Faure was essentially a conservative composer, upholding the great traditions of classicism wrapped in the beautiful harmonies of the impressionist period. His work is known for simple, melodic design, careful craftsmanship of Western culture, which, in my view, harmonize much better with our own national character than a labyrinth of conjectures and problems." Martinu received a few lessons from Albert Roussel in composition and was exposed to "order, clarity, measure, taste, precise, sensitive, direct expression, in short: the outstanding qualities of French art that I have always admired and with which I wanted to become more intimately acquainted."
The premiere of the Three Madrigals at the Musicians' Guild in Times Hall, New York, on December 23,1947 was a major event of that musical season. The Sun of the next day published the following comment: "It was a considerable labor of love for Joseph and Lillian Fuchs to devote themselves to learning Martinu's Three Madrigals for violin and viola, which was the absolutely new work of the evening, and an absolutely good one. They can hardly tour the piece, and come next week, they will hardly be able to record it. But somebody ought to get it down while it is still as fresh with them as it is now." Virgil Thomson wrote of the Madrigals, "So beautiful a work, in so beautiful an execution marks a high point in the season, in many seasons."
The Madrigal has a long history. Most commonly it is a vocal work for two or more parts, with an intricate texture, often of a daring and experimental harmonic character ornamented with extreme chromaticism, as in the works of Marenzio and Gesualdo in the Renaissance in Italy. Martinu's poco allegro opens with a brisk rhythmic figure that provides strong motor impulse from the start; its character is augmented only by the most original of harmonies. The poco andante of the second movement is hushed and pastoral. The coloring through the use of special effects is noteworthy, particularly that of mutes. The finale is a tour de force of rhythmic energy, unexpected accents, and instrumental virtuosity. Its spirit is one of freshness and inexhaustible vitality and carried to an exhilarating conclusion.
-- Kendall Durelle Briggs
