Fantaisies Symphoniques was the final, and most revolutionary, of the series of ‘unexpected’ works which punctuated Martinů’s career. It had burst upon the scene fully formed and seemingly without preparation, erupting like some dormant volcano whose re-awakening no seismologist had predicted. Yet there were no immediate aftershocks. The works which follow the Symphony seem oblivious or at least indifferent to its existence, and it took time for the novelty of form and expression to be fully absorbed into his art. But once that absorption had been completed, Martinů went on to create a succession of masterpieces in a similar vein, making the last six years of his life among the most productive and imaginative of his career. To a certain extent, the summer months which followed the completion of the Symphony were wasted. He had received a grant from the Guggenheim Foundation towards the composition of an opera, and his first thoughts turned towards another play by Georges Neveux, the author of the play which inspired Juliette. Unfortunately, Plainte contre Inconnu (‘Complaint against the Unknown’) proved too static for successful adaptation, and was abandoned before Act One was complete. Martinů eventually realised his operatic ambitions by turning to a comedy from 1753 by the Italian dramatist Carlo Goldoni. La Locandiera (‘The Innkeeper’s Wife’) became his twelfth completed opera, Mirandolina, the only one set to an Italian text.

Overture, H345

Between these two operatic projects, Martinů wrote a slight orchestral work with the bare title Overture. He had occasionally taught at the Mannes School of Music, which had opened in New York in 1916. In 1953, the name changed to the Mannes College of Music and offered degrees for the first time. Martinů’s new piece celebrated the inauguration and was written in haste between 10 and 15 November 1953. The speed of composition may account for several features of this piece. At around six-and-a-half minutes, it is Martinů’s shortest work for orchestra excluding Le Jazz and its formal layout – aba coda – is extremely simple. The size of the orchestra has been reduced, recalling works like the early Nocturne – double woodwind, two trumpets, four horns, timpani and strings.