THE BOHUSLAV MARTINŮ FOUNDATION THE BOHUSLAV MARTINŮ INSTITUTE THE INTERNATIONAL MARTINŮ CIRCLE

MARTINŮ REVISITED / OPENING CONCERT martinů/ BOHUSLAV MARTINŮ NEWSLETTER JANUARY—APRILrevue 2009 VOL.IX NO. MARTINŮ’S MEMORIAL TO LIDICE 1 ENSEMBLE CALLIOPÉE / STRING TRIO No.1, H.136 LIST OF MARTINŮ’S WORKS / PART V NEWS / EVENTS NEW CDs

∑ The Czech Centres are partners of the contents Martinů Revisited project Martinů at the Czech Centres 3 Martinů Revisited Highlights – Budapest – – Košice – Luxembourg – 4 martinů revisited Paris – So≤a – Warsaw and other cities —Events – Festivals events: 5 International Martinů Circle – EXHIBITION The Martinů Phenomenon 6 interview The National Museum – Czech Museum of Music has prepared an exhibition —Magdalena Kožená About comprising a wide array of exhibits pertaining to music, the fine arts and theatre. the Opening Concert The multimedia, dynamically conceived display is founded on two pillars: of the Martinů Revisited Project the first is the composer’s eventful life and phenomenal work; ALEŠ BŘEZINA the second is the expression of his theatre creations through both period and contemporary set-design. —Martinů Days 2008 The exhibition presents extensive archival and photographic material, visual and musical works, and set and costume designs, thereby affording 8 martinů revisited a comprehensive overview of this extraordinary personality of musical history. —Dream Concert Launches The exhibition is presented in cooperation with the National Museum “Martinů Revisited” Project and the district of Pardubice. PATRICK LAMBERT

ITINERANT VERSION OF THE EXHIBITION 11 special series can be seen in: —List of Martinů’s Works V Paris (April / May 2009) Luxembourg (May 2009) Warsaw (June 2009) 12 news already presented in: Berlin (February / March 2009) 14 research Brussels (January / February 2009) —Bohuslav Martinů’s Památník Lidicím – – CONCERTS A Musical Memorial given by Czech artists PETRA RICHTER Martinů Quartet / Karel Košárek / Zdeněk Mácal / 16 events Monika Knoblochová and many others 18 news www.czechcentres.cz —An Unknown Martinů Composition Discovered —New Publications

20 new cds martinůrevisited ∑ events ‹vOPERAS—›

highlights 1 & 5 April, 12 May 2009 / 7.00 pm > Janáček Theatre, , CZ www.ndbrno.cz IN 2009 THE CULTURAL WORLD commemorates the 50th anniversary of Bohuslav Martinů’s Juliette (The Key to Dreams), death (28 August 1959). In anticipation of this anniversary year, many organisers in the Czech lyric in 3 acts, H. 253 Republic and abroad are preparing music productions at which the composer’s works will be Jiří Nekvasil (Director), Daniel Dvořák (Stage Director), performed. Considerable attention will also be devoted to the artistic and cultural-political Tomáš Hanus (Conductor) context of Martinů’s oeuvre. Cast: Maria Haan/Pavla Vykopalová (Juliette), Peter Berger (Michel) 10 April 2009 / 6.30 pm > Antonín Dvořák Theatre, Ostrava, CZ www.ndm.cz polička The Greek Passion, H. 372/II (second version) Michael Tarant (Director), Václav Návrat Opening of the Bohuslav Martinů Center (Conductor), Jurij Galatenko (Choir Director) 28 May 2009 / premiere 4 April 2009 3 & 6 June 2009 > Theatre Ústí nad Labem, CZ www.muzeum.policka.net www.operabalet.cz , H. 247 Zbyněk Brabec (Director) 3, 5, 8 & 10 June / 7.00 pm > Guildhall School of Music and Drama, , Silk Street Theatre www.gsmd.ac.uk , H. 341 (with Rossini: La cambiale di matrimonio) Clive Timms (Conductor), Alessandro Talevi (Director) exhibition 18, 21, 26, 28 June & 2, 5 July > Garsington Opera, Garsington, England The Martinů Phenomenon www.garsingtonopera.org , H. 346 11 May 2009, 6 pm > gala opening Martin André (Conductor), Martin Duncan (Director), Francis O’Connor (Designer) 12 May 2009—26 October 2009 National Museum – Czech Museum of Music ‹vFESTIVALS—› Karmelitská 2, 1 BUDAPEST SPRING FESTIVAL 2009 www.nm.cz 1 April 2009 Czech Ballet Symphony Ballet on music by Antonín Dvořák, Bohuslav Martinů and Leoš Janáček For further details see www.festivalcity.hu

MARTINŮ FEST POLIČKA 2009 – opera Opening Concert 11 May 2009 / 6.00 pm > Tyl House, Polička, CZ Mirandolina H.346 Comedy on the Bridge, H. 247, Voice of the Forest, H. 243 18 June 2009 > premiere / Concert performances of the Garsington Opera, England For further details see www.tyluvdum.cz www.garsingtonopera.org PRAGUE SPRING International Music Festival 12 May—3 June 2009 > Prague, CZ www.festival.cz Various orchestral & chamber works by Martinů For further details see page 4

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PRAGUE SPRING 23 May 2009 / 8.00 pm ‹vFESTIVALS—› International Music Festival > Rudolfinum, Dvořák Hall, ‹vMISCELLANEOUS—› www.festival.cz Prague, CZ KOŠICE SPRING MUSIC FESTIVAL 15 May 2009 La Jolla, H. 328 19 May 2009 www.sfk.sk > Municipal House, South Bohemian Chamber > Czech Museum of Music, Praha, CZ 19 May 2009 Smetana Hall, Prague, CZ Philharmonic, Stanislav Vavřínek www.nm.cz > Košice, Slovakia, House of Art Duo Concertant for Two Violins (Conductor) Greek Passion – lecture String Quartet No. 2, H. 150 and Orchestra, H. 264 Presenter: Aleš Březina Martinů Quartet Bohuslav Martinů Philharmonic, 24 May 2009 Jakub Hrůša (Conductor), > University of Economics, 29—31 May 2009 Bohuslav Matoušek, Prague, CZ > Hotel Troja in Prague JANÁČEK MAY OSTRAVA 2009 Régis Pasquier (Violins) Nonett No. 2, H. 374 Musicological conference www.janackuvmaj.cz Les rondes, H. 200 “Continuity of Change. Bohuslav 26 May 2009 16 May 2009 / 11.00 am The Czech Nonet Martinů in 20th Century Music > Ostrava, CZ > Prague Academy of Music – History” Nonett, H. 374 Martinů Hall 26 May 2009 / 8.00 pm The conference is organized by Czech Nonett Fantasy and Toccata, H. 281 > Czech National Bank Hall, Bohuslav Martinů Institute in Prague. Ladislav Doležel (Piano recital) Prague, CZ Accompanying event of the 31 May 2009 Piano Trio in C major, H. 332 64th International Music Festival > Ostrava, CZ 16 May 2009 / 20.00 pm AD Trio, Martin Kasík (Piano), Prague Spring Brigand Songs II, H. 361 > Rudolfinum, Dvořák Hall, Prague, CZ Jiří Hurník (Violin), The Opening of the Springs, H. 354 Five Short Pieces, H. 184 Miloš Jahoda (Cello) 31 May 2009 Mount of Three Lights, H. 349 Petr Jiříkovský (piano) > University of Eastern Anglia Moravian Chamber Choir, Shlomo Mintz (violin) 28 May 2009 / 8.00 pm Orchestral Masterclass Lubomír Mátl (Choirmaster and > Rudolfinum, Dvořák Hall, with Jiří Bělohlávek Conductor) 18 May 2009 Prague, CZ Toccata e due canzoni, H. 311 1 June 2009 > Rudolfinum, Dvořák Hall, Prague, CZ Nipponari, H. 68 > Ostrava, CZ String Sextet, H. 224 , May 27—June 1 2009 Toccata e Due Canzoni, H. 311 Janáček Chamber Orchestra, Jiří Bělohlávek (Conductor), Concert trip by Luxembourg choir Kammerorchester Basel Jakub Klecker (Conductor) Dagmar Pecková (Mezzo-) to Prague and Ostrava to sing The Opening of the Springs 3 June 2009 19 May 2009 30 May 2009 / 6.00 pm with the Ostrava University choir > Ostrava, CZ > Rudolfinum, Dvořák Hall, Prague, CZ > Church of St. Simon and St. Jude, Bouquet of Flowers, H. 260 Double Concerto, H. 271 Prague, CZ 17 & 18 June 2009 Prague Philharmonia, Orchestra, Martinů’s Cantatas > Konzerthaus Wien, Austria Jakub Hrůša (Conductor) Zdeněk Mácal (Conductor), Kühn Mixed Choir, Musicological Symposium Czech Philharmonic Chorus of Brno, Jaroslav Šaroun (Piano) Marek Vorlíček (Choirmaster) www.exilarte.at Petr Fiala (Choirmaster) 4 June 2009 21 May 2009 31 May 2009 > Ostrava, CZ > Municipal House, Smetana Hall, > Rudolfinum, Dvořák Hall, Concert for Oboe and Small Prague, CZ Prague, CZ Orchestra, H. 353 Rhapsody (Allegro symphonique) Toccata e due canzoni, H. 311 Slovak Sinfonietta Žilina for Large Orchestra, H. 171 Kammerorchester Basel, Luxembourg Philharmonic Orchestra, Kristjan Järvi (Conductor) 9 June 2009 Emmanuel Krivine (Conductor) > Ostrava, CZ 2 June 2009 / 8.00 pm Concerto for Piano and Orchestra 22 May 2009 / 6.00 pm > Municipal House, Smetana Hall, No. 4 “Incantation”, H. 358 > Church of St. Simon and St. Jude, Prague, CZ Brno Philharmonic Orchestra, Prague, CZ The Spectre’s Bride, H. 214 (Conductor) Martinů’s cantatas Prague Symphony Orchestra, Kühn’s Children’s Choir, Jiří Chvála Jiří Kout (Conductor) and Světlana Tvrzická (Choirmasters) SOFIA MUSIC WEEKS 2 June 2009 / 9.30 pm INTERNATIONAL FESTIVAL 23 May 2009 / 11.00 am > Rudolfinum, Dvořák Hall, www.sofiaweeks.com > Prague Academy of Music – Prague, CZ ERRATA 6 May 2009 Martinů Hall, Prague, CZ Three Czech Dances, H. 154 DEAR READERS, in the article > National Palace of Culture, Jaroslav Doubrava: Sonata No. 2 Libor Nováček (Piano) “Forgotten Polkas” on page 16 of the Bulgaria, Sofia “In memory of Bohuslav Martinů” last issue (2008, No. 3) we announced Promenades for Flute, Violin Bohuslav Martinů: that the premiere of Six Polkas, and Harpsichord, H. 274 Sonata No.3, H.303 H. 101 would take place on 24 January Quartet for Clarinet, French Horn, Martina Bačová (Violin), at the Rudolfinum in Prague. Cello and Side-Drum, H. 139 Alexandr Starý (Piano) Due to the indisposition of the pianist Pavel Kašpar, this premiere did not take place.

