphia, Cleveland, Chicago, and he generally received fine reviews from the leading critics.
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Martinů spent the next several years living back home in Polička, attempting to gain some standing in the musical world. He had written several compositions by this time, including the
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business matters that he found trying. They married in 1931. Culturally, however, the two were quite different, a fact that would cause problems in their marriage over the years.
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are considered the finest. He has been compared to Prokofiev and Bartók in his innovative incorporation of Czech folk elements into his music. He continued using Bohemian and
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for baritone, chorus and orchestra. It was broadcast from England and was picked up in occupied Czechoslovakia. For this, Martinů was blacklisted by the Nazis and sentenced
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with his last works he opened up his style to include more rhapsodic gestures and a looser, more spontaneous sense of form. This is easiest to hear by comparing his
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premiere in Boston which gained the composer the annual New York critics' prize for the work. In 1956, he took up an appointment as composer-in-residence at the
893:. Martinů started working on his Fantasia for theremin, oboe, string quartet and piano in the summer of 1944, and finished it on October 1. He dedicated it to
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410:, who was the first major conductor to promote Martinů. He also began formal composition study under Suk. During these last years in Prague he completed his
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syndrome; and finally, that according to Entwistle, Rybka became obsessed with the idea of Martinů's disorder, finding evidence for his claim everywhere.
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Simon, pp.22, 197–98, and sources summarised especially Döge, Klaus. "Das entsetzliche Grauen zum Ausdruck gebracht: Anmerkungen zu Martinůs
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1268:(July 1968), quoted in Martinú In His Time, Part 5, by Lambert, Patrick. Classical Recordings Quarterly. Summer 2013, Issue 73, p32-41. 10p.
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Martinů was a prolific composer who wrote almost 400 pieces. Many of his works are regularly performed or recorded, among them his oratorio
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Martinů finally departed for Paris in 1923, having received a small scholarship from the Czechoslovak Ministry of Education. He sought out
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in the late spring of 1942. It was completed in August 1943 whilst he was in New York, and premiered there in October of that year.
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for piano and small orchestra, Sonatas Nos. 2 and 3 for cello and piano, many chamber compositions, and a television opera,
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From 1911 (premiered 2012) (H.35), 1933 (premiered 1934) (H.229) and 1944 (premiered 1945) (H.298). See Simon, pp. 36–38.
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apartment at the Great Northern Hotel on 57th St. They were helped by several musician friends, including pianist
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Martinu, Bohuslav, 1924 Texts on Stravinsky, Lucie Berna, editor, Martinu Revue, May–August 2013, vol XIII, No 2.
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since the premiere in Prague, in Wiesbaden. Further composition continued up to his death: the second version of
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Smaczny, Jan. The Mystery which unites. In: Welsh National Opera, The Greek Passion - programme book. 1984, p33.
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Martinů was indeed reluctant to leave America which had been very supportive of him. He taught at the
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Svatos, Thomas D. "Reasserting the Centrality of Musical Craft: Martinů and His American Diaries".
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Svatos, Thomas, "Sovietizing Czechoslovak Music: The "Hatchet Man" Miroslav Barvik and his Speech,
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Rybka, F. James, and Sally Osonoff. "Martinu's Impressive Quiet". "Czech Music" 23 (2009), 31–50.
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that he had seen in 1927. Its premiere was given in Prague under Václav Talich on 14 March 1938.
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The setting of Martinů's birth was unusual. He was born in the tower of the St. Jakub Church in
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In 1953, Martinů left the United States for France and settled in Nice, and completed his
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Bohuslav Martinů in New York, around 1942, at the piano working on his second symphony
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Bohuslav Martinů 1890-1959 : Life and Work. Divadelni Ustav, Praha, 1990, p7-8.
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There have been many discussions about Martinů's personality, manners and possible
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Entwistle, Eric (September 2012). "Bohuslav Martinů: The Compulsive to Compose".
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Entwistle, Eric (September 2012). "Bohuslav Martinů: The Compulsive to Compose".
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was declared an independent republic, Martinů composed the celebratory cantata
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for orchestra, Concerto for Two Pianos and Orchestra, Piano Concerto No. 3,
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And one other quartet with piano, one with oboe, violin and cello from 1947
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886:(Symphony No. 6), H 343, with its five predecessors, all from the 1940s.
