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Sinfonietta in A major "La Jolla" - Bohuslav Martinů

Prague Chamber Orchestra conducted by Ondřej Kukal. Josef Hála as the pianist. I - Poco allegro: 0:00 II - Largo - Andante moderato - Largo: 5:57 III - Allegro - Poco meno - Allegro vivo: 13:55 Martinů's Sinfonietta "La Jolla" was composed in New York in 1950, being commissioned by the the Musical Arts Society of La Jolla, California. It was premiered in August 13 of that year, performed by the Orchestra of The Musical Arts Society of La Jolla conducted by Nikolai Sokoloff, but other sources claim it was premiered in Los Angeles in 1951. La Jolla is located near San Diego and the Mexican border. The Musical Arts Society had requested a "tuneful and approachable" orchestral work, which would turn to represent Martinů's farewell to neoclassicism. The composer, who once commented that "music must be beautiful, or it wouldn’t be worth the effort," gladly acquiesced to this request. The work, as the sinfonietta giocosa of 1940, is scored for piano and chamber orchestra. The first movement is structured as a sonatina. It begins with a lively main theme, built on rhythmic and syncopated ostinati. There are references to the moravian folksong "Bolavá hlavĕnka", which Martinů had used already as the main theme of the last movement of his Fifth Symphony. A lyrical second theme, presented by the clarinet, shows the clear influence of Dvořák. There is no development section, instead leading us to the recapitulation of the themes. A joyful coda ends the movement. The second movement is structured in ternary form. It opens with an ambiguous introduction of certain statism. The piano presents a lyrical main theme of contemplative nature. As it unfolds, it wanders through several tonalities in a manner reminiscent of Czech folk music. The central part presents a calm dialogue between piano and strings, becomign more exuberant and voluptuous. After a dissonant climax, the main theme is briefly recapitulated, leading us to a peaceful coda. The third movement is also structured in ternary form. It begins with a bright and cheerful main theme, constructed over ostinatos with a certain rustic character. It culminates in an intense climax. The piano appears in a supportive role rather than as a soloist through the work. A lyrically pastoral second theme is presented by woodwinds, offering us some contrast. The rhythmic main theme is forcefully recapitulated, leading us to a vigorous coda. Picture: "Landschape with Little Church" (1910) by the Czech painter Bohumil Kubišta. Musical analysis mostly written by myself. Sources: https://bit.ly/3AC3xMZ and https://bit.ly/3UZfdlj To check the score: https://bit.ly/3tPhZxF