The autograph of this piano piece is missing. The only known copy of the composition so far comes from the private archive of Soňa Hendrychová, who, based on the characteristic way of writing, believes that the composition was copied by her mother Zdeňka Maxová, who was a friend of Gabriela Čechová, to whom Martinů dedicated some of the compositions. Although Mrs Maxová was very careful to record the date of composition or description in other copies, no date is found in this composition. On the last page of the composition an upside-down fragment of the spiritual song “Nearer, my God, to Thee” is recorded.
Martinů was very well acquainted with Zdenka Maxová, a friend of Gabriela Čechová, whom he met many times at Borová, where they both often visited. Zdenka Maxová was, judging by the testimony of her daughter and the surviving repertoire, a very skilled pianist, to whom Martinů dedicated some of his compositions, among which are the Valse Capriccio [H 107] from 1916 and the cycle Loutky II (Puppets II) [H 116].
Eva Zámečníková, Bohuslav Martinů: Piano compositions composed before 1916, diploma thesis, Prague, 2000, p. 48 and 68 [edited by Jana Burdová, 2024].