Bohuslav Martinů - Piano Concerto No. 5, H. 366, "Fantasia Concertante"

Bohuslav Martinů (1890 - 1959) - Piano Concerto No. 5, H. 366, "Fantasia Concertante" (1957 - 1958)

I. Poco allegro risoluto [0:00]
II. Poco andante [7:55]
III. Poco allegro [18:09]

Emil Leichner, piano
Czech Philharmonic Orchestra, Jiří Bělohlávek (1989)

Bohuslav Martinů's Piano Concerto No. 5 is a work in three movements that typically lasts around 24 minutes.

"In September 1957, at the invitation of Paul and Maja Sacher, Martinů and his wife Charlotte moved to Schönenberg-Pratteln in Switzerland, south-east of Basle, near the German border. The next year Martinů completed his Concerto for Piano and Orchestra No. 5 (Fantasia concertante), H. 366. Despite the subtitle, it is written in a classic three-movement form. It had its première in West Berlin on 31 January 1959, with the pianist Margrit Weber and the Orchestra of RIAS (Rundfunk im amerikanischen Sektor) under the baton of Gotthold Efraim Lessing. Martinů died almost exactly seven months later.

The first movement of the new concerto begins with a stern, stentorian two-note theme, in a style characteristic of late Martinů, which brings to mind Bartók’s Third Piano Concerto. The second theme features a boiling piano figuration and a beautiful flute line followed by one of Martinů’s characteristic seven-beat themes, three minims (half notes) followed by a crotchet (quarter note). The movement ends with an uplifting and inspiring mood fit for the Hollywood big screen. The second movement features a peaceful opening which the piano eventually takes up, but then proceeds to introduce more and more tension using Martinů’s entire trove of characteristic harmonic devices. The shimmering effect of the trills and planing harmonies lends a more impressionistic effect than is present in the outer movements. The third movement has a glorious Hollywood beginning, followed by repeated notes in a motoric toccata-like section. The lyrical middle section features colourful piano figuration and lopsided rhythmic patterns over a chorale theme in the orchestra. This movement impresses in a way that could justifiably characterize Martinů as a kind of Czech Copland. The concerto finally comes to a surprisingly abrupt conclusion, something of a surprise for the listener."

(source: Naxos)