Bohuslav Martinů

January – April 2003

The Bohuslav Martinů Festival 2002 in Prague Outside the Iron Curtain IvanIvan MoravecMoravec onon hishis Meeting with Martinů Martinů NEWS Sounds of Stowe Composition for Trapp Family Singers First Folk Tale and a Crazy Skit, issue Reclaimed From an Attic at Henry Street Chamber Opera in New York Martinů EVENTS Music Is The Air I Need to Breathe A Portrait of the New Chairman of the IBMS

The International Bohuslav Martinů Society The Bohuslav Martinů Institute Contents

WELCOME Gerd Lippold ...... 3

MINUTES FROM THE MEETING OF THE IBMS ...... 3

THE BOHUSLAV MARTINŮ FESTIVAL 2002 IN PRAGUE ...... 4 - 7

OUTSIDE THE IRON CURTAIN Ivan Moravec on his Meeting with Martinů ...... 8 - 9

BOHUSLAV MARTINŮ’S CHILDHOOD AND YOUTH IN POLIČKA AND PRAGUE Little-Known Photographs of Martinů, his Family, and his Birthplace Photo Gallery ...... 10 - 11

NEWS ...... 12

A WORTHY FRESCO OF BOHUSLAV MARTINŮ Review on the New Book Martinů: The Fate of a Composer Petr Veber ...... 12-13

SOUNDS OF STOWE Composition for Trapp Family Singers Gregory Terian ...... 14 - 15

FOLK TALE AND A CRAZY SKIT, RECLAIMED FROM AN ATTIC At Henry Street Chamber Opera in New York Opera Review Paul Griffiths ...... 16

MARTINŮ EVENTS 2003 ...... 17

MUSIC IS THE AIR I NEED TO BREATHE A Portrait of the New Chairman of the IBMS .....18

MEMBERSHIP INFORMATION ...... 18

DIGITALIZATION OF DOCUMENTS PERTAINING TO MARTINŮ ...... 19

MUSIC BY BOHUSLAV MARTINŮ ON CDS ...... 20

Bohuslav Martinů in Alps, 1940s

2 Welcome Minutes from the meeting of the IBMS December 8, 2002

Dear members of the IBMS, our friends, During our preparation of this issue of the Bohuslav Martinů Newslet- Present: ter the new year has started. Though it will take some time before you receive this issue, let me wish you all a HEALTHY, PROSPEROUS AND IBMS: PEACEFUL YEAR 2003! Aleš Březina, Gerd Lippold, Graham Melville-Mason, Gregory Terian, Preben Albrechtsen, Olga Černá, Jindra Jilečková For the IBMS, too, the change of year is an occasion both to look back and to take a peek into the future. First of all, let me thank Editors of the Newsletter: our former president Karel van Eycken and retiring members of the Jana Honzíková, Sandra Bergmannová Board of Directors for all the excellent work, energy, and good ideas they have invested to get the International Bohuslav Martinů Soci- Aleš Březina opened and presided the meeting ety started and to keep it running up to this point in time. In early instead of Karel Van Eycken, who could not participate. December the Board of Directors had its annual meeting in Prague. Among the main topics on the agenda were Karel van Eycken’s proposal Following items were discussed: regarding the new president and the ‘legalization’ of members of the Membership, dues payment. Board. Regarding the new Board: there are some new faces and new The membership dues should be paid at the beginning of each year; names, while other names are already well known. This combination a reminder will be sent to all members who this concerns with the 1st issue guarantees continuity for the future but also promises innovatory of the Newsletter (or – this year - with the BM Festival 2000 CD). After the impulses - two elements that are important and necessary for a vital second reminder (it will be sent a month after the first one), members who society. If you are interested in statistics: the members of the new had not paid their membership will be deleted from the list. Board of Directors come from eleven different countries, and the New BM Festival 2001 CD will be sent only to those members, who have paid current members of the IBMS are spread over twenty-two countries their dues for 2003. on four continents. Another important decision made during the meeting: the Board decided unanimously to ask Karel van Eycken to Bohuslav Martinů Newsletter. become a honorary vice-president. Each member of the IBMS can receive as many Newsletters, as he/she asks for (if he/she will distribute the Newsletters to people or organizations Unfortunately the new Board has not yet been able to solve inte-rested, or potential new IBMS members). a serious problem of long standing which already in the past has In the year 2003, three issues of the Newsletter will be published; the first proved to be a kind of ‘quadrature of the circle’: we have still issue should be out until the end of February. not succeeded in finding a treasurer. A professional banker with Information about membership, dues and ways of payment will be published a special affinity for Martinů’s music: this would be the ideal combina- in each issue; also a contact address to each of the members of the Board tion we are looking for in a treasurer. of Directors of the IBMS. As you will soon find out, there will be no essential changes The column “Events” will be reduced only to future events, the past events in the aims and activities of the IBMS. However, we would like to get overview will be available on the website (www.martinu.cz/news.htm). a little more away from the ‘zone-way-system’ regarding informa- Regularly, the members will be asked to send Martinů – related reviews and news (e. g. from their local newspapers and magazines), that could be tion about activities connected with Martinů and his music around published in the Newsletter or available on the website. the world (concerts and opera performances, both live or on radio or television, new CDs, reviews etc.). Fortunately quite a lot is hap- Elections. pening. Our goal is to receive as complete information as possible, New members of the Board: so in this respect we depend on the support of each of our members. Patrice Chevy (France), Olga Černá (Czech Republic), Jaroslav Sonsky (Swe- Please send us information about things that have happened already, den); Jozef Stompel (Poland), Geoff Piper (Luxembourg), Ralph Slayton but also about coming events! Or if there are aspects of Martinů’s (Czech Republic) music which you think should be discussed, please let us know! Confirmed in function: Every contribution will be appreciated, and in addition it will bring Preben Albrechtsen (Denmark), Aleš Březina (Czech Republic), Gauthier the Board and the members closer together. It sounds perhaps Coussement (Belgium), Gerd Lippold (Germany), Judith Mabary (USA), a little too poetic to speak of a ‘big family’, but basically my intentions Gregory Terian (Great Britain), Mari Tokuda (Japan). are inclined in that direction. Gerd Lippold was elected to be the Chairman of the IBMS for year 2003. The new Board will remain in function for the year 2003; at the end of this Gerd Lippold, Chairman year, a new election according to the IBMS statutes will be announced. The Board of Directors will ask Mr. Karel Van Eycken to accept the function For a portait of Gerd Lippold see page 18 of the honorary vice-president.

