Bohuslav Martinů

May – August 2002

Always Slightly off Center An Interview with Christopher Hogwood When the Fairies Learned to Walk Feuilleton on The Three Wishes in Augsburg Second The Wonderful Flights issue It Was a Dream for Me to Have a Piece by Martinů Jiří Tancibudek and Concerto for Oboe and Small Orchestra

25 Years of the Martinů Quartet Bats in the Belfry The Film Victims and Murderers Martinů News and Events

The International Bohuslav Martinů Society The Bohuslav Martinů Institute CONTENTS

WELCOME Karel Van Eycken ...... 3

BOHUSLAV MARTINŮ SOCIETIES AROUND THE WORLD ...... 3

ALWAYS SLIGHTLY OFF CENTER Christopher Hogwood interviewed by Aleš Březina ...... 4 - 6

REVIEW Sandra Bergmannová ...... 7

WHEN THE FAIRIES LEARNED TO WALK Feuilleton on The Three Wishes in Augsburg Jörn Peter Hiekel ...... 8

BATS IN THE BELFRY The Film Victims and Murderers Patrick Lambert ...... 9

MARTINŮ EVENTS 2002 ...... 10 - 11

THE WONDERFUL FLIGHTS Gregory Terian ...... 12

THE CZECH RHAPSODY IN A NEW GARB Adam Klemens ...... 13

25 YEARS OF THE MARTINŮ QUARTET Eva Vítová, Jana Honzíková ...... 14

“MARTINŮ WAS A GREAT MUSICIAN, UNFORGETTABLE…” Announcement about Margrit Weber ...... 15

IT WAS A DREAM FOR ME TO HAVE A PIECE BY MARTINŮ Jiří Tancibudek and Concerto for Oboe and Small Orchestra Janice Stockigt ...... 16 - 18

REVIEW Mark Todd ...... 17

CONFERENCES AND FESTIVAL ...... 19 - 20

MARTINŮ – ALWAYS NEW Three Fruitful and Exciting Working Visits to Prague ...... 20

NEWS ...... 21 - 22

JULIETTA AT THE ...... 23

THE BOHUSLAV MARTINŮ INSTITUTE RECOMMENDS ...... 24

2 Welcome

with considerable success: it was the compositions with something serious. seventh performance to a full house! This points out the deeper meaning of In fact Jörg Schmidt, musical adviser the : The Three Wishes is a search in Augsburg, would be very pleased for love, and the protagonist fails to to present the opera anywhere in the find it - a timeless, fundamental idea. world. (This is serious publicity for Just before leaving for Augsburg the work! If your local opera house is we had a lively event in : an interested, please contact us!) exhibit of works by Danielle Doucet Mr. Hiekel is not the only one opened at the Czech Center. (See Bohuslav Martinů Societies Around the World

Dear Member, Here we are again with an intere- sting Newsletter. We hope you were satisfied with this year’s special issue and we assure you that we will continue our efforts to maintain this level of quality. Bohuslav Martinů Society An interview with Christopher Ho- in Japan gwood is always something special: he www.martinu.org certainly has important things to say President: about his way of music, Hideo Sekine with respect for the compositions he performs. You can read an interview Seat: Aleš Březina had with him 151-0064 3-3-13 Uehara last year. the previous issue of the Shybuya-Ku, Tokyo We also have articles Newsletter.) We were very ho- Office: from two distinguished nored by the presence of Ms. Mari Tokuda members of our society Kateřina Lukešová, the Czech Nerima-Ku Hazawa from England: Mr. Terian and amba-ssador to Belgium, and Mr. Petr Bažant, Director of 1-10-13, 176-0003 Tokyo Mr. Lambert present inte- Fax: 008313/5999/7728 the Czech Center (and of cour- resting items. And you can E-mail: [email protected] read about Martinů and his se a member of our society). A Concerto for Oboe and Or- highlight of the evening was chestra as described by the the official announcement dedicatee of this marvelous that the headquarters of the jewel in the series of con- IBMS has been established at certos our beloved master the same Czech Center. (see composed. p. 22) Everything was celeb- Bohuslav Martinů Society The main offering in this in the Czech Republic issue of the Newsletter, however, is Photos from the (Společnost Bohuslava Martinů) again opera. We have a review of The opening of the President: dr. Jindřich Feld Three Wishes in the Augsburg producti- exhibit of works on by Jörn Peter Hiekel. I was fortunate by Danielle Seat: to be able to go to Augsburg and assist Doucet c/o Česká hudební společnost in the performance on May 3 at the Radlická 99 “Grosses Haus”. The Three Wishes is a CZ - 150 00 Prague 5 fascinating piece. I don’t understand Tel./Fax: +420/2/51 55 24 53 why it was not produced in Martinů’s time, because it was well suited to the end of the roaring twenties. On the Bohuslav Martinů Society other hand, I can imagine that during to have written about in Switzerland the opera. I also read a the Nazi period and thereafter, until a (Schweizerische Martinů Gesellschaft) good number of years after the Second com-mentary by Robert Jungwirth, rated with a lively introduction by Guy www.martinu.ch World War, the subject of the opera and who focused more on the musical Erismann who came from , and a the way it is developed needed some style (adapted for the Dada piece by concert featuring Anna Kratochvílová President: distance. Perhaps the first production Ribemont-Dessaignes) and the gro- (mezzo-) and Ivana Bažantová Robert Kolinsky in Brno in 1971 came just at the right tesque content of the play. With him (harpsichord). Music by Martinů was Am Balsberg 9 time. Now we can look back to a period I should like to congratulate the Augs- performed: a selection of songs (from CH - 8302 Kloten that was in fact revolutionary and see burg team on the work they have done Songs on One Page, Songs on Two Pa- Tel./Fax: 0041/1/813 86 66 the opera from a historical point of with Martinů’s opera. ges, and Nový Špalíček) and Two Pieces [email protected] view. I was thrilled by the Augsburg Kerstin Schröder also speaks po- for Harpsichord from 1935. A novelty production and I think there is a future sitively about the opera at ‘www. was that the songs were accompanied Vice-president: Caro Stemmler for The Three Wishes everywhere on the mittelloge.de’. She emphasizes the by harpsichord rather than by . Breitweg 18 globe. Do not forget that this work was comic atmosphere, underscored very A première! CH - 8309 Birchweil also produced in Lyon, in 1992 much by Martinů’s music. There is Karel Van Eycken also some criticism of the epilogue, Tel./Fax: 0041/1/836 67 45 and last year in . Augsburg is the [email protected] third place outside the Czech Republic because it is difficult to maintain the to produce The Three Wishes, and impetuousness of the two acts. But we know that Martinů very often ends his

Bohuslav Martinů Newsletter 2002 - Second issue 3 Always Slightly off Center Christopher Hogwood interviewed by Aleš Březina

