THE BOHUSLAV MARTINŮ FOUNDATION THE BOHUSLAV MARTINŮ INSTITUTE THE INTERNATIONAL MARTINŮ CIRCLE MR Martinů on America september—december 2015 / vol.XV / no.3 The Three Wishes in Ostrava The Greek Passion in Essen Martinů in Venice review martinů infrankfurt contents

/ GÜNTER THIELE equally fine French production I saw at the Bastille Opera in Paris a few years later. The main attrac- ALTHOUGH THERE has been an increase in per- tions for me were Larmes de couteau and Alexan- 2 formances of the stage works of Martinů, I wonder dre Bis, neither of which I had seen on stage before. MARTINŮ IN FRANKFURT if the “Oper Finale” in Frankfurt am Main this sum- The young ensemble conducted by Nikolai Petersen GÜNTER THIELE mer doesn’t represent the most ambitious attempt presented convincing interpretations of both works to establish the position of Martinů’s operas in the but also gave a clue to why Martinů returned to public eye for quite some time. Ribemont-Dessaignes for additional libretti. The 3 For anything similar I think one has to go back text, which has obvious poetic qualities, is some- to the Prague Spring and Brno Autumn festivals of times quite funny, and Martinů’s jazzy music fits 1990, where those lucky enough to be present had like a glove. Here the director Beate Baron suc- the opportunity to take part of Martinů’s complete ceeded in creating an almost Beckett- like setting. 4 œuvre in this field. Actually that impressive mani- Much of the time mother and daughter were im- MARTINŮ IN LIESTAL festation of Martinů’s mastery in writing stage prisoned under a veil of red cloth. Only their heads 5

6 THE THREE WISHES, OR A SILENT FILM IN OPERA

photo: monika rittershaus photo: PETR VEBER THE THREE WISHES IN OSTRAVA LENKA ŠALDOVÁ 8 MARTINŮ AT THE VENICE BIENNALE ROBERT SIMON Tears of the Knife: Elizabeth Reiter (Eleonora) and Katharina Magiera (Mother) 10 works did not initially result in an abundance of were visible. The scenery in Alexander bis was THE GREEK PASSION IN ESSEN performances outside the Czech Republic. Produc- more realistic and led my associations to Anouilh, tions of Martinů’s operas were still rather few and but the opera’s mixture of the surreal and farcical far in between. But this millennium, the time seems was in my opinion rather difficult to digest. The 12 to be ripe for the position in the limelight that sev- music also sounded less inspired at times, and – AN INTERVIEW WITH JAKUB HRŮŠA eral of them deserve. if one takes in account its close proximity to This may be particularly true for Juliette, but also Juliette – less enterprising. Due to circumstances The Greek Passion. And hopefully Les trois souhaits connected with the heat-wave in Frankfurt 14 and Plays of Mary will soon follow suit. during my visit, I unfortunately had to abstain Anyhow, those present in Frankfurt am Main fromComedy on the Bridge after the intermission. THE CENTENARY OF VÍTĚZSLAVA between 21 June and 17 July 2015 could saw Mar - KAPRÁLOVÁ / PART 2 tinů’s name on the billboard almost daily. Juliette, Mr. Günter Thiele is a member KARLA HARTL H 253 was presented six times, and the triple of International Martinů Circle bill with Larmes de couteau (Tears of the Knife), H 169, Alexandre Bis, H 255 and Comedy on 16 the Bridge, H 247 on seven occasions. In addition to this, there were several chamber THREE ONE ACT OPERAS: A VERY WARM HUMAN BEING: concerts, recitals and talks about Martinů’s life Tears of the Knife, H 169; Comedy on the Bridge, HOPE CASTAGNOLA BOGORAD and work. H 247; Alexandre Bis, H 255 I was unable to attend these “extras” but I have 4, 6, 9, 10, 12, 15, 16 and 17 July 2015, 7.30 pm REMEMBERING BOHUSLAV MARTINŮ seldom had the impression of being in the company Opera House Frankfurt, Frankfurt am Main, of such an attentive audiences as during the Juliette Germany and the three-act bill. www.oper-frankfurt.de 18 BOHUSLAV MARTINŮ: Although I feel that by and large the Juliette pro- Beate Baron (Director), duction in Frankfurt was a good one, it didn’t meas- Nikolai Petersen (Conductor) IMPRESSIONS OF AMERICA ure up to my favourites from the past: Opera North’s Soloists: Anna Ryberg, Sebastian Geyer, splendid performance which I attended during Elizabeth Reiter, Katharina Magiera, a guest performance in Prague 2000, and the Maren Favela and other

2 | martinůrevue32015 highlights Juliette / H 253 28 May 2016 / 7:00 pm / PREMIERE 2 + 5 + 7 + 10 + 14 + 18 June / 7:30 pm The Greek Passion / H 372/I > Schiller Theater, Berlin, Germany 5 March 2016 / 7:30 pm / PREMIERE Daniel Barenboim (Conductor) 9 + 12 + 17 + 23 March 2016 / 7:30 pm Claus Guth (Director) 15 April 2016 Soloists: Magdalena Kožená (Juliette) / 7:30 pm Rolando Villazón (Michel) 3 + 10 + 22 April 2016 / 3:00 pm State Opera Chorus > Graz Opera House, Graz, Austria www.staatsoper-berlin.de www.oper-graz.com

The Three Wishes Juliette / H 253 or Inconstancy of the Life / H 175 24 March 2016 / PREMIERE 24 January 2016 25 + 28 March 2016 19 + 31 March 2016 3 + 26 April 2016 13 + 22 April 2016 > National Theatre, Prague, CZ 12 May 2016 Jaroslav Kyzlink (Conductor) > Antonín Dvořák Theatre, Ostrava, CZ Zuzana Gilhuus (Director) Jakub Klecker (Conductor) www.narodni-divadlo.cz Jiří Nekvasil (Stage Director) www.ndm.cz

Patrick Lambert, Martinů in His Time – The Recorded Legacy. A Biographical Survey of the Early Recordings (Bohuslav Martinů Institute: Prague 2016), 83 p. ISBN 978-80-906098-2-2 Price: 10 € / 7 € for IMC members Orders: http://eshop.martinu.cz

martinůrevue32015 | 3 And so was the case also in Liestal: together with the Orchester Liestal (OLi), one of the oldest and martinů most ambitious amateur orchestras in Switzerland. In weeks of very intense work, we prepared the Rhapsody-Concerto and performed it on 7 and 8 No - imc news vem ber 2015 under the baton of Roberto Fabbroni with great success. inliestal The OLi, located in the beautiful, small town near Basel where Martinů lived in his late years, has always been open to recent literature. Nevertheless, Martinů's music posed a very special challenge: the orchester liestal & mirjam tschopp his rhythmically difficult writing at first caused many members of the orchestra find the work performed the rhapsody-concerto unplayable. However, as soon as it began to sound, as soon as there was a sense for the dynamics of the WHEN I SAY, “Martinů has accompanied me my work, the rhythms lost their frightening complexity whole life”, that's only a slight exaggeration: and the beauty of this music became apparent. at the age of ten I heard his music on the radio Nonetheless: until the end everybody had to be very and absolutely wanted to play it. My teacher was and to this day it remains one of my favorite works attentive and very present. surprised by this, but knew of my passion for ever. But what is the reason for this fascination? For me personally, this project was a very rhythm and strange sounds and supported me as The Rhapsody combines the best elements of special one: hardly ever has a performance of this much as he could: in a very short time I learned the Martinů’s music in a rousing manner and chal - work made me so happy. Not only because these Sonatina, the Arabesques and the two Trios for two lenges the viola without ever going beyond the 50 amateur musicians, with utmost seriousness Violins and Piano. As a 15-year-old, I fell in love with limits of this instrument. The depth of Martinů’s and admirable dedication, gave their absolute best the initial cadenza of the 2nd Violin Concerto and music lies in the harmonic sound shifts, in the flow (and they were really good!), but also because there also studied that piece. Later on, the double and of the melodies and in its motoric quality. This is was a special energy behind everything, an energy triple concertos and numerous chamber music a transparent music that remains sensual even if that enabled a true dialogue between my solo part works were added. And so there is no composer it always follows an inner logic. The dark, wistful, and the orchestra during the concerts. who has accompanied me similarly long and of even rough viola adds an additional component to I am convinced that a composer has really con - whom I've played as many works. I can no longer these characteristics. The moods change very fast nected with the audience precisely in the moment remember what first fascinated me about Martinů’s between extremes: from sometimes humorous, but when he is not played by only the great stars of the music as a child. Today – 30 years later – playing often harsh, even aggressive-intensive and "groovy" music world. And so I hope – no, actually, I am sure Martinů feels to me like coming home. sections directly to deeply sad cantilenas which – that Martinů would have enjoyed this beautiful But none of Martinů’s works has ever meant as radiate hope and light. This accounts for the seem- project very much! much to me as the Rhapsody-Concerto for viola! It is ingly free rhapsodic character of this work and is, as if it told a whole life story… For me, the Rhapsody in my eyes, the reason why this piece is always Mirjam Tschopp, violinist and violist, was also the reason to seriously study the viola – a great success with the audience. member of IMC, November 2015

