Bohuslav Martinů, Sonatina

For the next two weeks we're working on Martinů's Sonatina for clarinet and piano. I'm going to be offering you two excerpts to choose from (or learn both!). 

If you're feeling very ambitious, you can learn the whole piece: I can't share a PDF of the whole thing with you because it's still in copyright, but it is on Nkoda if you use that. 

Bohuslav Martinů (1890–1959) was a Czech composer whose music blends his homeland’s folk traditions with French impressionism, neo-classicism, and a lively rhythmic drive - I love what I can hear both of Stravinsky and Debussy in his music. Born in the church tower of Polička (!), where his father was the bell-ringer, Martinů studied in Prague but spent much of his career abroad, including formative years in Paris and later exile in the United States during World War II. Prolific and versatile, he wrote symphonies, concertos, operas, chamber music, and works for solo instruments, often marked by bright colors, quick changes of mood, and a distinctive melodic charm. All of which you'll hear in the Sonatina (1956) for clarinet and piano!

One of my favorite recordings appears on Michael Collins' 'The Virtuoso Clarinet'. Listen on Spotify here. 

Your tasks for this week:

• Learn the excerpt(s) and record them for feedback and encouragement from the group
• Share with us: have you performed this piece before? Are there other pieces you love by Martinů? Is there a favorite recording of yours?

Priorities for practicing these excerpts (also covered in the video):

• Listen to a recording, especially for the opening excerpt, where the shifting harmonies can be confusing if you don't have them in your ear (but are so beautiful once you do!)
• Keeping a supported legato sound despite the use of the tongue - try practicing without the tongue first, really focusing on a consistent legato
• Light, lyrical playing in the first excerpt - enjoy that crescendo in bar 3!
• Big triumphant forte at the beginning of the 5th line!
• Good pinky management in the second excerpt.
• Don't be afraid of the ascents into the altissimo, allow yourself to crescendo
• There's a lot of rotating around the break (one of the reasons I picked this section!) - lots of air to facilitate this, you could also try practicing using 'air sound' only if that helps you to think about what your fingers are doing.