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MARTINŮ REVUE (former Bohuslav THE INTERNATIONAL Martinů Newsletter) is published [≠MAGDALENA KOŽENÁ≠” MARTINU CIRCLE by the International Martinů Circle GENERAL INFORMATION in collaboration with the Bohuslav WE ARE DELIGHTED to inform readers that Magdalena Kožená has very Members receive the illustrated Martinů Institute in Prague. kindly agreed to become Patron on the International Martinů Circle. Martinů Revue published three times With ≤nancial support of the Bohuslav a year plus a special limited edition CD Martinů Foundation Prague. Her acceptance followed an invitation from Aleš Březina at the time of the much acclaimed concert premiere in December of Martinů’s Three containing world premieres, historic Editors archive performances and recordings Zoja Seyčková Fragments from the opera Juliette in which she took the title role with from the annual Martinů Festival not Lucie Berná Sir conducting the Czech Philharmonic Orchestra. obtainable commercially. Justin Krawitz (with special thanks) Members in London will have the opportunity of hearing her at the The IMC is supported by the Bohu- Translation slav Martinů Foundation and Bohuslav Hilda Hearne Barbican Hall on 27 March when she will take part in a concert perform- ance of Juliette with the BBC Symphony Orchestra conducted by Jiří Martinů Institute in Prague. Photographs The Bohuslav Martinů Foundation’s Bělohlávek. Many of us have already acquired the beautiful CD album of MEMBERSHIP & SUBSCRIPTION and Institute’s archive, collections of the “Songs my Mother taught me” in which she includes Martinů’s Songs on INFORMATION Municipal Museum – Bohuslav Martinů > YEARLY SUBSCRIPTION: Memorial in Polička Two Pages. 20 Euros / 25 USD We most sincerely welcome Magdalena to the Martinů Circle and look Graphic Design > SUBSCRIPTION FOR CORPORATE David E. Cígler forvard to a long and fruitful association. ❚ MEMBERS: 100 Euros includes 10 copies the each Revue Printing BOOM TISK, spol. s r.o. PLUS 3 copies of the non-commercial [≠2009 SUBSCRIPTION PAYMENT≠” CD recording from the Bohuslav price Martinů Days Festival in Prague CZK 50 WE WOULD REQUESTmembers who have not yet paid their 2009 sub-> SINGLE COPIES OF THE REVUE: The Martinů Revue is published 50 CZK / 2 Euro / 3 USD + postage three times a year. scriptions to do so now through one of our international contacts listed For further details and for single copies Cover photo below: of the Martinů Revue contact: Magdalena Kožená © Zdeněk Chrapek > GREAT BRITAIN – contact Gregory Terian, [email protected], +441625523326, Jana Honzíková Editorial OFFICE 18 Broadway, SK9 1NB UK, Wilmslow, Great Britain. e-mail: [email protected] The Bohuslav Martinů Institute > GERMANY – contact Petra Richter, [email protected], Furtstraße 46, The International Martinů Circle, o.s. Bořanovická 14 73770 Dekendorf, Germany. 182 00 Praha 8-Kobylisy, Bořanovická 1779/14 tel.: +420 257 320 076 > BELGIUM, LUXEMBOURG & AUSTRIA – contact Geoff Piper, [email protected], 182 00 Praha 8-Kobylisy e-mail: [email protected] +352-474269, 24, rue des Cerisiers, Luxembourg, L – 1322 Luxembourg. THE IMC CORDIALLY WELCOMES www.martinu.cz > USA – contact Robert Simon, [email protected], mobile: 216-973-7716, THE NEW MEMBERS (alphabeticaly) ISSN 1214-6234 Jackson Ave. Apt 1E, Evanston, IL 60201, USA. > Francesca Arnone, WVU Division > FRANCE – contact Patrice Chevy, [email protected], +33675620321, of Music, Morgantown; USA 11 Résidence FOCH, 923 80 Garches, France > Royal Welsh College of Music and Drama > JAPAN – contact Mrs Mari Tokuda, [email protected], +81 339 393 395, (Judith Agus, librarian), Cardiff, UK +81 359 990 793. > Hope C. Bogorad, Washington, USA > NETHERLANDS – contact Gert Floor, [email protected], > Phillip Briggs, Wellington; UK > +31725095262, Gortersweg 6, 1871 CC Schoor, Netherlands Keith Brumpton , Glasgow UK > Ronald Corp, Cressing, UK > SWEDEN – contact Jaroslav Šonský, [email protected], > Simon Corley, Paris, France +4611318475, Knopgatan 6, 603 85 Norrköping, Sweden > Cleveland Institute of Music (Bonnie Eggers, librarian), Cleveland USA THE PREVIOUS ISSUE Those wishing to pay in Czech currency or by cash should contact us at [email protected] ❚ > Georges Fonade, Paris, France > Edward O. Kadlec, Cave Creek, USA, > David Munro, Gosforth, UK NEW-LOOK NEWSLETTER > Princeton University (Katharine Farrell, Over time we have received comments [≠MEETINGS IN PRAGUE & BRNO≠” Mary George, Music Library), from readers as to the difficulties they THE MEETING OF THE BOARD of the Martinů Circle took place in Prague Princeton, USA have with the print size used in the > University of Lousville (Karen Little, Newsletter. on 13 December 2008. The letter to members accompanying this Revue Music Library) Louisville, USA In response we have now arranged sets out the decisions reached. For the successful functioning of the > Harvard University (Sandi-Jo Malmon, for a re-design using a clearer form Circle it is important that members should respond in the way requested. Eda Kuhn Loeb, Music Library), of text and hope this will remedy the A general meeting of the Martinů Circle has been provisionally fixed Cambridge, USA problem. We have also taken the oppor- > Dr. Antonín Tučapský, London, UK tunity of adopting a more distinctive for 4 October, to take place in Brno, coinciding with the Moravian title for the Newsletter, giving greater Autumn Festival. The 2009 event is entitled Variations on the theme CORPORATE MEMBERS > Editio Bärenreiter Praha, Prague, prominence to the composer’s name of Martinů and it is hoped that a good number of members will be able Czech Republic on the front cover. We hope you will to attend. Could those intending to do so please contact Jana Honzíková enjoy the new format. > Music a. s., Prague, Editors at [email protected] ❚ Czech Republic

martinůrevue12009 | 5 ❝ I LIKE interview SINGING Magdalena Kožená the delivery of great melodies. As far as the In 1997 you performed the premiere of characters themselves are concerned, both Martinů’s Four Songs to Czech Folk Poetry, about the opening these women are, in a way, dream-like crea- H. 282 bis. A completely unknown work of tures, not too earthly; the audience never whose existence even Martinů scholars were concert of the Martinů knows what is reality or imagination or dream. unaware until that point and which surfaced Revisited project It’s true that, in this, Martinů was very French, unexpectedly in the South of France. Now you very subtle and delicate. It’s a fascinating opera will be singing the world premiere of Three / interviewed by ALEŠ BŘEZINA and it’s a shame that it isn’t performed very Fragments from Juliette. What do you think in november 2008 often. The biggest problem is probably the fact of the idea that you’re singing the world that it has so many characters in it that the premiere of a work by a celebrated composer DEUTSCHE GRAMMOPHON recently brought majority of opera houses feel they can’t engage who has been dead for almost fifty years? out her latest CD entitled Songs My Mother those sorts of numbers for a single opera. It’s a wonderful feeling; you always say: Taught Me, which was launched in the Czech But it’s a great shame, because, in my opinion, “It’s a shame that Mozart’s not alive today, he Republic on 12 November 2008 during Juliette is a gem of Czech music. might have written something for me.” (laughs). a concert in Prague Castle’s Spanish Hall. Even though it wasn’t written expressly for me, Just one month later, we heard her again in You mentioned the dream-like nature of the it’s a pleasure that I’m actually singing some- Prague, this time with the Czech Philhar- characters. Is Juliette a real figure for you thing for the first time, something which people monic and Sir Charles Mackerras, as Juliette or only a projection of the men around her? don’t know, they’re curious to find out about it in the title role of Three Fragments, H. 253 A I see her more as a projection, more as a vision and I’m the one who was given the opportunity from the opera of the same name by Bohu- than a real woman. to perform the work for the first time. slav Martinů Juliette or the Dream Book, H. 253. This was not only her debut in this How do you perceive Fragments, which In March 2009 you will be performing the role, but also the world premiere of the work essentially contains the whole part of complete Juliette in concert in London with and the start of the international project Juliette? Jiří Bělohlávek and the BBC Symphony “Martinů Revisited”. In spite of her huge Naturally, Fragments don’t mediate the storyline Orchestra. What do you think of performing professional and family commitments (her in its entirety but, as an independent piece of the complete part of Juliette twice in the second son Miloš was born in the summer of music, it very much appeals to me. It’s the space of four months with two leading world 2008), in our interview from November 2008 kind of composition which can very easily be conductors, specialists in Czech music? she presented herself as perfectly focused performed in concert, which may encourage It’s wonderful but also not so surprising, given and, moreover, very affable. Mezzo-soprano people to go and hear the whole thing. It’s that we celebrate the 50th anniversary of the Magdalena Kožená. something of an hors d’oeuvre which makes death of Bohuslav Martinů in 2009. All the sense musically and, if someone feels they want various organisers are therefore endeavouring, In December you’ll be appearing at the Rudol- to listen to the whole opera, they can at least at least I hope that is the case, to present finum’s Dvořák Hall in the title role of Three hear it on a recording, if not live on stage. works by Martinů and give him a bigger profile. Fragments from the opera Juliette or the Dream I’m glad they had this idea in London and that Book by Bohuslav Martinů. You have naturally Three Fragments from the opera Juliette was I’ll be able to sing it once again. This opera isn’t been familiar with this opera for years and unknown until recently. People knew of its performed all that often and it’s good that, if you know that it brings together Czech and existence but the work never came out in you’ve prepared and rehearsed it, you can sing French culture in a highly original way. You print and the original score was considered it more than once. have appeared in various world venues in the lost. When we finally discovered it I was role of Mélisande in Debussy’s opera Pelléas extremely pleased to learn that it contained Opera Juliette exists in two original language et Mélisande. How do you see the differences the complete part of Juliette. In his choice of versions by Bohuslav Martinů. Until recently, between Juliette and Mélisande? these three fragments, Martinů was in fact only the Czech version was known but the Vocally, they are very similar; Juliette is a little telling us which characters were the most French version was discovered recently which more dramatic, it’s more of a soprano role, but important for him. There is far less of Michel has survived in various fragments, piano it also has a lot of recitative passages where than there is of Juliette. scores and so on. It was reconstructed by the words are spoken on a single note and, in That’s interesting. But even Michel has his Belgian scholar in association this, it’s a lot like Mélisande, for which melodic great scene there as well. with the Bohuslav Martinů Institute. You will fragments are also characteristic; the vocal part be performing the French version in Prague comes closer to the narration of a text than and London, but I assume you know the