Bohuslav Martinů

1st W Benefit Concert

TO SUPPORT Emma Smetana THE BOHUSLAV MARTINŮ INSTITUTE

18 December2015 / Prague Robert Kolinsky Enrico Pieranunzi Lichtenstein Palace, HAMU, Martinů Hall more on www.martinu.cz

4 | martinůrevue32015 M R b ]d MARTINŮ REVUE (formerly Bohuslav Martinů Newsletter) is published by the International Martinů Circle in collabo ra - tion with the Bohuslav Martinů Institute in Prague with the financial support of the Bohuslav Martinů Foundation. incirclenews Jakub Hrůša, Magdalena Kožená, Published with the financial support President of IMC IMC Patron of the Ministry of Culture of Czech Republic, code No. MKCRX006Z32Y [IMC BOARD MEETING 2016) Editors THE MEETING of the IMC Board will take place on 13 January 2016 in Prague International Martinů Circle Zoja Seyčková & Lucie Harasim, (at the premises of Bohuslav Martinů Institute) on the occasion of a concert Bohuslav Martinů Institute in Rudolfinum on 13 January 2016, with the Czech Philharmonic, under the GENERAL INFORMATION Justin Krawitz (English language editor) baton of Jiří Bělohlávek (B. Martinů: Symphony No.1). Members receive the illustrated Publisher’s Office International Martinů Circle, o.s. Martinů Revue published three times IČ: 22688846 [THE SIR CHARLES MACKERRAS AWARD ) a year plus a special limited edition CD containing world premieres, historic Bořanovická 14, 182 00 Praha 8-Kobylisy, JAKUB HRŮŠA, Czech conductor and President of the International Martinů Czech Republic performances and archival recordings Circle has become the first recipient of the Sir Charles Mackerras Award. The ac- e-mail: [email protected] from the annual Martinů Festival not www.martinu.cz colade, named after the celebrated conductor and champion of Czech music, will obtainable commercially. be awarded by the Leoš Janáček Foundation every 10 years. Jakub Hrůša re- Translation of selected articles The IMC is supported by the Bohu - Hilda Hearne ceived the prize in recognition of his significant artistic achievements, including slav Martinů Foundation and Bohuslav his interpretation of Janáček’s symphonic works and operas. Photographs Martinů Institute in Prague. The Sir Charles Mackerras Award was conferred on 7 November 2015 to coincide The Bohuslav Martinů Foundation’s MEMBERSHIP and Institute’s archive, collections of the with a performance of the opera Jenůfa at the Janáček Theatre in Brno. & SUBSCRIPTION Bohuslav Martinů Center in Polička INFORMATION Graphic Design David Cígler [2016 SUBSCRIPTION PAYMENTS ) > YEARLY SUBSCRIPTION: Printing BOOM TISK, spol. s r.o. WE WOULD REQUEST members to forward their 2015 subscription pay- 25 EUR / 30 USD / 18 GBP / 450 CZK The Martinů Revue is published ments through their usual channels. A list of our international contacts: > SUBSCRIPTION FOR CORPORATE three times a year in Prague. > For Great Britain: MEMBERS: 100 EUR Cover Phillip C. 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THE PREVIOUS ISSUE PLEASE ADD YOUR NAME WHEN YOU PAY VIA BANK TRANSFER, SO WE CAN IDENTIFY YOUR PAYMENT. WELCOME NEW MEMBER THE BOHUSLAV MARTINŮ CENTER Members who pay their subscriptions via the Dvořák Society should continue > Fons de Kort, Netherlands > Ton Vandervalk, Netherlands IN POLIČKA offers an interesting, inter - to do so. Those wishing to pay in Czech currency or by cash should contact us at > Derek Katz, USA actively conceived exhibition on the com - [email protected] ❚ poser’s life and work. The modern display of Bohuslav Martinů’s life and work is located [CD DBM 2013 ) THIS YEAR, Bohuslav Martinů Institute in the historical building of the former is celebrating the 20th anniversary council school, which Martinů attended BOHUSLAV MARTINŮ: of its opening. More info in next issue as a child. Consequently, the project also Sonata for Violin and Piano, No. 3, H 303 of . comprises a reproduction of Martinů’s Olga Šroubková (Violin), Miroslav Sekera Martinů Revue classroom, complete with period painting (Piano), recorded live 2013 and furniture. The centre also contains Sonata for Viola and Piano, H 355 an audio-visual hall and study room. Lillian Fuchs (Viola), Brooks Smith (Piano), Bohuslav Martinů Center historical recording, 1965 Tylova 114, 572 01 Polička Tre ricercari, H 267, Largo (Part) tel.: +420 461 723 857 Bohuslav Martinů (Piano), historical recording, www.cbmpolicka.cz 1941–1942 martinůrevue32015 | 5 reviews thethreewishes, orasilent Review from the / PETR VEBER premiere on accessible and markedly provocative composi - well-known, and once iconic, Dvořák-Nekvasil 15 October 2015 tions that show a care-free independence. These team (or Nekvasil-Dvořák in this case) have MUSICAL DADA, avant-garde leanings, film in include The Three Wishes, a work that, however, encountered a style that has always agreed with theatre… These are the main characteristics also gives the impression of a rather mature them. The slightly eccentric work is imbued with (besides a few more) of a new production of creation. In the eclectic score of the opera, distinct poetics, and requires invention, dramatic Bohuslav Martinů’s The Three Wishes (Le Trois com pleted in 1929, one can hear the results of intuition, play ful ness and unbridled imagination. souhaits), Film-opera in 3 acts, H 175 at the Martinů’s endeavours of the previous years and It is presented by the stage director Nekvasil National Moravian-Sile sian Theatre in Ostrava. also hints of the direction his music would take and the set designer Dvořák with a bird’s-eye The opera is enter tain ing, theproduction is in the future. Accordingly, the music includes view, craftily, without unnecessary complexity, accomplished and its pre miere, on15 October elements ranging from jazz to sym phonism, concisely, in an intrigu ing manner and – delight - 2015, was very well received. from playfulness to lyricism, from Dada to Clas - fully – devoid of wilfulness. During his time in Paris in the 1920s, Mar- sicism, from Surrealism to humour. In the new The author of the libretto, the French artist tinů wrote a number of modern, non-Romantic, Ostrava production of The Three Wishes, the Georges Ribemont-Dessaignes, was a truly non -

Erika Šporerová (Adelaida, Servant), Petra Perla Nôtová (Nina Valencia / Indolenda) Peter Račko (Serge Eliacin / Adolf)

Review from the to the fates of the characters they have portrayed 2nd performance in the film). In The Three Wishes, Martinů was – more the three wishes in ostrava on 17 October 2015 than in any other of his operas – inspired by jazz, with the symphony orchestra being sup ple mented by / LENKA ŠALDOVÁ saxophones, a flexatone, a banjo and an accordion, Mirandolina. The opera-film The Three Wishes, and live music combined with recorded music, played H 175 composed in 1929 to the libretto of the on a gramophone. The opera ensemble is thus “A BEAUTIFUL SHIP of gold was sailing, sailing on French Dadaist Georges Ribemont-Dessaignes, required to fulfil a very unusual task. This may golden waves, waves. / A ship of great abundance, presents a totally different face of Martinů. It is perhaps be among the reasons why The Three Wishes an abundance of everything but love, but love, an entirely experimental work, both in terms of has been rather overlooked: the Ostrava production but love.” So sing the quartet at the end of Bohuslav dramaturgy and music. The short prologue shows is just the third staging of the opera in our country, Martinů’s opera The Three Wishes, which, according the preparations for the shooting of a film, in following the world premiere in Brno in 1971 (12 years to the stage director, Jiří Nekvasil, “may lead the which a fairy caught in a trap in the forest fulfils after Martinů’s death), and the 1990 production at audience to ponder the superficiality of the excessively the hunter’s three wishes in return for being the National Theatre in Prague. The Ostrava team diverse desires of modern society”. I, for my part, promised to be set free. The entire tale – without has coped with the opera honourably. The orchestra, do not believe that Martinů’s opera, nor Nekvasil’s the film-makers intervening in any way – takes conducted by Jakub Klecker, was at its best when production, possesses such an appeal. The Ostrava place over the following 100 minutes. The performing the dramatic, symphoni cally compact staging of The Three Wishes is above all an original intermission is followed by 20 minutes of orchestral “Departure” (the scene is made all the more powerful entertainment. music, including the screening of a film with by the screening of a splendid animation of a passage Over the past 15 years, the Ostrava audi ences chamber accompaniment and a symphonic section across the sea), while at other junctures it was evident have seen four Martinů operas: Theatre behind enti tled “Departure”. During the final 15 minutes, that the conductor is not overly experi enced with the Gate, The Greek Passion, Ariane and the story of the actors is told (somewhat similar the playfulness of jazz. And some of the performers

