Composer: Bohuslav Martinů
Works: Frescoes of Piero della Francesca (1956), Parables (1958), Symphony No. 4 (1945)
Performers: Orchestre de la Suisse Romande/Ernest Ansermet
Recording: Live performances from Victoria Hall, Genève, in February and March 1961
Label: Cascavelle VEL2007
Bohuslav Martinů, a pivotal figure of 20th-century music, occupies a unique space within the canon of classical composers, particularly for his ability to fuse rich lyrical lines with a distinctly modern harmonic language. The present collection, featuring Ansermet and the Orchestre de la Suisse Romande, encapsulates Martinů’s diverse creative output through three significant works that span the later years of his life. Each piece reflects not only his stylistic evolution but also his engagement with the turbulent historical landscape of Europe during and after World War II.
Ansermet’s interpretation of “Frescoes of Piero della Francesca” is a standout, brimming with vibrant colors and evocative textures. The work, inspired by the Renaissance painter’s frescoes, bursts with life in Ansermet’s hands. He captures the Stravinskian edginess while illuminating the lyrical passages that intersperse the frenetic orchestral tapestry. The performance reveals a molten mosaic of sound, with each instrumental group contributing to a vivid sonic palette. Notably, the strings’ soaring lines juxtaposed against the brass’s incisive punctuations create a dynamic interplay that conveys the work’s inherent drama. Ansermet’s ability to balance these contrasting elements is particularly evident in the climactic moments, where the orchestra erupts with visceral intensity, surpassing many contemporary recordings in emotional impact.
Moving to the “Symphony No. 4,” the recording showcases Ansermet’s remarkable ability to navigate the symphonic landscape with both precision and passion. This symphony, composed during a period of great personal and global upheaval, radiates a sense of optimism and resilience. The opening movement is a testament to the conductor’s skill; the orchestra’s propulsive energy is palpable, with Ansermet whipping the musicians into a fervor that is both thrilling and meticulous. The second movement, while slightly less taut, maintains an engaging momentum, allowing the thematic material to breathe without losing the overall forward drive. The largo third movement, however, emerges as a more tragic reflection, its somber motifs resonating deeply, enhanced by the orchestra’s rich string textures, a quality that distinguishes this performance from others, such as those by Turnovsky and Behlolavek, which lean more towards the sentimental.
The “Parables,” composed shortly after the Fourth Symphony, further exemplifies Martinů’s inventive spirit. Ansermet’s approach here is characterized by a lightness that belies the complexity of the work. Each of the three movements unfolds with a delicate interplay of timbres, notably in the second movement, where the strings evoke a pastoral setting reminiscent of Sibelius. The rustic piping interludes suggest a connection to folk traditions, which Ansermet accentuates with a deft touch. The blend of whimsy and depth present in “Parables” is articulated beautifully, revealing the subtleties of Martinů’s orchestration and the emotional breadth of his musical language.
The sound quality, while mono and originating from live broadcasts, is surprisingly effective in capturing the energy of the performances. The natural resonance of Victoria Hall complements the orchestra’s texture, allowing the listener to experience the immediacy of live music-making without the artificial gloss often found in modern studio recordings. Ansermet emerges as a conductor whose vitality on stage translates into a compelling listening experience, and this aspect of his artistry is a crucial takeaway from this recording.
Ansermet’s interpretations of Martinů’s works in this release are not merely performances; they are vibrant dialogues with the music, showcasing the conductor’s deep understanding of the composer’s intentions. The recording serves as a vital addition to the Martinů discography, one that should not be overlooked by enthusiasts of 20th-century music. For those willing to embrace the rawness of live sound over the polish of studio perfection, this disc provides an exhilarating encounter with Martinů’s art, revealing the enduring power and beauty of his music.