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Bohuslav Martinů; domov, hudba a svět: deníky, zápisníky, úvahy a články
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Bohuslav Martinu: Biography & list of works (in English and French)
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that was destroyed by the Nazis in reprisal for the assassination of
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Divertimento for chamber orchestra after keyboard pieces by Couperin
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In the early 1930s he found his main fount for compositional style:
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Martinů's Mysterious Accident: Essays in Honor of Michael Henderson
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476:(1932–33), which incorporates Czech folk tunes and nursery rhymes.
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are among his best-known works from this period. Among his operas,
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103:; December 8, 1890 – August 28, 1959) was a Czech composer of
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The prime leader of new symphonic music in Paris at this time was
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Bohuslav Martinů: Werkverzeichnis, Dokumentation und Biographie
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to Europe in May 1956. He died in Switzerland in August 1959.
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Double Concerto for Two String Orchestras, Piano, and Timpani
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1682:. Prague: Nakladatelství Karolinum Univerzity Karlovy, 2002.
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Bohuslav Martinů, 8.12.1890–28.8.1959: bibliografický katalog
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In 1937, Martinů became acquainted with a young Czech woman,
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for most of the period from 1948 to 1956. He also taught at
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Double Concerto for Two String Orchestras, Piano and Timpani
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from 1912 (H. 63 and 64); the composer's first known work,
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1652:. Zweite, revidierte Ausgabe. Mainz: Schott Music, 2007.
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768:(The Opening of the Wells); Charles Munch conducted the
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Beckerman, Michael Brim, and Michael Henderson (eds.).
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Orchestra that was led by the inspired young conductor
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Diagnostic and Statistical Manual for Mental Disease
938:(Památník Lidicím) was written in remembrance of the
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in 1936; this was based upon a surrealistic play by
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Bohuslav Martinů: a research and information guide.
634:. Any plans to return were further hampered by the
2597:Tanzsuite aus Klavierstücken von François Couperin
3284:Recipients of the Order of Tomáš Garrigue Masaryk
1645:. Zürich, Freiburg i. Br.: Atlantis-Verlag, 1968.
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889:One of Martinů's lesser known works features the
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1650:Bohuslav Martinů: Werkverzeichnis und Biographie
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1042:The New Grove Dictionary of Music and Musicians
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758:(The Epic of Gilgamesh), the Oboe Concerto,
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3289:Czechoslovak emigrants to the United States
1523:Bohuslav Martinů: The Compulsion to Compose
1393:Bohuslav Martinů: The Compulsion to Compose
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1489:Hartl, Karla, and Erik Entwistle (eds.).
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296:Learn how and when to remove this message
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1073:Bohuslav Martinů, The Man and his Music,
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835:List of compositions by Bohuslav Martinů
780:(his fourth piano concerto) and much of
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375:), and submitted samples of his work to
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35:Bohuslav Martinů in New York City, 1945
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1757:Bohuslav Martinů Foundation in Prague
1543:New York, Abingdon: Routledge, 2014.
1525:. Lanham, MD: Scarecrow Press, 2011.
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1809:
1695:Bohuslav Martinů: His Life and Works
1518:. Prague: Editio Baerenreiter, 2003.
1335:"Lucie Rosen Plays Theremin Program"
727:
234:adding citations to reliable sources
205:
2462:Concerto in E-flat (Dumbarton Oaks)
1722:150, no. 1907 (Summer 2009): 55–70.
1495:Lanham, MD: Lexington Books, 2011.
1160:Rybka, FJ pp 151–154, 157, 161–165.
692:Martinů's notable students include
429:
390:As World War I drew to a close and
13:
1775:Bohuslav Martinu Centre in Policka
1743:Works by or about Bohuslav Martinů
1580:
1271:
1185:
1039:Jan Smaczny, "Martinů, Bohuslav",
905:on 3 November 1945, joined by the
14:
3310:
3234:American male classical composers
3214:20th-century Czech male musicians
2119:Bohuslav Martinů Complete Edition
1726:
1680:Bohuslav Martinů: Osud skladatele
839:Bohuslav Martinů Complete Edition
738:; the following year he composed
3209:20th-century classical composers
3176:
3164:
3152:
3140:
3128:
2140:
2139:
1171:The Composers Go with the People
674:for violin and small orchestra,
574:
529:was sealed (30 September 1938).
210:
3224:20th-century American composers
1733:Free scores by Bohuslav Martinů
1613:. London: Toccata Press, 2010.
1449:
1440:
1431:
1418:
1409:
1395:. Lanham, MD: Scarecrow Press.
