Album insights
Bohuslav Martinu's Violin Concerto No. 1 for Violin and Orchestra, H226 (correctly H228/233, originally H232), has a complex history that unravels in various European cities in the early 1930s. Originally from Prague, Martinu had cemented his reputation as a prominent composer, receiving accolades and commissions for new works, including operas, ballets, orchestral pieces, and chamber music. Samuel Dushkin, a celebrated Polish-American violinist, commissioned the concerto with support from the publisher Willy Strecker. Despite the impending exclusivity agreement between Martinu and Schott, which would have elevated the composer's status, the rise of the Nazi regime in Germany hindered the contract's signing.
In Paris, Martinu and Dushkin had crossed paths and shared an interest in collaborating on a new musical piece. Martinu's intent to compose a concerto for Dushkin was clear even before their formal engagement. The concerto's composition journey, from planning to completion, was marked by challenges and revisions, culminating in Dushkin's rewarding performance with the Chicago Symphony Orchestra in 1973, under the baton of Georg Solti.
Distinctive elements characterize each part of the concerto. The first movement, Allegro moderato, showcases Dushkin's influence and Martinu's adept handling of the violin. The second movement, Andante, with its lyrical lines, echoes stylistic elements similar to Martinu's folk-inspired ballet Špalíček H214. The final movement, Allegretto, notated as such by later editors, builds upon a brief thematic cell heralded by the orchestra and intricately intertwined with virtuosic violin passages.
Martinu's Violin Concerto No. 2, H293, embodies a departure from its predecessor both stylistically and in terms of its inception. Commissioned by the renowned American violinist Mischa Elman, the concerto was swiftly composed in just two months, reflecting Elman's interpretative nuances and love for elegance and melodic richness. Its premiere, conducted by Serge Kussewitzky with the Boston Symphony Orchestra, marked the beginning of Elman's exclusive performance rights, later received by other esteemed violinists like Isaac Stern and Josef Suk.
While Elman's personal touch shone through in the concerto adaptations, Martinu's meticulous crafting and collaborations underscore its enduring legacy, culminating in multiple performances and recordings by virtuosos over the years.