Photo: Zdeněk Chrapek

Aleš Březina: Mr. Hogwood, you are well known specialist of the so-called Certainly I think that my approach to Janáček’s music has very much to “old music”, but your passion is also music of the first half of the twentieth do with Czech speech and speech rhythm and speech construction. And he is century, especially neo-. One of the composers you prefer is also more obviously the result of a 19th century orchestral style and school. Bohuslav Martinů: when did you first meet his music? With Martinů I see much more of an attitude to neo-classical, neo-baroque Christopher Hogwood: Well, I think my feeling about music more and elements and that includes rhythm, it includes this constant piano as a sort more is that all music is old music, because very rarely of continuo, concertante continuo. And it includes an you play now in a concert a piece which was written interesting counterpoint. It includes this nostalgic yesterday or last week or last year. You know, even sort of folk melody, quasi-folk melody. And the other if you do a concert of modern music, it will be music thing that intrigues me very much as a conductor is which is twenty years thirty years old, which in terms how much of Martinů is against the beat. You beat or butter or eggs is not very modern. So I think old and nothing moves with your beat. You are always covers everything and I find I have the same attitude out, there is something very disenfranchised about towards all this music. So when I look at Martinů or it. You know there is always a feeling of his exile. It Brahms or Bach or William Byrd it seems to me they is always slightly off center. I do not think Martinů all occupy the same sort of territory for me that was a lonely composer, but I think he was definitely I should take the same intellectual attitude to them. not in the party crowd. And I quite like the people So with Bach I should be accurate and archaeological, who are not in the party crowd. He certainly had a but also with Brahms and also with Martinů I should separate attitude. have an interest in the urtext. I think his instinct for other elements, for architec- I first came across Martinů because of Supraphon, ture as one thing, for jazz, for baroque the classical, of course, it was before I ever came to Prague at for elements from Corelli for the idea of madrigals and a time when I was a student in Cambridge. I bought counterpoint, the idea of imitation and architectural a very cheap record of the Madrigals, of the Piano Trio structure, this constant continuo, this rhythm push, d minor, and particularly the old record of Ančerl of the motor rhythms of the music, all of these things the Fifth Symphony. I played them over and over again seem to me very familiar metaphors which I knew from so it was very good for me. When I came to Prague as Telemann, from Zelenka and a lot other masters of the a student in the 1960’s I was busy looking for a lot. 18th century. And maybe Martinů is the 20th century I was looking more for Martinů than for Janáček. It Zelenka or Telemann. I do not think that he is the th is strange now because I realize that most people Paris, 1925 20 century Bach. And I do not think he was trying were discovering Janáček. And I knew about Janáček to be the 20th century Bach. I think he had much more and Dvořák and Smetana but I was looking more for Martinů. So it was an interest in using his telescope on the past. interesting division of the Czech composers in my mind. And I know it from the way he used to teach his American students. He always told to them: make a lot out of a little. Michael Steinberg always tells Could it be that Martinů’s music has something more with architecture me that when teaching composition Martinů always said: do not worry about than Janáček’s has for you? the big plan it will look after itself, just make the elements correct. I feel

4 Interview a big symmetry between that attitude and what I see in analyzing Haydn. So sort of counter rhythm to the main theme. And because in Martinů there are I think there is a family connection between those two composers. so many counter rhythms people forget that some of them are counterpoint. Some of them are imitation, canon, and fugue. But others of them are jazz You have recorded Martinů’s music on CD, among others his La revue de rhythmic extras just thrown in there to give you a little bit of rhythmic life. cuisine. This is one of the pieces Martinů liked very much until the end of his It is like bubbles in champagne. If you do not recognize these bubbles as life. You talked about his affinity to old music, let’s mention also his affinity bubbles, you play them like serious wine when in fact they are air. You have to jazz. Because one of Martinů’s most characteristic marks is a mixture of to recognize what is wine and what is air in them. Then there is a quite a different elements, the result, however, is always Martinů. Could you describe continuity between the earlier and the later Martinů. Even in Greek Passion on this one example what makes here the mixture? you get moments, not so many, but you get moments, which are driven by I think is a big mixture of cabaret styles and it is so a sort of jazz memory. interesting to me because it is so early (1927). You have some strange move- ments in it: these fake Bohemian sort of movements, the March and things We spoke about humor as well as about architecture, two important char- like. You have something which he calls a tango which is not a tango but a acteristics of Haydn. Martinů as we know from his writings admired Haydn. habanera. You have a wonderful Charleston, which is so good, I wonder if it So what is for you who are a connoisseur of Haydn as well as of Martinů, what is a transcription of a piece. And you have a finale with ragtime in it, which is for you the main connection between the two composers? I think is a genuine transcription of ragtime from a South States composer. Martinů seemed to express an enthusiasm for what I would call cool com- But the way they are put together and the way they are unified with this small posers, he loved to talk about Canzona and Ricercar which are quite anony- group and the use of the instruments, especially how clever he uses the bas- mous titles from composers like Beckmann and Scheidt, you know not great soon. It contains lovely piano writing, not very idiomatic for the piano but emotional pieces. He loved to talk to his students a lot about Corelli who is very effective when you hear of course notorious for being quite abstract and perfectionist. it. I think it makes a strong So he chose Corelli over Vivaldi. He chose Haydn over Mozart impact on people and then who is terrifically instinctive and wonderfully finished, but he afterwards when they have does not have this clarity in architecture and transparency of realized how vivacious it is, structure that you find with Haydn. and how novel, and how jazzy I enjoy Haydn because it seems to me it follows the philoso- they realize that it comes phy of the television cook: you have these cookery programs before Hindemith and Kurt on television in which you always see some famous person Weill, or before Stravinsky cooking. They show you first doing their jazz pieces. So all on the screen: “Here I have I think you have Martinů eggs. Here I have meat. Here really leading the new style I have cheese. Here I have…” from the 1920’s in Paris. And then they take a knife I would be very curious to and they chop everything up analyze and do some research very interestingly, they mix A on how he came to this music with C and put the eggs mix and how directly he borro- with the flour and the meat wed, because there are parts with whatever and everything of La revue de cuisine which is ready. Out of it they create I am not sure if they are com- this sort of fantasy thing. position or arrangement. And They produce a wonderful that would be an interesting dish and you understand question. But certainly he completely how it is there. gets full credit for being at I think Haydn is very much the front of the movement that sort of composer. He and being the first person gives you all of the elements. to see the possibilities and to adapt the ideas to this very And the beginning of every strange little chamber group (violin, violoncello, , symphony has ingredients. clarinet, and piano). Whether he was responsible for It is the announcement, the every note of the music or whether some of it was borrowed recipe. Then he goes on to from contemporary jazz culture. That would be an interesting deal with them. Mozart is research question. very much the very clever chef who sits in the kitchen for two Martinů used to develop constantly his style as well as his hours and then he comes out techniques. Where do you see a connection between Martinů with a perfect creation and of the 1920’s (with compositions like Half-Time, La Bagarre, and La revue de you have no idea how he did it. Haydn makes it very open to you. So I think cuisine), and Martinů of the 1950’s (the composer of the Fourth and Fifth Haydn is the television cook. And it is a clarity and I think Martinů is the same. Piano Concerto, The Greek Passion, the Oboe Quartet a.o.)? Do you see at all I do not see Martinů hiding anything. He begins with a tune that he wants any connection between the young and the mature Martinů? you to know and he goes on with this tune and when he wants to change it, Yes I think that one sees, providing you know the earlier works you can he changes it. And when he wants to integrate it, he integrates it. But it it is see them in the later works: some inflections, some rhythms and other all quite open to you if you listen and have good ears and you listen several things, cross rhythms particularly, these contradictory rhythms which I times. It is not always the first hearing. You can follow all of the stages of think in the late works there is a danger of them becoming too heavy and this cookery, it is very intellectual in that sense and I can see that is why he too serious and too on the strain. And less people remember that this is just liked Haydn and Corelli, rather than Vivaldi and Mozart. a reflection of something that was very jazzy a long time ago. Of course with the later works you get an increase in volume and size and body so you are You already did a lot for Martinů as a conductor, now you are going to dealing with symphonies not with trios. Lot of these elements which make make a new edition of La revue de cuisine. What are your next plans regard- a great deal of sense when they are performed by single players, you need ing Martinů? to exploit them a little bit when they come up in an orchestral context. In I think the editing comes first. I do not think I feel happy performing most of the symphonies, the Fifth Symphony, Sixth Symphony, particularly a work which is in a bad edition, something we do not understand. So first you find a lot of countersubjects which are jazz, rhythmically are based on a you have to work out what is La revue de cuisine. Why are there so many