6 | martinůrevue12009 THINGS FOR THE FIRST TIME, WORKS WHICH PEOPLE DON’T KNOW❞ important than the melody, because he didn’t mind changing the rhythm, just so long as it came out logically in the new language.

Your appearance with the Czech Philharmonic and Charles Mackerras in the Rudolfinum’s Dvořák Hall on 11 and 12 December 2008 will be the opening concert of the major inter- national project “Martinů Revisited”, which will take place in various countries throughout the world over the space of two years. What do you think of projects like this and will you be involved in any other Martinů projects during this period? I think that to promote composers who write excellent music is never a bad thing. And Bohu- slav Martinů still isn’t as well known as he deserves. Projects like “Martinů Revisited” can shift awareness of his works that bit further. If I don’t count the Martinů works I regularly perform during my recitals, apart from the two performances of Juliette mentioned above, I don’t have any other plans; these are to date my only contributions to the project “Martinů Revisited”. ❚ Taken from the Rudolfinum Revue (reduced), 2008–09, vol. VIII No. 2 with the kind permission of the Czech Philharmonic publisher. English translation by Karolina Vočadlo Hughes

BOHUSLAV MARTINŮ FOUNDATION INTERPRETATION COMPETITION 2008 IN THE CATEGORY: CELLO / 28–29 November 2008

photo zdeněk chrapek st Magdalena Kožená 1 prize IVAN VOKÁČ 2nd prize KAREL CHUDÝ, JAN SZAKAL 3rd prize PETR MAŠLÁŇ, VÁCLAV PETR Czech version as well. How do you view the the vocal parts in comparison with the Czech Special award for the best interpretation differences between these two language version. But I don’t know which version he of Bohuslav Martinů’s work: versions when you look at the vocal parts? wrote first. KAREL CHUDÝ (Cello) I have heard the Czech version but I’ve never and VERONIKA BÖHMOVÁ (Piano) studied it in detail. With the French version He produced the Czech version first. which I have in my score, you can easily see The Czech version? So, in fact, he re-worked it. Honourable mention: that Martinů had an excellent command of At any rate, you can see that he studied French MARIE ŠIMKOVÁ French and he often changed the rhythm of and that, for him, language was often more JAN ZVĚŘINA www.martinu.cz

martinůrevue12009 | 7 ≠ DREAM CONCERT

/ PATRICK LAMBERT

HE Bohuslav Martinů Foundation and Institute could hardly have dreamed up Ta more prestigious event than the pair of concerts given by the Czech Philharmonic in the Rudolfinum on 11 and 12 December 2008. Not only did it present the world premiere of the rediscovered and newly edited Three Fragments, H. 253 A from Martinů’s operatic masterpiece or the Key to Dreams (Juliette ou la clé des songes), H. 253 in the composer’s French version, but the concerts were also conducted by Sir Charles Mackerras, the foremost international champion of Czech music and one-time pupil of the opera’s dedicatee Václav Talich. Moreover, the title role was sung by an internationally acclaimed star of Czech music, mezzo-soprano Magdalena Kožená. As well as providing the culmination of the 2008 “Martinů Days”, this event Magdalena Kožená at the Dvořák Hall (Rudolfinum, Prague) inaugurated in a most auspicious manner the Foundation and Institute’s ambitious two-year cated. Up until now, they had received scant “Martinů Revisited” project encouraging attention in the Martinů literature, though Miloš performances throughout the world to mark Šafránek in his first biography of the composer the composer’s double anniversary – 50 years does list them under “Cantatas and other vocal since his death and 120 years since his birth. works”, giving the movement titles: “I. Souvenirs. II. Forest scene. III. Finale”, total duration 45 The publicity surrounding this launch was minutes. Martinů selected these scenes in April admirable: no citizen of Prague could possibly 1939, a year after the opera had received its remain unaware of the push for Martinů’s music highly successful premiere in his original Czech with “Martinů Revisited” posters in trams, version at the Prague National Theatre under buses and metro and a large banner on the Talich. Translating them into French, he wanted Rudolfinum. The excellent Rudolfinum Revue them to be published in Paris by Max Eschig, carried an article about Julietta by the Insti- hoping that they would be performed in the tute’s director Aleš Březina, who edited the concert hall or on radio and thus generate suf- Fragments for publication, plus his interview ficient interest for an eventual Paris production with Magdalena Kožená about her approach of the opera. However, political events inter- to the role. Sir Charles, who 30 years ago vened and the manuscripts went missing, conducted the British premiere of the opera at though did succeed in playing the , in an English translation the piano solo that comprises the non-vocal by Brian Large, is also interviewed: “Julietta is, part of the Souvenir scene (Act II, sc. 3) at Title page of the “Forest scene” (autograph) in my opinion, Martinů’s greatest composition, a concert in Prague in February 1939, shortly with its extraordinary surrealistic dream-like before the German army marched in: “When practically empty-handed, I often played Julietta fantasy… For these Three Fragments, which I heard the premiere of the opera in Prague for him from memory (neither of us had the Martinů selected so carefully from his beloved (16 March 1938), I was so deeply affected by score) and I know how much this work meant opera, French is the ideal language”. this particular scene that I asked Martinů’s to him”. (From: “A Remembrance by Rudolf permission to perform it as a solo piano piece, Firkušný”, in the booklet for his CD of Martinů’s The background to the publication of these to which he gladly agreed. As war refugees music on the RCA label, RD87987, published Fragments is interesting and a little compli- in New York three years later, where we arrived 1989, BMG Music)

8 | martinůrevue12009 LAUNCHES MARTINŮ REVISITED PROJECT photo zdeněk chrapek

Cover page of the autograph score of the The opening concert of the Martinů Revisited project (Dvořák Hall, Rudolfinum, Prague) Three Fragments from the opera Juliette

It was not until the 1990s that the autograph expand this second Fragment to include the and, via a cor anglais solo, to the magical har- of the piano scores of “La scène de la forêt” brief preceding scene (Act II, sc. 2), in which monies that bring the second Act to a close. and “Finale du IIIe acte” came to light – in Michel encounters Old Man Youth selling wine the possession of a German collector who had in the middle of the forest and learns that he The last Fragment consists of the wonderfully been given the manuscripts by the composer’s likes to keep his clients happy with suggested poignant Finale to Act III (sc. 8) announced widow Charlotte. These were purchased by the ‘memories’ of their younger days. This helps by a searing orchestral crescendo filled with Martinů Foundation and are now preserved in to place in context the ensuing, distinctly tragic longing, as Michel finds himself alone the Czech Museum of Music. Quite by chance, surrealistic scene with the elderly couple in the Bureau of Dreams with Julietta’s voice during preparations for the publication of the accompanied by solo piano. By opening the calling imploringly from behind the mysterious Three Fragments in 2007, the autograph of the sequence with “La scène de la forêt”, also door which separates dreams from reality. At full score was discovered in the archives of drawn from the second Act (sc. 5 onwards), Michel’s insistence, the Night Watchman opens the DILIA agency in Prague, allowing the first the Fragments are able to make an immediate the door – to reveal emptiness. But Julietta printed edition to be based on both sources. impact with the impressive, harmonically calls to him again and, rather than waking to complex and emotionally ambivalent orchestral a grey existence in the real world, Michel, risking An abridged version of Aleš Březina’s editorial build up that heralds the arrival of the elusive madness, chooses not to abandon the girl of report appeared last year in the BM Newsletter Julietta for her secret rendezvous with Michel. his dreams but rather to continue his search. (Vol. VIII, no. 1, Jan.–Apr. 2008 p.19) illustrated Despite misunderstandings, they declare their As the music rises to a tragic yet triumphant by the title page of the autograph full score of love amid a silent forest disturbed only by the climax, he sees her in a lovely vision. Before he “La scène de la forêt”. It shows that at some echo of their voices and the approach of the knows it, with the return of the opening bars point Martinů had had second thoughts about Seller of Memories. Though attracted by the of the opera, he finds himself in the small town the best order for the Three Fragments, crossing ‘memory’ of having holidayed together in Spain, square where he began his quest, though this out the Roman numeral “II” at the top of the Julietta is persuaded to reject the peddler’s time mysterious whispers assert that the hotel page and writing instead “I”, and it was on this wares and, accompanied in the orchestra by he has been looking for really does exist. As evidence that “La scène des souvenirs” was an echo of her song from the first Act, Michel Martinů himself explained, “the story is not placed centrally, as Aleš explains in his editorial recounts with increasing ardour his ‘genuine’ finished, it goes on for ever – it is but a dream”. notes published more fully in the Journal of memory of their first meeting in the town the Czech BM Society (Zprávy, Vol. 31, 2008, square. Martinů then cuts (before the lovers Turning now to the premiere performance of pp. 85–88). A further editorial decision was to quarrel) to the scurrying intermezzo in scene 7 the Three Fragments (I attended the first con-

