General information
Title CZPromenády
Subtitle CZpro flétnu, housle a cembalo
Title ENPromenades
Subtitle ENfor Flute, Violin and Harpsichord
Title DEPromenades
Subtitle DEfür Flöte, Violine und Cembalo
Title FRPromenades [auth.]
Subtitle FRpour flûte, violon et clavecin
CategoryChamber Music
SubcategoryTrios without Piano
Halbreich number and suffix274
Parts of composition (movements)1. Poco allergo; 2. Adagio; 3. Scherzando; 4. Poco allegro
Durata7' 30''
InstrumentsFl Vl Cemb
Solo voice
List of characters
Dedicatee
Diplomatic transcription of dedication
Note on dedication
Origin
Place of composition
Year of origin1939
Initiation of composition02/1939
Finishing of composition02/1939
Last modification of composition
First performance
Performer
Date of first performance
Location of first performance
Ensemble
Autograph deposition
InstitutionBohuslav Martinů Centre in Polička
Deposition location
OwnerBohuslav Martinů Foundation, Prague
Note on manuscriptAutograph score and autograph parts of flute and violin.
Publication
Place of issue
PublisherBärenreiter Prague
Year of publication1959
CopyrightBärenreiter, Kassel
Note
NoteTitle on the title page of the autograph: "Promenades | quatre pièces pour | flûte, violon et clavecin". *** The composition was completed on 28.02.1939 according to Charlotte Martinů's diary.
Information

Dating from February 1939, this is one of the last chamber works Martinů wrote before leaving Paris and exactly contemporary with a similar piece, the Bergerettes for the more orthodox trio of violin, 'cello and piano. The pattern established in the two trios discussed above serves him once more, except that the inclusion of a harpsichord rather than piano brings the obvious formal model that much nearer. It is also telling that Martinů treats the harpsichord - he presumably he intended one of the large, sonorous Pleyel instruments favoured by Wanda Landowska - hardly differently from the piano. Each of the four movements here is short and. when not largely mono thematic like the Scherzando and final Poco allegro, barely venturing beyond a brief flirtation with ternary form, as in the Adagio.

Sources

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