6 | martinůrevue32015 The opera’s story plays out during the shoot - scribes a scene of a film screening, accompa - ing of a film and its subsequent premiere. The nied by music, with accelerated sequences from heroine – just as in the film – ultimately leaves the material filmed during the first half of the film inopera with another man. The simple plot is spiced up performance. In other words – after the inter - by burlesque elements and comedic hyperbole. mis sion, the audience get to watch afreshly cut Even more so than at the time of the work’s video of that which they saw on stage in the conformist creator of his time. But the opera is composition, new media today support the first half. It is rigorously implemented, enter - not mere vagary, affording as it does full scope overall form and impression of the work. When taining play on silent film which is extremely to fortuity, absurdity and non-committal Martinů wrote the opera, the inter connection and authen tically comical, not only owing to entertainment. The Three Wishes (bearing the of theatre and film was highly innovative, but the funny situation and jerky movements but secondary title “Inconstancy of Life”), however, current technology makes it possible to employ also thanks to the precisely stylised, cunningly also has a more serious angle, even though far more exciting staging techniques. Integral naïve subtitles. And the audience responded rendered without pathos: it points out that parts of Dvořák’s set design are the projection with sincere, spontaneous laughter… wealth is not everything and that living an of a previously shot video, blended with a live The premiere performance was conducted empty, emotionless life is pointless. In musical transmission of the picture. Elsewhere he pre - by Jakub Klecker, the new music director of the and visual terms, the new production elegantly and gracefully refers to it at an amused, x Peter Račko (Serge Eliacin / Adolf), Václav Živný (Minister), Petr Němec (General), Jiří Hájek (Arthur de Sainte moderately sentimental level, which does not Barbe / Juste), Petra Perla Nôtová (Nina Valencia / Indolenda), Marianna Pillárová (Eblouie Barbichette / come across as forced or ludicrous. Beggar), Erika Šporerová (Adelaida, Servant), National Theatre Ostrava Opera Choir

Petra Perla Nôtová (Nina Valencia / Indolenda)

The Amazing Flight, Tears of the Knife and The Voice Petra Perla Nôtová, Peter Račko, Erika Šporerová, of the Forest. Previously, Nekvasil had created five etc.) in both the sung and spoken passages, with theatre adaptations of Martinů works, mostly in the effect enhanced by witty and becoming creative tandem with the designer Daniel Dvořák, costumes referring to the time of the opera’s origin. with whom he staged The Three Wishes in 2007 in They do not caricature their characters, instead Rostock. When it comes to poetics, similarly to the presenting them with a sort of amused aloofness, Brno production of Juliette, the Ostrava adaptation evidently inspired by the acting in silent films. The of The Three Wishes falls within the context of action on stage is filmed and projected, sometimes Nekvasil’s TV projects, bearing witness to the with a minor delay, on the wall mounted on the director’s sense for bizarre situations, in which rear part of the stage. After the intermission, the reality blends with dreams. Daniel Dvořák again audience is shown the freshly cut film from the first built a Surrealistic milieu: at the beginning of the half of the per form ance, furnished with typical Jazz Vocal Quartet fairy tale, a platform with a bed with dancing legs silent-film intertitles. sticking out from its railing arrives on the stage, Bohuslav Martinů’s The Three Wishes is a varie - next to which stands a lamp fixed onto a torso of gated musical and scenic collage. The Ostrava in the second cast, which I heard, struggled a human body. The hunter find the fairy in a forest production was created with an apparent admiring somewhat to give a stylistic rendition. of luminous bars suspended in the space, coming humility, virtually without cuts. Some of its staging At the turn of the millennium, Jiří Nekvasil filmed across as though dancing above the ground. In line solutions are nimble-witted, others less so, yet for two documentaries on Bohuslav Martinů (Out of with the libretto and the composer’s conception, me per sonally the production overall was Exile; Martinů and America), and, most notably, the characters of the filmed tale are approached a decidedly impressive event. ❚ several remarkable TV produc tions of his works with a moder ate hyperbole, which is admirably dating from the late 1920s and the early 1930s: adhered to by the performing artists (Jiří Hájek, Translated by Hilda Hearne

martinůrevue32015 | 7 tempo, oscillating between the period dance and classically symphonic idioms. Entirely extraordinary and fascinating are the suspen - reviews sions with four jazz singers, their dainty songs (“A ship was sailing…”) in a perfectly realised research quartet, commenting on the situation in torchy falsettos. And it is they who, following the Opera company in Ostrava. He negotiated the chorus numbers, posing as the finale, present / ROBERT SIMON complex score with aplomb, did not get lost the conceptual crux of the opera. in the jazz rhythms and ensembles, nor in the The Three Wishes is an example of musical OVER THE COURSE of his life, Bohuslav Martinů independent avant-garde motoric orchestral theatre of the interwar period, a work that became associated with many of the leading number, entitled “Departure”. The soloists were already clearly demonstrates the composer’s conductors, performers, and orchestras in both well-cast – the baritone Josef Škarka, portray - mastery. Nowadays, it is deemed the most Europe and the United States. One association ing the somewhat stiff, ageing Monsieur Juste; undeservedly overlooked of Bohuslav Martinů’s overlooked is that with the Venice Biennale, the brilliant soprano Lucie Kašpárková, in the full-length operas. The Ostrava production, which premiered two of his compositions and role of the coquette Indolenda; and the tenor actually only the third in the Czech lands featured many more. Jorge Garza, as the young Adolf, the third in (following the Brno premiere in the 1970s The Venice Biennale had its beginnings in the love triangle. The Fairy captured by Juste and the Prague production staged in the 1895 as a major art exhibition featuring works by Italians and foreign artists by invitation. In 1930, the first Festival Internazionale di Roman Vlkovič (Captain), Opera Choir Musica Contemporanea was held and joined the Biennale along with exhibitions of cinema and theatre. It quickly became one of the most prestigious cultural festivals in Europe and continues to this day. The Biennale has featured major world premieres by Stravinsky (The Rake’s Progress, 1951), Britten (The Turn of the Screw, 1954), Prokofiev (The Fiery Angel, 1955), and Nono (Intolleranza 1960, 1961). A recent visit to the Archivio Storico delle Arti Contemporanee della Biennale yielded numer - ous letters and reviews from the festival concerning Martinů’s participation in the festival. In July 1933, festival director Adriano Lualdi1 contacted Martinů and requested that a work of his be reserved for premiere at the third festival in 1934. Martinů replied that he had in the forest, who in return for being promised early 1990s) goes to show that the work can no free work available, but offered to compose to be set free fulfils the three wishes (fortune, be revived with great effect. The Ostrava pro - something specifically for the Festival and youth and love, which, however, bring nothing duc tion is sufficiently imaginative, agreeably Lualdi indicated that they preferred an orches - but trouble to the hunter), is sung in a standard conceived in the retro style, and is truly worth tral piece.2 The result of this short correspon - manner by Jana Hrochová. Far more vocally a viewing. ❚ dence was the Inventions, H 234, written in and dramatically expressive was Veronika January 1934. The Martinůs travelled to Venice www.casopisharmonie.cz, 16 October 2015 Holbová in the role of the black woman Dinah, for the premiere, which opened the festival on Translated by Hilda Hearne while a splendid performance was given by 8 September 1934 in the Teatro del Fenice with Eva Dřízgová-Jirušová, the darling of the Oreste Piccardi leading the Festival Orchestra. Ostrava audiences: both in her depiction of Reviews in the press were most favorable, with the charmingly naïve Eblouie and in the role of the famous critic Bruno Barilli praising Martinů the Beggar Woman, with her vocal and acting BOHUSLAV MARTINŮ: above all other composers of the evening.3 register ranging from a rowdy street tune, Three Wishes or Inconstancy of the Life, H 175 The success of Inventions, along with through an upset jealous shrew, to a moving 15 October 2015 – premiere Martinů’s continued international recognition, portrayal of an abandoned homeless woman. Antonín Dvořák Theatre, Ostrava, CZ led to a second world premiere on 6 September The opera’s music itself contains plenty of Jakub Klecker (Conductor), 1938: Tre ricercari, H 267, conducted by Nino remarkable moments, retaining the audience’s Jiří Nekvasil (Stage Director), Sanzogno. Unfortunately, the records from Daniel Dvořák (Set Designer), attention throughout, carrying and advancing Sylva Zimula Hanáková (Costume Designer), that year’s festival are not to be found in the the action. Most of the time, it flows at a fast Jurij Galatenko (Chorus Master) archives, but we do have many reviews of the

