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MARTINU PUPPETS I – III H7970
Despite the extraordinary significance attributed to Bohuslav Martinu’s 14 short piano pieces entitled Puppets, surprisingly little is known about the exact time and circumstances of their composition. It is however certain that these are the first works by Martinu which transcended his initial attempts at composition and they quickly found a publisher. Thanks to their lasting popularity particularly with young pianists, they were published in numerous editions. The pieces take the characters of Italian commedia dell’arte as their theme; Pierrot, Colombine and Harlequin. Also included are dance and ball scenes, as well as scenes from the “private lives” of the puppets. The three editions of Puppets were composed between 1912 and 1925 in reverse order. The works all differ from one another, beginning with different aesthetic starting points and ending with piano writing which gradually matures. Now the cycle is published for the first time in one volume.
Contents:
 
Colombìna tancí / Columbine tanz / Columbine Dances·Nová loutka / Die neue Puppe / The New Puppet·Ostychavá panenka / Das schüchterne Püppchen / The Shy Puppet·Pohádka / Märchen / Fairy-Tale·Tanec loutek / Tanz der Puppen / The Puppets’ Dance·Loutkové divadlo / Puppentheater / Puppet Theatre·Harlekyn / Harlekin / Harlequin·Colombina vzpomíná / Colombines Erinnerungen / Colombine Reminisces·Nemocná loutka / Die kranke Puppe / The Sick Puppet·Colombina zpívá / Colombine singt / Colombine sings·Pierrotovo zastaveicko / Pierrots Ständchen / Pierrot’s Serenade·Valcík sentimentální loutky / Walzer einer sentimentalen Puppe / Waltz of the Sentimental Puppet·Colombina / Colombine / Colombine·Ples loutek / Puppenball / Puppet’s Ball·Ples loutek (autografní verze) / Puppenball (autographe Fassung) / Puppet’s Ball (autograph version)

Piano works occupy a special place in Szymanowski’s output as a demonstration of his style and an indubitable contribution to the development of twentieth-century piano music. The piano played an important part in his life. He always composed at it and appeared as an interpreter of his own works and accompanist in performances of his own songs and works for violin and piano. The present collection contains preludes, the ”Prelude and Fugue”, studies, mazurkas, four Polish dances, the ”Romantic Waltz”, the ”Metopes” and the ”Masques”. The works or extracts from particular cycles present an overview of Karol Szymanowski’s piano output with the exception of the larger forms, such as sonata, fantasia or variations. His early compositions (preludes), full of youthful emotionalism, still remain under the influence of Chopin, Brahms or Skriabin, but are not devoid of the originality and individuality characteristic of Szymanowski’s style. In the studies Op. 4 we see greater tonal expansion, more complicated structures and a wealth of interpretatitve directions. The works after 1914 bring new technical and aesthetic qualities. The studies Op. 33 are very short pieces, performed attacca and contrasting in mood, expression, texture or colour. The ”Metopes” and the ”Masques” derive from the same, ”impressionistic” period; they are the only piano works which are programmatic, originating in the literary interests of the composer. New stylistic assumptions and a modern sound language can be found in the Mazurkas involving stylisation of mountain folk music, the exploitation of its melodic, rhythmic and tonal features being combined with mazurka form. The four Polish dances are characterised by simplicity of texture, clarity and conciseness of form. The ”Romantic Waltz” is an occasional work, not typical in Szymanowski’s output.
CONTENTS
1. Preludes Op.1 Nos.1-5-7
2. Prelude & Fugue C-sharp minor
3. Studies Op.33 Nos.1-2-3-4
4. Studies Op.4 Nos.3-4
5. Mazurkas Op.50 Nos.1-2-3-4
6. 4 Polish Dances
7. Valse Romantique
8. Metopes Calypso Op.29 No.2
9. Masques Op.34 No.2 Tantris the Clown

#html-body [data-pb-style=NRDHX04]{justify-content:flex-start;display:flex;flex-direction:column;background-position:left top;background-size:cover;background-repeat:no-repeat;background-attachment:scroll}The Firebird Scherzo, Berceuse and Danse Infernale arranged for piano by Soulima Strawinsky

Mozart, Wolfgang Amadeus
Concerto for Piano and Orchestra no. 22 in E-flat major K. 482