Martinu: Symphonies 1-6
Martinu's blend of the neo-classic and Romantic in his symphonies is fascinating listening. All six works have solid musical interest, and several are truly outstanding. The Third, a response to the carnage of World War II, with a muted, almost anti-climactic ending is moving; the optimistic Fourth, with its radiant Largo, is among his finest, and the energetic Fifth make his "war" symphonies unmissable. The Sixth, subtitled "Fantaises symphoniques") is remarkable in its free form but coherent approach. The first two symphonies are notable for their handling of orchestral sonorities and his typical rhythmic inventiveness and energy. While one's instinct is to favor conductors and orchestras from Martinu's native Czechoslovakia, Thomson and his Scottish band play with an idiomatic tang and drive that makes this the preferred complete symphony cycle. The orchestra's biting brass, colorful winds, and exuberant strings are first-rate. Thomson's firm grip on Martinu's elusive style means that even his interpretive liberties are convincing, like his flowing tempo for the Third's Largo movement which is usually taken much more slowly. He builds Martinu's symphonic frameworks so that however wayward they may appear at first, they wind up making sense. Other performances of some symphonies may have an edge, like Ancerl's near-miraculous Fifth and Sixth, but with its excellent sonics, playing, and conducting, this one sweeps the boards.--Dan Davis