8 | martinůrevue32015 martinůat thevenice biennale by Henri Honegger, who pre - tember 1959, a month after the composer’s miered the work in 1943, and death. Reviewers praised Weber and Martinů conducted by Ettore Gracis. alike, and used the opportunity to acknowledge After its successful revival his broader contributions to music.12 as a staged production in New As elsewhere in the world, performances of York, the radio-opera Comedy Martinů’s music diminished greatly in Venice on the Bridge, H 247, was following his death. The only posthumous con - included in a concert of one-act cert at the Biennale was on 9 September 1965, operas on 17 September 1951, when the Czech Nonet performed his Nonet, but the reception here was H 374. Thus ended 30 years of Martinů’s regular not as favorable, with equal appearance on the programs of this important criticism of the libretto and institution of contemporary music. ❚ music. Gino Cucchetti claimed that it turned La Fenice into Special thanks to the Archivio Storico delle Arti Contemporanee, which maintains the archives a “circus sideshow”7 and of the Biennale, and especially to archivists Giuseppe Pilo, while praising the Marica Gallina and Elena Cazzaro who assisted performers, condemned the me while in Venice. opera as “weak”.8 In contrast, the German scholar Horst Rüdiger, working as a freelance jour nalist inItaly at the time, wrote that it was the “most interesting” opera of the evening and had – “rightly so”– 1 Adriano Lualdi (1885–1971) was a composer, con - the best reaction from the ductor, and writer, as well as a fascist member audience.9 of the Italian Parliament. He organized the first several festivals in Venice. In 1954, Martinů contacted 2 Correspondence Lualdi-Martinů, Fondo storico the Festival about the pos si - scatlore nere 86, Archivo Storico delle Arti bility of them premiering his Contemporanee della Biennale. recently completed opera 3 Bruno Barilli, “Giovani compositori italiana e stranieri al Festival musicale di Venezia”, 10 Mirandolina, H 346. Il Giornale d’Italia, September 11, 1934. Unfortunately, this did not 4 Michelangelo Abbado, “Il VI Festival Internazionale come to fruition and the work di Musica Contemporanea a Venezia”, Rassegna della istruzione artistica 9 (1938), 434. would wait until 1959 for its © bohuslav martinů center Bohuslav Martinů in Venice, 1934 5 Leo Donnini. “Commenti al sesto Festival di musica premiere in Prague. However, conteporanea”, Corriere, September 18, 1938. Martinů remained a fixture on 6 Georges Auric, “De Bayreuth à Venise”, Marianne, performance, all praising the new work. Violinist Biennale pro grams for the rest of his life. The September 21, 1938. 7 Gino Cucchetti, “Un’ opera sonnifero e due successi Michelangelo Abbado noted the “crystal clear” European premiere of the Suite concertante, schietti”, Brancaleone, September 30, 1951. polyphony and declared it “a work of the H 276 II was given there on 11 September 1956 8 Giuseppe M. Pilo, “Clementina-Orfeo-Commedia sul highest value”.4 Another Italian critic awarded by violinist Blaise Calame and conducted by ponte”, Il Popolo del Veneto, September 21, 1951. Martinů the “palm of victory” and wrote that Fabien Sevitzky. Then on 22 September 1958, 9 Horst Rüdiger, “Drei musikalische Einakter”, Frankfurter Allgemeine, September 25, 1951. 5 the piece was “as fresh as spring water.” a con tingent of Czech musicians performed 10 Letter from Martinů, 18 Sept 1954, Fondo storico Fellow composer Georges Auric, reviewing the a concert including Martinů’s Opening of the musica 22, Archivo Storico delle Arti festival as a whole, offered negative criticism Springs, H 354. Contemporanee della Biennale. 11 Correspondence Schlee-Labroca, Fondo storico of nearly every work except those of Hindemith, In the final year of Martinů’s life, his pub - musica 32, Archivo Storico delle Arti Poulenc, and Martinů; noting that he hoped to lisher at Universal Edition, Alfred Schlee Contemporanee della Biennale. hear these again in Paris.6 contacted Festival director Mario Labroca to 12 Emilio Padoan, “Novità di Martinu nelo concerto Immediately following the war, the festival arrange a performance of the Piano Concerto alla Fenice”, L’Italia (Milan), September 23, 1959 and Luigi Rossi, “Romanticismo e dodecafonia resumed in 1946 and included Martinů’s Sonata No.5, H 366, with the dedicatee Margrit Weber al terzo concerto sinfonico,” La Notte (Milan), da camera, H 283, performed on 17 September as soloist.11 The concert took place on 22 Sep - September 23, 1959.

martinůrevue32015 | 9 reviews thegreekpassion in essen

Premiere: 26 September 2015 / www.aalto-musiktheater.de journey, fall to the ground with exhaustion, while Bohuslav Martinů’s opera about refugees receives much the villagers, shocked by the degree of their own hatred and selfishness, stand in despair with their attention in Germany. We have selected some reviews for you. backs towards the wall, staring in silence. The Aalto-Theater has made use of its chance Bohuslav Martinů’s music is tonal and tuneful to bring itself up to date and has done so on a high in marked contrast to much of the music of his con - musical level thanks to the choir, the large ensem- An opera temporaries. It is colourful and timbrally diverse, ble of soloists and the Essener Philharmoniker, extremely powerful in the chorus parts, and moving conducted by Tomáš Netopil. ❚ in moments of meditation, as in the second half, SWR 2, 28 September 2015 as a refugee drama which sounds increasingly like a monumental requiem. Its intriguing plot notwithstanding, The IS IT POSSIBLE to develop images from contem - Greek Passion does not come across as a dramatic porary newspapers and other media sources in opera. The villagers who are assigned roles in the an opera production? Although we do not usually Passion Play increasingly identify themselves with Christ today expect an opera performance to flesh out our their characters. They cannot resist the growing current cruel reality, there is a piece that, albeit power of humanity within themselves and begin A VILLAGE SOMEWHERE in Greece, circa 1920, more than 60 years old, can be said to foreground feeling a sense of solidarity with the poor refugees. during the era of Turkish supremacy. The Turks the most pressing issue of the day. The opera in Their conflict with the conservative majority esca - have razed the Greek village to the ground, and

Jessica Muirhead (Kateřina) and Jeffrey Dowd (Manolios)

question is The Greek Passion by the Czech com - lates into a life-threatening situation. At the present so its inhabitants have no choice but to flee. They poser Bohuslav Martinů, dealing with a small time, when Germans are embroiled in a passionate take refuge in Lycovrisi, another village, but a far Greek village whose traditional, self-contained debate regarding the limits of effective assistance richer one, somewhere nearby. This is the basic universe is disturbed by the arrival of a group to the current refugees, the subject affords the plot of Bohuslav Martinů’s opera The Greek Passion of refugees. opera absolute currency. (1957–59), which was premiered in Zurich in 1961, They appear out of the blue – a long grey pro ces - The audience recognises and is made to reflect two years after the composer’s death. sion of exhausted figures. No one wants to have on numerous issues, in spite of, or precisely owing Greece? Turkey? Hundreds of refugees? Savage anything to do with the new arrivals. The villagers to, the fact that Jiří Heřman’s production of The violence? Is there any other opera whose subject have better things to do, as they are busy preparing Greek Passion is devoid of any flagrant updating. matter is more acutely topical? With regard to the for the annual Passion Play. No one is interested in In visual terms, the opera is set in the 1950s, with agony and misery that have been taking place right genuine suffering; no one is ready to undergo a trial the director relying on theatrical images – a high before our eyes for months, or rather for years? of Christian love and mercy. naked wall, a giant bell on the stage, plenty of Admittedly, in Nikos Kazantzakis’ novel Christ The Czech composer Bohuslav Martinů, who burning candles. Nothing resembling what we see Recrucified, which served Martinů as the basis of himself had to flee from the Nazis, knew very well on the evening TV news. The structure of the plot the libretto, the author does not depict a situation what it means to flee danger and escape death. is absolutely clear, built on how the groups of absolutely identical to the current one. The story, Accordingly, The Greek Passion, based on the novel protagonists behave towards one another, how however, does provide enough nodal points for the Christ Recrucified by Nikos Kazantzakis, best known well-coordinated parties fall into uncertainty, how production to be conceived as a dramatic work for his book Zorba the Greek, was a heartfelt matter undermined power results in aggression. There was critical and evaluative of what is happening at the for the composer. Martinů wrote his own libretto, a long silence before the tumultuous applause in present time. Nevertheless, Jiří Heřman does not drawing upon the novel’s English translation. the auditorium in the wake of the most striking have such ambitions; he is not interested in The Greek Passion is a lesser-known opera, and image, concluding the opera performance: the historical overlaps. He merely renders the work, upon seeing it one understands why. refugees, hounded out and setting off on another nothing more. He does not interpret.