martinůrevue12009 | 9 > ≠ DREAM CONCERT LAUNCHES MARTINŮ REVISITED PROJECT

cert), this exceeded all expectations and, excuse the pun, simply went like a dream. Playing to a full house, the Czech Philharmonic rose to the occasion, clearly relishing the brilliant sonorities of Martinů’s multi-layered score, building power- ful climaxes which sometimes threatened to photo zdeněk chrapek overwhelm the voices. The main roles were convincingly characterised, the manly tones of the Australian as Michel tellingly contrasted with the more fragile, feminine tones of Magdalena Kožená as the captivating dream girl. Her voice soared beauti- fully into the upper registers, which appeared to pose no problems, despite the role being con- ceived for a soprano rather than mezzo vocal range. She also looked the part with her low cut dress and long flaxen hair. As she herself com- mented in her interview, “I see her more as a vision than a real woman”. For her off-stage Magdalena Kožená and Sir Charles Mackerras part in the final Fragment she appeared up in the organ gallery. Most of the other roles were teacher Talich, though here they were played with exceptionally warm applause and a stand- played by French-born singers, namely Frédéric without cuts. The coupling of these Dvořák ing ovation. Being such a special event, the Goncalves as Old Man Youth and the Seller of pieces with Martinů’s Julietta Fragments was an players of the Czech Philharmonic very wisely Memories, Michele Lagrange as the Old Woman inspired piece of programming which brought suspended their current embargo on the and Nicolas Testé as the Old Man and Night home the connection between the two com- presence of microphones at their concerts and Watchman. Listening to the music sung in posers. Both employ harmonic colouring and it is good news indeed to learn that Supraphon French underlined the opera’s kinship with orchestral textures of great subtlety – French is planning to release the live recording of the Debussy’s Pelléas et Mélisande, which had so Impressionism approached from different Three Fragments on CD, coupled with the purely captivated the young Martinů when he heard angles, one could say – and each explores the orchestral Suite from Julietta, arranged by it in Prague for the first time in 1908. The solo seemingly irreconcilable conflict between the Zbyněk Vostřák, which they recorded under piano accompaniment in the central Fragment normal human world and the world of the studio conditions during Sir Charles’ visit. with its special atmosphere and exposed imagination; in Dvořák’s case a tragic clash with “Julietta chords” was sensitively played by the alien supernatural world of folk superstition, Magdalena Kožená, who in her interview Karel Košárek, whose excellent Martinů CD has also to be found in the lyrical fairytale , described Julietta as “a gem of Czech opera”, recently appeared on Supraphon (SU 3937-2). and in Martinů’s case a confrontation with the expressed the hope that hearing the Three Sir Charles, now well into his eighties and dangerous yet seductive world of dreams. One Fragments in the concert hall “may encourage visibly more frail than on his last appearance could even postulate a line of development from people to go and hear the whole thing”. With in Prague, nevertheless conducted with all the Rusalka, via Debussy’s Mélisande, to Julietta. All the prospect of hearing her sing again the title vigour and concentration of his younger self in all, it was an ingenious idea to choose music role in a concert performance of the complete and he was clearly in his element, moulding from this very opera to launch the “Martinů opera with the BBC Symphony Orchestra con- the music with the utmost care. Revisited” project. Not only is Julietta or the ducted by Jiří Bělohlávek in London’s Barbican Key to Dreams an indisputable masterpiece, Hall on 27 March 2009*, music lovers lucky In the first part of the concert we heard two it is also a key work in the composer’s output, enough to be able to attend will need little of Dvořák’s Erben-inspired symphonic poems, the spirit of the music with its dream-logic encouragement. ❚ The Water Goblin, op. 107 and The Noonday symbolised by the “Julietta chords” seeming Witch, op. 108. Listening to this wonderful to haunt so many of the compositions which * Sung in the same French version reconstructed from surviving autograph sources music performed by the Czech Philharmonic were to follow. by Harry Halbreich in collaboration with on top form in the warm acoustics of the Rudol- the BM Institute which was used for the revival finum called to mind the venerable recordings This dream concert – I make no apologies for of the Paris production conducted by of these works conducted by Sir Charles’ old my epithet – was, needless to say, received Jiří Bělohlávek in February 2006.

10 | martinůrevue12009 — LIST OF MARTINŮ’S WORKS V Special s— CATEGORY/ Serie | ORCHESTRAL MUSIC SUBCATEGORY/ | SUITES AND ABSTRACTS OF THE INCIDENTAL WORKS

IN THIS ISSUE of the Martinů Revue we Date of composition: 1936 continue with our publishing of the complete 1st ORCHESTRAL SUITE Performing forces: cl. B-trb. C-batt.-2 vl-pf.-org. OUVERTURE TO THE OPERA list of Bohuslav Martinů’s works.We began FROM BALLET ISTAR H. 130 A Performer(s) of premiere: Jindřich Honzl THE SOLDIER with the operas and have since considered Premiere: 7. 2. 1936, Czechoslovak Broadcast AND THE DANCER H. 162 A the ballets, incidental music and film music, arranged by František Bartoš (1961) in Brno, Czech Republic works for large orchestra and symphonies Durata: 24’30’’ Archive: manuscript missing Place of composition: Polička and works for chamber orchestra.The next Place of composition (ballet): Prague, Polička Publisher: Archiv Československý rozhlasu Date of composition: 1926 subcategory are Suites and Abstracts of the Date of composition (ballet): 1921 (Czechoslovak Broadcast Archive), Praha Performing forces: 2222-2330-timp-batt.-pf- Incidental Works Performing forces: 3322-4331-timp.-batt.-ar.- Copyright: Panton International Praha archi (listed in alphabetical order).The basic data archi Archive: manuscript missing on the works listed here have been taken Archive: manuscript missing Publisher: Český hudební fond, Praha, H. 1526, from the online catalogue of Martinů’s œuvre Publisher: Český hudební fond, Praha, LITTLE SUITE FROM THE 1964 at www.martinu.cz, which is continuously ČHF 506, 1961 COMEDY ON THE BRIDGE H. 247 A Copyright: Panton International Praha updated as issues from the latest research Copyright: Panton International Mainz are documented by the staff of the Bohuslav arranged by Martinů (New York 1951) Martinů Institute. Durata: 6’ SALTARELLO – FROM THE OPERA In the next issue you will find a list of Martinů 2nd ORCHESTRAL SUITE Place of composition (opera): New York MIRANDOLINA H. 346 A Concerts for Piano and Orchestra. FROM BALLET ISTAR H. 130 B (USA) Date of composition (opera): 1935 Durata: 5’ arranged by František Bartoš (1961) Performing forces: 1111-2110-timp.-batt.-pf- Place of composition: Nice Abbreviations/ Durata: 23’45’’ archi (chamber orchestra) Date of composition: 1954 ar. harp Place of composition (ballet): Prague, Polička Archive: manuscript missing Performing forces: 3222-4330-timp-batt.-archi archi string section Date of composition (ballet): 1921 Publisher: Boosey & Hawkes, London-New Archive: manuscript missing batt. battery Performing forces: 3322-4331-timp.-batt.-ar.- Yo r k , B & H 17107, 1952 Publisher: Bärenreiter Kassel, Kassel, cel. celesta archi Copyright: Boosey & Hawkes B.A. 3551b, 1959 cl. clarinet Archive: manuscript missing Copyright: Bärenreiter Kassel cmp. chime-bells Publisher: Český hudební fond, Praha, cond. conductor ČHF 526, 1961 ORCHESTRAL SUITE FROM cor.ing. English horn Copyright: Panton International Praha THE BALLET THE BUTTERFLY THE DEPARTURE – SYMPHONIC fg. bassoon THAT STAMPED H. 153 A INTERLUDE FROM THE 3RD ACT OF picc. piccolo THE OPERA THREE WISHES H. 175 A nd pf. piano 2 ORCHESTRAL SUITE Durata: 16’ tamt. tamtam FROM BALLET ŠPALÍČEK H. 214 B Place of composition (ballet): Paris (France) Durata: 10’ timp. timpani Date of composition (ballet): 1926 Place of composition: Paris (France) tr. trumpet (arranged by Miloš Říha with Martinů’s Performing forces: 2222-2320-2 timp.-batt.-pf.- Date of composition: 1929 trbn. trombone permisson) archi Archive: manuscript missing vl. violin Durata: 23’ Archive: manuscript missing Publisher: Český hudební fond, Praha, 1965 xlf. xylophone Place of composition (2nd version of the ballet): Publisher: Český hudební fond, Praha, Copyright: Panton Interational Mainz Paris (France) ČHF 1513, 1965 Date of composition (2nd version of the ballet): Copyright: Panton International Mainz 1932 THE KITCHEN REVUE – Commentary/ Performing forces: 3222-4231-timp.-batt.-pf.- JAZZ-SUITE IN 1 ACT H. 161 A “Archive” – gives the information as to archi ORCHESTRAL SUITE FROM where the autograph orchestral score Archive: manuscript missing THE BALLET WHO IS THE MOST arranged by Martinů is deposited. Publisher: Český hudební fond, Praha, POWERFUL IN THE WORLD? H. 133 A Durata: 15’ Date of composition: Day / Month / Year ČHF 393, 1959 Place of composition: Paris (France) Premiere: Day / Month / Year Copyright: Panton International Mainz arranged by František Dyk (1959) Date of composition: 1927 Only accessible information is stated. If data Place of composition (ballet): Prague Performing forces: cl.-fg.-trb.-vl.-vlc.-pf. on the publisher are missing, the work has Date of composition (ballet): 1922 Performer(s) of premiere:Alfred Cortot yet to be published and is available as COMMEDIA DELL’ARTE – Performing forces: 3333-4331-timp.-batt.-xlf.- Premiere: 5.1. 1930, Paris, France material that can be lent. ORCHESTRAL SUITE FROM cel.-2 ar.-pf.-archi Archive: Alphonse Leduc, France THE 1ST ACT OF THE OPERA Performer(s) of premiere: Dyk František (cond.) Publisher: Alphonse Leduc, 1930, Paris DIVADLO ZA BRÁNOU H. 251 A Premiere: 00. 12. 1959, Czechoslovak Copyright: Alphonse Leduc broadcast 1st ORCHESTRAL SUITE arranged by Miloš Říha Archive: Archiv Československého rozhlasu FROM BALLET ŠPALÍČEK H. 214 A Durata: 22’ (Czechoslovak Broadcast Archive), Praha THREE FRAGMENTS FROM Place of composition (opera): Paris (France) Copyright: Panton International Praha THE OPERA JULIETTE H. 253 A (arranged by Miloš Říha with Martinů’s Date of composition (opera): 1935 permisson) Performing forces: 2222-4230-timp-batt.-pf- Durata: 39’ Durata: 21’ archi ORCHESTRAL SUITE FROM Place of composition:Vieux-Moulin Place of composition (2nd version of the ballet): Archive: manuscript missing THE OPERA JULIETTE H. 253 B Date of composition: 1939 Paris (France) Publisher: Český hudební fond, Praha, Performing forces: 1.A, Bt, B -pf 2. S,T,Bt, 4 Date of composition (2nd version of the ballet): ČHF 480, 1960 arranged by Zbyněk Vostřák (1969) female voice-3322-4331-timp.-batt.-cmp.- Februar – 17. 5. 1940 Copyright: Panton International Mainz Durata: 15’10’’ pf.-archi, fisarmon 3. S,T- 3322-4331-timp.- Performing forces: 3222-4231-timp.-batt.-pf.- Place of composition: Paris (France) batt.-cmp.-p archi Date of composition: 1937 Premiere: French broadcast Archive: manuscript missing LITTLE SUITE – FROM THE Performing forces: 3322-4331-pk-batt.-cel-pf- Archive: DILIA, Prague, Czech Republic Publisher: Český hudební fond, Praha, ČHF STAGE MUSIC TO OIDIPUS archi Publisher: DILIA, 1947, Praha 392, 1959 BY ANDRÉ GIDE H. 248 A Archive: manuscript missing Copyright: Panton International Mainz Copyright: Panton International Mainz Publisher: Panton International, Praha, 1970 Durata: 5’30’’ Copyright: Panton International Mainz Place of composition: Prague