Bohuslav Martinů Newsletter 2002 - Second issue 5 misprints in it? Why are the separate parts so different from the score? because they have no policy. One thing that I suggested was they should Where is the autograph? And this stuff. Out of that it would be very nice to become connected with the Paul Sacher collection, because Paul Sacher make an urtext edition with options and choices. After which one should go worked with chamber orchestras. He commissioned pieces, and in there you on and do more performances of it. I think that should apply throughout have a lot of very interesting pieces, including quite a lot of very serious Martinů’s work. Also I think it would be interesting for Martinů to have Martinů. They could look at the possibility of recording some of this music more of a connection between what he was doing and why. It is like that is from a Swiss-Basle-Paul a biographical-compositional analysis, not just his private life but also his Sacher archive angle. public life and his composing life and why he did things. Why he wrote a new So that’s, that very concertino after the concerto for trio and orchestra, and this sort of thing. much implies urtext and What are the other influences on him that usually we do not know, when we sensible and you know do these pieces to give them a context. I think we have quite a good catalog intellectual approach with numbers of the Martinů pieces, but we still do not have the thread, to it. I think Martinů which holds them all together. We know that he did them but we do not deserves it. always know why he did You can’t really them, and what we Ch. Hogwood treat Martinů slop- have lost, and why he Martinů Festival pily. I think he wasn’t changed, and why this in Prague a sloppy composer, he 1999 is moderately good and was very practical and this is very good. You very focused in what have to be a little bit, he saw exactly what he I think, judgmen- wan-ted. Maybe it is not tal about. Somebody what everybody wanted eventually has to say: to hear, but he wanted “You know there is to say it. And I think we very good Martinů and have to respect him for there is good Martinů that, and we should go and there is moderate with what he says and Martinů. And we need what he does, as far as to get them into a per- we can deduce it. If it spective.” And then to gets into the area which is not clear then we have to use our guesswork and look at how he achieved our judgment and after that we have to give it a realized performance. It is these things and what clear to me from the way the have been received recently, for instance he was trying to do and The Greek Passion when the new version was done in London, and how many of them were for a long time, the symphonies increasingly that you hear in programs, really what he wanted to Double Concerto for two Orchestras and Piano and Tympani, some of the do, because he was very other chamber music: the Madrigals, the quartets, the piano trios, some of much in the category of the solo music, even some of the songs. You know all these things are coming composers who would work to order. He was very much a house composer more into the public realm. And they’re really, and people are putting the who would produce a piece. You know you don’t write store pastorals out of picture together, they realize this is not a composer who wrote twenty-five imagination. You write it because someone says: “I have some clarinets and pieces. This is a composer with a big output. So the more they go to look at some recorders. You know, I want a piece.” It is definitely a baroque attitude the catalog, the more they say, “Ah great. I will do H. 345 tomorrow.” This to composing. Just imagine you are a good baroque architect or builder. They leads everybody else on to edit it, to publish it, to record it, and to help ask you to build a Don Channel and you build a Don Channel. But we mustn’t people get to know. confuse the Don Channels with the palaces. They have a separate function. I think there must be many more Martinů pieces, which deserve to Thank you very much for this interview. be heard. I’ve done already several recordings of the chamber orchestra pieces and I could see there being a good chance to do more of that sort of Interviewed on 9 November 1999 for Czech music magazine repertoire. So from 6 up to 25 players, Martinů has left us with a lot of rep- Harmonie (published in 2/2000 in shortened version). Updated for the Newsletter in May 2002. ertoire that people don’t hear, which I think needs to be edited and looked at; even the big symphonies need to be edited and looked at. But it’s the smaller pieces I think that need to be investigated on record so people have a chance to hear them. And I think it will be a happy day when all of Martinů The Complete is available on CD. La revue de Cuisine If we edit all of them, could we support the interest of the people in the Thanks to Eva Kröschlová (daughter of 21st century to perform the works of Martinů? Jarmila Kröschlová, author of the lib- I think it certainly helps the cause, because often you look to a composer retto to La revue de cuisine), previously unknown documents pertaining to this and you think, “I would like to do this person.” And then you look at the edi- ballet have been made accessible, tions and you say, “Oh dear, this is a big problem here. You know we can’t adding to the source materials avail- go very far.” I think if you have a new edition with this sort of impulse to able for the planned new edition. Chief it, then recordings would be easier to find. No recording is easy at the mo- among them are the original text by ment, but I think if people as publishers who have a big interest in Martinů, Jan Löwenbach on which the libretto as for instance Schott do, through the amount of works they contain, then was based and a letter from Martinů because of that bulk of repertoire it would be ….. It would be a very good to Jarmila Kröschlová concerning this policy to follow though that weight of the repertoire and use that as a lever work. In addition, color copies of the manuscript score of the suite version against the recording industry. I don’t think that it always has to be the big (deposited with the Leduc publishing recording companies either. I think smaller recording companies or national house) and the ballet version (at the recording companies, or even radio recordings are a good way of getting Paul Sacher Stiftung) are now available the stuff [recorded]. At the moment I am working also with the Basle cham- in the Martinů Institute’s archive, in Details in the next issue. ber orchestra in Switzerland, and trying to give them a sort of character, Prague. - jh -

6 Interview Review Sandra Bergmannová

Klassizistische Moderne Volume I (Martinů: Toccata e due canzoni. Stravinsky: Concerto en Ré. Honegger: Symphony No. 4 “Deliciae Basilienses”) Kammerorchester Basel, Christopher Hogwood. Production: Dieter Oehms. Text: German, English, French. Recorded: 3/2001 Radio Studio Zürich. Released: 2001. TT 65:43. DDD. 1 CD Arte Nova Classics 74321 86236 2.