1384:
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979:
810:(Mikeš from the Mountains) and
620:Great Barrington, Massachusetts
221:needs additional citations for
1516:Můj život s Bohuslavem Martinů
1118:
1105:
1096:
1087:
1078:
1065:
1056:
1033:
1024:
949:
1:
1539:Simon, Robert C. (compiler).
1113:My Life with Bohuslav Martinů
1018:
584:
318:
309:1890–1923: Polička and Prague
3254:Princeton University faculty
1424:Martinu's Impressive Quiet,
1045:, second edition, edited by
792:for orchestra and the opera
420:Kdo je na světě nejmocnější?
147:idioms, for instance in his
129:Czech Philharmonic Orchestra
92:[ˈboɦuslafˈmarcɪnuː]
7:
2584:Symphony in Three Movements
2529:Piano Sonata No. 3 (Enescu)
2524:Piano Sonata No. 3 (Chávez)
2519:Piano Sonata No. 1 (Enescu)
1667:. London: Duckworth, 1975.
1437:Rybka, FJ pp. 293–307.
1151:Rybka, FJ pp. 126–127.
503:Martinu finished his opera
119:scores and a large body of
10:
3315:
3279:Prague Conservatory alumni
3259:Czech male opera composers
2534:Piano Suite No. 2 (Enescu)
1762:Bohuslav Martinů Institute
1624:Červinková, Blanka (ed.).
1483:
1280:Neuveřitelná kauza Martinů
934:, and his orchestral work
928:the novel of the same name
832:
744:and piano sonata, and met
456:The Butterfly That Stamped
187:The Opening of the Springs
16:Czech composer (1890–1959)
3244:American ballet composers
3009:
2989:Charles Villiers Stanford
2691:
2620:
2561:El retablo de maese Pedro
2414:
2283:
2205:
2164:
2159:Links to related articles
2137:
2111:
2095:
2077:
2047:
2026:
2000:
1974:
1926:
1901:
1826:
1817:
1712:Divadlo Bohuslava Martinů
1415:Rybka and Osonoff, p. 42.
485:Boston Symphony Orchestra
63:
40:
28:
21:
3299:Pupils of Albert Roussel
3239:American opera composers
2444:Le bourgeois gentilhomme
2124:Music of the Czech Lands
2068:The Opening of the Wells
1710:Šafránek, Miloš (1979).
1701:Šafránek, Miloš (1966).
1628:. Prague: Panton, 1990.
1611:Martinů and the symphony
1492:The Kaprálová Companion.
1391:Rybka, James F. (2011).
973:
828:
774:American Academy in Rome
67:August 28, 1959 (age 68)
2902:Nikolai Rimsky-Korsakov
2568:Sonatine bureaucratique
1266:Audio and Record Review
883:Fantaisies symphoniques
770:Fantaisies symphoniques
735:Fantaisies symphoniques
646:Mannes College of Music
569:Basel Chamber Orchestra
567:, the conductor of the
491:, that was inspired by
201:
3274:Neoclassical composers
2999:Ralph Vaughan Williams
2877:Alexander Dargomyzhsky
2633:Neoromanticism (music)
2604:Le Tombeau de Couperin
1223:Rybka, FJ, pp. 321–22.
1190:. The OREL Foundation.
1115:, Prague: Orbis, 1978.
1030:Rybka, F. James, p 22.
876:
812:The Prophecy of Isaiah
590:
325:
182:Moravian folk melodies
3219:Czech opera composers
2061:The Epic of Gilgamesh
1987:Violin Concerto No. 2
1565:10.1353/not.2012.0136
1466:10.1353/not.2012.0136
1278:Kapusta, Jan (2014).
1232:Rybka, FJ pp. 134–35.
1142:Rybka, FJ pp. 59, 105
874:
846:The Epic of Gilgamesh
833:Further information:
655:Violin Concerto No. 2
582:
468:Les larmes du couteau
316:
3030:Antônio Carlos Gomes
2782:Carl Maria von Weber
2474:Harpsichord Concerto
2423:Antiche arie e danze
2401:Germaine Tailleferre
2235:Alexander Tcherepnin
2086:Homage to Paderewski
2008:String Quartet No. 1
1835:Comedy on the Bridge
1820:List of compositions
1714:. Prague: Supraphon.
1514:Martinů, Charlotta.
1446:Rybka, FJ pp 315–23.
1176:vol IV/1 (2010) 1–35
1102:Rybka, FJ pp. 82–83.