10 | martinůrevue32015 Instead, the director places a profusion of char - of a prosperous Greek village, which one day is ap- acters on the stage: the dogmatic and merciless proached by the devastated refugees from a neigh - priest Grigoris, who does not even want to hear When the bells bouring settlement, fleeing from war. They seek about the refugees; the patriarchs who strive to a new home and beg for support and help. Amidst maintain the old order, such as upholding the the preparations for the traditional Easter Passion tradition of the Passion plays. However, owing to are silent Play, the refugees’ pleas are turned down by the the newly arrived escapees, the plays acquire village priest. Because he openly shows solidarity a new dimension. The priest assigns the villagers EVEN THOUGH the great Czech composer Bohuslav with the refugees, Manolios, the man entrusted indi vidual roles – Christ, Judas, Mary Magdalene. Martinů has to date been rather underestimated and with the role of Christ, is ultimately killed by Panait, The “actors”, however, increasingly identify them- overlooked in Germany, it would seem that the time who portrays Judas. To the priest’s satis faction, the selves with the characters they are supposed to has come for his rehabilitation. Of late, his music has exhausted refugees move on, away from his village. portray and duly become embroiled in a conflict been performed on several stages across Germany. The final scene is immensely impressive – a giant with the traditionalists, who have long since lost Besides numerous orchestral pieces, symphonies bell on the stage goes silent and the choir’s song their Christian virtues. In the end, the man repre- and ballets, Martinů’s œuvre includes 16 operas. withers away into a pianissimo. After the curtain had senting Christ really is killed, of course, by the one His musical style, particularly in opera, is charac - fallen, the stunned audience remained motion less enacting Judas. And the refugees are abandoned terised by extended tonality, which, in addition to for several seconds before bursting into applause. to their fate. post-Wagnerian influences, embodies Czech folk Jiří Heřman’s masterful production, with some Jiří Heřman’s production bears folklorist traits, elements. Martinů’s music is difficult to define yet 130 performers on stage, pushes even an opera including the costumes. Now and then, it is akin to easy to receive. The Greek Passion features traits of house as large as that in Essen to the very limits. kitsch: when the wedding table is reminiscent of sacred music and we can say that it is, in the best Those sitting in the last rows of the auditorium the image of the Last Supper; the giant bell on the sense of the word, a truly choral opera. Martinů could savour the gigantic, almost film-like sets stage; the plethora of burning candles. Yet Mar- was widely criticised for relying on traditional and the sonic grandeur of the choruses. The set tinů’s music encompasses far more drama, poetry, tonality in the work, especially by the followers designer, Dragan Stojcevski, employed all three aggression, passion and sensuality than is conveyed of the Darmstadt School, who deemed this “old- revolving stages, which slowly shifted, and also by the production. fashioned” compositional tenet unacceptable in included real running water in the production – Absolutely phenomenal, though, is what the an opera written in 1957. an extremely challenging technical feat. audience hears! The Essener Philharmoniker, con - Martinů revised the first version of The Greek Jiří Heřman’s staging has a cinematic quality to ducted by Tomáš Netopil, produces a variegated Passion, dating from 1957, in favour of more elegant, it, and his work with the choir, the children’s choir photos: matthias jung0 matthias photos:

sonic universe, with undertones of Gregorian chant smoother forms. The new version of this master - and extras demands admiration. He has managed and Greek folk music, filling in the colour that may piece was premiered in 1961 in Zurich, while the to interpret a grand opera in a credible and exem- occasionally be lacking on the stage. first version, originally composed for Covent Garden plary manner. The stage is alive: the props give one Equally splendid are the soloists, who in this in London, was only staged at the Bregenzer Fest - the creeps and come across as dreadfully realistic. opera are rather numerous. Jeffrey Dowd as spiele in 1999. It is indeed a mystery to me why the The lighting (Manfred Kirst) is implemented with Manolios (Christ), with an exceptionally intense polished second version of the opera was favoured the utmost professionalism and the costumes final monologue; Jessica Muirhead portraying for inclusion in the programme in Essen. (Alexandra Grusková) powerful indeed. The opera Katerina (Mary Magdalene); Almas Svilpa as the Confirming his reputation as a great opera chorus (led by Patrick Jaskolka) and the children’s ruthless priest Grigoris; and the even more charis - director, Jiří Heřman fortunately did not resort to choir (guided by Alexander Eberle) sound together matic Baurzhan Anderzhanov as Fotis, the refugees’ merely illustrating the reality of the current refugee in accord, intoning perfectly and in a cultivated priest. The entire cast of singers is deserving of crisis and foregrounding it in his production pre - manner. The conductor, Tomáš Netopil, and the praise, making the performance at the Aalto- sented in Essen. He focuses rather on Martinů’s Essener Philharmoniker presented themselves in Theater well worth visiting. With a little more specific musical universe, he has brilliantly suc - fine form, and it is a pity that the performance was creative invention on the part of the stage director, ceeded in bringing this to life. It would even seem not recorded. Every one of the numerous soloists this Martinů piece could become the hit of the that this magnificent opera was written specifically deserves praise, even though it is impossible to current season! ❚ for the Aalto-Opernhaus. Everything fitted together name them all here. All in all, it was a truly splendid in last night’s performance: the staging, the sets, evening, a profound operatic experience. ❚ Christoph Schulte im Walde the costumes, the orchestra and the monumental Theaterpur.net, October 2015 Peter Bilsing choruses. And what a performance it was! Der Opernfreund, 27 September 2015 The story, based on Nikos Kazantzakis’s famous http://theaterpur.net/theater/musiktheater/ novel Christ Recrucified, is both powerful and time - Translated by Hilda Hearne 2015/09/essen-the-greek-passion.html less. The plot centres around the inhabitants

martinůrevue32015 | 11 interview an interview with... jakub Joyous news for Czech music, particularly for Jakub Hrůša, President of the Inter - national Martinů Circle, was announced at the beginning of September at the press conference of the Bamberger Symphoniker – Bayerische Staatsphilharmonie. The Chief Executive of the orchestra, Marcus Rudolf Axt, and the Bavarian Minister of Culture, Ludwig Spaenle, revealed that as of the 2016/17 season the young Czech conductor will become its chief conductor and music director. “During the five concerts that Jakub Hrůša has conducted our orchestra, he has proved to possess the extraordinary gift of transforming the collaborative creation of music into an astonishing experience. Since the very beginning, we have felt an almost magical bond between us,” Marcus Axt said.

Jakub Hrůša was interviewed by Jana Vašatová on the programme Telefonotéka, broadcast Will you miss the Prague Philharmonia? on 15 September 2015 on the Czech Radio Vltava You have spent many years with them. station. Yes, I certainly will miss them.

The Bamberger Symphoniker are a splendid Will you be coming back? Will you have and globally acclaimed orchestra with time to do so? a great tradition. You must be delighted! I will be busy, but I will try to come back Yes, I am delighted indeed. regularly.

When did you first appear in Bamberg with I know that you have not avoided opera, the local orchestra? For how long have you that you have divided your activity equally Czech orchestra in Germany. And in this regard, known each other? between the symphonic repertoire and when we performed My Country together, as well I first conducted them about a year ago – opera, but opera productions require far as some of Dvořák’s music, I really felt that they last Novem ber or December, we performed more time for preparation. For the time had a close affinity to it, that they were at home Smetana’s My Country together. So we jumped being, Bamberg only performs operas in Czech music. Even though they, naturally, do headlong into the most turbulent current of in concert versions. not sound like, let us say, the Czech Philharmonic. Czech music. And I think that we demonstrated That is, in my opinion, one of the great strengths But I wouldn’t say that the sound is alien to the that we understand each other very well even of the Bamberger Symphoniker. In this respect, music. in the most Czech of music. Later on, when we my predecessor, Jonathan Nott, established the saw that we also understand each other in tradition of concert perform ances of operas as The Bayerische Staatsphilharmonie were non-Czech music, it was just a matter of time being an integral part of the seasons. They even formed about 70 years ago from members of before both parties arrived at the opinion that make tours with the concert performances of the German Philharmonic Orchestra of Prague, we would form a wonderful team. operas, so I would be a fool not to pursue and who were expelled from Czechoslovakia in the not to develop this tradition. wake of World War II. None of those musicians And did you guess that such a situation are now in the orchestra, yet the manner of could occur? What are the Bamberger Symphoniker like playing and the sonic and timbre imagination To tell the truth, I did sense that I could end up when it comes to the colour of their sound? has evidently been handed down. working in Bamberg. But I was not sure about It is difficult to describe in words. What is Yes, absolutely, it definitely has been handed it, as the negotiations only took place during certain, though, is that the orchestra have their down. Just as it has in the Czech Republic. Of the summer, and it was still rather in the sphere specific, recognisable, culture of sound, which, course, none of those who experienced the era of wishful thinking. Over the past few years, either owing to its originally springing from of Václav Talich are alive today, and those who there have been quite a lot of orchestras dis - Prague or their retaining in some way this worked intensively under Václav Neumann are cussed as potential places for me to be based. special type of creation of the tone and now in a minority in the Czech Philharmonic. Yet now, in hindsight, I can say that none of orchestral culture, is the reason why the Nevertheless, we do speak of a certain continuity them resonated with me as much as Bamberg Bamberger Symphoniker are branded in and a tradition of handing down the manner of did. I actually thought of the Bamberger Sym - Germany as an orchestra possessing a Czech playing. I have always tended to be somewhat phoniker as the post of my dreams. sound. So they are referred to as the best restrained in assessing such matters, as it can

