Scherzo for piccolo and piano (H. 174a)

Bohuslav Martinů (1890-1959) was a prolific Czech composer, recognized as a central figure in 20th-century music, notably for his unique harmonic "cell" technique.
Born in Polička, Bohemia, Martinů’s upbringing was singularly isolated. His father was a shoemaker, the town's watchman, and the family lived in the small room at the top of the St. James Church tower. This literal "bird’s-eye view" of the world is often cited by researchers as the source of his lifelong feelings of detachment and his distinctive spatial sense in orchestration.
A violin prodigy, he was funded by the citizens of Polička to attend the Prague Conservatory in 1906. However, he was a poor student, preferring to spend his time in libraries and at the theater. He was eventually dismissed for "incorrigible negligence" in 1910.
He spent the next decade teaching himself composition while playing violin in the Czech Philharmonic. He briefly studied with Josef Suk, the son-in-law of Dvořák, who became a crucial mentor in his early orchestral development.
In 1923, Martinů moved to Paris to study with Albert Roussel. There, he became part of the international avant-garde, absorbing the influences of Stravinsky, jazz, and the Neoclassicism of the "École de Paris."
Following the Nazi invasion of France, Martinů fled to the United States in 1941. During his American years, he achieved major success, composing six symphonies for the country's leading orchestras, including the Boston Symphony.
His style is defined by a rhythmic "drive" influenced by the Concerto Grosso form, and a harmonic language built on "cells"—short motives that undergo constant, organic transformation.
The most prolific period of composing was during his stay in the United States. One of his characteristic features in his symphonies is a prominent part for the piano. Martinů was a very introverted person, and there have been assumptions that he had some sort of autistic disorder, most likely Asperger syndrome.