Bohuslav Martinů Newsletter 2003 - First issue 3 Festival The Bohuslav Martinů

8th Annual Martinů Festival needed more humour and rhythmic December in Prague, th th Prague 7 to 20 December 2002 lift. Nevertheless, she demons-trated a with all its pre-Christmas acti- good sense of the composer’s basic sty- vities, has become unthinkable Graham Melville-Mason le. The second prize was shared between in the music scene without the Roman Timoščuk and Robert Kapr. Ti- th annual Martinů Festivals which The Festival opened on 7 December but without any real sense of character moščuk played two of Debussy’s Images in the Martinů Hall of the Academy of or impressionistic style in her perfor- have grown in stature year by with a good sense of style, giving the Music with a concert of the prize win- mance of two Debussy Préludes. Renáta music space to breathe and creating the year. 2002 was no exception ners of the 2002 Martinů Founda-tion Poliaková, who received the third prize, right atmosphere. His performances and the Board of the Martinů Competition in the piano category. Mio gave us five of Martinů’s Etudes and should develop with experience. Kapr Foundation, under the conti- Sakamoto, who received an honorable Polkas (H.308), of which the Etudes won the prize for the best interpretati- mention, was technically very accurate were very well played but the Polkas nued presidential guidance of on of a work of Martinů and so gave us a performance of the Ritornely (H. 227). Viktor Kalabis These were very well contrasted, with and the excellent, dedicated a good feeling for the pace and form executive directorship of of the music, unfolding each quite Aleš Březina, again presented naturally, with well judged tempi and a technique to cope. This was a very us with a fascinating feast. mu-sical performance. The first prize What especially marked this went to Miron Šmidák, who chose to Festival was the decision dazzle us with a performance of Stra- to honour Martinů’s friend vinsky’s Three Pieces from Petrushka. Here is someone with undoubted and first biographer, Miloš Šaf- technical brilliance and a good sense ránek (1894-1982), of the relationship between the various on the ocassion of the twentieth motifs in Stravinsky’s work. However, anniversary this was a performance all rather of his death. aggressively headlong, too percussive and lacking sufficient tonal contrast Robert Kapr and colour.

4 Festival Festival 2002 in Prague

der Europe meet for an intensive study this year included Miroslav Sehnoutka, course at Dobříš under the artistic lea- viola of the Panocha Quartet among dership of the renowned oboist Maurice others. In a programme which was Bourgue, assisted by a team of distin- both entertaining and musi-cally most guished instrumental teachers, which satisfying, we heard first the Martinů’s: Les Rondes (H. 200) followed by Jiří Kout the Hindemiths: Kleine Kammer- musik No. 1 for wind quintet, and Janáček’s: Concertino. The second half of the programme brought Stravinsky’s: Septet and a lively, if not quite idi-omatic, performance of Martinů’s: La Trio Bergerettes Revue de cuisine (H. 161a). As On the following evening on 8th On 9th December we returned again an encore came a suitable tribute December, in the same hall, there was to the Martinů Hall for a fascinating to the Foundations President in a concert of the prize winners of the concert delivered to a very high stan- a performance of the slow move- 2001 Martinů Foundation Competition, dard of performance throughout by Emil Leichner ment of Viktor Kalabis’s Wind from the chamber music category. The the Bohuslav Martinů International Quintet in which Maurice Bourgue contributions from the winning string Academy of Chamber Music. Organised joined some of his students. quartet and piano trio were framed by Hanna Arie-Gaifman, this group of A break of a few days interve- by two rarities to the concert hall. In selected advanced young instrumen- ned before the closing concerts February 2002 the Foundation bought talists from the Czech Republic and wi- – the same programme given on two valuable Martinů scores 19th and 20th December in the at Sothebys in London – the docu- Dvořák Hall of the Rudolfinum mentary film scores of Střevíček by the Czech Philharmonic Or- (H. 239) and Mariánské lázně chestra, conducted by Jiří Kout (H. 240). The concert opened and with Emil Leichner as the with a performance of Střevíček distinguished soloist in Martinů’s (The Slipper) together with a si- Piano Concerto No. 5 (H. 366), multaneous showing of the film to which he brought his wealth about the Baťa shoe making bu- of experience of Martinů’s piano siness. The concert closed with a V. Kalabis with his wife Z. Růžičková writing. The programmes ope- performance of Honegger’s rarely and with H. Arie-Gaifman ned with Martinů’s Suite from heard Suites Nos. 1 and 2 from the Juliette (H. 253a) and closed film Mermoz of 1943. In between V. Kalabis and M. Bourgue in the front with stunningly fine accounts of the Trio Bergerettes played Mar- his Symphony No. 6 (Fantasies tinů’s Concerto for Piano Trio and symphoniques H. 343) to which String Orchestra (H.231) and the Jiří Kout brought a deep under- Bennewitz Quartet performed standing of this great work and the same composers Concerto drew some of the best playing for String Quartet and Orchestra from the Czech Philharmonic (H.207). Both ensemb-les ac- Orchestra that I have heard for quitted themselves well in their some time. This programme was concerto ensemble roles and it given specially in honour of the was not difficult to hear why memory of Miloš Šafránek, who they had been successful in the was posthumously awarded the competition. My main criticism lay Czech Philharmonic Orchestra Martinů Medal (see page 7). with the Berg Chamber Orchestra. While one must admire Peter Fot the past few years the quality of the program- Vrábel for his enthusiasm and me book of the Festival has steadily increased its dedication in bringing together value as a document. This year conti-nues this this group of young orchestral trend with some fascinating articles in addition musicians and his enlighten- to the programme details, especially extracts ment in presenting so much Czech of writings by Miloš Šafránek and memories of contemporary music in his other him by his family, friends and contemporaries, programmes, there is a disturbing plus some apposite photogra-phic illustrations. lack of musical discipline among The centres of Martinů activity at Polička and in these potentially fine players. Prague continue to contribute valuably to the Most notable is the total absence widening of interest in Martinů and his music of any real piano or pianissimo throughout the world, in which also the work and a dynamic range which moves of the Martinů Foundation plays an invaluable between mf and ff. May I ask him part. The annual Bohuslav Martinů Festival has also to do something about his now firmly established its place on this scene lady timpanist who insists on and added a further bright light to pre-Christmas beating time when counting her activities in Prague. bars rest - very amateur!

Bohuslav Martinů Newsletter 2003 - First issue 5 Festival The Bohuslav Martinů in the Eyes of the Musical Journalists Chamber Concert by the Orchestral Concert by the Prize-winners from the 2002 Prize-winners from the 2001 Martinů Foundation Competition Martinů Foundation Competition in the Category of Piano in the Categories of Piano Trio 7 December and String Quartet The Young and the 8 December (not) Restless Of Shoes and a Pilot

The competition’s laureates Berg Chamber Orchestra Dina Šnejdarová Luboš Stehlík The 2002 Bohuslav Martinů Founda- After eight years of the Bohuslav tion Competition was devoted to the Martinů Festival it is clear that this is piano. In the December concert of one of the most imaginative festival laureates, in Martinů Hall at the Acade- events in the Czech Republic. Each year my of Performing Arts in Prague, we it offers something interesting in its heard a total of five pianists who by programming, combining the works of chance were all students in Prague: this classic of Czech music with composi- Mio Sakamoto, Renáta Poliaková, Ro- Roman Timoščuk tions by his contemporaries or projects Peter Vrábel man Timoščuk, Robert Kapr, and Miron that correspond to Martinů’s music in Šmidák. All of them displayed brilliant mastered long ago. Maybe it wouldn’t spirit, and it gives the green light to ambitious Berg Chamber Orchestra and technique, and an obviously-cultivat- hurt for them to loosen the musical young performers - an invest-ment in its conductor Peter Vrábel. This orches- ed capacity for self-control which to reigns a little and let themselves be Czech musical culture that we shall fully tra, which seems to have found its niche a certain extent is indispensable for infused with the joy of playing in itself. appreciate only after a certain amount in Czech musical life, is still maturing in a performer. The performances by the In this respect their male colleagues of time has passed. The second concert terms of performance quality. It still has young women were perhaps actually too were more successful: Timoščuk with of this year’s festival, on 8th December much work to do in ensemble playing, restrained, as though they were concen- his wonderful tone and expression, the in Martinů Hall at Prague’s Academy of homogeneity of instrumental sections, trating only on the technical aspect of inwardly-concentrated Kapr (who won Performing Arts, belonged mainly to the and quality of the winds, but it is also the pieces, which they had certainly the prize for the best performance of a work by Martinů), and the masterful winner of the competition Miron Šmidák who performed three movements from Stravinsky’s ballet Petrushka. My wish for all the performers, certainly rightly honored, is that in the future they won’t stop being internally ‘young and restless’. Reprinted from the magazine Harmonie, Mio Sakamoto February, 2003 Bennewitz Quartet