In recent years the English day works written for and dedicated in an effort to link to the tradition of only a shame that we cannot com- conductor Christopher Hogwood, to Paul Sacher for this occasion by both of Sacher’s ensembles: the Basel pare the disc with the recording renowned primarily for interpre- three world-renowned composers Chamber Orchestra (which Sacher of the premiere concert given by tation of early music, has taken had their first concert performances. himself dissolved upon his departure) Sacher (an archival recording not an interest in juxtaposing works The first of them, Toccata e due and the Collegium Musicum of Zurich. yet available in Czech Republic). from the Baroque and Classical canzoni by Bohuslav Martinů, is The happy constellation of wonderful Then maybe we could judge with eras with music of the twentieth a concerto grosso with a key role performers, first-rate compositions, somewhat greater precision to century. In a new project, of for the piano as one of the solo instru- and the beautiful project had to what extent Hogwood accom- which this compact disc marks ments. The Concerto en Ré by Igor yield a high-quality recording, and plished his aim and possibly in the beginning, he has decided to Stravinsky refers to Johann Sebas- in terms of both interpretation and some ways even surpassed his present works commissioned by tian Bach’s Brandenburg Concertos, technique it is indeed excellent. famous prede-cessor. the Swiss conductor Paul Sacher, although very remotely, while the Probably what I like best about a famous patron of music and last work is the now very well-known it is that Hogwood conceives all Since the recording is marked the arts, for his Basel Chamber Symphony No. 4 by , three works in a truly neoclassical on its cover as “Volume I”, we can Orchestra. Hogwood has carried described by the composer himself spirit with his pregnancy, purity, and look forward to a continuation - out his idea to programming as based on the Beethovenian tra- rhythmic precision. (Thanks to his with music by such distinguished perfection by making recordings dition. Apart from the remarkable experience with early music he has composers as for example (be- consisting of works performed selection of works we must mention grasped the stylistic orientation of all sides those already mentioned) in the same order in their world another point of interest, namely three compositions.) And the recor- Britten, Tippett, Bloch, Milhaud, premieres. This present disc du- the orchestra with which Hogwood is ding has another great advantage: Martin, and Richard Strauss. plicates the program of the con- realizing the whole project. It bears the three-dimensional sound of the cert on 21 January 1947 held on the name Basel Chamber Orchestra individual instruments and groups, Reprinted from the Czech music the occasion of the orchestra’s (Kammerorchester Basel) and was which assures a rewarding listening magazine Harmonie (4/2002) twentieth anniversary. On that founded by young musicians in 1984 experience even from speakers. It is

On May 20 a long-awaited recording was released - the first part of the planned complete works of Bohuslav Martinů for violin and orchestra and for viola and orchestra. On this CD you will find the second version of the Suite concertante for violin and orchestra (as a world-pre- miere recording) together with the Violin Concerto No.1, both as performed by Bohuslav Matoušek and the under Christopher Hogwood. On May 30 the CD was christened, on which occasion Mr. Matoušek was awarded a Bohuslav Martinů Foundation Medal. (See p. 24.) - jh -

Bohuslav Martinů Newsletter 2002 - Second issue 7 Opera When the Fairies Learned Feuilleton: Jörn Peter Hiekel

The cinema knows what women want The German premiere of Bohuslav Martinů’s opera The Three Wishes at the Augsburg City Theater

Photos: Lioba Schöneck in black and white stripes we find here all of the typical gestures of the genre’s glitter era with a pleasantly irritating effect. In a compromised, concentrated form the entire story repeats itself at the end, which elicits an astonishingly diverse number of references. In the style of Kagel’s „City Theater,“ musical theater is bro-ken apart into its elementary parts and brought to light. In ad- dition, pathos in the usual sense is extricated with delightful effect. Martinů’s declared favorite enemy is the great romantic opera, which he never ceases to exhaust with his many ironic parodies. The tragic hero is a boring hus- band by the name of Monsieur Juste, who goes off on a hunting adventure to the sound of a horn fanfare (with the overtones of Weber’s When motion pictures began to roll, a most ca- the Fickleness of Life composed in 1928-1929. But no „Freischütz“ and Wagner’s „Ring“). His booty is a pable competitor for the operatic stage came into one even thanked the composer during his lifetime: fairy named Null. She buys her freedom by granting being. It is less than coincidental that certain master the score, undoubtedly one of his best, was brought the Hunter and his wife Indolenda three wishes. works of the silent movie era contain allusions to to life for the first time for its premiere in Brno The final wish offers an exquisite characterization: the emotional excesses of late romanticism. In the in 1971, twelve years after the composer’s death. Juste wants to immediately make his wife younger. 1920s musical theater flirted with the new media of Despite its success, and like most of the composer’s And what must happen happens: she turns to a the time. This was just what people wanted: to try out other stage works, it was once again forgotten dur- young man and leaves her husband. The same thing the new forms of artistic expression that were having ing the ensuing period. The one serious attempt at happens during the analog at the end of the work in such a mass impact. On occasion, opera composers reviving the work took place only a few years ago in the „reality“ of the film studio. In a tragic way, life even attempted a serious liaison with film. France, Martinů’s one-time chosen home country. becomes an imitation of art - a commentary made It was with particular determination that the east Now with the successful German-language possible through the illusion machinery of film and Bohemian native Bohuslav Martinů set to work in this premiere at the Augsburg City Opera, the status of its potential for making direct identifications. direction with his musical comedy The Three Wishes or this work has been con-firmed. The references to The Augsburg Production is a bit overindulged in film are more than just an itself with the way it accessory. With this work over-accentuates the Martinů succeeded in pro- central film constel- ducing a capable reflection lation. The action of on the neighboring medium the story is almost and its illusionary possibi- insistently broken up lities. The fundamental by the words of the premise of the stage work, director. But this al- a collaboration with the lows the charm of the Parisian Dadaist Georges essential premise of Ribemont-Dessaignes, lies the story to unfold in a „heart-breaking“ story in the final scene in placed into the action of the workshop. What a film which is produced live results from this is a for the audience. With just distance which invites this much, the production reflection. A strong team has a quite substan- message is transmit- tial point of departure. ted to the audience, In Thomas Mittmann’s very much in the sense Augsburg production one of the great Augs- experiences an unequivocal burg Bertolt Brecht. revival of silent film: along It becomes incumbent with opera singers dressed on the audience to

