What a forgotten joy the music of Martinu always is! I say “forgotten” because it seems a long time since I have listened to any of this man’s music, and yet every time I return to it there is sense of profoundly life-affirming philosophy flowing through the speakers, and I kick myself for not coming back to him more often. For some reason, when the mind is absent the heart tends to forget how wonderful the stuff is, yet here, once again in this new series labeled “The Complete Music for Violin and Orchestra, Volume 1”, my long-standing convictions about the composer despite my wavering choice inclinations are reaffirmed.
Martinu was of course a violinist himself, while not the consummate virtuoso he proved himself good enough to get into the Czech Philharmonic, no mean feat, enriched the literature with four violin concertos, eight using a piano soloist, four for cello, and one each for harpsichord, viola, and oboe, along with five double, two triple, and two quadruple concertos, all done for orchestra. Some of the most famous soloists of the age participated in his premieres, but despite this the music does not seem to have caught on, and this is a great mystery to me.
When you hear this outstanding new effort by Hogwood and forces (the conductor having spent an early year in Prague and come to love the composer’s work), you will come to understand that none of this is fluff of any kind. The parts are all intricately involved, with rich counterpoint and lush scoring, and a joyous, buoyant optimism that proves bracing for this reviewer’s scarred and generally “I have heard it all” attitude. The solo parts are worthy of the name, very demanding and yet written in a way that allows the player to use his instrument to fullest effect in a natural and unstrained manner. Whether imitating the baroque, folk elements from his native region, or unabashed virtuosity when writing for a specific instrumentalist, the music is superb, and if your ears are tired and withered, this is for you.
The playing is idiomatic and in the souls of these musicians, in what promises to be an outstanding series. Sound, sans SACD, is very good, but Hyperion, come on now! Highly recommended to everyone!
— Steven Ritter