6 Festival Festival 2002 in Prague

capable of surprising us in passages Orchestra. In them we heard laureates of that can be judged by high international the 2001 Bohuslav Martinů Foundation Closing Concert standards. Compe-tition - the Trio Bergerettes and The most attractive number of the the Bennewitz Quartet. My impression 19, 20 December concert was Bohuslav Martinů’s music has not changed since that time. In the for the promotional film for the Baťa trio the remarkably-talented pianist shoe company titled Střevíček (The Barbora Sejáková clearly dominates Slipper), where the orchestra had to with her musicality and technical erudi- When a Wizard Conducts coordinate its playing with the projec- tion. And the quartet will certainly find tion on the screen in the spirit of the a place in the Czech quartet tradition, era of silent films. Another film number which is unique in the world. Some day consisted of the two Mermoz suites by (if it continues to exist) it will be an Arthur Honegger, where the film is important component thereof, but by dominated by the story of a pilot cross- that time it should become more stable ing the Atlantic. This splendid music in performan-ce and avoid minor errors. was definitely a contribution to the pro- Nevertheless the concert as a whole gram. Also interesting were two other filled me with optimism for the future. compositions by Martinů - the Concerto for Piano Trio and String Orchestra and Reprinted from the magazine Harmonie, the Concerto for String Quartet and February, 2003 Concert of the Bohuslav Martinů International Academy Emil Leichner, Jiří Kout and the Czech Philharmonic Orchestra Věra Drápelová between the conductor and the soloist of Chamber Music Emil Leichner but a single magical whole, When a real wizard stands before and the Symphony No. 6 was not only 9 December an orchestra extraordinary things hap- a beautifully colorful composition but pen. This was shown by the last Czech an ecstatic fantasy. Simply an extra- Philharmonic subscription concert of ordinary performance and experience. the year, which was also the final con- Youth Triumph in the cert of the Martinů Festival. Presently Reprinted from the newspaper MF-Dnes the most renowned Czech conductor December 2003 Martinů Festival in the world at large, Jiří Kout made such an impression with his natural Jiří Kout spontaneity and charisma that the Dita Hradecká A wind quintet played Kammermusik orchestra played the program of works by Paul Hindemith. We also heard Les Graduates of the Bohuslav Martinů by Bohuslav Martinů not only with rondes by Martinů for oboe, clarinet, International Academy - courses in professionalism but with maximum bassoon, trumpet, two violins, and chamber music in Dobříš - were the concentration. Thus the suite from the piano, and the first half ended with the guest artists for Monday’s concert in the opera Juliette not only was dreamy but Concertino for piano and six instru- Lichtenštejn Palace. This third concert had a feverish atmosphere, the Concert ments by Janáček. One can hardly find of the Martinů Festival was given in the for Piano and Orchestra No. 5 was not a fault with these ensembles, which were completely full Martinů Hall of Prague’s only an example of precise collaboration Academy of the Performing Arts. More formed during the courses and evidently than ten young students (whose names have no permanent membership or long Ceremonial presentation and nationalities were unfortunately duration. Responsibility for the total omitted from the program, which gave effect and inspiring musicality radiated of a Martinů Foundation Medal only the artistic guarantor - the French from the players, who are clearly skilled oboist Maurice Bourgue) attracted many soloists. In memoriam Dr. Miloš Šafránek for his lifelong work of their contemporaries with a rich on behalf of Bohuslav Martinů and his music. and demanding program. The players Reprinted from the newspaper Lidové Noviny (The People’s News), 12 December 2002 performed in various combinations.

The medal and diploma were accepted from Viktor Kalabis and Aleš Březina by Šafránek‘s daughter Anna Fárová on 19 December 2002. The final concert of the 2002 Martinů Festival was dedicated Bennewitz Quartet to the memory of Miloš Šafránek.

Bohuslav Martinů Newsletter 2003 - First issue 7 Rendezvous

Martinů in Rome, Italy 1957 Michelangeli came to Prague to play a concert in the Rudolfinum of which I remember almost every note. He played on a Czech Petrof piano which he then took to Rome where he played for the Pope. I was invited to his performance course in Arezzo. It lasted a month, but actually I met with Michelangeli only three times; I played for him one Mozart sonata, a group of Debussy preludes, and the third sonata of Sergey Prokofiev. He limited himself to just a few comments and then said: “This young man doesn’t need lessons - he only needs to play.” That was very nice of him and it’s true that later - because in three meetings you can hardly grasp the greatness of such a phenomenal player as Michelangeli - I continued my studies by learning from his recordings. That was actually my first trip to the West - my first trip beyond the Iron Curtain, which in itself was an unrealizable dream at that time for the vast majority of citizens of the whole Eastern Block. Before I left on that trip I was asked by Oldřich F. Korte to visit Martinů in Rome, where he was staying at the time, and inform him about Oldřich’s personal situation and political obstructions that, despite his prize from the Busoni composers’ competition and an invitation from the conservatory in Bolzano, would evidently prevent him from getting permission for a trip to Italy, so that he probably would not be able to have his longed- for meeting with the master in the foreseeable future. Martinů’s friends Karel Novák of the Czech Philharmonic and Her- OutsideOutside berta Masaryková notified him of my planned visit from Prague so that he would receive me - a young musician coming from his barricaded homeland thethe IronIron CurtainCurtain - without fear and with full trust. I also wrote him two lines. He set the place, and so I traveled from Arezzo to Rome where we met in a café. Ivan Moravec on his Meeting with Martinů I must admit that his Prague friends very much envied me that Professor Ivan Moravec (born 1930), a world-renowned Czech pia- meeting, because of the trauma of the closed borders. nist, met with Bohuslav Martinů in Italy in June 1957. He had gone It was a hot summer. I remember that Martinů was unusually lightly there thanks to Arturo Benedetti Michelangeli, who had invited dressed. On his feet he had only some sort of sandals. He was im- the young pianist to his master classes in Arezzo. Now, forty-five mensely tall. His enormously high years later, the artist has given our editors the very first interview brow remains engraved in my memory. I said to myself, “My goodness, I’m for publication regarding that meeting, which we present here in not surprised that a man with such a forehead creates such brilliant full having deleted only the questions posed to him. music!”