12 | martinůrevue32015 to savour the present. And the Bamberger Sym - phoniker are precisely what I had hoped for, as You have recorded Josef Suk’s Asrael the orchestra is brilliant, capable of virtuos ity, with the Tokyo Metropolitan Symphony possessing an amazing culture of sound, while Orchestra. Have you made a recording hrůša being totally different to the Prague Phil har mo - with the Bamberger Symphoniker? nia. But even so, they do have similar roots – No, but we have already been working on it. very easily serve as an excuse for generalisa - I am really excited about it. Look out! (laughs) I wanted to bring the disc tion, leading to insufficient current care of this with Suk’s Asrael as proof of my missionary or that orchestra. Yet when you travel across Is it possible to learn how to conduct? activity in Tokyo, where, to my great satis fac - Germany and listen to the individual orchestras, Yes, it is. There are certain rudiments or aspects tion and to the joy of the Japanese audiences, listen to the sound of the Berliner Philhar - of the profession that not only can be learned I have succeeded in intensively presenting the moniker, the Gewandhaus in Leipzig, the Staats - but, in my opinion, simply have to be learned. music of two composers that have yet to kapelle Dresden or the Bamberger Symphoniker You know, all of us have to learn our mother assume a firm position there. At the end of my – and I am deliberately naming orchestras with tongue or the language in which we express guest tenure, we will perform the complete set a very bold tradition, considered exemplary in ourselves, but no one can teach us how to of Bohuslav Martinů’s symphonies, and almost a way – you can hear that each of them has enchant by speaking the language, it is up to all the major works of Josef Suk. I am very a different sound, immediately recognisable by ourselves to try. happy to be able to present works in Japan connoisseurs. that have not yet become part of the general Which do you deem to be of greater consciousness. What, then, is the role of the chief conductor significance – superlative individuals in today in supporting this tradition? Jonathan an orchestra or less superlative members And what are your plans when it comes Nott was in Bamberg for some 16 years. but a superb orchestra as a whole? to the repertoire in Bamberg? Yes, he served there for a long time, and I would They’re not mutually exclusive; no orchestra It has yet to be crystallised, but I can say at say that all the chief conductors have stayed in stands or falls merely on superlative players. this juncture that I will pursue the line of the Bamberg for a long time. If you have a few brilliant musicians and the traditional Central European repertoire in the rest are run-of-the-mill, the result is not good. manner they represent it. It will definitely You will be only the fifth… Unfortunately (or fortunately), this also holds encompass Mahler’s music, which in a way is And it is splendid, as it bears witness to the true the other way around. You can have a dis - their hallmark. Furthermore, the repertoire institution’s stability. You can believe me when ciplined orchestra, with each member being should include Czech music, with the emphasis I say that after some time of permanent con - an immensely efficient part of the collective, being placed on Martinů, Janáček and Suk. tact between the orchestra and the con ductor but if it doesn’t include at least a few dazzling Then, contemporary music and a few operas there appears the imprint of a certain aesthetic individuals, who give you goose bumps when in concert versions. It will be a varied mix, approach to the sound, while the conductor, they undertake the solos, the orchestra will which I have always considered alluring, as naturally, embraces at least all the positives of never be truly top-notch. In the final analysis, I have never liked the repertoire to be limited the orchestra he has continued to work with. the distinctiveness of individual persons counts to a single line. That would actually be depriving In a way, though, this can also turn into a trap, as much as the collective force does. Accord - the audience. ❚ with the result that the conductor expects ingly, the world’s best orchestras have both. identical qualities from other orchestras he I think that the Bamberger Symphoniker has Jakub Hrůša first conducted the Bamberger Sym - happens to perform with. I have experienced it plenty of musicians really capable of enthralling phoniker – Bayerische Staatsphilhar monie in the myself many a time during my trips around the the audience, a few top-class instrumentalists, current season between 12 and 14 Novem ber world, expecting a culture of regard for detail, laureates and winners of international com pe ti - 2015, with the concert featuring pieces by Josef interplay and exquisite treatment of phrases, tions, with the majority of them not considering Suk, Hector Berlioz and Dmitry Shostakovich. similar to that of the Prague Philharmonia, and the orchestra a sort of stepping stone but really On 8 January 2016 he will conduct the Orchestre Philharmonique de Radio France in Paris, in a pro - many a time I haven’t found such qualities. being at home there, feeling good among the gram featuring the Double Concerto for Two String Then it is somewhat traumatic – although you collective. And this bears witness to the institu - Orchestras, Piano and Timpani, and La Bagarre. don’t want every orchestra to play the way tion’s health. On 15 Jan uary 2016, hewill conduct the same your own orchestra does, and you are, on the orchestra in a concert featuring the Fantaisies contrary, curious about the novelties these What is it like to perform at the symphoniques (Symphony No.6) and the Concerto orchestras will bring you, you are extremely Joseph-Keilberth-Saal in Bamberg? for Cello and Orchestra No.1, with the soloist accustomed to the qualities you know from The hall is amazing, even though not ranking Johannes Moser. home. That is why I very much hoped, for my among the very finest in the world, such as own sake, to have the good fortune to work the Suntory Hall or the Berliner Philharmonie. Translated by Hilda Hearne with an orchestra different, yet not inferior, It has some minor deficiencies, but overall it www.rozhlas.cz/vltava/porady/_porad/838 to the Prague Philharmonia. I would deem it is excellent. The Bamberger Symphoniker are prehravac.rozhlas.cz/audio/3471870/ psychologically difficult to suddenly find myself resident there, rehearse in the hall, similar to with an orchestra that would compel me to the Czech Philharmonic in the Rudolfinum, so it recall again and again the past and not be able is an integral part of the orchestra’s identity.

martinůrevue32015 | 13 portrait the centenaryof vítězslava

/ KARLA HARTL

KAPRÁLOVÁ MET MARTINŮ in Prague; they became acquainted on April 8, 1937, during Martinů’s brief visit to the capital, where he arrived to negotiate with Václav Talich the details of the premiere of his new opera Julietta at the National Theater. In Paris, Martinů became first Kaprálová’s mentor, later also her friend, and, at the end, her soulmate. From the very beginning, he was generous with his contacts and time; and, besides hours of free consultations, he also opened quite a few doors for Kaprálová. Soon after she arrived in Paris, Martinů introduced her to a circle of composers who were members of Triton, a Parisian society for contemporary music, whose concerts (there were seven to twelve of them per year, concentrated in the period of January–May) Kaprálová diligently attended. He entrusted her with the task of conducting his Concerto for Harpsichord and Small Orchestra, H 246 on June 2, 1938 in Paris, just two weeks before her well-received ISCM Festival appearance. He also facilitated the publication of her Variations sur le carillon de l’église St-Étienne du Mont, op. 16, which he much admired, by La Sirène éditions musicales (whose catalog was bought after the war by Eschig, who still list Kaprálová’s original edition in their piano catalog). In the fall of 1938, Martinů spent much time and effort to secure another stipend for From the left: Zdena Duchoslavová, Vítězslava Kaprálová, Bohuslav Martinů, Jaroslav Křička, 23.7.1938 Kaprálová so that she could return to France. The rapidly worsening political situation and fere in her Concertino for Violin, Clarinet, and elements of Kaprálová’s new environment that separation from Kaprálová were the roots of Orchestra, op. 21 (1939), the last movement and further stimulated and accelerated her creative the anxiety he projected into his Double Con - orchestration of which Kaprálová later set aside development: during the two years she lived in certo, H 271 for two string orchestras, piano and and did not finish. (At the beginning of this Paris, Kaprálová produced almost as much music timpani. Martinů finished this score on the very millennium, Brno composers Miloš Štědroň and as during the five years in Brno and two years in day of the Munich Agreement. During the same Leoš Faltus were entrusted with the task of Prague. The pinnacles of her first “Parisian period” time, Kaprálová continued to work, back home, finishing the concertino’s orchestration so that (October 1937 to May 1938) include Variations on her Partita for strings and piano, op. 20, in it could be recorded for a television documen - sur le carillon, op. 16 and her (unfinished) reed trio. which Martinů, as he put it himself, “interfered tary about Kaprálová. The concertino had its Another work that Kaprálová composed in Paris more than he would have liked but both [he and world premiere on January 10, 2002 in Hradec during this period, the large orchestral cantata Kaprálová] looked at it as a learning exercise Králové and its Prague premiere on Novem - Ilena, op. 15, is important in the context of [for Kaprálová].”1 However, he did not interfere ber 26, 2014 – on this occasion, it was per - her own œuvre. Its musical ideas occupied in her Suita rustica, op. 19, commissioned by formed by Czech Philharmonic at Prague’s Kaprálová’s mind as early as 1932. When she Universal Edition London, which Kaprálová com - Rudolfinum.) finally began working with them, however, she posed in just three weeks during late October The Triton concerts and the thought-provok - found the music rooted in the post-romantic and early November 1938. Neither did he inter - ing discussions with Martinů were some of the idiom from which she had already moved;