858:(Veselohra na mostě)
856:Comedy on the Bridge
748:, beginning work on
702:Vítězslava Kaprálová
676:Sinfonietta La Jolla
650:Princeton University
553:Edmonde Charles-Roux
518:Vítězslava Kaprálová
412:first string quartet
230:improve this article
84:Bohuslav Jan Martinů
3294:People from Polička
3269:Composers for piano
3070:Silvestre Revueltas
2994:Alexander Mackenzie
2847:Stanisław Moniuszko
2767:Camille Saint-Saëns
2685:Musical nationalism
2628:Neoclassical ballet
2554:The Rake's Progress
2437:Le baiser de la fée
2200:(Les Constructeurs)
1910:La Revue de cuisine
1333:(4 November 1945).
1264:Malcolm Rayment in
1200:Rybka, FJ pp 182–87
1111:Charlotte Martinů,
1093:Safranek, M. p. 43.
895:Lucie Bigelow Rosen
561:Sinfonietta giocosa
464:La revue de cuisine
460:Le raid merveilleux
369:Death of Tintagiles
343:Prague Conservatory
3040:Heitor Villa-Lobos
2590:Symphony of Psalms
2406:Heitor Villa-Lobos
2277:Neoclassical music
2034:Three Czech Dances
1767:Catalogue of Works
1678:Mihule, Jaroslav.
1648:Halbreich, Harry.
1428:, 23 (2009), 31–50
1363:Memorial to Lidice
1342:The New York Times
1211:The New York Times
1188:"Bohuslav Martinu"
1174:Music and Politics
936:Memorial to Lidice
877:
851:Epos o Gilgamešovi
764:, and the cantata
672:Concerto da Camera
660:Memorial to Lidice
636:1948 Czechoslovak
611:America. Composer
608:Concerto da Camera
591:
481:Serge Koussevitzky
404:Czech Philharmonic
326:
245:"Bohuslav Martinů"
143:. He also adopted
107:music. He wrote 6
3116:
3115:
3110:
3109:
3035:Francisco Mignone
3020:Alberto Ginastera
2907:Alexander Borodin
2897:Modest Mussorgsky
2852:Henryk Wieniawski
2651:
2650:
2643:Modernism (music)
2451:Concert champêtre
2336:Camargo Guarnieri
2243:
2242:
2230:Alexandre Tansman
2225:Marcel Mihalovici
2151:
2150:
2096:Named for Martinů
2018:Clarinet Sonatina
1891:The Greek Passion
1720:The Musical Times
1693:Šafránek, Miloš.
1688:978-80-246-0426-8
1673:978-0-7156-0770-1
1658:978-3-7957-0565-7
1634:978-80-7039-068-9
1619:978-0-907689-65-2
1604:978-1-57647-003-9
1596:978-1-57647-111-1
1549:978-0-415-74194-1
1531:978-0-8108-7761-0
1521:Rybka, F. James.
1509:978-0-7391-6724-3
1501:978-0-7391-6723-6
1402:978-0-8108-7761-0
1289:978-80-7467-043-5
1133:Rybka, FJ p. 110p
956:Asperger syndrome
944:Reinhard Heydrich
940:village of Lidice
932:Nikos Kazantzakis
923:The Greek Passion
868:and many others.
866:clarinet sonatina
804:The Greek Passion
782:The Greek Passion
766:Otvirani studanek
750:The Greek Passion
746:Nikos Kazantzakis
728:1953–1959: Europe
555:and the Countess
493:Charles Lindbergh
414:and two ballets:
385:Bohemian Brethren
306:
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192:Otvírání studánek
177:The Greek Passion
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3095:Edward MacDowell
2949:Enrique Granados
2924:Alexander Moyzes
2717:Bohuslav Martinů
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2487:Mathis der Maler
2376:Sergei Prokofiev
2361:Bohuslav Martinů
2331:Radamés Gnattali
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2198:L'École de Paris
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1927:Orchestral music
1859:What Men Live By
1811:Bohuslav Martinů
1804:
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1747:Internet Archive
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1609:Crump, Michael.
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2500:Octet for winds
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1705:. Prague: SHV.
