Schulhoff's Suite, Op. In this case, Martinu did it earlier, and Stravinsky did it first. Still, Schulhoff entertains well on his own. Beethoven or Brahms. It may well turn out that Schulhoff's music could have benefitted from such a struggle.
Every note seems effortless and perfectly in place.
On the other hand, one also encounters moments of great fantasy and wit. Throughout the movement, Schulhoff varies his scoring with great imagination, without ever raising his voice. It's a study in wonderfully delicate textures. It's mostly fun. Ogelala takes off from Stravinsky's Firebird and Le sacre du printemps .