> LIST OF MARTINŮ’S WORKS V > Category ORCHESTRAL MUSIC > Subcategory SUITES AND ABSTRACTS OF THE INCIDENTAL WORKS u martinůrevue12009 | 11 1951. Some interesting findings regarding the Sixth Symphony “Fantaisies symphoniques”, piano concerto will be published in a later issue H. 343, which Walter Hendl has performed on of this revue, but first I would like to share the two of the orchestra’s Dallas programs this news surprising information that Martinů had been season“. Martinů is cited with the words that offered a commission to compose a major he wanted to create another „formal piece with orchestral work that was to be premiered in overtones of the fantasy element“. He also said Dallas in the 1956/57 season. This was that he was looking forward to attending the reported by Frank Gagnard in the Dallas Morning premiere in Dallas. News on December 12th, 1955: „Symphony As we all know, a „Dallas Symphony“ com- THE PHANTOM Commission Accepted by Martinů“. The $1,000 posed by Martinů never was to be. The reason OF A SEVENTH fund had been raised by the Walter Hendl Study why the project did not materialize is the Club, an association of Dallas women who had subject of further research. Martinů created SYMPHONY been studying musical issues with Walter his next – and at the same time last – major FOR DALLAS Hendl, chief conductor of the Dallas Symphony symphonic opus much later, in 1957/58: Orchestra from 1949 to 1958. The offer, which The Parables, H. 367, commissioned by the / GABRIELE JONTÉ was first made by the conductor on the phone, Boston Symphony Orchestra, dedicated to was accepted immediately by the composer. Charles Munch, which premiered in February WHEN I SPENTsome private family time near Details were discussed by Hendl and Martinů 1959 in Boston. With this three movement Dallas, Texas in October 2008, I found it a few days later in New York; this was covered work, a highlight of his „fantasy style“, Martinů impossible not to follow some of the traces by the Dallas Morning News on December 15th, left us a „symphonic legacy“ (Harry Halbreich) that Martinů left in that glamorous city. His 1955, under the title „Martinů Forecasts for which we are most thankful. ❚ Third Piano Concerto, H. 316 was premiered Commission“. In this article it is related that there in November 1949, the Concerto for Two „Bohuslav Martinů’s commission for the Dallas Violins and Orchestra , H. 329 in November Symphony probably will be in the vein of his

NEW DISCOVERIES AT THE MORAVIAN MUSEUM IN BRNO

/ ALEŠ BŘEZINA 5 August 1887 Uherské Hradiště – 4 April 1950 Brno) who, it has recently been ascertained, JIŘÍ ZAHRÁDKA, head of the Music Department premiered the cycle The Months (the hitherto of the Moravian Museum in Brno, has alerted known sources state that the cycle was researchers to two interesting sources pertain- premiered at a concert on 2 May 1925 at ing to Bohuslav Martinů’s compositions. The Paris’s Société Nationale by Jane Bathori). most significant is the discovery of an unknown The second finding relates to the ballet autograph of all three songs of the 1922 cycle Špalíček (The Chap-Book), H. 214 – more Měsíce (The Months), H. 135. Until recently, precisely, to the copy of the score for its Brno these compositions to Karel Toman’s poems premiere, which took place on 25 November were only known from the autograph deposited 1933. Although in this source there is to all under the reference number Tr B 316 at the appearances not a single inscription in Bohuslav National Museum – Czech Museum of Music. Martinů’s hand, it is an extremely interesting The National Museum’s source is unusual in source for the early reception history of this the fact that unlike No. 1, January, and No. 3, work, the definitive version of which only September, the supposed No. 2, entitled You dates back to 1940. The score may shed light Who Live in Heaven, is not a setting of any of especially on the work’s history in the years Toman’s twelve poems. The newly discovered 1931–32. The source contains parts in a source, however, contains in the cycle’s second sequence different to that in the score of the place a composition named March, set to a text first and second versions. The autograph bears by Toman. This supports the suspicion that distinct traces of repositioning individual the song You Who Live in Heaven was either pur- sections within the work. Only further research posefully included in the autograph from the will clarify whether this took place in com- Song No.2 (Březen / March) from the cycle Měsíce / National Museum – Czech Museum of Music pliance with Bohuslav Martinů’s developing The Months, H. 135 by the composer or was somehow included ideas or whether these changes have no by mistake. Perhaps more information can be connection with the composer whatsoever found from the probate estate of the singer and are thus irrelevant to the critical edition Máša Fleischerová (née Marie Fischerová, of the ballet The Chap-Book. ❚

12 | martinůrevue12009 MARTINŮ H.136 MARTINŮ REVISITED ENSEMBLE CALLIOPÉE (France) / SPECIAL CONCERT

FIRST COMMERCIAL RECORDING / 2CDs + DVD (film « H.136 ») French, English, German, Czech THREE GENERATIONS Realease date: 26 March, 2009 / Presented by Harry Halbreich / www.alpha.com CELEBRATE MARTINŮ CD 1 / Compositions by Martinů: String Trio No.1, H.136 (1924), / HOPE CASTAGNOLA BOGORAD Chamber Music No.1 « Fêtes nocturnes », H.376 (1959) CD 2 / String Quintet, H.164 (1927), Piano Quartet, H.287 (1942) / See also page 20 ON SUNDAY 22 MARCH the following works by Martinů were performed at Westmoreland COMPOSED IN 1923 in Paris, Bohuslav Martinů’s String Trio H.136 disappeared in 1925. In 2005, Congregational Church, Maryland, USA: Eva Velická from the Martinů Institute in Prague discovered the autograph manuscript of the work , H. 306, Viola Sonata, H. 355, at the Royal Bibliothek in Copenhagen. In January 2008 the Ensemble Calliopée played the Paris Trio for Flute, Viola, and Piano, H. 300 (Arr. for premiere and in October recorded the String Trio in Villefavard, where Martinů was protected by Viola by Louise Moyse), Merry Christmas 1941 Charles Munch during the Second World War. to Hope Castagnola, H. 286 bis, and also flute The film « H136 », written by Karine Lethiec and directed by Olivier Segard, recounts the redis- pieces by A. Roussel, with whom Martinů covery of the manuscript: an adventure from Paris to Prague, through Villefavard and Copenhagen, studied composition in Paris.

Ensemble Calliopée with musicologists such as Harry Halbreich (author of the Martinů catalogue) and Eva Velická THE PERFORMERS WERE: (editor for the Complete Martinů Edition), musicians, and ambassadors… Julia Bogorad-Kogan, Flute*. Principal flute, Recollections, interviews, concerts, portraits… emotion and discovery! St Paul Chamber Orchestra. Studied with Marcel Moyse (friend of Martinů). ENSEMBLE CALLIOPÉE – Karine Lethiec (artistic director); Saskia Lethiec, Maud Lovett, violin; * (Hope Bogorad’s daughter) Odile Auboin, Karine Lethiec, viola; Florent Audibert, Romain Garioud, violoncello; Julien Hervé, Benjamin Ullery, Viola. Violist, Minnesota clarinet; Sandrine Chatron, harp; Frédéric Lagarde, piano Orchestra. (Hope Bogorad’s grandson) Margot Garrett, Piano

The idea for this concert came to me at A BOOK FOR CHILDREN RUBÍNKA THE SPRING a luncheon at the home of Czech ambassador, Petr Kolář, when Aleš Březina was visiting THE VYŠEHRAD publishing house is preparing a book entitled Washington. Aleš urged us to encourage the Rubínka the Spring, which rounds off a triptych dedicated to programming of Martinů’s music in 2009 families and children co-created by Jiřina Rákosníková and the in memory of the 50th anniversary of the painter Jan Kudláček. The book is due to be issued in the first composer’s death. This concert is my small half of this year. contribution. The book’s title was not chosen at random. The publication, We are pleased to have the support of the supplemented (just like the previous two) by a CD containing Czechoslovak Society of Arts and Sciences songs compiled by Jiří Pavlica and performed by the Hradišťan in Washington. ❚ ensemble and numerous guest artists, is dedicated to that wonderful season, spring. One of the most beautiful and power- ful creative works celebrating the purity of water, emotions and relationships is The Opening of the Springs, a cantata composed by Bohuslav Martinů. It was this very work about the Rubínka Spring that inspired the selection of poetry for the present book. Its authors would consider it a great honour indeed if it were to become a small contribution to the ongoing Bohuslav Martinů celebrations. ❚

martinůrevue12009 | 13 BOHUSLAV research MARTINŮ’S Památník / PETRA RICHTER

ARTINŮ’S PAMÁTNÍK LIDICÍM (Memorial to Lidice) H. 296 belongs to M the most impressive works, which the Czech composer from Polička composed during the Second World War in forced exile in the USA. Commissioned by the Czechoslovak government in exile in London and the American League of Composers, Martinů wrote this work in 1943 as a reaction to the annihilation of the Bohemian village Lidice by the Nazis during the night of the 9th to 10th of June 1942. Lidice became the target for exemplary retaliatory action be- cause dubious evidence led the Nazi occupiers to suppose that the assassins of the so-called “Reichsprotektor” Reinhard Heydrich were there. All 173 adult male inhabitants were executed without trial, 198 women were deported to the Ravensbrück concentration camp and nearly all 98 children were brought to the Chelmno extermination camp (Kulmhof) and were gassed. Martinů creates with his composition a globally appreciated musical memorial, which was dedi- cated to the innocent victims of Lidice. Previous research has not discussed this important com- y position in the necessary breadth. First page of the autograph score (detail) archive pbm