8 Film to Walk Bats in the Belfry have a feeling not only for the plot but also for The Film Victims and Murderers the „apparatus“ of the film, if we may refer to the Patrick Lambert aesthetics of Walter Benjamin. Without making this accentuation the work comes into greater danger of becoming simply a historically interesting document that is perceived as reality - especially since the scenery of Wolfgang Buchner has a rather strong inclination towards period portrayal rather than transmitting fantasy and original ideas. Coming from the particular aroma of the late twenties, it is above all the vital, musical side that stands out in Martinů’s film-opera. Popular dances, pseudo-romantic schmaltz, and diverse declamatory elements (including a narrator at the very begin- ning), and enchanting jazz passages are all master- fully juggled together. Over long stretches The Three Wishes is a jazz opera in the truest sense of the term, far more so than Křenek’s Jonny spielt auf. All of this is made convincing by the energetic playing of the Augsburg Philharmonic Orchestra under the direction of its chief conductor Peter Leonard. Mak- ing a parti-cularly successful impression are those passages in which Martinů firmly anchors original musical dialogue with the sounds of a gramophone. Otherwise, a certain nostalgic color inevitably comes into play. This holds true for the lively and masterful entrance of the male vocal quartet in coat and tails. It is with this passage that the evening ends, an ironic last stanza to the tragic hero, which sounds like a The tower of St. James church in Polička. Photos from the movie. remi-niscence of a hit from the past. What should be particularly praised is the enthu- oddball character, who as curator has his head filled siastic and joyful performance of the entire ensem- with Martinů’s scores. In rare moments of happiness, ble. The vocal side the production, which utilizes he is shown either dancing through the streets or in-house members almost entirely, is exceptionally conducting the empty air to the beguiling strains of convincing; there is no need to call special attention „Špalíček“. An upright piano features in the story and to any particular singer. Despite being thoroughly many of the excerpts are from orchestral works with strengthened by microphones, the balance of the piano - not always easy to identify. Fortunately, the whole of this technically difficult piece occasionally compositions employed are listed in the final credits, suffers. However, the work’s revival has succeeded where we also learn that Aleš Březina was among the musical advisers. more than respectfully, for which an opera house of One scene will amuse this size should be particularly commended. the avid record collector. Translated by Thomas D. Svatos, Reprinted from the In the wake Miroslav listens to an LP German original in Frankfurter Allgemeine Zeitung, of the discovery of in the room in the tower p. 54, Wednesday, March 13, 2002, No. 61 some of Martinů’s and is seen replacing it in original film scores a sleeve identifiable as the (The Slipper, H. „Gramofonový klub“ editi- 239 and City of the on of Martin Turnovský’s Quick Water: Mar- recording of the Fourth iánské lázně, H. Symphony and Tre Ricercari 240), readers may with the Czech Philharmo- be interested in a nic, but the music heard is different! Dare one deduce recent Czech feature film „Oběti a vrazi“ (Victims from this „film prop“ that it was Turnovský’s fine and Murderers) which makes considerable use of recording (surely a strong candidate for re-issue on Martinů’s music and, moreover, is set in Polička, CD in Supraphon’s Archiv series) that had converted the main character, played by Karel Roden, being Sedláčková to Bohuslav Martinů’s music? the fictional curator of the composer’s birth cham- This interesting film, a Czech-French-Swiss ber at the top of the tower of St. James’ Church. co-production, has been issued (without English The director Andrea Sedláčková also wrote the subtitles) by Warner Bros as a home video. screenplay, which is loosely based on a novel by Bohuslav Březkovský published in the 1960s. In a series of flashbacks, it tells of the incestuous love between Miroslav and his half-sister Jana and how the past impinges on the present with tragic consequences. Some years ago, following a visit to Polička, Sedláčková had bought an LP of Martinů’s music and to judge by her film, she fell completely under its spell. His music very effectively accompanies many of the scenes, especially those with Miroslav, an

