abstract: Bohuslav Martinù (1890-1959) was a prolific composer who wrote nearly 100 works for piano. His highly imaginative and eclectic style blends elements of the Baroque, Impressionism, Twentieth-century idioms and Czech folk music. His music is fresh and appealing to the listener, yet it remains intriguing as to how all the elements are combined in a cohesive manner. Martinù himself provides clues to his compositional process. He believed in pure musical expression and the intensity of the musical idea, without the need for extra-musical or programmatic connotations. He espoused holistic and organic views toward musical perception and composition, at times referring to a work as an "organism." This study examines Martinù's piano style in light of his many diverse influences and personal philosophy. The first portion of this paper discusses Martinù's overall style through several piano miniatures written throughout his career. It takes into consideration the composer's personal background, musical influences and aesthetic convictions. The second portion focuses specifically on Martinù's first large-scale work for piano, the Fantasie et Toccata, H. 281. Written during a time in which Martinù was black-listed by the Nazis and forced to flee Europe, this piece bears witness to the chaotic events of WWII through its complexity and intensity of character. The discussion and analysis of the Fantasie et Toccata intends to serve as a guide to interpretation for the performer or listener and also seeks to promote the piano music of Bohuslav Martinù to a wider audience. / Dissertation/Thesis / D.M.A. Music 2011

Im Mittelpunkt dieses Beitrags zum Problem des musikalischen Nationalismus im 20. Jahrhundert stehen zwei Werke von Bohuslav Martinu (1890-1959), die für sein früh(er)es Schaffen der 1910er und 1920er-Jahre repräsentativ sind und die zugleich eine jähe und tief greifende Wandlung seines Begriffs von 'Nationalmusik' vor und nach dem Jahre 1918 bzw. vor und nach seiner Abfahrt nach Paris anschaulich belegen.

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