Memorial to Lidice, written for symphonic posed this memorial in the style of the concerto Chorale not only symbolizes Martinů’s national orchestra, is based on a ternary form, which grosso, which was for him an ideal form of com- consciousness and pride, but also represents to especially reflects Martinů’s preference for position, with which he could achieve a balance a high degree a motif of military resistance to wideness or space with regard to the musical between the musical themes of dynamics and the terror rule of the Nazis in form of the composition. Originally, Martinů had emotionality. At the beginning of the musical and across Europe. The fact that the chorale conceived the work as a kind of triptych, with piece there appears an allusion to the St.Wences- had increasingly been used as a battle song a slow middle movement – the Memorial to las Chorale, which Martinů had quoted in some since the 15th century, even if its musical Lidice – that would contrast with the other of his earlier compositions like the Czech structure is rather calm in character, verifies movements in tempo and rhythm. Actually, the Rhapsody, H. 118 (1918) and in the Double this. This interpretation is also supported by the title of the musical triptych was to have been Concerto, H. 271 (1938). This old Bohemian fact that Martinů originally wanted to entitle “RAF”, the abbreviation for the Royal Air Force, chorale is considered the second oldest Czech the work RAF. It had, after all, been the Royal which – in my opinion – was a patriotic allusion ecclesiastic chant after the hymn Hospodine Air Force that had dropped the parachutists to the resistance fighters of the Czechoslovak pomiluj ny (Lord have mercy upon us). Motifs of of the exiled Czechoslovak governement into government in exile, who had been parachuted two versions of the St. Wenceslas Chorale from the occupied territories in order to support the into the Protectorate of Bohemia and Moravia the 12th and 15th century respectively are com- armed resistance in the country. The idea is by the British Royal Air Force. However, Martinů bined to constitute the basic cells of Memorial underlined by the fact that in 1940 Martinů’s abandoned this concept of form and only the to Lidice. The quotations of this chorale – one of brother František had painted the portrait of middle movement Memorial to Lidice remained the oldest preserved musical monuments of the St. Wenceslas on the external wall of his family as a one-movement composition. Bohemian and Czech music respectively – are house in Polička and had written beneath it the developed further with the help of the so-called fourth stanza of the chorale – “Do not let us Martinů, whose musical style was mainly formed “Fortspinnung”– technique and thus run through go to ruin“ – which was a deliberate provocation during his stay in Paris (1923–1940), com- the whole piece. The patriotic St. Wenceslas against the Nazi occupiers.

14 | martinůrevue12009 / AMUSICAL Lidicím MEMORIAL culture. This means that the Beethoven motif in Martinů’s composition should not be inter- preted – in my opinion – as a symbol for freedom or peace. In summary it can be argued that the Beethoven quotation in Memorial to Lidice must be seen as a “motif of fright” and is, as such, a strong contrast to the St. Wenceslas Chorale. The location of the Beethoven motif towards the end of the composition, where the whole mood gradually brightens up, also gives the musical piece a dominant warning character. Maybe it is only with the aid of the y Lidice 1938 source: www.holocaustonline.co.uk y Lidice 1946 source: www.holocaustonline.co.uk Beethoven quotation that Martinů’s com- position becomes a very significant musical memorial. Thus, in Memorial to Lidice motifs or well-known quotations from music history are combined, representing deep sorrow as well as war-like resistance and blank horror. Never- theless the work reflects moments of hope for peace and freedom. At least it closes in a conciliatory C-major. ❚

about the author / Petra Richter was born in 1979 and studied musicology and sociology at the Eberhard-Karls-University of Tübingen, y The bodies of the 173 executed men at y The Children’s War Victims Monument in Lidice Germany. M.A.-Thesis in musicology: “Bohuslav Martinůs source: www.holocaustonline.co.uk source: www.holocaustonline.co.uk Horák’s farm ‘Památník Lidicím’ – Analyse und Deutung eines musikalischen Mahnmals, unpublished M.A.-Thesis, Tübingen 2006“. In Memorial to Lidice deep sadness about 1941 the “V-campaign”, which aimed to break Currently doctoral candidate in musicology directed by Prof. Dr. August Gerstmeier, Tübingen. Working title: the massacre of Lidice is mainly expressed in the morale of German soldiers. The campaign “Musik im Zeichen des Krieges“. the gloomy minor chords and by the diminished was also intended to lead the people to expect selected bibliography chords that in particular denote pain and run rescue by the Allies from the Nazi occupation. / through the whole work. Towards the end of the The letter “V”, which stands for victory, had > Andraschke, Peter: Bohuslav Martinů: Musik gegen Krieg und Zerstörung, in: Glasba in družba v 20. stoletju piece Martinů quotes – in a grotesque distor- to be translated into morse, which fits to the (Music and society in the 20th century), Ljubljana 1999, tion – the succinct head-motif of Beethoven’s rhythmical motif dot–dot–dot–dash, three pp. 128–140. 5th symphony, which had gone down in music short beats, followed by a longer beat. This > Hanheide, Stefan: Bohuslav Martinů. Památník Lidicím history as the ‘fate motif’. In Martinů’s com- morse-code, which was played by a kettle drum, (Mahnmal für Lidice, 1943), in: Stefan Hanheide: Pace – Musik zwischen Krieg und Frieden. Vierzig Werkporträts, position the motif appears in an unambiguous became now the initial signal of the European Kassel et al. 2007, pp. 164–168. mood – menacing, dark and gloomy. In the BBC-service. C. E. Stevenson, Professor of > Lück, Hartmut: “Musik über Guernica und Lidice und...” – musical piece Memorial to Lidice this motif stands Ancient History and member of the ministry of Zu Kompositionen von Luigi Nono, Walter Steffens, – in my eyes – allegorically for the blank and economic warfare, discovered after the first Bohuslav Martinů und Aribert Reimann, in: Osnabrücker worldwide-spread horror, which was caused by broadcast that the morse-code for the letter Jahrbuch Frieden und Wissenschaft, vol. 5, Osnabrück 1998, pp. 99–104. the extremely accurately planned war crimes “V” was rhythmically identical to the first bar > Mrkos, Zbyněk: Lidice, in: Zdeněk Zouhar (ed.): Bohuslav of the Nazis in the village of Lidice. Previous of Beethoven’s 5th Symphony and so the motif Martinů. Sborník vzpomínek a studie, Brno 1957, research had regarded the Beethoven quotation became the background music for the station. pp. 80–85. primarily as a sign of victory or of freedom of For the BBC, however, the Beethoven quotation > Reich, Wieland: Klänge des Erinnerns. 9./10. Juni 1942 – the Allied forces, but this is an assumption that was no sign for victory, but rather a musical Bohuslav Martinů: “Memorial to Lidice”, in: Musik in der Schule, 4 (1999), pp. 231–236. I consider to be based on a wrong interpreta- motif with which the Nazis should be mocked, > Richter, Petra: A music-political confession. Bohuslav tion of the initial signal of the European BBC- since it must be emphasized that Beethoven Martinů’s Memorial to Lidice, in: Czech Music Quarterly, service. The BBC started on the 14th January represented Germany’s advanced musical 3 (2008), pp. 33–43.

