There were periods of considerable happiness, however, especially the holidays spent in New England. In the summer of 1944, after a particularly severe bout of melancholy which produced the third Symphony, the Martinus went to stay at Ridgefield, Connecticut. After a short break doing absolutely nothing—very rare for Martinu—he completed the Trio for flute, cello and piano in the five days between 26 and 31 July. Purged of all his depressions, the Trio, which was commissioned by René le Roy, emerged as a refreshingly effervescent reaffirmation of his Czech roots. After the first performance in February 1945, Virgil Thomson described it as a ‘gem of bright sound and cheerful sentiment’.
Like most of Martinu’s music this Trio is tonal even when the tonality remains fluid. Actually there are only three works—all trios—to which Martinu ascribed key signatures, and this Trio in F is one of them. Its first movement is a buoyant dance-like structure in modified sonata form; the slow movement, a lyrical Adagio in 6/4 time, is in C?minor, while the last, which is introduced by a slowish cadenza for the flute, is another dance-orientated movement.
from notes by Kenneth Dommett & Robert Matthew-Walker © 1998