Chicago Classical Review

Martinů: Symphonies Nos. 1-6. Jakub Hrůša / Bamberg Symphony (Deutsche Grammophon, three-disc set). 

Jakub Hrůša has become one of Chicago’s most popular and effective guest conductors, drawing compelling, often extraordinary performances across a wide range of repertoire. The Czech conductor has been especially successful in music of his compatriots, including Dvořák, Smetana and Bohuslav Martinů. Hrůša has now released a complete set of Martinů symphonies, which goes straight to the top of recommended recordings.

Martinů (1890–1959) remains one of the most prolific of 20th- century composers, creating a remarkably consistent oeuvre across nearly every genre, including opera, chamber music, concertos (over thirty) and six symphonies.

The composer came late to symphonic form, and all six Martinů symphonies were written in the U.S. after his emigration in 1941 at the age of 51. Most of his symphonies are cast in a gracious neoclassical form, avoiding extreme contrasts and emotions. (The word “moderato” appears eight times in the tempo markings throughout these six works.). A lightness of being tends to predominate, especially in the early symphonies, yet all are crafted and scored with characteristic assurance and polish. 

The First Symphony is emblematic. The swirling opening theme (“Moderato”) immediately draws one in, beautifully captured by the superb recording and fine transparency, with Martinů’s orchestral piano—a favorite device—always audible. The mobile, easygoing expression segues into a lyrical theme and a resplendent climax. A bumptious good-humored scherzo follows, with the driving energy and a rustic trio section. A darker and more somber expression enters in the brooding, almost tragic Largo, yet the work ends in a spirited, optimistic finale with playful piano passages, closing in a rollicking coda.

The Symphony No. 2—Martinů’s shortest and lightest work in the genre—is largely in the same vein, moving from another gamboling opening movement (Allegro moderato) to a thoughtful Andante, a driving scherzo and another cheerful bustling finale with a blazing coda.

Darker emotions begin to surface in the Third Symphony with a mysterious introduction that segues into an insistent, more unsettled opening movement. A lyrical English horn solo provided a brief respite from the tension and Martinů’s orchesral piano gives the music almost a concerto feel leading to at fiery coda. The central movement builds to a malevolent climax, the agitation dispelled once more by the English horn. The agitated finale builds a tempestuous head of steam that slows into a more pastoral atmosphere, as militaristic percussion leads to a peaceful yet uneasy coda.

The Fourth Symphony returns to Martinů’s former ebullient style, sounding almost Dvořákian at times in its relaxed pastoral mode and fiery coda.The bustling, sharply rhythmic scherzo contrasts with a wistful and nostalgic trio section. A dark and ruminative slow movement works its way to a brighter, more optimistic expression and the symphony closes in an energetic finale.

Like the Third, Martinů’s final two symphonies are cast in just three movements each. The Symphony No. 5—Martinů’s first postwar symphony—continues the mode of bustling energy and a richly lyrical theme, which alternate in skillful fashion. The central Larghetto has am American small-town feel in its affirmative energy and naive lyricism. A somber introduction in the final movement leads to Allegro theme, which works to an engaging affirmation at the coda.

The Sixth Symphony, the “Fantaisies symphoniques” is Martinů’s most individual with the framing movements cast in a style of brief, almost epigrammatic mini-movements. A mysterious Lento opens the work, leading to a  bumptious Allegro, and the opening theme returns in even more reassuring guise. A hectic, nervous middle movement leads to a finale, which move quickly from Lento to a whirlwind Poco Vivo, then Adagio with keening clarinet. The lightning, almost bipolar, alternating fast and slow sections makes for a kaleidoscopic, effect, yet the tempo slows as Martinů closes his final symphony in a peaceful and noble coda.

As shown in his local podium appearances, Hrůša is a conductor who seems to get the individual sound world of each composer just right and so too here with music of his countryman Martinů. He neither inflates the scale of the early symphonies nor neglects the deeper resonances of the later works.

Hrůša has been music director of the Bamberg Symphony since 2016, and clearly enjoys a productive partnership with these fine musicians, as manifest in these polished, energetic and supremely well-balanced performances. The superficial liner notes are the only minor blot on this release, which boasts superb playing and demo-quality recording. Anyone interested  in exploring byways of the Czech repertoire will find this fresh set of Martinů symphonies a rewarding purchase.

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