8 Rendezvous

At that time I was very young. random example I men- Martinů in Rome, Italy 1957 I must say that the cadence of tioned a typescript book his speech was a great surprise on a religious topic I to me. He said a few sentences, a had been reading and few thoughts, and then fell silent which I recently had - I could see that he was pondering lost outside somewhere intensively. It was clear that he including the address wasn’t a chatterer. The pauses he of the translator. Then made in the conversation were truly I went about for weeks monumental. anxious over what I brought him not only the entrus- might happen to ev- ted message from Oldřich F. Korte eryone associated with but also Oldřich’s piano sonata. He the production of such took the score into his hands and an “illegal publication” began leafing through it with great if it should come into interest. He fell silent and I said to the wrong hands. And myself: “That’s not possible! This prac-tically any publica- man reads two pages in an unbelie- tion or dissemination vably short time!” But it’s a thirty- of any philosophical, six page sonata, so it did take a while religious, or spiritually- for him to read and leaf through it. oriented literature was Then he said in his extremely terse con-sidered illegal and manner of expression, “Very fine, punishable here if it very beautiful!” didn‘t fall into the nar- With this we paused on the row range of reli-gions topic of Mr. Korte, who a half year and conformist lines beforehand had sent Martinů a of thought per-mitted long letter for his birthday, a sort (though of course cen- of interpretation, or let us say his sured) by the state. personal perception of Martinů’s Martinů asked what music. And the living Martinů said the book I had lost before me with great conviction that was. I said it was it was the deepest comprehension of The Life Divine, in Czech the spirit of his composi- tions so far. Then we also spoke about the speed of compositional work. I mentioned that to make a living Oldřich had a whole series of jobs, sulted in his works no for instance delivering longer being performed. potatoes and coal, and This caused him unusual so he didn’t compose suffering. He definitely every day. And Martinů didn’t strike me as a responded: “But even cheerful person. He was when no inspiration a man burdened by the comes, you know, a com- talent bestowed on him, poser must sit down ev- but also by the bitter ery day, and even if it fate that he couldn’t doesn’t work - if they’re return home. not the most blessed From the whole moments - he must ex- meeting it was clear to ercise that mental ap- me that he was a man paratus every day.” This Ivan Moravec Ivan Moravec with Oldřich F. Korte, Prague 1957 who weighed every word evidently explains the During the whole conversation he said and who clearly amazing quantity of compositions translation Život božský, by the Martinů clearly understood that if experienced things in the solitude that Martinů wrote with his every- legendary Indian thinker and spiri- I belonged to that group of people of his concentration. day diligence. tual leader Aurobindo Ghose. He who have - let’s say - very similar As far as political conditions responded unusually quickly and interests and opinions, then my at home were concerned, Martinů said: “Mr. Moravec, I have his com- attitude toward the regime was wanted to know what the atmo- plete works bound in leather!” This the same. Interview conducted sphere among people was like. I said confirmed what Oldřich Korte had Very briefly he complained that by Aleš Březina, truthfully that fear reigned here, expressed very eloquently in his performance of his works at home edited by that we all were constantly doing analysis and what we all sensed - had been halted, in a way he didn’t Eva Nachmilnerová something that was prosecuted that the inspiration and what was describe, but it was clear that one by the regime with more-or-less funda-mental with Martinů was telephone call to the Philharmonic, far-reaching consequences. As a strong personal spiritual striving. more-or-less anonymous, had re-

Bohuslav Martinů Newsletter 2003 - First issue 9 Photo Gallery Bohuslav Martinů’s Childhood a ❧ Little-Known Photographs of Mart

1893

Bohuš Martinů with E. Erben Polička, 1898

1905

Martinů with family in front of their house in Svépomoc Str. 182, Po The successes of my compositio representative of Czech music abro to promote music beyond our borde I can prove my worth also to which certainly has From a letter to the Municipality o

Around 1910 Polička Spa, around 1905

Martinů with his father at Balda, 1911

10 Photo Gallery and Youth in Polička and Prague tinů, his Family, and his Birthplace ❧

1912

1912

1918

olička 1923 ons prove that I am a legitimate ad; they are evidence of my efforts rs, and I am glad that through them o my native town of Polička, s its share in them. of Polička, Paris, 22 January 1929 Polička suburb around 1905

Around 1918

1920

1919

Bohuslav Martinů Newsletter 2003 - First issue 11 News AWARDS Martinů Petr Veber

In 1995 the musicolo- News gist Jaroslav Mihule expressed RECORDINGS EXHIBITION his desire to publish Through the kindness of An Exhibition dedicated to In February 2003 the Bohuslav Martinů some day a large por- Mr. Gregory Terian, the Martinů Foundation awarded Institute has received unique Rudolf Serkin Gennady Rozhdestvensky trait of the fates radio recordings of nineteen in the Cheb Museum, Cheb, a Martinů Foundation Medal during of the composer works by Martinů on cassette Czech Republic. a visit by the artist to Prague, tapes. Among the most interest- for excellence in performance and 26 April 2003 Bohuslav Martinů ing are: promotion of Martinů’s music. Festival concert in the West - in the context of Czech Bohemian Theater in Cheb • Violin Concerto No. 2 H. 293 27 April 2003 Pavel Šporcl (Mischa Elman - violin, history - ‘so that it is In the afternoon, a plaque and Petr Jiříkovský Boston Symphony Orchestra, of Rudolf Serkin will be exposed not only about him, led by Serge Koussewitzsky, received a Platinum Record on his natal house; afterwards, for their recording of Czech Rhapsody. recorded 1. 1. 1944 the exhibition will be opened. but also about us, – first performance) • This year’s MIDEM ’ he said at the time Parables H. 367 Young Classical Artist (Boston Symphony Orchestra, of the Year 2002 in an interview for led by Charles Münch, has been awarded to Israely flutist recorded 14. 2. 1959 Lidové noviny - first performance) Sharon Bezaly (The People’s News). String Quartet It seems to me that and Orchestra H. 207 (Julliard Quartett, with the book Martinů New York Philharmonic Orchestra, conducted by Leonard Bernstein, - osud skladatele recorded 19. 1. 1963) (Martinů: The Fate Piano Concerto No. 3 H. 316 She performed the Concerto for of a Composer), pub- (Rudolf Firkušný, Paul Sacher Stiftung lended Flute, Violin and Orchestra, H. 252 New York Philharmonic Orchestra, extracts from the copy of autograph at the Bohuslav Martinů Festival lished in 2002 conducted by Joseph Krips, of the Martinů’s Piano Sonata 2001 in Prague. The Bohuslav recorded 28. 2. 1965) H. 350, which was dedicated to Martinů Foundation and Institute by Charles University, Rudolf Serkin, for this exhibition. congratulate her for this success. the author has CURIOSITIES BOOK achieved this goal. On the occasion of the opening of its new offices the Panter firm on Bohuslav A book by Růžena Dostálová I don’t intend to judge Martinů Street in Prague, whose field of business is import of microphones and Aleš Březina: the book here from and other electronic devices, decided to create an informational corner about The Greek Passion, Destiny of the the composer in its premises. We are pleased by the interest in Martinů even the position of Martinů in non-musical circles. Correspondence about an Opera between Nikos Kazantzakis researchers. It reads Music Publishing and Bohuslav Martinů. Houses Durand, About 226 pages, to be published not like a scholarly Salabert and Max at the end of march by the publisher Eschig have sent Roman Míšek – SET OUT work, although it PF 2003 with the Tyršova 11, 120 00 Praha 2 Martinů caricature Czech Republic. is also that, but as and the text pub- lished below. a broadly-based story. We are pleased ERRATA At the outset I’ll admit that the famous French company The editors apologize for imprecise infor- that I myself eagerly chooses Martinů mation on page 17 of the last issue of the for their propa- Newsletter. Corrected version: devoured its unbeliev- ganda. Roland Kupper has donated to the Martinů Institute a color copy of the able original of another letter from his collection, written by Martinů to Miha- 550 pages. lovici on 25 September 1956.

