General information
Title CZKoncert pro flétnu, housle a orchestr
Title ENConcerto for Flute, Violin and Orchestra
Title DEKonzert für Flöte, Violine und Orchester
SubcategoryDouble, Triple and Quadruple Concertos
Halbreich number252
Parts of the composition (movements)1. Allegro moderato; 2. Adagio; 3. Poco allegretto
Solo voiceFl Vl
Dedicatee Honegger Moyse, Blanche
Moyse, Marcel
Note on the dedicationDedicated to Marcel Moÿse and Blanche Honegger
Place of compositionParis
Year of origin1936
Initiation of composition10/1936
Completion of composition10/1936
First performance
Performer Marcel Moÿse (Fl), Blanche Honegger (Vl), Philippe Gaubert (dir./cond.)
Gaubert, Philippe
Honegger Moyse, Blanche
Moyse, Marcel
Date of the first performance1936-12-27
Location of the first performanceParis
Ensemble Orchestre de la Société des Concerts du Conservatoire
Autograph deposition
InstitutionBohuslav Martinů Centre in Polička
Deposition locationPolička
OwnerBohuslav Martinů Foundation, Prague
Note on the autograph depostitionFragment of the autograph score (pp. 26-35, i.e. almost whole 2nd movement). Solo violin part and some other changes are only indicated by pencil). *** Copy in a foreign hand located in the Bärenreiter archive in Kassel.
CopyrightBärenreiter, Kassel
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References Related writings
Documents in the Library
About the composition

Many neoclassical composers - for instance, Darius Milhaud, Arthur Honegger, and Paul Hindemith - were inspired by the principle of the Baroque concerto grosso utilizing a group of solo instruments on the one hand and an orchestra on the other. In the output of Bohuslav Martinů, however, the concerto for two or more solo instruments with orchestra became one of the principal forms he used, especially during the 1930s. Then in the fall of 1936 Martinů composed his Concerto for Flute, Violin, and Orchestra, H 252 on commission for the famous French violinist Marcel Moyse (for whom he also composed the Sonata for Flute, Violin, and Piano, H 254 in the same year). This concerto was premiered on 27 December 1936 by Marcel Moyse and Blanche Honneger with the Orchestre de Société des Concerts du Conservatoire under Phillip Gaubert and broadcast live on radio.

This three-movement work follows the classical layout of fast-slow-fast. An important role in the instrumentation of the whole concerto is played by the piano, which enriches the color of the orchestra. In the first movement a fast cadenza displays both solo instruments. The second movement, rich in expression, offers lyrical melodies presented alternately and jointly by the two solo instruments. Toward the end of the second movement we hear a lyrical cadenza for the violin. The movement culminates with a lyrical counterpoint of the two solo instruments with the string section. The final fast movement has the layout of a three-part song form whose central cantilena section leads after a flute cadenza to a repetition of the first part. The ensuing fast coda intensifies the build to the climax of the movement and thus of the whole work.

The composer's fondness for the concerto grosso principle stimulated such monumental works as for example the Concerto grosso, H 263and the Double Concerto for Two String Orchestras, Piano, and Timpani, H 271, which undoubtedly provide the best representation of this stylistic orientation.

Sandra Bergmannová, programme of the Bohuslav Martinů Festival's concert, December 10, 2001

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