The composer's diaries, translated for the first time, with commentary on his distinctive musical aesthetics and his relationship to artistic cross-currents in Czechoslovakia, France, and America.
The composer's diaries, translated for the first time, with commentary on his distinctive musical aesthetics and his relationship to artistic cross-currents in Czechoslovakia, France, and America.
Preface Notes to the Reader Introduction: Why Martinu the Thinker? Martinu's Parisian Criticism General Polemics Until 1943 His Creative Process On the Ridgefield Diary 1945 A Return to Prague? Banished and Revived Final Years 1941 Autobiography (Spring 1941) "On the Creative Process" (Summer 1943) The Ridgefield Diary (Summer 1944) Essays from Fall 1945 Notebook from New York (December 1945) Notes from 1947, Excerpts Editorial Remarks Appendix 1: Martinu's Source Reading Appendix 2: Miroslav Barvík's Report on Martinu from May 1955 Appendix 3: On the Literary Reception of Kaprálová and Martinu: Jirí Mucha's Peculiar Loves and Miroslav Barvík's "At Tri Studne" Notes Works Cited Index
Preface Notes to the Reader Introduction: Why Martinu the Thinker? Martinu's Parisian Criticism General Polemics Until 1943 His Creative Process On the Ridgefield Diary 1945 A Return to Prague? Banished and Revived Final Years 1941 Autobiography (Spring 1941) "On the Creative Process" (Summer 1943) The Ridgefield Diary (Summer 1944) Essays from Fall 1945 Notebook from New York (December 1945) Notes from 1947, Excerpts Editorial Remarks Appendix 1: Martinu's Source Reading Appendix 2: Miroslav Barvík's Report on Martinu from May 1955 Appendix 3: On the Literary Reception of Kaprálová and Martinu: Jirí Mucha's Peculiar Loves and Miroslav Barvík's "At Tri Studne" Notes Works Cited Index
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