12 Review

For years Mihule’s book Bohuslav about the situation and the recep- respected classics of the twentieth Martinů - profil života a díla (Bohus- tion of Martinů’s music after 1959 or century? Wouldn’t it have been better lav Martinů: A Profile of His Life and after the death of Charlotte. It would if his remains had been returned to his Work), published in 1974, was the belong here, including for example homeland only after the turnabout of main Martinů compendium [Edito- an explana-tion of performing and 1989? Wasn’t the ‘positive’ result of rial note: In 1961 the SHV (State publishing rights and the work of the the negotiations in Switzerland in the Music Publisher) in Prague published Bohuslav Martinů Foundation after late 1970s after all primarily a victory a book by Miloš Šafránek titled Bohus- the Velvet Revolution of 1989. This for the communist regime - actually a lav Martinů - Život a dílo (Bohuslav would round out the synthetic view denial of the composer’s conviction Martinů: His Life and Work).] in of the ‘fate of a composer’ from the that he should ‘not return as long as the Czech language - readable, full perspective of time, which the author they are there’? From today’s point of of information, and despite its rich has succee-ded in creating, in an even view, with the experience of the po- descriptions not hiding the author’s more satisfying way. litical change in 1989, would it have Jaroslav Mihule theoretically-supported opinions. Readers will surely have certain harmed the development of reception However only now in this new book, questions, too. How much still re- of his work in his homeland if Sacher (born 1930) graduated from which is much, much more than a mains unclarified and unwritten? had not been allowed to transfer his the colleges of liberal arts and completed and expanded version, (Perhaps because it might affect remains to Polička in 1979? And what educati-on of Charles University could many things be said not only in people that are still living.) Would it might have happened if sometime in and earned qualifications as a new way or more broadly, but also be at all possible to write a book on the 1950s Martinů had come home a secondary school teacher freely and fully - mainly concerning Martinů without using quotations for a visit after all, or even returned of Czech philology and music educa- the issue of the composer’s returning from his correspon-dence? Can we home perma-nently? Who can give tion. At the same time, however, he or not returning home. It is factual achieve the most objective inter- satisfactory answers? Might it be studied composition and conduct- but captivating reading - a work of national appreciation of this com- Jaroslav Mihule? We should like very ing. He owes his inclination to a lifetime, much more comprehensive poser without remaining under the much to hear what he has to say. musicology than the 1974 book and newly-formu- influence of people from ‘his’ circle? to his teacher and friend lated, a work flowing naturally, mas- When and why did the view of his im- Reprinted from the magazine Har- Eduard Herzog. Mihule has been terfully integrating various sources portance in Europe begin to diverge monie, occupied with the music of ‘his’ of information, and descri-bing from the growing renown of the most February, 2003 master for a half century now. almost day-by-day, as a matter of He published his first book, course, the progress of Martinů’s life Martinů in South Orleans, USA 1945 Symfonie B. Martinů interspersed with the circum-stances (The Symphonies of Bohuslav of and detailed information about Martinů), in 1959, and he has the origin of compositions as well remained faithful to the as historical events. One reads with composer as a promoter even pleasure also the descriptions of though he spent the 1960s, Martinů as a man: details about hab- 1970s, and 1980s in the college its, dress, and smoking - even though of physical education and there aren’t many of these. athletics where he worked One can see very clearly what in the fields of education new things the author discovered in the performing arts and of over the course of a quarter century rhythm and music in physical edu- in his contemplations and studies - cation. He wrote music textbooks researching in the sources himself or for use in schools using findings of others - including and other works. However, what he gained from his residence in as a non-party-member Holland. And mainly - things are fi- he had to stand on the fringe nally written that for such a long time of academic life until 1990. had to be circumvented and blurred, At the wish of Paul Sacher stated incompletely, or concealed in and Charlotte Martinů, in 1968 Mi- silence. One reads the passages with hule became a member of the board a clear anti-totalitarian accent - which of the Bohuslav Martinů Founda- add to the previous literature a record tion in Basel for a time, of Martinů’s rela-tion to his homeland and then in the 1970s he shared where the communists ruled - with in founding the analogous founda- pain, but also with satisfaction that tion in association the recent past can now be described with the Czech Music Fund. objectively. He also contributed to the birth History brought additional little of the Czech Bohuslav Martinů dramas after Martinů’s death, end- Society, of which he is now ing with the transfer of his remains an honorary member. from Switzerland to Polička. This is In the first half of the 1990s described here factually. Maybe it’s a he became assistant rector shame that the book does not contain A Worthy Fresco of of Charles University, and then more information or greater detail he was elected assistant dean of its college of education. From 1994 to 1997, however, he served as Czech ambassador to The Netherlands. Bohuslav Martinů

Bohuslav Martinů Newsletter 2003 - First issue 13 History

photo: Paul Terian

The Sound of Music proved to be one of the most successful movies ever made when it emerged from Hollywood in 1965. Its popularity has endured over the years and succeeding generations have been captivated by the story of the von Trapp family. Sounds of

photo: Johannes von Trapp archive in 1978), after their meeting Martinů Gregory Terian was taken with the idea of composing After their escape from Austria a piece for the ensemble. in 1939, with which the picture ends, Later that year Martinů set off the von Trapps moved to the United his summer vacation with his friend States where they eventually settled Frank Rybka in the trailer/caravan near the small town of Stowe in Ver- which they jointly owned. They were mont. This state borders Canada and accompanied by Frank’s son Jim. is one of the least populated in the At the end of the vacation they entire U. S. A. Stowe is a winter ski visited Stowe where Martinů was resort and it reminded the von Trapps able to renew his acquaintance with of their native Austria. Based there von Trapps. He also met their music the family made its way as the suc- director Father Franz Wasner who cessful touring Trapp Family Singers. had escaped from Austria with the Instrumental interludes formed part family. Martinů spoke no German and of their programmes with some of the the priest spoke no French. Commu- children playing recorders. nication between the two in Eng- In 1951 the paths of the Martinůs lish proved difficult so Frank, who and Trapps crossed in a Boston hotel was fluent in German, acted as where the composer had gone to hear interpreter. a performance of one of his works Martinů subsequently stayed on at Symphony Hall. The Trapp Family at Stowe for a fishing holiday, putting Singers also performed there and up at an inn run by Nick Mara, a Czech it may well be that Martinů heard compatriot. In the fall the Vermont them. In any event, according to scenery is of spectacular beauty and Charlottes memoire (in the book My Three of the von Trapp daughters rehearsing during his month long stay the com- life with Bohuslav Martinů, published (from left to right: Eleonore, Agathe and Hedwig) poser was able to absorb the colour

