Although he established no stylistic school, we find Martinů’s methods reflected in the work of other composers. This program pairs two of his chamber works with those of his peers and successors.
Witold Lutosławski draws on the folk traditions of his Polish homeland in a number of early works, the last of which was the Dance Preludes, his “farewell to folklore.” Both the Russian-born Alexander Tcherepnin, Martinů’s friend in interwar Paris, and Jaroslav Ježek, another Czech exile in wartime New York, share his folk-inflected pianistic invention. The late Chinese-American composer Chou Wen-chung blends Eastern and Western traditions in works …
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