martinůrevue12009 | 15 2 & 3 April 2009 > Hradec Králové Philharmonic Hall > Brno, CZ www.fhk.cz www.filharmonie-brno.cz Symphony No. 1, H. 289 Concerto No. 1 for Cello and Orchestra, H. 196 II Hradec Králové Philharmonic Orchestra Brno Philharmonic Orchestra, Ondřej Kukal (Conductor) events Jakub Hrůša (Conductor), Johannes Moser (Cello) 16 April 2009 / 7.30 pm > St. Šimon and Juda Church, Prague, CZ 4 April 2009 / 4.00 pm www.fok.cz OPENING OF THE BOHUSLAV MARTINŮ Trio for Flute, Cello and Piano, H. 300 ‹vOPERAS–&–FESTIVALS—› CENTER IN POLIČKA Les Rondes for Oboe, Clarinet, Bassoon, Trumpet, > Tyl House, Polička, CZ two Violins and Piano, H. 200 / see pages 3–4 Three Riders, H. 1 Nonet No. 2, H. 374 String Quartet No. 2, H. 150 Juventus Collegium FOK Film in miniature, H. 148 ‹vEXHIBITIONS—› Piano Quintet No. 2, H. 298 16 April 2009 / 7.00 pm Martinů Quartet, Karel Košárek (Piano) > Reduta, Olomouc, CZ 4 April 2009 www.mfo.cz OPENING OF THE BOHUSLAV MARTINŮ 6 April 2009 Czech Rhapsody for Violin and Orchestra, CENTER IN POLIČKA > Prague, CZ H. 307A (arr. Jiří Teml) www.muzeum.policka.net Piano Trio in D minor No. 2, H. 327 Rhapsody- Concerto for Viola and Orchestra, Smetana Trio H. 337 7 April—13 May 2009 Moravian Philharmonic Orchestra Olomouc, > Paris Conservatory, Paris, France 7 April 2009 Petr Vronský (Conductor), The itinerant version of the exhibition > Society of Musical Friends in Brno Philharmonic Bohuslav Matoušek (Violin, Viola) The Martinů Phenomenon Sonata for Piano, H. 350 Ivo Kahánek (Piano) 18 April 2009 / 7.30 pm 26 April 2009 – 31 December 2009 > Vance Brand Auditorium, Longmont, USA Bohuslav Martinů in National Theatre, 9 April 2009 / 7.00 pm www.longmontsymphony.org Prague, CZ SOIRÉE ANNIVERSAIRE MARTINŮ Orchestral Suite from the opera Juliette, H. 253 B > National Theatre, 1st and a 2nd balcony > , France Longmont Symphony Orchestra, www.narodni-divadlo.cz String Trio No. 1, H. 136 Robert Olson (Conductor) and others 12 May—26 September 2009 Ensemble Calliopée, 18 & 19 April 2009 > Czech Museum of Music, Karine Lethiec (Artistic Director) > Berlin, Germany Prague, CZ Symphony No. 4, H. 305 The Martinů Phenomenon – exhibition 9, 10 & 11 April 2009 Berliner Philharmoniker, (Conductor) > Sao Paolo State Symphony Orchestra 15 May—15 June 2009 www.osesp.art.br 19 April 2009 / 5.00 pm > Luxembourg, Czech Embassy, Luxembourg The Frescoes of Piero della Francesca, H. 352 > Rudolfinum (Dvořák Hall), Praha, CZ The itinerant version of the exhibition www.ceskafilharmonie.cz The Martinů Phenomenon 11 April 2009 / 7.00 pm The Opening of the Springs, H. 354 > Yumeria Hall, Oizumigakuen, Tokio, Japan Martinů Quartet, Prague Mixed Choir, Piano Trio in D minor, H. 327 Charles University Artistic Ensemble, ‹vBALLETS—› Quartiers Musicaux, Yurie Tomiyama (Violin), Foerster Chamber Choir, Iuventus Pedagogica Mari Masumoto (Cello), Nagako Suzuki (Piano) 24 & 25 April 2009 14 & 15 June 2009 > Den Haag, The Netherlands > Prague Congress Centre, Praha, CZ 14 April 2009 / 7.00 pm www.residentieorkest.nl www.spalicek.eu > Small Hall of Slovak Concerto for Oboe The Chap-Book (Špalíček), H. 214 Philharmonic Orchestra, and Small Orchestra, H. 353 Prague Philharmonia, Jakub Hrůša (Conductor) , Slovakia Residentie Orchestra, The Duncan Centre Conservatory, www.filharmonia.sk Miguel Harth-Bedoy (Conductor), Eva Blažíčková (Choreography), Puppets, H. 137 Pauline Oostenrijk (Oboe) Bambini di Praga, Adam Skoumal (Piano) 26 & 27 April 2009 15 April 2009 > Kultur-Casino Bern, Switzerland ‹vCONCERTS—› > Heidelberg, Germany www.bsorchester.ch Philharmonisches Orchester der Stadt Heidelberg Nonett H. 374 2 April 2009 Symphony No. 1, H. 289 Nonett und Dixtuor des Berner > Alabama, USA Cornelius Meister (Conductor) Symphonieorchesters www.alabamasymphony.com Sinfonietta la Jolla, H. 328 15 April 2009 / 7.00 pm 26 April 2009 Alabama Symphony Orchestra > Náchod (Beránek), CZ EVA URBANOVÁ – song recital Justin Brown (Conductor) www.fhk.cz > National Theatre, Prague, CZ Symphony No. 1, H. 289 www.narodni-divadlo.cz 2 April 2009 / 7.00 pm Hradec Králové Philharmonic Orchestra Songs by Bohuslav Martinů > Dům kultury Teplice, Teplice, CZ Ondřej Kukal (Conductor) David Švec (Piano) www.severoceskafilharmonie.cz The Frescoes of Piero della Francesca, H. 352 North Czech Philharmonic Teplice, Douglas Bostock (Conductor)

16 | martinůrevue12009 30 April, 1 & 2 May 2009 12 May 2009 10 & 11 June 2009 > Avery Fisher Hall, New York, United States > Conservatoire de Luxembourg, Luxembourg > Concert Hall of Otakar Jeremiáš, Symphony No. 4, H. 305 Concert by teachers of the Luxembourg České Budějovice, CZ New York Philharmonic, Conservatoire www.music-cb.cz Alan Gilbert (Conductor) Promenades, H. 274 Rhapsody-Concerto for Viola Madrigal sonata for Flute, Violin and Piano, and Orchestra, H. 337 2 May 2009 / 7.30 pm H. 291 Chamber Philharmonic Orchestra > Hochschule für Musik Wettiner Platz, Dresden, of South Bohemia, Jan Talich (Conductor), Germany 13 May 2009 Pavel Nikl (Viola) www.singakademie-dresden.de > Wien, Austria The Epic of Gilgamesh, H. 351 Gläserner Saal (Magna Auditorium) 11 June 2009 Singakademie Dresden, String Quartet No. 5, H. 268 > Municipal Meeting House, Plzeň, CZ Ekkehard Klemm (Conductor) Aron Quartett www.plzenskafilharmonie.cz Symphony No. 6 5 May 2009 14 May 2009 “Fantaisies Symphoniques”, H. 343 > Luxembourg, Foyer européen, 12, rue Heine, > Stratford Circus, Theatre Square, London E15 Radio Symphony Orchestra Pilsen, Luxembourg Serenade for Chamber Orchestra, H. 199 Koji Kawamoto (Conductor) Piano Trio No. 2 d minor, H. 327 New London Orchestra, Ronald Corp (Conductor) Trio Smetana 14 June 2009 14 May 2009 > Zurich, Switzerland 6 May 2009 > Tokyo, Japan Symphony No. 4, H. 305 > Luxembourg, Luxembourg www.njp.or.jp Orchester der Opernhauses Zürich, www.cnso.cz Memorial to Lidice, H. 296 Alan Gilbert (Conductor) Symphony No. 3, H. 299 New Japan Philharmonic, Czech National Symphony Orchestra, Christian Arming (Conductor) 18 & 19 June 2009 Libor Pešek (Conductor) > Prague, Czech Republic 15 May 2009 Sinfonia Concertante No. 2 7 May 2009 > Luxembourg, Luxembourg for Violin, Cello, Oboe, Bassoon > Bratislava, Slovakia Rhapsody (Allegro symphonique) and Orchestra, H. 322 www.filharm.sk for Large Orchestra, H. 171 Czech Philharmonic Orchestra, Symphony No. 6 Luxembourg Philharmonic Orchestra, Leoš Svárovský (Conductor) “Fantaisies symphoniques”, H. 343 Emmanuel Krivine (Conductor) Miroslav Vilímec (Violin), Slovak Philharmonic Orchestra, Josef Špaček (Cello), Jana Brožková (Oboe), Leoš Svárovský (Conductor) 18 & 19 May 2009 Ondřej Roskovec (Basson) > Bremerhaven, Germany 7 & 8 May 2009 Symphony No. 4, H. 305 25 June 2009 > Prague, Czech Republic, Rudolfinum Städtisches Orchester Bremerhaven, > Czech Museum of Music, Praha, CZ Symphony No. 6 Stephan Tetzlaff (Conductor) Sonata No. 3 for Cello and Piano, H. 340 “Fantaisies symphoniques”, H. 343 Variations on a Slovak Folk Song, H. 378 Czech Philharmonic Orchestra, 21 May 2009 Jiří Bárta (Cello) Jiří Bělohlávek (Conductor) > Ostrava, Czech Republic www.jpo.cz 8 May 2009 Concerto for Piano ANNIVERSAIRE MARTINŮ and Orchestra No. 4 (Incantations), H. 358 > Théatre de l’Athénée – Louis Jouvet, Janáček Philharmonic Orchestra, Paris, France Václav Mlčoch (Piano), THE BRITISH CD LABEL Sinfonietta Giocosa for Piano and Theodore Kuchar (Conductor) Toccata Classics, which Small Orchestra, H. 282 Toccata e due Canzoni, H. 311 26 May 2009 specialises in recording Jazz Suite for Small Orchestra, H. 172 > Théatre des Champs-Élysées, Paris, France neglected composers, has Orchestre de Picardie, Pascal Verrot (Conductor), Concerto for Two Pianos and Orchestra, H. 292 launched its ‘Discovery Club’, Claire Désert (Piano) Ensemble orchestral de Paris, which brings its members Lawrence Foster (Conductor) 11 May 2009 Mari and Momo Kodama (Pianos) a discount on all Toccata Classics recordings > Czech Muzeum of Music, – and also on music books from its sister Prague, CZ 30 May 2009 company Toccata Press. Membership costs Piano Quartet No. 1, H. 287 > Nairn Performing Arts Gild, Nairn, Great Britain £20 a year, which brings you two free CDs Martinů Quartet Three Czech Dances, H. 154 Libor Nováček (Piano) when you join and discounts on the com- 12 May 2009 / 6.00 pm plete catalogue of Toccata CDs and books, > Royal College of Music, London 4 June 2009 sent post free anywhere in the world. Stowe Pastorals, H. 335 > The Czech Centre, Brusel, Belgium Les Rondes, H. 200 www.czechcentres.cz/brussels With Michael Crump’s monumental Martinů Quartet for Clarinet, French Horn, Cello Three Czech Dances, H. 154 and the Symphony and Martinů’s own and Side Drum, H. 139 Libor Nováček (Piano) Letters Home in the pipeline from Toccata Sonata for Flute, Violin and Piano, H. 254 Press, Martinů enthusiasts may well find Sonatina for Trumpet and Piano, H. 357 9 & 10 June 2009 Chamber Music No. 1, H. 376 > Luxembourg, Foyer Européen (9 June), the £20 to join the Discovery Club money Daun (10 June), Luxembourg well spent. For more information go to www.lgnm.lu www.toccataclassics.com and click on Bergerettes, H. 275 ❚ Trio Alea Discovery Club.