14 | martinůrevue32015 Despite the amount of research amassed over the decades, there are still many questions / in the Kaprálová historiography that remain kaprálová part2 unanswered. While there is not a single text on the composer that would fail to mention her relationship with married Martinů (some consequently, she felt ambivalent about the States (in the company of Martinů). Nothing authors do not even shy away from analyzing com position and finished it only because Mar - came of the plan, however; and at the end of and evaluating it!), in fact we know very little tinů valued it. Unfortunately, she did not com - summer 1939, Kaprálová entirely depended on about it. One thing is certain, however; that it plete its orchestration. (It was finished only in assistance of several of her friends and a few meant a great deal to both of them, and when, 2007 by Martin Kostaš, as part of his graduate benefactors (the most generous among them in the end, Kaprálová gave it up, she did it out studies requirements at the Janáček Academy was Jewish-Czech entrepreneur Pavel Deutsch of consideration for her parents, with whom of Performing Arts, so that Ilena could receive to whom she was introduced by Martinů; she she had lifelong loving relationship. Kaprálová’s its world premiere on May 31, 2007 in Brno.) also received two financial contributions from relationship with Mucha also raises more ques - During her second Parisian period (January Czech ex-President Edvard Beneš to whom she tions than answers. Would she have married 1939 to May 1940), Kaprálová was even more once dedicated her Military Sinfonietta). him under different circumstances than in her productive. Soon after her return to Paris in Lacking regular income, Kaprálová joined the difficult situation in 1940? Even the cause of January 1939, she composed two works honor - household of her artist friends who found them - Kaprálová’s death is a mystery, despite the ing the memory of Czech writer Karel Čapek, selves in a similar position and decided to pool official diagnosis of miliary tuberculosis. It does whose passing during Christmas 1938 was their resources to get through hard times (one not fit all that well with the symptoms and the mourned by the nation: the Elegy for violin of these friends was her future husband Jiří nature of her sudden and acute illness, and is and piano, and the melodrama Karlu Čapkovi Mucha). She also joined the efforts of the Czech also undermined by the documents found in (To Karel Čapek). On March 15, 1939, German community in Paris that organized activities several private and public archives.3 The ques - armies marched into the streets of Prague. for and around the newly formed Czechoslovak tions that are more important, however, are In addition to the occupation of her homeland, Army. Soon she became heavily involved: from those concerning the composer’s œuvre. One Kaprálová had to deal with a personal crisis founding a choir and writing reviews for remains a complete enigma: Kaprálová’s opus in her relationship with Martinů; in anguish, La Cause Tchécoslovaque to com posing music 24. The composer’s correspondence might (or she turned to the only solace afforded to her – for the radio (Radio Paris PTT), stage (together might not) offer some clues: in January 1939, music. The result was the Concertino for Violin, with Martinů she composed stage music for Kaprálová wrote to her friend Rudolf Kopec that Clarinet, and Orchestra, op. 21. It reflects much a theater group) and even screen. (The latter her mind had been pre-occupied for some time of the composer’s mental state at the worst concerned most possibly a commision facili - with musical ideas for a new work she would period of her life; she even scribbled on the tated by Kaprálová’s friend, film actor Hugo like to entitle České oratorium (Czech oratorio); score “Job 30:26”– a telling reference to the Haas, who at the time worked on two films in in May 1939, she wrote to her parents about Book of Job (Yet when I hoped for good, evil France: Mer en flames by director Léo Joannon, her intention to compose Sonatina for violin came; when I looked for light, then came dark - in which Haas played a leading role; the film and piano; in another letter to her parents, from ness). The Concertino, with its bold ideas and was released in 1945 under the title Documents March 1940, she announced that she was about modern musical language, was to be Kaprálová’s Secrets; and the film Ils se sont rencontrés dans to compose “a smaller thing for orchestra” she last major work; only two high points were to l’eau, whose script Haas co-authored).2 In the would like to entitle Krajiny (Landscapes). Did photo: oldřich duchoslav, © the kaprálová society © the kaprálová oldřich duchoslav, photo: follow: the song cycle Sung into the Distance, last months of her life, Kaprálová also resumed she reserve the opus 24 for one of these com - op. 22, and the Deux ritournelles pour violoncelle her studies at the École Normale (whether she positions? Had she ever begun composing any et piano, op. 25, her last composition. was taking class with Boulanger remains incon - of them? We might also never discover another The German occupation of Czechoslovakia clusive), adding to her already busy schedule. of Kaprálová’s works, the second of her Deux changed Kaprálová’s life literally overnight. In April 1940, less than two months before her ritournelles, although we know that she at least As a return home was not an option, Kaprálová death, she married Jiří Mucha. In early May, finished the sketch. Another piece of lost music was now facing the arduous task of earning her Kaprálová exhibited the first symptoms of her is Kaprálová’s Two Dances for Piano, op. 23, of own living; she no longer received financial aid terminal illness. Since Paris was threatened by which only an unfinished sketch of one dance from home, (as financial transactions were German invasion, she was evacuated by Mucha survived. Perhaps these autographs will resur - subjected to new, strict rules), nor her stipend. to Montpellier, near his military base in Agde, face one day, as did the orchestral score of During the final year of her life, Kaprálová spent on May 20. By then Kaprálová was already Prélude de Noël. But whether they will be found much of her precious time on small commis - seriously ill; and, following several weeks of or not, we have been fortunate to have the rest sions in an effort to support herself (one of suffering, she succumbed to her illness on of Kaprálová’s œuvre: the vital body of works them was the lively Prélude de Noël, an orches - June 16, 1940. which never fails to surprise and move us. ❚ tral miniature that Kaprálová composed for a Christmas program of the Radio Paris PTT). Throughout the spring of 1939, Kaprálová was 1 Přemysl Pražák, ed., Vítězslava Kaprálová, studie a vzpomínky (Praha: HMUB, 1949), 127. 2 Karla Hartl, “Vítězslava Kaprálová: An Annotated Life Chronology.” In The Kaprálová Companion, trying to obtain a scholarship at the Juilliard ed. Karla Hartl and Erik Entwistle (Lanham, MD: Lexington Books, 2011), 151n85. School so that she could relocate to the United 3 Ibid., 153 n.95.

martinůrevue32015 | 15 memoires averywarm humanbeing:

After escaping to the US in 1941, Bohuslav Martinů came to live in a small apartment of the Bogorad family in Jamaica Estates, Queens, NY. He dedi - cated a piano composition entitled “Merry Christmas 1941 to Hope Castagnola” to the daughter of the owners. This charming little piece has already been recorded five times. We have chosen some memories of Hope Castagnola Bogorad (7.9.1921–7.1.2015) conveyed during an interview with the director of the Martinů Institute, Aleš Březina, in 2000.

MEETING MARTINŮ and it was a cold day, and I remember strolling across the campus with Mr. and Mrs. Martinů In 1941, Frank Rybka was the organist at our and a college friend of mine. Then there was the church. During the depression, my mother made following month, which was his birthday. After an apartment in the back of our house because that performance, Mr. Martinů confided that he Hope Castagnola Bogorad, Benjamin Ullery my father had lost his job. She needed a new felt that Mr. Koussevitzky had taken one of the and Julia Bogorad-Kogan tenant and somehow Mr. Rybka heard that the movements, probably the middle movement, apartment was available and he brought Madame too slowly. and Monsieur Martinů to see it. And the Martinůs took the apartment. It was entirely furnished. It comprised two rooms: one was the kitchen, the other was the sitting room, bedroom, and bathroom. That’s how they came to live there and they became part of the family. Mr. Martinů called his wife (whose name was Charlotte) Charlie, and she called him Bo. My mother called him Bo, my father called him Bohuslav, and I called him Mr. Martinů. At this time, I was in college and I was going to college in Connecticut, so unfortu - nately I was not there as often as I would have liked to be.

PREMIERE OF THE CONCERTO GROSSO

In November of that year, 1941, Koussevitzky was Chamber Orchestra to make a recording of the giving the premiere of the Concerto Grosso with COMPOSITION FOR HOPE CASTAGNOLA chamber works of Martinů, he had a little space the Boston Symphony Orchestra. Mr. and Mrs. left on the recording and he was asking if anyone Martinů and my mother took the train up and I was thoroughly delighted that for Christmas did know anything else they can put on this I joined them from New London, which is on the 1941 Mr. Martinů gave me as a present: a piano recording. My son in-law piped up, that we have way from New York to Boston. We went to the composition called “Merry Christmas 1941 to a woodwind transcription of a piano piece which performance, this premiere. I remember sitting Hope Castagnola.” When it’s performed now, they he had written for his mother-in-law. Mr. Hogwood next to Mr. and Mrs. Martinů and he was holding leave off my name I’m very sorry to say. I gave listened to it and liked it very much so it is her hand and he was quite tense. Afterwards we the original manuscript, which is tied with strings, included in this CD La Revue de Cuisine by Bohu - went to the green room and we met Mr. Kousse - to the Library of Congress. I also gave them slav Martinů. I think it’s very interesting that, vitzky, who was a very little man. Everybody a birthday card, which Mr. Martinů had given in the notes, Mr. Hogwood calls it a “bonne around him was speaking French and I was quite to my mother on January 1942. It has a few bars bouche”, “sweet mouthful.” intimidated. On the way home back to New York, of music in that birthday card. they stopped and got off the train at New London, My daughter was a flutist in the Saint Paul LIVING WITH MARTINŮS and they came to see my college. It was then Chamber Orchestra. Her husband was a bassoon - called Connecticut College for Woman. It is now ist and they performed every summer. When There are some incidents at home that I recall. For co-ed institution. It was a beautiful campus Christopher Hogwood came to the Saint Paul example one night my father was having dinner.