Bohuslav Martinů Newsletter 2002 - Second issue 9 Events

Mirandolina Martinů Fest 2002 Polička, Czech Republic Wexford Festival, UK Martinů EVENTS (5th annual) Opera, 17 October - 3 November 2002 15 May 2002 Martinů in continuity (www.wexfordopera.com) 2002 Ivan Štraus – introductory speech October 18, 21, 24, 27, 30 We give only a selection from Martinů’s works. November 2, 2002 17 May 2002 The Voice of the Forest Stamic Quartet, String Quartet No. 7 (Concerto da camera), H. 314 CZECH PHILHARMONIC CONCERTS 18 May 2002, Kateřina Englichová – Harp ORCHESTRA Karolína Berková – Singer 7 May, 8 00 p.m. (www.henrystreetchamberopera.org) New Slovak Songs, H. 126 Dobříš Castle, Czech Republic November 18, 21, 23, 25, 2002 Opening of the Wells, H. 354 19 May 2002 Harry De Jur Playhouse, (www.czechphilharmonic.cz) Hr. Králové Philharmonia 9 May, 2 00 p.m. 466 Grand Street, New York City, USA 30 (www.fhk.cz) St. Nicolas Church, Prague, Czech Rep. 24 September 2002, 7 p.m. Zoe Caldwell - Narrator, Jacqueline Miriam Němcová - Conductor Opening of the Wells, H. 354 Dvořák Hall, Rudolfinum, Prague, CZ Venable - Bride, Brandon Jovanovich - Frescoes of Piero de la Francesca, H. 352 Czech Chamber Orchestra Young Forester, Daniel Mobbs - Bandit 10 May, 2002 Jana Boušková - Harp Tiffany Regal - Hostess JAMU, Brno, Czech Republic Ondřej Kukal - Conductor Henry Street Chamber Opera Orchestra Students Graduation Performance Serenade No. 2 for Two Violins Neal Goren - Conductor, Ned Canty - Ariadna, H. 370 and Viola, H. 216 Stage Director Janáčkův Máj (Janáček‘s May) 11, 12, 13 May 2002 28 November 2002 Tears of a Knife Ostrava • (jm.box.cz) Rostock, , Rostock Orchestra Karlovy Vary, Czech Republic (Les larmes du couteau) 24 May - 13 June 2002, 30 May, 7 30 p.m. Peter Hirsch - Conductor Karlovy Vary Symphony Orchestra (www.henrystreetchamberopera.org) Culture House Vítkovice Memorial to Lidice, H. 296 Thunderbolt P - 47, H. 309 November 18, 21, 23, 25, 2002 Prague Chamber Orchestra, K. Kuljus - Oboe 15 May, 7 30 p.m. Christine Winkler - Eleonora, Tiffany Sinfonietta La Jolla, H. 328 Central Library of the Free Library Regal - Mother, Daniel Mobbs - Satan of Philadelphia, Montgomery Auditorium OPERAS Henry Street Chamber Opera Orchestra Bregenzer Festspiele Philadelphia, USA The Three Wishes N. Goren - Conduct., N. Canty - Stage Dir. 17 July - 19 August 2002 Charles Abramovic - Piano or The Inconstancy of Life Julietta (see the „Operas“ column) Preludes, H. 181, Fantasy and Toccata, a film opera in three acts with prelude H. 281, Three Sketches, H. 160, Sonata 11 August 2002, 11 00 a.m. and postlude, H. 175 FESTIVALS No. 1, H. 350, Spring in the Garden, H. 125 Festspielhaus, Symphonieorchester Vor- MTF Zlatá Praha 2002 - arlberg, Christoph Eberle - Conductor 18 May, 2002 Großes Haus of the Internat. TV Festival Francois Lelaux - Oboe Holywell Music Room, Oxford, UK Augsburg, Theater „Golden Prague“ 2002 Concerto for Oboe and Orchestra, H. 353 The Delmé String Quartet in Augsburg, Germany 8 - 12 May 2002 (www.delmequartet.co.uk) 8 May, 8 00 p.m. 51st Festival Pablo Casals String Quartet No. 5, H. 268 The opening: 2 March 2002 Municipal House, Smetana Hall 26 July - 13 August 2002, Prades, France Additional presentations: March 13 Festival Opening Concert 25 May, 2002 00 and 21, April 5 and 27, May 3, 5, 21 2 August, 6 p.m., Eglise de Catilar Thame, UK, The Delmé Quartet Peter Leonard - Conductor, Thomas Mittmann Prague Symphony „Violoncelle à la Carte“ String Quartet No. 5, H. 268 - Director, Wolfgang Buchner - Sets Orchestra FOK Mihaela Martin, Gil Sharon - Violins 25 May, 2002 See feuilleton on page 8 (www.fok.cz) Itamar Golan - Piano, Frans Helmerson, Leoš Svárovský - Conductor Philippe Muller - Cellos, Duo for Violin Festival d’Auvers–sur-Oise, France Julietta or The Key to the Dreams Vincent Figuri - Narration, Youri Jiří Bárta - Cello and Cello No. 2 in D Major, H. 371 (www.bregenzerfestspiele.com) Pochtar - Piano, Isabelle Moretti - Harp 00 Bregenzer Festspiele, Bregenz, Austria Concerto for Cello and Orchestra No. 1, 9 Aug., 9 p.m., Abbaye St Michael de Cuxà Three melodramas, H. 82, 83, 84 The premiere: 17 July 2002, 7 30 p.m. H. 196 (broadcasted by Czech Television) „Soirée à Prague“, Talich Quartet Orquesta Filarmónica Additional performances: Boris Garlitsky - Violin, Bruno Pasquier July 21, 25, 28 and August 1 - Viola, Arto Noras - Cello, Wolfgang de la Universidad Nacional Güttler - , András Adorján - Flute Autónoma de México Wiener Symphoniker Jean - Louis Capezzali - Oboe, Jean - Nol (Mexico Autonomous University Crocq, Michel Lethiec - Clarinet, Eric Philharmonic Orchestra) Prague Spring, 12 May – 7 June 2002 Ruske - French Horn, Amaury Wallez - 20 May, 8 00 p.m. Bassoon, Jean - Franois Heisser - Piano 1, 2 June, 2002, 22, 23 June, 2002 (www.wiener-symphoniker.at) Czech National Bank Hall, Smetana Trio Nonet, H. 144 Jorge Mester - Conductor Eva-Maria Westbroek - Julietta, Johannes Piano trio No. 2 d minor, H. 327 Sinfonietta „La Jolla“, H. 328 Chum - Michel, Sulie Girardi, Valentina 00 00 00 Symphony No. 6 Kutzarova, Susanne Reinhard, Eberhard 24 May, 7 p.m., 25 May 2 and 7 p.m. (Fantaisies symphoniques), H. 343 F. Lorenz, Matteo de Monti, Richard Salter, National Theatre Homage to Jiří Kylián 14 June, 2002 Adalbert Waller Jiří Kylián – Choreography Foyer of the Kreissparkasse Borken German translation by Dietfried Bernet and Soloists and the Ballet of the Presteigne Festival of Music Ger. Chamber Orchestra of the School Aleš Březina, Dietfried Bernet - Conductor, National Theatre , H. 279 and the Arts, for Music Borken, Benno Rickert - Conductor Katja Czellnik - Director, Vera Bonsen - Sets, 1. Orchestral Suite from the Ballet „Špa- Wolfgang Göbbel - Light Design 30 May, 8 00 p.m. 22 - 27 August 2002 líček“, H. 214 A See page 23 Rudolfinum Presteigne, United Kingdom Prague Philharmonia (www.presteignefestival.com) 19 June, 2002, 20 June, 2002 (www.pkf.cz) České Budějovice, Czech Republic 25 August, 2 30 p.m. South - Bohemian Philharmonia M. Turnovský - Conductor, M. Hršel - Piano St Mary’s Church, Leintwardine J. Brožková - Oboe, P. Altrichter - Conductor Double Concerto for two String The Delmé String Quartet Concerto for Oboe and Orchestra, H. 353 Orchestras, Piano and Timpani, H. 271 String Quartet No 5, H. 268 15 July, 2002 31 May, 8 00 p.m. 27 August, 2 00 p.m. Gower Festival, UK, The Delmé String Rudolfinum St Andrew’s Church, Presteigne Quartet B. Matoušek - Violin, Petr Adamec - Piano Ensemble Duoro, Jane Emanuel - oboe String Quartet No. 5, H. 268 Martinů with „Julietta team“, Prague 1938 Sonata for Violin and Piano No. 3, H. 303 Cello Sonata No 1, H. 182