14 History Stowe Vermont in the Fall Stowe Pastorals on CD photo: Craig Ferré

Michele Zukovsky

Since Martinů’s death there have been few performances of the Stowe Pastorals due, no doubt, to the unusual make up of the ensemble required. In 1997, however, Michele Zukovsky, the principal clarinetist of the Los Angeles Philharmonic and a distinguished soloist in her own right, took up the work. She gathered together recorder players from far and wide to make up the ensemble. This resulted in the world premiere recording of the Stowe Pastorals. As well as featuring one of Martinů’s most neglected scores, the disc also includes what is probably the composer’s most performed work in the shape of Stowe La Revue de cuisine. Here the Los Angeles musicians perform the jazzy episodes with a verve and spontaneity which conductor led groups cannot match. The and mood of Stowe and its surrounds. close-up recording has an impact and presence which is almost tangible. Also It was in that asetting that the Stowe included on the disc are Zukovsky’s persuasive account of the Clarinet Sonatine Pastorals H. 335 were conceived. The and the amusing early Quartet H. 139 with side drum. work was completed in November Zukovsky’s interest in the music of Martinů was sparked by a performance after his return to New York. of the Symphony No. 5 given with the Los Angeles orchestra under Franz Welser- Most. She subsequently formed the Bohemia Ensemble devoted to the perfor- The work is a ten minute, three mance of chamber works by Czech composers and Martinů in particular. movement nonet and is dedicated One cannot imagine a more compelling account of the Stowe Pastorals, to the Trapp Family. It received its capturing its magical mood of tranquility, delivered with sensitivity and im- first performance on Basel Radio peccable precision with a sound ambience which reflects the special flavour the following year. It is a unique of this work. piece scored for five recorders, The disk fills a unique gap in Martinů recorded repertoire. clarinet, two violins and cello. There Gregory Terian is nothing quite like the sound of the Stowe Pastorals in the whole of music. It is a work of serene beauty, Bohuslav Martinů reflecting the autumnal tranquility Bohemian Ensemble Los Angeles of Vermont and the happiness of his Michele Zukovsky - clarinet. fishing holiday tinged, one would La Revue de cuisine, Sonatine for Clarinet and Piano, guess, with an underlying nostalgia Martinů in Vermont, 1950s Stowe Pastorals (world premiere recording), Quartet for his homeland. for Clarinet, French Horn, Cello and Side Drum. Charlotte goes on to relate how and Beck, who was then music director Text: English. TT: 48:27. DDD. seven years later at Schönenberg, of Basel Radio, brought to the hospital 1997 Summit Records (DCD 214). when Martinů was in the later stages a recording of the original performan- of his terminal illness, he was visited ce. So it was that the composer was by Conrad Beck, a composer friend able to hear the Stowe Pastorals for The author wishes to acknowledge the kind help provided by F. James Rybka from the Paris years. Martinů had the first time. and Jane Weaver of the Trapp Family Lodge with this revised version never heard a performance of the work of an article which first appeared in the magazine Czech Music in 1999.

Bohuslav Martinů Newsletter 2003 - First issue 15 Opera Review Folk Tale and a Crazy Skit, Reclaimed from an Attic at Henry Street Chamber Opera in New York

The Voice of the Forest

Collectors of rare operas will be making the trip to the Abrons Arts Center at the Henry Street Settlement, along with anyone in search of a crisp and lively night of musical theater. The repertory could hardly be more obscure: two small-scale operas by Bohuslav Martinů. He wrote Les Larmes du Couteau (The Tears of a Knife) in Paris in 1928, but it was not performed for more than four decades. Hlas lesa (The Voice of the Forest) came seven years later, as a piece for Czech Radio. Paul Griffiths In all probability, neither work had been seen outside the Czech Republic out again, as if in aloof control. before Monday’s opening performance. Both works are done with a startling But neglect was smartly brushed off by the vividness with which they were combi-nation of sensitivity and panache. addressed by the Henry Street Chamber Opera. Costumes by Kaye Voyce help the singers act, The works also fit together well. Both have those occasional sweetly sighing while Andrew Lieberman’s simple set provides harmonic maneuvers that are so special to Mar- a frame for the gymnastic display engineered tinů. Both, too, are surrealist fantasies about a by the director, Ned Canty, and the choreo- woman whose disturbed roman-tic life has her grapher, Sean Curran. Best of all, the fun wandering the world like a lost soul. But they and high jinks go with the grain of the music, are entirely different in tone. Where Hlas lesa which is expertly encouraged by the conductor, has the poetry and symbolic resonance of a folk Neal Goren. tale, Les Larmes du Couteau is a crazy skit, very Jacqueline Venable is the appealing Bride much of its time and place. in Hlas lesa, with Eric Fennell an appropriately With its jazz-band scoring, featuring banjo fresh and attractive tenor as the Young Forester and saxophone, and its sheer ebullience, Les The Tears of a Knife and a wonderful gang of clown bandits. In Larmes is more instantly appealing, and this Les Larmes the singers are Kristine Winkler production wisely places it second. But Hlas (bright and mad as the young woman at the center), Tiffany Regal (as imposing lesa is likely to stay in one’s mind longer for as her name in the role of mother) and Daniel Mobbs (the leering and vocally its dream imagery, sonic and visual, and for the erect Satan). unsettling way that a narrator (the excellent The Tears of a Knife With kind permission reprinted from the New York Times, November 23, 2002 Kathleen Chalfant) steals into the drama and 16 Members’Events diary

