Bohuslav Martinu. Ed. by Ulrich Tadday.
2011; Oxford University Press; Volume: 92; Issue: 1 Linguagem: Inglês
10.1093/ml/gcq098
ISSN1477-4631
Autores Tópico(s)European Cultural and National Identity
ResumoThe work of Bohuslav Martinů, fallen into neglect after the composer’s death, is being rediscovered not only through a spate of recordings, but also through performances such as that of Julietta at the Barbican in London in 2009. Critical re-evaluation, however, has only begun. The special issue of Musik-Konzepte devoted to the composer gives evidence that the court may still be out on many aspects of his work. The divergence of opinions reflects their contributors’ different nationalities: whereas the Czech commentators are generally positive in their evaluation of Martinů’s place in modern music history, the Germans are more sanguine. The first essay in the volume, by Aleš Březina, goes to the heart of the matter by addressing the composer’s omission from Adorno’s Philosophie der neuen Musik. Had Adorno deemed Martinů worthy of mention, he would probably have dismissed him in the same paragraph as Britten and Shostakovich. Even a perusal of Adorno’s many concert reviews only brings up one passing reference in January 1930 to ‘ein ziemlich anrüchiges’ string duo of the composer (Musikalische Schriften VI (Gesammelte Schriften, xix; Frankfurt, 1997), 169; anrüchig could be translated as ‘infamous’ or ‘objectionable’). In fact, the long attacks on musical folklorism in the Philosophie would have been quite applicable to Martinů. It is only with the waning of Adorno’s influential model that this composer could be seriously reconsidered at all.
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