Composer: Bohuslav Martinů
Works: Symphony No. 3 (1944), Symphony No. 5 (1948)
Performers: National Symphony Orchestra of Ukraine/Arthur Fagen
Recording: 10-15 March 1995, Grand Concert Studio of the National Radio Company of the Ukraine, Kiev
Label: NAXOS
Bohuslav Martinů’s symphonic output, particularly in the context of his Third and Fifth Symphonies, reveals a composer who amalgamated his Bohemian roots with the influences of 20th-century Western music and American styles. Martinů, born in 1890 in Polička, navigated a tumultuous life marked by the upheavals of war and personal strife. His emigration to the United States in 1940 proved pivotal, as it was here that he truly developed his symphonic voice. The Third Symphony, dedicated to Serge Koussevitzky, reflects the trauma and emotional weight of its time, while the Fifth Symphony, composed in the post-war era, offers a more optimistic and lyrical perspective.
The performance by the National Symphony Orchestra of Ukraine under Arthur Fagen is commendable, showcasing a strong grasp of Martinů’s diverse stylistic palette. The orchestra exhibits a commendable cohesion, particularly in the Third Symphony, where the opening movement’s brooding intensity is palpable. Fagen’s interpretation effectively captures the emotional turmoil that underpins this work, especially in the turbulent second movement, marked by its jagged rhythms and dissonant harmonies. The conductor’s attention to the dynamics is particularly striking; the orchestral balance allows the brass section’s bold statements to pierce through the texture without overwhelming the woodwinds, which often carry the lyrical motifs.
Technical aspects of the performance are generally solid, with the strings providing a rich, sonorous backdrop that complements the more agitated woodwind dialogues. However, there are moments where the brass section, while vibrant, occasionally lacks the precision required in Martinů’s intricate passages, leading to a slight muddiness in the texture. This can be particularly noted in the climactic moments of the first movement, where the orchestral forces could benefit from a more assertive articulation of the rhythmic figures.
The Fifth Symphony is characterized by a lighter, more buoyant quality, and Fagen’s interpretation shines in the expansive second movement, a Larghetto that showcases Martinů’s lyrical gift. Here, the thematic material unfolds with a gentle elegance, and the nuanced orchestration is brought to life by the orchestra’s sensitive playing. The transition to the Allegro of the final movement is executed with admirable energy, reflecting the exuberance of liberation and renewal. The playful interplay between the woodwinds and strings in this section evokes a spirit reminiscent of the American musical landscape that so influenced Martinů during his time in the U.S.
Sound quality is a notable strength of this recording. The engineering captures the clarity of the orchestral textures, allowing each section to be heard distinctly. The warmth of the strings and the presence of the brass are well-balanced, contributing to an overall immersive listening experience. While the recording might not possess the refinement of some of the more prominent labels, such as Chandos or BIS, it stands as a strong contender, particularly given its accessibility and value.
The Naxos label has made a significant contribution by presenting Martinů’s symphonies, which, despite their historical and musical importance, remain underrepresented in the concert repertoire. This recording serves as an excellent introduction to Martinů’s symphonic works for listeners unfamiliar with his oeuvre. The combination of a well-prepared orchestra, discerning directorial choices by Fagen, and the robust engineering makes this disc a valuable addition to the collection of both novice and seasoned listeners alike. The exploration of these symphonies reveals Martinů as an essential voice in 20th-century music, deserving of greater recognition and appreciation.