16 April 2002 CONCERTS Culture House Ostrov, Havlíčkův Brod Martinů EVENTS Baroque Jazz Quartet Panocha Quartet in UK 30 Eduard Spáčil - Piano, Jaroslav Šolc - Flute 14 March, 7 p.m. Arietta, H. 188 • Scherzo, H. 174 Royal Pump Rooms, Leamington 16 March, 7 30 25 April 2003, 7 30 p.m. Pittville Pump Room, Cheltenham Academy Concert Hall, Glasgow We give only a2003 selection from Martinů’s works. 18 March, 7 30, Art Gallery, Perth Glasgow Orchestra Opera North 20 March, 7 30, Music centre, Dundee Mark Stringer - conductor String Quartet No. 5 Jana Sýkorová - mezzosoprano OPERAS Brno Philharmonic Orchestra www.czechopera.cz/sykorova Nipponari, seven songs for female voice Comedy On the Bridge, H. 247 The Greek Passion, H. 372A with accompaniment of a small orches- Opera 2003 – 6th year 27 April 2003 tra, H. 68 of the Musical Theatre Festival 30 May 2003, 7 30 p.m. 29 and 30 April, 7 30 p.m. 2 February 2003 – Ther German premiere Smetana Hall, Municipal House, Prague Disk Theater, Prague of the first Version www.filharmoniebrno.cz Prague Symphony Orchestra České Budějovice Conservatory 30 Theater am Goetheplatz / 8 April, 7 p.m. Cristian Mandeal - Conductor Musicaltheater am Richtweg, Besední dům, “Cello Recital” Symphony No. 4, H. 305 The Day of Good Deeds Bremen, Germany Pavel Šabacký – Cello • MAY • (Le jour de bonté), H. 194 Šárka Králová – Piano Variations on a Slovak Folk Song, H. 378 14 May 2003 world premiere Žacléř, Czech Republic 15 April, 7 30 p.m. large fragment of the opera Miron Šmidák - Piano Brno Philharmonic Orchestra 28 March 2003 Etudes and Polkas - Book III, H. 308 Besední dům “Viola Recital” South-Bohemian Theater, Č. Budějovice www.bremertheater.com Alexander Besa – Viola Milan Kaňák – Conductor, Josef Průdek Petra Besa Pospíšilová – Piano FESTIVALS – Director, Philippe Godefroid – Stage Additional performances: 30 Sonata for Viola and Piano, H. 355 Director, Francois Terrone – Costumes 4, 6, 28, 30 June 7 p.m. The Prague Spring 4 July 7 30 p.m. French libretto by G. Ribemont-Dessaignes 12 May – 3 June 2003 (based on a theme by Ilja Erenburg), S. Klingele - Musikalische Leitung OTHER CONCERTS 58th year Czech translation by Vladimír Fux Rosamund Gilmore - Inszenierung Carl Friedrich Oberle - Ausstattung • FEBRUARY • Mirandolina, H. 346 Thomas Eitler – Chöre 28 February, 8 00 p.m. 4, 6 and 7 April 2003 I. Ostrowskaja - An old woman Llandaff Cathedral, Cardiff, Wales Teatro Rossini, Lugo, Italy Sybille Specht - Nikolio City of Cardiff Symphony Orchestra Zlatina Genova Taralova - Despinio Martin McHale - Conductor Irina Wischnizkaja - Lenio Sandy Johnston - Oboe Kath. von Bülow - Widow Katerina Concerto for Oboe and Small Orchestra, Andreas Haller - Priest Grigoris H.353 www.festival.cz Karl Huml - An old man • MARCH • 00 www.teatrorossini.it Yosuke Kodama - Michelis 20 May, 8 p.m. Ks. Karsten Küsters - Archon 7 March, 8 15 p.m. Church of St. Simon and St. Jude Loren Lang - Priest Fotis Beurs van Berlage, Amsterdam „Performance of the Bohuslav Martinů Juliette R. Lichtenberger -Schoolmaster Netherlands Chamber Choir, Stephen Layton Quartets I.“, Panocha Quartet or the Key to the Dreams, H. 253 Ronald Naiditch - Panait “In Bohemia and Moravia”: String Quartets No. 3, H. 183; Allen Parkes - Dimitri Works by Dvořák, Martinů, Janáček No. 4, H. 256; and No. 5, H. 268 27 and 29 April 2003 Achim Rikus - Andonis Grand Theatre, Leeds George Stevens - Captain 22 March, 22 May, 8 00 p.m. Jeffrey Stewart - Manolios Tel Aviv Museum, Tel Aviv, Israel Rudolfinum, Concert to Mark the 120th Ch. Wittmann - Yannakos Gil Garburg, Sivan Silver Anniversary of the Birth of Václav Wolfgang von Borries - Kostandis Fantasy for two pianos, H. 180 Talich Czech Philharmonic Orchestra S. Klingele - Musikalische Leitung • APRIL • Sir Charles Mackerras – Conductor Emil Leichner – Piano 00 Opera North, Leeds, UK 10 April, 8 p.m. Concerto for Piano and Orchestra No. 4 H. 247 Additional performances: Comedy On the Bridge, Holmes Chapel Leisure Centre (Incantations), H. 358 1 and 3 April, Grand Theatre, Leeds 4 June 2003 Holmes Chapel, Cheshire 8 April, Theatre Royal, Nottingham Athenaeum Theater Chicago, USA The Camerata Ensemble, Richard 27 May, 8 00 p.m. Night Kitchen 8 May, Theatre Royal, Nottingham Howarth – leader Church of St. Simon and St. Jude 16 May, The Lowry, Salford Quays Serenade No. 2 for two violins „Performance of the 24 May, Theatre Royal and viola, H. 216 Bohuslav Martinů Quartets II.“ Newcastle upon Tyne (Reopening the 10 and 11 April, 7 30 p.m. Martinů Quartet production from 1997) Rudolfinum, Dvořák Hall, Prague String Quartets No. 2, H. 150 David Pountney – Director, Martin Bohuslav Matoušek - Violin No. 6, H. 312 and No. 7, H. 314 André – Conductor, Stefanos Lazaridis Czech Philharmonia – Scenography, Marie-Jeanne Lecca – 00 Vladimír Válek - Conductor 28 May, 8 p.m. Costumes, David Cunningham – Lights www.chicagooperatheater.org Concerto for Violin Rudolfinum, Concert of the Prague The premiere of the new adaptation of and Orchestra No. 1, H. 232 Spring Friends Club the libretto in English by Tony Kushner Czech Radio Symphony Orchestra 14 and 16 April 2003 Vladimír Válek – Conductor Additional performances: Pardubice, Suk Hall, Music House 6, 8, 12 and 14 June 2003 Marián Lapšanský, Eugen Indjic – Piano 15 April 2003 Concerto for Two Pianos Alexander Platt – Conductor Hr. Králové, Great Hall, Adalbertinum and String Orchestra, H. 292 Thor Steingraber – Director Chamber Philharmonia Pardubice Maurice Sendak – Designer www.chamberphilpar.cz The past events overview is available on Douglas Bostock - Conductor the website: Tre Ricercari for Chamber Orchestra, H. 267 www.martinu.cz/news.htm

Bohuslav Martinů Newsletter 2003 - First issue 17 Information Music Is the Air I Need to Breath A Portrait of Gerd Lippold the New Chairman of the IBMS The Bohuslav Martinů One can hardly imagine a man with a more himself one of the ‘fossils’ in the IBMS because international personal background: an Austrian- he is one of those who still had direct personal Newsletter born grandmother with the typical Czech name contact - not with Bohuslav, but with Charlotte is published Prohaska, a Russian-born grandfather, both Martinů. He remembers with great pleasure seve- by The International parents coming from foreign countries (his ral inspiring visits to the Charlotte’s birthplace Bohuslav Martinů Society mother from Poland, his father from Belgium), in Vieux-Moulin, France between 1974 and Mme. and one of his two daughters being German, the Martinů’s death in 1978. As Karel van Eycken has in collaboration with other Norwegian. Since most of his relatives live pointed out, it was Gerd Lippold who already in The Bohuslav Martinů in Britain and the United States it is quite natural the early 1980s developed very concrete plans Institute in Prague for him to communicate in English. And because to found an International Martinů Society. But with the financial he lived in Norway for several years he also has political circumstances at that time prevented no problem speaking with the Scandinavian those plans from being realized. One of his merits support of members of the IBMS in their native language. is that in difficult times he found ways to work The Bohuslav Martinů At the moment he is working hard on learning for the re-opening of the Martinů Memorial in Foundation in Prague Czech. Born near Cologne, Germany in 1935, Gerd Lippold studied Polička. Interested in everything connected with music, Gerd Lip- at the university and the State Academy of Music in Cologne to pold has enjoyed and still enjoys the friendship of distinguished Editor: earn qualifications as a high school teacher. One of his teachers musicians - both composers and performing artists - from many Sandra Bergmannová at the Academy was the legendary cellist Mauritz Frank, to whom different countries, e. g. Benjamin Britten (with whom he was Martinů dedicated his Concertino for Cello, Wind Instruments, friends for a quarter of a century from 1951 until Britten’s Associate editor: Eva Nachmilnerová Piano, and Percussion H. 143 and his death in 1976), the outstanding Czech Duo No. 1 for Violin and Cello H. 157. composer Petr Eben, the Norwegian Translation: Besides teaching music and German in composer Trygve Madsen (whose opera David Beveridge German high schools, Mr. Lippold worked Circus Terra recently had its world pre- Photography: for many years as an inspector for school miere in Prague), and the famous Russian The Bohuslav Martinů Foundation’s authorities - mostly in Germany but also pianist Igor Zhukov to mention just a few. and Institute’s archive in Norway. Though now retired, Mr. Lippold is still Graphic design and printing: ”My approach to Martinů is a story very active in many different fields of mu- Belák Attila with several chapters,” the new chair- sic: as a concert-manager and promoter The Bohuslav Martinů Newsletter man says. “It started in the early sixties of various musical projects, as a leader of is printed on recycled paper when in one of my lessons a student of several choirs, as local chairman of Blue It is published three times a year mine played a very charming little piano Lake (an American foundation whose aim piece which I didn’t know at the time. is international understanding through The Cover: It turned out to be one of the pieces music), and as a member of Blue Lake’s Bohuslav and Charlotte Martinů skiing from Martinů’s Loutky (Marionettes). European Advisory Committee. As far Polička – Šibeniční vrch, 1935 It immediately enchanted me and actu- as his limited time allows he enjoys ally changed my life: at that moment his beautiful house and his wonderful Seat: I became passionately interested in garden in the most Northwestern part The International Bohuslav Martinů Society Martinů and I started studying his music of Germany, close to the seaside. “Music systematically, collecting and buying is the air I need to breathe” - that’s the Adolphe Buyllaan 150 everything I could get: LPs, sheet mu- Gerd Lippold with maxim of his life. B 1050 Brussels, Belgium Petr Eben, 1998 Tel. /Fax: +320-16-655057 sic, books, etc.” Gerd Lippold considers Editors Office of IBMS and editorial office: The Bohuslav Martinů Institute MEMBERSHIP INFORMATION Nám. Kinských 3, 150 00 Prague 5 Tel.: +420-257313104 The membership dues remain the Aleš Březina Geoff Piper society. Other members, who wish to Tel.: +420-257320076 same; 20 Euro / 12 Euro (students, The Bohuslav Martinů Institute MusicEntreprise, 24 Rue des Cerisiers pay in sterling, please, send a cheque Tel./Fax: +420-257323761 seniors) for one year; includes three Nám. Kinských 3, 150 00 Praha 5 L 1322 Luxembourg • [email protected] for 13 Pounds payable to IBMS direct www.martinu.cz issues of the Newsletter and a BM Czech Republic Tel : +352–474269, Fax : +352–223585 to Gregory Terian. Festival CD. Special contribution: [email protected] Editorial office’s e-mail: Ralph Slayton Dr. Mari Tokuda 100 Euro (institutions) includes Tel.: + 420 - 257313104, 257320076 [email protected] Univerzita Hradec Králové Nerima-Ku Hazawa 1-10-13 10x 3 issues of the Newsletter and 2x Tel./Fax: + 420 - 257323761 V. Nejedlého 573, 500 03 Hr. Králové 176-0003, Tokyo, Japan Secretary of IBMS: BM Festival CD. Olga Černá [email protected] [email protected] Jindra Jilečková The account number for paying the e-mail: [email protected] membership dues by bank transfer: Pod Akáty 150/88, 159 00 Praha 5 Józef Stompel All information concerning Tel./Fax: + 420 – 257940435 ING - BBL Steenokkerzeel Prof., ul. Zacisze 3 membership at the IBMS provides Price for non-members of IBMS: Van Frachenlaan 1 B Gauthier Coussement 40-025 Katowice, Polsko the IBMS office in Prague. CZK 50, 2 $, 2 Euro B 1820 Steenokkerzeel, Belgium La Carombelle, 832 Route de Modene Tel.:0048-32-255-40-81 For those, who wish 330.0255403.56 F 84330 Caromb, France Fax: 256-44-85 to become a member: The preceding issue: Swift code: BBRUBEBB200 mail: [email protected] priv.: 1. Szpaków Str., 40-540 Katowice online application form IBAN Tel./Fax:048-032-2514-540 for the IBMS available at: (International Bank Account Patrice Chevy http://www.martinu.cz/members.htm Jaroslav Sonsky Number) for transactions abroad: 11 Residence Foch Sonsky Concert, Knopgatan 6 BE20 3300 2554 0356. 92380 Garches, France 603 85 Norrköping, Sweden Please notice the Also, each member of the Board Judith Mabary Tel.: 46-11-318475 new e-mail address is collecting the dues in his/her 923 Woodlawn St., Scranton Fax: 46-11-319681 country; you can contact them Pennsylvania 18509, USA mail: [email protected] of the Newsletter: at the following addresses: [email protected] Gregory Terian [email protected] Preben Albrechtsen Gerd Lippold 18 Broadway, Wilmslow Nordfeldvej 19, Auf den Schmaläckern 23 Cheshire SK9 1NB, England We are looking forward Vallensbaek Strand DK-2665, D-21769 Lamstedt, Germany [email protected] to your contributions Phone & Fax 04773-695 Denmark, Tel.: 43538508 Members of The Dvořák Society of and new ideas. [email protected] [email protected] Great Britain shall pay direct to that

