Nonet for wind quintet, violin, viola, cello & double bass, H. 374: I. Poco Allegro
Nonet for wind quintet, violin, viola, cello & double bass, H. 374: II. Andante
Nonet for wind quintet, violin, viola, cello & double bass, H. 374: III. Allegretto
Nonet for wind quintet & piano quartet, H. 144 (fragment)
Trio for flute, cello & piano, H. 300: I. Poco Allegretto
Trio for flute, cello & piano, H. 300: II. Adagio
Trio for flute, cello & piano, H. 300: III. Andante - Allegretto Scherzando
La Revue de Cuisine (Kitchen Revue), jazz suite & ballet for clarinet, bassoon, trumpet, cello & piano, H. 161: I. Proloque. Allegre
La Revue de Cuisine (Kitchen Revue), jazz suite & ballet for clarinet, bassoon, trumpet, cello & piano, H. 161: II. Tango. lento - An
La Revue de Cuisine (Kitchen Revue), jazz suite & ballet for clarinet, bassoon, trumpet, cello & piano, H. 161: III. Charleston. Poco
La Revue de Cuisine (Kitchen Revue), jazz suite & ballet for clarinet, bassoon, trumpet, cello & piano, H. 161: IV. Final. Tempo Di M
Bohuslav Martinu began his musical studies in Prague, but he only really came of age in Paris in the 1920s, where he was for a time a student of Albert Roussel. They must have been interesting lessons, for Martinu spoke ... more »not a word of French, and Roussel spoke nothing else. One of the strongest influences on Martinu was jazz, something else far from Roussel's aesthetic, and his little chamber ballet "La Revue de Cuisine" (Kitchen Review) made a strong impression on contemporary audiences--as indeed it does today. It's one of the best classical-jazz fusion pieces, including a smoky-toned tango and a riot of a Charleston. The Nonet, by contrast, comes from the very end of the composer's career (as does the Trio) and it's a haunting essay in neoclassical purity, with some lovely melodies. Performances and sound are tops. You'll love this disc. --David Hurwitz« less
Bohuslav Martinu began his musical studies in Prague, but he only really came of age in Paris in the 1920s, where he was for a time a student of Albert Roussel. They must have been interesting lessons, for Martinu spoke not a word of French, and Roussel spoke nothing else. One of the strongest influences on Martinu was jazz, something else far from Roussel's aesthetic, and his little chamber ballet "La Revue de Cuisine" (Kitchen Review) made a strong impression on contemporary audiences--as indeed it does today. It's one of the best classical-jazz fusion pieces, including a smoky-toned tango and a riot of a Charleston. The Nonet, by contrast, comes from the very end of the composer's career (as does the Trio) and it's a haunting essay in neoclassical purity, with some lovely melodies. Performances and sound are tops. You'll love this disc. --David Hurwitz