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3080:Aaron Copland
3078:
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3066:
3065:Carlos Chávez
3063:
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2862:George Enescu
2860:
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2802:Zoltán Kodály
2800:
2798:
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2780:
2779:
2777:
2773:
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2765:
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2758:
2757:Jean Sibelius
2755:
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2742:Rudolf Tobias
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2579:Symphony in C
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2480:Jeu de cartes
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2311:Aaron Copland
2309:
2307:
2306:Carlos Chávez
2304:
2302:
2299:
2297:
2294:
2292:
2291:Georges Auric
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2029:
2025:
2019:
2016:
2014:
2011:
2009:
2006:
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2003:
2001:Chamber music
1999:
1993:
1992:Oboe Concerto
1990:
1988:
1985:
1983:
1980:
1979:
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1973:
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1962:
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1843:Alexandre bis
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1511:(electronic).
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1379:9783869160177
1376:
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1371:Ulrich Tadday
1368:
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1047:Stanley Sadie
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978:
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820:
815:
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797:
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776:and composed
775:
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762:
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723:
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718:Howard Shanet
715:
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613:David Diamond
609:
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601:
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581:
575:1941–1953: US
572:
570:
566:
562:
558:
554:
550:
546:
542:
541:
535:
530:
528:
523:
522:Charles Munch
519:
514:
512:
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496:
494:
490:
486:
482:
477:
475:
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469:
465:
461:
457:
453:
449:
445:
444:neoclassicism
441:
437:
427:
425:
421:
417:
413:
409:
408:Václav Talich
405:
401:
397:
393:
388:
386:
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289:
286:November 2022
278:
275:
271:
268:
264:
261:
257:
254:
250:
247: –
246:
242:
241:Find sources:
235:
231:
225:
224:
219:This section
217:
213:
208:
207:
199:
195:
193:
189:
188:
183:
179:
178:
173:
172:
167:
163:
162:neoclassicism
158:
156:
152:
151:
150:Kitchen Revue
146:
142:
138:
134:
130:
126:
122:
118:
114:
110:
106:
99:
93:
85:
76:
72:
66:
62:
57:
53:
49:
43:
39:
32:
27:
20:
3100:Charles Ives
3085:Henry Cowell
3060:Manuel Ponce
2984:Edward Elgar
2979:Joseph Parry
2929:Eugen Suchoň
2832:Edvard Grieg
2818:Netherlands
2732:Carl Nielsen
2716:
2712:Leoš Janáček
2621:Other topics
2609:
2602:
2595:
2588:
2566:
2559:
2552:
2545:
2538:
2511:
2504:
2492:
2485:
2478:
2466:
2449:
2442:
2435:
2428:
2421:
2415:Compositions
2360:
2346:Vagn Holmboe
2219:
2084:
2066:
2059:
2039:Piano Sonata
2013:Flute Sonata
1963:
1915:
1908:
1889:
1881:
1873:
1867:The Marriage
1865:
1857:
1849:
1841:
1833:
1810:
1719:
1711:
1702:
1694:
1679:
1664:
1649:
1642:
1625:
1610:
1587:
1556:
1540:
1522:
1515:
1491:
1457:
1451:
1442:
1433:
1425:
1420:
1411:
1392:
1386:
1366:
1362:
1357:
1345:. Retrieved
1341:
1331:Downes, Olin
1325:
1316:
1307:
1298:
1279:
1273:
1265:
1260:
1251:
1228:
1219:
1209:
1205:
1196:
1181:
1173:
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1147:
1138:
1129:
1120:
1112:
1107:
1098:
1089:
1080:
1072:
1067:
1058:
1051:John Tyrrell
1040:
1035:
1026:
1008:
999:
991:
987:
981:
968:
963:
960:
953:
935:
926:is based on
921:
919:
913:(oboe), and
911:Robert Bloom
888:
881:
878:
862:flute sonata
854:
850:
844:
842:
816:
811:
807:
803:
799:
793:
790:The Parables
789:
786:
781:
777:
769:
765:
759:
753:
749:
739:
733:
731:
714:H. Owen Reed
691:
687:
681:The Marriage
679:
675:
671:
658:
643:
637:
628:
617:
607:
598:, violinist
592:
560:
549:Vichy France
544:
538:
534:Edvard Beneš
531:
515:
504:
501:
497:
488:
478:
471:
467:
466:(1927), and
463:
459:
455:
451:
433:
423:
419:
415:
399:
395:
389:
372:
368:
364:
360:
356:
354:
351:
347:
332:, a town in
327:
292:
283:
273:
266:
259:
252:
240:
228:Please help
223:verification
220:
196:
191:
185:
175:
169:
159:
154:
148:
140:
136:
83:
82:
3204:1959 deaths
3199:1890 births
2969:Hugo Alfvén
2797:Béla Bartók
2638:Neotonality
2611:Gli uccelli
2506:Oedipus rex
2316:Louis Durey
2296:Béla Bartók
2210:Conrad Beck
2048:Vocal music
2027:Piano music
1975:Concertante
1875:Mirandolina
1426:Czech Music
1320:Simon, p.38
1311:Simon, p.39
950:Personality
817:He died of
808:Mikeš z hor
778:Incantation
741:Mirandolina
663: [
638:coup d'état
588: 1942
583:Martinů in
565:Paul Sacher
557:Lily Pastré
545:in absentia
381:World War I
365:Anděl smrti
322: 1896
75:Switzerland
3193:Categories
3016:Argentina
2919:Ján Cikker
2727:Niels Gade
2547:Pulcinella
2386:Erik Satie
2055:Field Mass
1770:(in Czech)
1347:18 January
1075:pp. 32–33.