10 Events CELLOarte Festival EXHIBITIONS 29 August - 4 September 2002 Martinů Quartet String Quartet No. 2, H. 150 Bohuslav Martinů’s Dream Prague Autumn in Hohenems (www.pragueautumn.cz) This year the Bregen- festival will be an exhibit zer Festspiele - a music in Hohenems - only a few festival held each year minutes from Bregenz - in Bregenz, Austria - will mapping Martinů’s life and include a production of work. Hohenems is a part- 13 September - 1 October 2002 Martinů’s opera Julietta. ner town of Polička, and so 13 September, 7 30 p.m., Rudolfinum Tribute to Czech Music Julietta, 1938 Martinůs in Summertime Royal Philharmonic Liverpool Italy, 1950’s M. Kaňka - Cello, L. Pešek - Conductor Have a nice summer! Concerto for Cello and Orchestra No. Editors 1, H. 196 and its most important pro- cability to the Bregenzer Prepared by Jindra Jilečková ductions. It includes copies Opernwork-shop 2002 of photographs, personal which precedes the open- documents, corresponden- ing of the festival. The ex- ce, newspaper articles, scores hibit will be open through of Martinů’s works, diary 1 August 2002, coinciding entries, and caricatures with the last festival per- among other items. formance of Julietta. (The The official opening opera opens on July 17, Martinů and the European of the exhibit will be on with additi-onal perfor- Broadcasting Union 13th July 2002 - before the mances on July 21, 25, In 1999 the first version the idea was born of pre- beginning of the festival and 28 and August 1.) The 2000 Bohuslav Martinů Festi- of The Greek Passion was senting the most important itself - because of its appli- val as part of Euroradio’s interna- Martina Muchová given at this festival, and Polička native not only to tional exchange now, three years later, Hohenems residents but Facts: of musical programs What: Exhibit Bohuslav Martinů’s Traum another pearl of Martinů’s to festival-goers. Titled When: Opening 13th July 2002 at 7 00 p.m. Concert on 8 December 2000 operatic output will come Bohuslav Martinů’s Dream, Where: Hohenems Regional Center “at & co”, „Martinů and German Music” to the festival stage. the exhibit will emphasize F.-M.-Felder-Str. 6 (near the train station) Martinů Hall, Academy A side attraction of the the genesis of the opera Duration: 13 July - 1 August 2002, daily from 9 00 a.m. to 5 00 p.m. of Performing Arts in Prague The recording was broadcast by eight radio networks: Spain (RNE), Romania, Luxembourg, The Wheel is Turning, Turning Lithuania, Ukraine, , The , Switzerland (RSR), which was donated last year by Canada (SRC), (ABC) Rudolf Kundera to the museum in ••• Polička. (facsimile at IBM) Concert on 10 December 2000 This piece was written on Christ- „Martinů and Concerto grosso” mas Eve 1939, which Martinů and Rudolfinum, Prague his wife spent in Paris with Czech The recording was broadcast friends. It was here that the painter by eleven radio networks: Rudolf Kundera proposed preparing Spain (RNE), Luxembourg, , a greeting for his mother for her Lithuania, Ukraine, Sweden, fiftieth birthday and sending it by Denmark, Switzerland, Canada (SRC), mail to Moravia. This idea was soon The Netherlands, Australia (ABC) transformed into a magical little ••• work to a text by Jiří Mucha with Concert on 11 December 2000 the words “The Wheel is Turning, „Martinů and Hungarian Music” Turning” set to music by Martinů Hall, Academy Martinů at Kundera’s atelier, 1939 of Performing Arts in Prague Martinů. The first perfor- An accompanying attraction for the 2002 mance was given the same The recording was broadcast Martinů Fest in Polička (May 15-19) is an evening by pianist Rudolf by eight radio networks: exhibit titled The Wheel is Turning, Turning: Firkušný and Romania, Luxembourg, Ukraine, Czech Artists of Pre-War France in the Music Otakar Kraus. And thus Hungary, Denmark, Canada (SRC), of Martinů, on display in the vestibule of through the collabora- The Netherlands, Australia (ABC) the Municipal Museum from 11 May to 25 tion of five distinguished ••• Czech artists this, their Concert on 21 December 2000 September 2002. Using materials from the Closing Concert archive of the Martinů Memorial, the exhibit gift - not only to Kundera’s Rudolfinum, Prague presents the fates of several famous Czech mother but to all lovers of artists associated with Martinů through Martinů’s music - could The recording was broadcast their pre-war sojourns in Paris and through sound for the first time far by eleven radio networks: the composer’s music. Beautiful evidence of from home. Romania, Luxembourg, Lithuania, their collaboration is a spontaneous little Ludmila Sadílková Sweden, Finland, Hungary, Denmark, piece from 1939 almost unknown to the The Netherlands, Switzerland (RSR), Autograph of the Wishes for Mother Canada (SRC), Australia (ABC) public - Wishes for Mother - a facsimile of

Bohuslav Martinů Newsletter 2002 - Second issue 11 Gregory Terian The Wonderful Flights

We all know that Bohuslav Martinů lived the first twelve years of his life in the projection of a map showing the progress of the journey, something which the church tower 100 feet above the town of Polička. A year after the Martinů is routine in air travel today. Martinů composed a score for seven instruments family descended to take up residence at ground level the Wright brothers made depicting the flight through start-up to crash to which he gave the title Le Raid their first flight at Kittyhawk covering a distance of 120 feet. Six years later in merveilleux (The Wonderful Flight). 1909 Bleriot flew across the Channel. Not surprisingly the project was never to reach fruition. The theatre went By the time Martinů had settled in Paris after World War I, record breaking bankrupt before any production could be mounted and for many years the score flights were all the rage and aviators were the heroes of the day. Excitement was thought to be lost. It eventually surfaced in Berlin lacking only its final page. reached fever pitch when a prize of $20.000 was offered for the first non-stop Evžen Zámečník completed the missing passage and Václav Nosek conducted the flight between Paris and New York. first performance in Polička in 1994. A Panton recording of the work exists and As is well known, Charles Lindbergh won that prize at the end of May 1927, a subsequent film was made illustrating the story on a figurative basis with flying solo in his „Spirit of St. Louis“ monoplane. In the great euphoria which actors participating. It must be said that although there are some felicities in greeted his triumph Martinů felt moved to dedicate his already existing piece this concept the overall results are questionable. La Bagarre to Lindbergh, a gesture, which was graciously acknowledged by the At the end of May 1940, with the German occupation of Paris imminent, Mar- aviator. In effect the dedication was fortuitously appropriate. The crowd tumult tinů fled to Aix-en-Provence, where he took refuge until his escape to America which the composer portrays in La Bagarre matches well the newsreel footage in 1941. Many of his countrymen serving with the Czech Armed Forces in France of the massed crowds greeting Lindbergh’s arrival at Le Bourget. made their way to Britain to continue the flight. Today it is all but forgotten No doubt helped by the topicality of the dedication, the first work of Martinů that during the Battle of Britain it was the arrival of trained pilots from the to cross the Atlantic achieved an occupied countries, the greatest immediate success when premiered numbers coming from Poland and on 18 November 1927 by the Boston Czechoslovakia, which enabled the Symphony Orchestra under Serge Royal Air Force to replace the heavy Koussevitzky, just five months after losses it was sustaining and so ensure Lindbergh’s flight. Cannily, perhaps, its survival. in his contribution to the programme Martinů was obviously much notes Martinů did not make it clear affected by events taking place in that his composition pre-dated the Europe and several of his com-po- flight. sitions of the wartime period are After completing La Bagarre directly concerned with those events Martinů had promised his next notably the Memorial to Lidice. Miloš The monoplanecalled orchestral work to Václav Talich. Spirit of St.Luis - at this board Šafránek’s 1945 biography states He wrote to the conductor on Charles Lindbergh realized that Lidice was planned as the middle 15 September 1927 from Polička his famous flight section of a three movement work, saying: „I have to do various odd one of which was to be dedicated to jobs to earn some money for my further stay in Paris, so I cannot fix an exact the RAF. Martinů is said to have met some Czech airmen during the war who were date when I shall finish it. It is called „Decollage“, i. e. the take off of an aero- training in North America for the RAF and this may have been the motivating plane from an airport...“. That composition never emerged but it seems more factor. Unfortunately nothing came out of the projected movements. than coincidental that at that same time Martinů was engaged on the project However, in 1946 a work did appear with an apparent aviation connection mentioned below. bearing the intruiging title Thunderbolt P.47. The P.47 was a powerful American The mood of euphoria which greeted Lindbergh’s successful flight had fighter aircraft which was a familiar sight in the skies of north-western Europe in been preceded only a fortnight before by the equivalent of national mourning 1944. For those who have listened to the only recording of this work anticipating throughout France when the famous French team of Coli and Nungesser in their something resembling William Waltons brilliant musical evocation of the Spitfire Breguet biplane had disappeared without trace over the Atlantic when engaged in the war-time film “The First of the Few“, they need to know the origin of the in attempt to reach New York and lift the prize ahead of Lindbergh. title as recounted by Frank Rybka’s son Boris. Martinů was clearly moved by the failure of this venture and a project was This work resulted from a commission for a short orchestral piece from Hans devised for a mechanical ballet to be produced at the experimental Beriza The- Kindler, who was the conductor of the National Symphony Orchestra of Wa- atre in Paris for which he would compose the score. There was to be no human shington. The fee for the commission was to be $200. The composer completed participation but the show would feature pictures of a bird in flight, a rotating an orchestral Scherzo, but thought this would be an uninspiring title. He asked propellor with changes of lighting and the projection of scenes of countryside his friend Frank to come up with something more exciting. So it was thanks to and sea suggesting the various phases of the flight. Another feature was to be Franks inspiration that Thunderbolt P.47 appeared from the blue. Apart from