martinůrevue12009 | 17 SWEDISH PREMIERE / MARTINA FIALKOVÁ news ON 26 FEBRUARY Bohuslav Martinů’s Fantaisies symphoniques (Symphony No. 6, H. 343) was played in Norrköping, Sweden, for the first time – and to an enthusiastic response on the part of the local audience. NEW FINDINGS It was performed by the Norrköping CONCERNING THE ORATORIO Symphony Orchestra (SON) conducted by THE EPIC OF GILGAMESH its music director, Alan Buribayev. (The programme also comprised Mozart’s IN UNIVERSAL EDITION’S “Prague” Symphony No. 38 in D major and SHEET-MUSIC ARCHIVE Beethoven’s Violin Concerto in D major featuring the soloist Isabelle van Keulen.) IN VIENNA The beautiful, modern local concert hall lent THANKS TO muni≤cent help of the premiere a wonderful atmosphere. Angelika Glatz, head of Universal Martinů presently has a firm foothold in Conductor Alan Buribayev Edition’s archive, Aleš Březina Sweden, and the success of this premiere will managed to find three result in its further strengthening. In previous Martinů’s music has become a connecting important new sources for the years, the SON has performed in Norrköping element of pan-European and (taking into oratorio The Epic of Gilgamesh, H. 351 during Martinů’s Symphonies Nos. 1, 3 and 5, which account the project’s non-European component his stay in Vienna. This critical find perfectly were warmly received by the audiences. On and the global sweep of Martinů’s œuvre) even completes the autograph situation of the a tour of Stockholm, Linköping and Norrköping, global importance. oratorio, which is scheduled to be published Symphony No. 5 even met with a standing The Swedish premiere of Fantaises sym- as the first volume of The Bohuslav Martinů ovation. phoniques and the concert’s inclusion in the Complete Edition. Among the trio of new This year’s landmark concert, which included Martinů Revisited project were initiated by sources is the Circle Blue Print of the autograph the Swedish premiere of Fantaisies sym- Jaroslav Šonský, a violinist based in Norrköping score from the Paul Sacher Foundation which phoniques, has its place in the calendar of the and a member of the International Martinů Martinů sent to Universal Edition as a copy Martinů Revisited project. Upon the invitation Circle. for printing. Even more important sources of the SON and the Czech Ambassador, Jan The next issue of Martinů Revue will contain are proofs of the piano score and the score Kára, several other European ambassadors an interview with the young yet highly sought- containing Bohuslav Martinů’s autograph were also in attendance. In the summer the after conductor Alan Buribayev about his inscriptions. The piano score comprises more Czech Republic will hand over to Sweden the exploration of Symphony No. 6 in Norrköping precisely the third proofs (the first two were Presidency of the Council of the EU. Martinů and Martinů’s music in general. ❚ carried out at the publishing company without Revisited is one of the pivotal projects of the the composer’s alterations and are also Czech Presidency. available in Universal Edition’s archive). To all appearances, the score underwent just one round of proofs in which Martinů actively ASPECTS OF MUSIC, participated. This is documented not only by numerous evidently autograph inscriptions, ARTS AND RELIGION DURING but also by an additional note written in THE PERIOD OF CZECH MODERNISM someone else’s hand, “Auch von Martinů BY ALEŠ BŘEZINA & EVA VELICKÁ (EDITORS) korrigiert (Grünstift)”. It is clear that these proofs constitute the main source for the REPORTS AND PAPERS from the international colloquia work’s critical edition currently under “Prague Musical Life at the Beginning of the 20th Century. preparation. At the present time, all the newly Music, Art, Culture and Religion during the Period of found sources are being digitised and will soon Czech Modernism”, held in 1997 and 1998 in Prague be available in the Bohuslav Martinů Institute’s and organised by the Bohuslav Martinů Foundation archive. Now nothing stands in the way of and Bohuslav Martinů Institute, has been published preparing the first volume of The Bohuslav by the Peter Lang AG Publishing House, Bern in 2009, Martinů Complete Edition! ❚ ISSN 1662-5366, ISBN 978-3-03910-856-5, Martinů – Studien 2. The individual texts are written in English, German and French with the English summary. ❚

18 | martinůrevue12009 “ffffffffff – Nazdar!” BOHUSLAV MARTINŮ AN UNKNOWN MARTINŮ COMPOSITION DISCOVERED DAYS 2007

/ ALEŠ BŘEZINA ned them anywhere. These cases invariably THE MARTINŮ FOUNDATION CD for 2009 is concern minor occasional pieces which Martinů enclosed with this issue of the Martinů Revue AUTOGRAPHS of Bohuslav Martinů’s compos- must have composed within a very short time to members who have subscribed to the Inter- itions have been found in numerous ways. Most and immediately given to someone. One such national Martinu Circle. The CD contains frequently we find the composer’s autograph find was Par T.S.F., H. 173 bis, which was two rare historical recordings – the Sinfonietta of a piece that had been published and conse- discovered by Glenda Down Goss in 1988 in the Giocosa for Piano and Small orchestra, H. 282 quently was available to musicians and listeners, Hargrett Library in Athens, Georgia. A few years performed by the Czech Philharmonic Orchestra even though the quality of the manuscript is later, the painter Rudolf Kundera mediated for conducted by with the the author of this article the purchase of the autograph of Four Songs on Czech Folk Poetry, H. 282 bis, written in 1940 as an expression of the composer’s gratitude to Mrs Edmonde Charles-Roux for her help in arranging his exit visa when fleeing occupied France. In January 2009 the Bohuslav Martinů Institute arranged for the Bohuslav Martinů Foundation a purchase of the autograph of the completely unknown piece by Martinů from Mrs Adéla Svitáková and Mrs Alena Čechová, from the probate estate of their mother, née Součková. The autograph contains a minor piano piece entitled Victory March of the R.U.R. Sports Club in Polička, H. 129 bis. It is a short, witty composition dated 1 July 1921. As stated pianist Germaine Leroux, recorded in 1947 for by the composer on the title page, the piece is the Ultraphon label. The work was dedicated adorned with a lovely drawing capturing the to Leroux who gave the first performance composer with a typical “mouse” face sitting in New York in 1942. This recording has not on a bench and applauding the triumphant been available for some 60 years. Also included strikers of his team, which has just hammered is a unique recording of the New Špalíček, the opposition 19-3! Spread over four sheets Cycle of Songs, H. 288 performed by the tenor sometimes simply dreadful. A less frequent and a small scrap of paper is a humorous victory Otakar Kraus accompanied by Walter Susskind. phenomenon is the discovery of compositions march replete with jocularly exalted dynamic It is one of the earliest recordings of a work whose existence was mentioned in various signs (from ff, through the instruction “just by Martinů to have survived (more about catalogues or printed programmes, but which no fear”, several crescendos up to the final this can be found in the Bohuslav Martinů were lost prior to their publication. The most “ffffffffff”) and verbal notes culminating in the Newsletter No.3/2008 in the article entitled spectacular examples of this from recent times final cheer “Hurrah!” The discovery of the Victory „Voices from the Past“). The recording comes include String Trio No. 1, H. 136, found by Eva March serves to extend knowledge of Bohuslav from the private collection of Charles Kraus and Velická in the Royal Danish Library in Copen- Martinů’s earliest work. With its sports theme is derived from a BBC Overseas Service broad- hagen, and Three Fragments from Juliette, the march anticipates (albeit in a significantly cast to Czechoslovakia on 27 January 1943 H. 253 A, purchased from a foreign private more modest form) his orchestral composition (published with kind permission from Charles collection. The most exciting discoveries, how- Half-Time, H. 142, written a mere three years Kraus and Janis Susskind). Also included are ever, are compositions whose existence no one later and capturing the atmosphere during performances of Three Czech Dances for knew of, since the composer had never mentio- a pause for breath at a football match. ❚ Two Pianos, H. 324 performed by Leslie Kinton and James Anagnoson and the Fantaisie et Toccata, H. 281 performed by Ladislav Doležel, both taken from recitals at the Martinů Days Festival 2007. ❚

5 Title page of the piano composition with Martinů’s drawings

1 Last bars of the Victory March, H. 129 bis

martinůrevue12009 | 19 DVD / CD Firkušný: Mussorgsky, s MARTINŮ H.136 Schubert, Martinů, cd Compositions by Martinů: Chopin, Smetana CD 1 / B. Martinů: Fantaisie et new Trio à cordes no 1 H. 136 (1924) Toccata, H. 281 – First commercial recording Rudolf Firkušný – Piano Musique de chambre N°1 Recorded in 1980 / BBC Legends, « Fêtes nocturnes » H. 376 (1959) BBCL 4238-2, 2008 CD 2 / Quintette à cordes H. 164 (1927) Quatuor avec piano H. 287 (1942) ENSEMBLE CALLIOPÉE (France) Karine Lethiec, artistic direction Bohuslav Martinů: 2 CDs + DVD (film « H136 ») Complete Works French, English, German, Czech for Violin and Piano Available 26 March 2009 Bohuslav Matoušek – Violin www.alpha.com Petr Adamec – Piano Recorded in 1996, 1997, 1998 Supraphon Music a. s., SU 3950-2, 2008 Ivo Kahánek: Leoš Janáček, Bohuslav Martinů, Miloslav Kabeláč. Piano Works Pražák Quartet B. Martinů: Sonata for piano, In Concert H. 350 B. Martinů: Ivo Kahánek – Piano String Quartet No. 3, H. 268 Recorded in 2008 Supraphon Music a. s., Pražák Quartet SU 3945-2, 2008 Recorded in 2006, 2008 Praga Digitals PRD/DSD 350 045, 2008

Martinů Complete Piano Music No. 5 Polkas 1916, H. 101 Five Waltzes, H. 5 World premiere recordings Giorgio Koukl – Piano Recorded in 2008 Naxos 8.572175, 2009

Bohuslav Martinů – Three Fragments from the Opera Juliette (The Key to Dreams), H. 253 A*, Bohuslav Martinů: Orchestral Suite from Juliette, H. 253 B (arr. Z.Vostřák) Piano Quintets, Magdalena Kožená (Juliette), Steve Davislim (Michel), Piano Quartet Frédéric Goncalves, Michéle Lagrange, Nicolas Testé, Piano Quintet No. 2, H. 298 Czech Philharmonic Orchestra, conductor Sir Charles Mackerras Piano Quintet No. 1, H. 229 Libretto: B. Martinů after Georges Neveux’s play Juliette où la Clé Piano Quartet, H. 287 des Songes Ivan Klánský – Piano SU 3994-2 / 1 CD / World premiere recording / Release date 25 May 2009 Kocian Quartet * Live recording from the work’s world premieres on 11 and 12 December 2008 Recorded in 2007, 2008 Praga Digitals, PRD/DSD 250250, 2009