16 | martinůrevue32015 hope castagnola bogorad remembering bohuslav martinů

Being Italian, he always had wine with his dinner. Mr. Martinů came into the room where my father was eating and my father offered him a glass of wine. Mr. Martinů thought very seriously for a moment and said, “I think I will. I feel the need of a strong emotion.” We think he meant, “I feel the need for a stimulant” but his English didn’t give him the word. So we always remember that. Martinů was a very serious man. He read a lot. I came home from college once with this book, “The Nature and Destiny of Man” by Reinhold Niebuhr. He’s a theologian. He must have seen the book among my things because the next time I was in his apartment, he had a copy of the book. Of course then it had a colorful wrapper that is no longer on my copy. It was published in 1941 so it was a brand new book at the time. I don’t know whether Martinů did all his composing at the piano. He certainly worked at the piano for part of the day. be why he preferred living in Jamaica, rather that There are very few occasions he performed. An interview that appeared in the Long Island New York. There certainly was more vegetation. The reason he was performing that was at that Daily Press at the time gives his daily schedule. It was more of a suburban area than an urban time, my father had one of the first home record - Apparently he did not do all of his composing area, although technically it was within the limits ing systems. They were acetate discs. A machine at the piano. He took frequent walks, which may of New York City. that took out a long scroll of acetate. He was working with an artist’s brush, pushing this strip that was erased from the record. He was always experimenting. On one occasion when Mr. Rybka was there, they performed the cello sonata. Also, Mr. Rybka sang a Czech folk song with Mr. Martinů accompanying on the piano. My father was able to catch that on this very primitive recording disk. I remember him talking on the phone. Not being able to understand a word. I remember him working at the piano and being with friends like Mr. and Mrs. Rybka. I remember Firkušný coming to visit. They had a separate entrance to the back of their apartment. I remember seeing Firkušný, who was a very young man, come along the side of the house to go into their entrance. A very warm human being. That’s the way I think of him. Who happened to be a famous composer. ❚

Edited by Lucie Harasim Berná Aleš Březina, Veronika Pospíšilová, Hope Castagnola Bogorad with her husband Seymour, Sandra Bergmannová (abridged) and Jana Honzíková, Bohuslav Martinů Festival 2000

martinůrevue32015 | 17 martinů’stexts bohuslavmartinů: impres Martinů wrote the piece printed below for the bulletin Zítřek (Tomorrow), upon request of its editor, Otakar Odložilík. Its third issue, titled “Tomorrow in America”, included a set of articles encompassing the personal observations and knowledge of Czech writers and other Czech artists who lived in the USA in the 1940s. In addition to Martinů’s contribution, the issue contained texts penned by Egon Hostovský, Adolf Hoffmeister and other figures.

WHEN A EUROPEAN comes to America, he usually also arrives at the conclusion that everything in Europe is better. All of us have identified ourselves with the great cultural tradition of Europe; even those who back at home were not overly interested in its cultural mission are here suddenly so full of pride it is as though they had done nothing but worked at the highest cultural level. All this is very human, and the same probably applies to the Americans’ relation to us. On the other hand, Bohuslav Martinů in his apartment in New York, 1942 the Americans view Europe as the “Old World”, rather contemptuously, while not being able to very fragmentary impressions which may aid in example in this respect is the designation of shake off the admiration for that which Europe understanding the life here. I myself have only streets. In our part of the world, the names of has created. Yet I suspect that the [American] been here for a short period of time, within streets are a constant mental link to the past; is not entirely certain as to whether everything a small area between New York and Boston. streets, squares, they are history. Nothing of here suits him or not, whether it is a benefit or I do not in any way pretend to have discovered this kind exists in New York; there are only encumbrance. And although his energy is rather America, which I simply couldn’t have got to numbers, blocks, and, so as to make orientation focused on the practical issues of life, and, know in its entirety. Yet of that which I have easier, the streets are mechanically numbered. unlike us Europeans, he is not particularly seen so far, I would like to mention two aspects I have seen many streets in my life: in France, concerned with either the past or the future, which I consider different to our European where the throng forms a sort of family; he still possesses his sentimental tradition. conception. in London, where people and strange buses It is the tradition of the first conquerors, with The first thing is that everything is organised emerge and vanish in the fog; in Italy, where their hard struggle for both land and life, which so as to form a sort of average, which we in at every turn groups of people debate under is adhered to by all those who have a high Europe may term a mechanical solution. In our the southern sun. Here in New York, though, standard of living here, living in a comfort and climes, this term suffers from a bad reputation, the people do not cohere with the streets, luxury incomparable to Europe. When I first as something too impersonal, deficient, but here they seem to be lost, absorbed by the endless visited an American lawyer to sign a contract it acquires a different meaning, streamlining street, which terminates an enormous distance with the publisher, he proudly told me: “I will the whole of life into a certain order, which we away. fight for you.” Yet there wasn’t actually any - would deem as lacking in freedom and imagina - The other aspect that has struck me is thing to fight for, he only had to read the con - tion, but which is regarded by the American as a certain vital optimism, an almost boundless tract. This is, however, not the only case from entirely proper and justified, and perhaps even confidence, which reflects in every action. which I deduce their being influenced by the is justified in the incredible and astounding Nothing is impossible, everything can be done, tradition of conquerors. There are other influ - complex of a country like America. This may also everything can be attained. At the same time, ences, religious ones, reflecting the old time of result from the fact that the Americans don’t of course, the numerous problems about which the “Pilgrims” and the Irish-Scottish Puritans. have a great sense of the past and the future, reams of paper would be written in Europe I do not intend to give a critical account of and that is why they expend all their energy simply do not exist for the American. All this America, I would merely like to present a few, on the present moment. Serving as a small is conducive to incessant and rapid develop -

18 | martinůrevue32015 sions of america enormous work has been done here, work that something absolutely natural. In this regard, has often been overlooked. We have always the role of America appears in an entirely rather attended to the soul, whereas here unique light, and we must bear in mind that spiritual and intellectual matters also include this technical revolution, whose results will interest in human existence, in what people soon be seen after the war, is able to put need, what surrounds them and what should mankind into a totally different situation, social make life easier. In actual fact, it is a social and spiritual alike. The question of disease, issue. I recall, and it was not so long ago, us health, good housing, the question of over - living in the so-called century of machinery, coming the distance of space, the question of electricity, speed, etc.; we used to call it production, and plenty of other questions will “Americanism” and somehow placed it beyond be resolved in America. Not by Schopenhauer, the spiritual sphere. We had a word for it, not by Spengler! y American advertisement from the 1940s

> Bohuslav Martinů with Rudolf Firkušný (on the left), New York, 1943

ment and fast adaptation. We all know what America has achieved with the military produc - tion within such a short time, yet we will only get to know the full scope of this energy, production and military supplies around the world after the war has ended. And it is not an extraordinary energy, it is simply the energy of America, which in this case was highly centralised and which in other cases too applies the same energy, for either good or bad. When looking at the state of the music production over the past twenty years, their first-class orchestras, concert halls, organisation of radio, music schools, training, we must admit that it has undergone an astonishing development. Yet we still maintain a sceptical view, because we are used to leaning on work created over the centuries, supported by experience, dreams, lives and hardship. The errors that are also a word I have mentioned previously, “mecha - I can see that I have told you very little and contained in this long evolution have become nism”. And we accepted all the discoveries as very inaccurately. I have not provided you with our customs, and we no longer perceive them the manifestation of the 20th century. We statistics, just a few of my impressions, which, or no longer consider them errors. Here, where promptly threw away the kerosene lamp, flicked however, may serve as the basis for arriving everything seems to be fresh, the errors are a switch and had light. A matter of course, isn’t at conclusions different to those I have. ❚ evident to us. But here it does not play such it? We spent much more time tackling various a great role, as they select from everything that metaphysical problems – which somewhat Zítřek, Sborník čs. spisovatelů za hranicemi (Tomorrow, Bulletin of Czechoslovak Writers which they deem the best. All that strikes us elevated us – which we have ultimately failed Abroad), Vol. 3, New York, 1944 as strange and alien. But it is also quite possible to tackle anyway. On the other hand, we were that we take everything more seriously than not actually very well aware of the true spiritual Edited by Lucie Harasim Berná the Americans themselves do. revolution these discoveries have brought. Translated by Hilda Hearne (abridged) America also works for the human and for Like a person who is astonished when seeing the future, yet it pays greater attention to a magician pulling all kinds of objects and finally technical matters, science and its role in the a rabbit out of the hat, but accepting such progress of civilisation, and in this respect, discoveries as radio and television, etc. as

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