1019:References
992:Tři jezdci
920:His opera
706:Louis Lane
540:Field Mass
489:La bagarre
452:The Revolt
448:surrealism
256:newspapers
141:La Bagarre
121:orchestral
109:symphonies
3171:Biography
2915:Slovakia
2892:César Cui
2284:Composers
1598:(cloth);
1573:161758143
1559:: 93–96.
1503:(cloth);
1474:161758143
1460:: 93–96.
917:(piano).
903:Town Hall
710:Jan Novák
683:(Ženitba)
377:Josef Suk
137:Half-time
133:Josef Suk
3010:Americas
2882:The Five
2858:Romania
2793:Hungary
2778:Germany
2748:Finland
2738:Estonia
2723:Denmark
2145:Category
1917:Špalíček
1851:Julietta
1369:(ed. by
899:New York
891:theremin
800:Julietta
755:Gilgames
506:Julietta
473:Špalíček
462:(1927),
458:(1926),
454:(1925),
338:Moravian
171:Juliette
3121:Portals
3056:Mexico
3046:Canada
3026:Brazil
2965:Sweden
2868:Russia
2838:Poland
2828:Norway
2763:France
2513:Orpheus
1902:Ballets
1745:at the
1739:(IMSLP)
1735:at the
1665:Martinů
1484:Sources
849:(1955,
823:Liestal
334:Bohemia
330:Polička
270:scholar
125:chamber
71:Liestal
48:Polička
2935:Spain
2808:Italy
2692:Europe
2430:Apollo
1894:(1961)
1886:(1961)
1883:Ariane
1878:(1959)
1870:(1953)
1862:(1953)
1854:(1938)
1846:(1937)
1838:(1937)
1827:Operas
1686:
1671:
1656:
1632:
1617:
1606:(pbk).
1602:
1594:
1571:
1547:
1529:
1507:
1499:
1472:
1399:
1377:
1286:
795:Ariane
446:, and
422:) and
367:) and
357:Elegie
272:
265:
258:
251:
243:
117:ballet
113:operas
88:Czech:
3183:Music
3147:Opera
2494:Mavra
1569:S2CID
1557:Notes
1470:S2CID
1458:Notes
1365:, in
1338:(PDF)
974:Notes
829:Music
667:]
424:Istar
277:JSTOR
263:books
115:, 14
111:, 15
54:(now
1684:ISBN
1669:ISBN
1654:ISBN
1630:ISBN
1615:ISBN
1600:ISBN
1592:ISBN
1545:ISBN
1527:ISBN
1505:ISBN
1497:ISBN
1397:ISBN
1375:ISBN
1349:2016
1284:ISBN
1049:and
864:, a
837:and
720:and
440:jazz
249:news
202:Life
174:and
145:jazz
139:and
64:Died
41:Born
1561:doi
1462:doi
930:by
901:'s
821:in
345:.
232:by
194:).
157:).
3195::
1641:.
1567:.
1468:.
1340:.
1237:^
909:,
724:.
716:,
712:,
708:,
704:,
700:,
696:,
665:cs
657:,
585:c.
442:,
426:.
319:c.
123:,
73:,
50:,
3123::
2677:e
2670:t
2663:v
2269:e
2262:t
2255:v
2190:e
2183:t
2176:v
1803:e
1796:t
1789:v
1690:.
1675:.
1660:.
1621:.
1575:.
1563::
1551:.
1533:.
1476:.
1464::
1405:.
1381:.
1351:.
1292:.
990:(
418:(
398:(
371:(
363:(
324:)
299:)
293:(
288:)
284:(
274:·
267:·
260:·
253:·
226:.
190:(
153:(
86:(
58:)
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