18 Music by Bohuslav Martinů on CDs Karel Ančerl Gold Edition - Volume 12 Concerto No. 3 for Piano and Orchestra H. 316 Josef Páleníček – piano, Karel Ančerl - conductor Bouquet of Flowers : A Cycle of Compositions to Folk Texts for Mixed and Childrens Choirs, Soli and Small Orchestra H. 260 Soňa Červená, Lubomír Havlák, Ladislav Mráz, Libuše Domanínská – soloists Czech Philharmonic Orchestra, Karel Ančerl – conductor Text: Czech, English, German, French. TT: 01:16:13, Recorded 1955, 1961, ADD, 1 CD Supraphon, 12 SU 3672-2. 901. Bohuslav Martinů Festival 2000 Sonata No. 2 for Cello and Piano H. 286 Not for sale Variations on a Slovak Folk Song for Cello and Piano H. 378 Miklós Perényi - cello, Dénes Várjon - piano Concerto da camera for Violin, Piano and Orchestra H. 285 Régis Pasquier - violin, Avner Arad – piano Prague Chamber Orchestra, Ondřej Kukal – artistic director Text: English. TT: 53:06, DDD, 1 CD Radioservis, Bohuslav Martinů Foundation PROMO 05.

Martinů, Honegger, Ravel Czech String Duo Bohuslav Martinů: Duo No. 1 H. 157 Duo No. 2 H. 371 Lucie Sedláková Hůlová, Martin Sedlák Text: Czech, English, German, French. TT: 01:00:54, Recorded 2002, DDD, 1 CD Music Vars, VA 0147-2.

MARTINŮ REEDITIONS Martinů Martinů Concertos Serenades Oboe/ Harpsichord/ Piano No. 3 Martinů Concerto for oboe Serenade No. 1 in A minor for Clarinet, Martinů and small orchestra H. 353 French Horn, Three Violins and Viola H. 217 Ivan Séquardt - oboe Serenade No. 2 for Two Violins and Viola H. 216 Juliette Serenade No. 3 for Oboe, Clarinet, Piano works Concerto for harpsichord Four Violins and Cello H. 218 Sonata for Piano H. 350 Opera in 3 Acts and small orchestra H. 246 Divertimento (Serenade No. 4) for Violin, Fantaisie et Toccata H. 281 Zuzana Růžičková - harpsichord H. 253 Viola and Chamber Orchestra H. 215 Etudes and Polkas H. 308 Concerto for Piano Serenade for Chamber Orchestra H. 199 Les Ritournelles H. 222 etc. Orchestra of the National and Orchestra No. 3 H. 316 Serenade for Violin, Viola, Cello and Two Clarinets H. 334 (16 compositions) Theatre, Prague Josef Páleníček – piano Prague Chamber Orchestra & Oldřich Vlček, Lubomír Emil Leichner – piano Jaroslav Krombholc - conductor Czech Philharmonic Chamber Orchestra Legemza – clarinet, Jaroslav Kameník – French horn, Jan Text: Czech, English, Text: Czech, English, German, Czech Philharmonic Orchestra Kolář – oboe, Oldřich Vlček – violin, Zdeněk Zindel – viola, German, French. French. TT: 02:25:36 Václav Neumann - conductor Milan Kohout – violin, Suk Quartet members, František TT CD 1: 64:53, CD 2: 68:42, Recorded 2. - 8. 1. 1964 Text: Czech, English, German, French. Bláha, Zdeněk Tesař – clarinet CD 3: 69:34 ADD, 2 CD TT: 01:05:45, Recorded 1982, 1987, 1994 Text: Czech, English, German, French, TT: 01:03:08 Rec. 1964, DDD, 3 CD Supraphon, SU 3626-2 612. DDD, 1 CD Supraphon, SU 3622-2 031 Recorded 1987, 88, DDD, 1 CD Supraphon, SU 3643-2 031. Supraphon, SU 3656–2 133.