12 History the Supraphon recording there has been only the during a mission over southern France in 1944 and odd live performances in recent years. Perhaps some he and his aircraft were never found. The Martinůs high powered orchestra and conductor will one day subsequently became friendly with his widow. enable the P.47 to take off. Martinů who was an avid reader found himself On 26 October 1943 Bohuslav Martinů and his in complete sympathy with the authors philoso- wife Charlotte had their first experience of air travel phical and spiritual visions as expressed in his ack- when they flew from New York to Cleveland on a Uni- nowledged masterpiece The Citadelle, to the extent ted Airlines DC-3 to attend the first performance that he chose passages from the book as the basis of his Second Symphony. A post card to his friend of the first two movements of his 1957 orchestral Frank announced: „So, we arrived safely in Cleve- work The Parables. land, thank God. The big test is tomorrow. Regards, On their return to Europe, the Martinů’s fa- Martinů“. F. James, the elder son of Frank, recalls: voured residence became a small house on Mont „Timid Martinů, who was always uncomfortable in Boron with majestic vistas overlooking the Bay of a mechanical world, became terrified as the hour of Nice [see the article Martinů and His Homes in Nice the flight approached. I recall that my father had Today, BMN 2001, Third issue]. They lived there for to practically shove him into the plane. Hence the a year in 1954/55 and returned on subsequent visits almost prayerful sigh he expressed on the card“. including the last in 1959 immediately preceeding Within a little more than a decade the Martinůs were his terminal illness. The majestic vistas which this to become seasoned transatlantic air travellers. location afforded communicate themselves in some Whilst in New York during the war Martinů was of the most evocative and atmospheric music written introduced to Antoine de Saint-Exupéry, an aviator towards the end of his life. He had come a long way famous for some early pioneering flights and the from the church tower in Polička but with these latter author of such books as Wind and Stars and The compositions he attained a summit of his own. Little Prince. He subsequently went missing in action Charles Lindbergh with his wife The Czech Rhapsody in New Garb Adam Klemens

In the summer of 1945 Martinů completed and not like Teml. Before beginning such a project out in the orchestral version with even greater his Czech Rhapsody for Violin and Piano (H. 304) the orchestrator must carefully study the composer’s contrast and clarity than in the chamber original. in South Orleans, Massachusetts in the USA. It scores with similar instrumentation that were writ- Teml makes use of orchestral timbres typical of was composed on commission for the American ten around the same time, in order that the typical Martinů, with frequent alternation of orchestral violinist of Austrian origin Fritz Kreisler. Not long orchestral style should be maintained. groups - woodwinds and strings. He assigns thereafter Martinů wrote a letter to his friend In comparing the two forms I first listened several various rhythmic and melodic elements to Frank Rybka in which he said: “I have written times to the original chamber version by Martinů. instruments and groups with great experience a Czech rhapsody for Kreisler, for the time be- Only then did I hear the sound of the orchestral ver- and sensitivity, entirely in Martinů’s style. The ing with piano.” From this Martinů researchers sion. Teml chose the following instrumen-tation for orchestration is not done “slavishly”, i.e. liter- have judged that already when his orchestra: 2 flutes, 2 ally according to the piano stylization: Teml composing the work Martinů oboes, 2 clari-nets, 2 bas- transforms some overly “pianist” features into was thinking of an orchestral soons, 2 French horns, 2 a more suitable orchestral texture. version, but that he didn’t get , the full five or- In relation to the solo part the orches- around to it because of other tral accompaniment is con- work. From here it was only a ceived very cautiously, step to the recent decision to but the orchestra never loses have the Rhapsody orchestrat- its color and sonority. The or- ed and thus attempt to realize chestration is chosen such that Martinů’s original plan. even in the loudest sections The B. Martinů Foundation (for example the coda) the entrusted this task to the com- solo part is clearly perceptible poser Jiří Teml – a choice that and distinguishable from the was not accidental, because orchestral tutti, assuming of several years previo-usly Teml course a sensitive performance. had very sensitively orches- Thanks to the softness of the trated Martinů’s Songs on One orchestral sound the work comes Page. across as being much more In such a situation a delicate and plastic than in the composer-orchestrator always stands be- chestral string sections, original version. fore a difficult decision. Work on orchestrat- and of the percussion After listening to and com- ing a composition by somebody else always instruments Martinů’s paring the two versions of the brings with it an element of internal con- favorite combi-nation of Czech Rhapsody I must tip my flict. As an orchestrator, the composer is in timpani, triangle, small hat to Teml’s professionalism a sort of “schizophrenic” position. Of course he drum, and cymbals. and his experience and skill with the orchestra. must utilize his own timbral imagination and his The piece bears the traits of Martinů’s peak period The B. Martinů Foundation’s choice was indisput- experience with orchestral sound to the maximum around the end of the Second World War – rhythmic ably more than fortunate. I think that in Teml’s extent. At the same time, however, he must deny motion clearer than in his earlier works but still orchestral version the Czech Rhapsody for Violin himself - because the result should serve the unmistakable, simplicity of countermelodies and in- and Piano has gained a sister at least as appealing composer of the work and therefore must logi- strumental stylization, rhapsodic form, and tempos as the original, and that both versions will exist cally correspond to his typical orchestration. In varying from one section to another. on concert stages with equal legitimacy. our case this means it must sound like Martinů I must say that all these typical features come

Bohuslav Martinů Newsletter 2002 - Second issue 13 From the left Lubomír Havlák - violin Jitka Vlašánková - cello Petr Matěják - violin Jan Jíša - viola

25 Years Eva Vítová of the Martinů Quartet Jana Honzíková

If we keep in mind that the Martinů one, but also I think the richest of his not among the simplest works in quartet Quartet was formed in 1976 when quartets in terms of content. I recall literature. In the next several months we its members were students, then we very vividly the first rehearsal of this will be playing Martinů for example in Ja- understand the basis of a surprising work. We were absolutely enthralled, pan and in England; last year we played fact: in the end of last year the quartet even though we already knew the piece Martinů in the USA, Germany, England, celebrated its twenty-fifth anniversary. from other performances. When one Switzerland, France, and Spain. (The occasion was marked by a concert studies a work oneself one penetrates on 5 November 2001 at the Rudolfinum more deeply into it, and it was not until Have you encountered some in Prague, then three days later another this point that we recognized what this special responses to Martinů one in Prague’s Jerusalem Synagogue.) quartet is about. I can say that study at home and abroad? The enthusiasm of these still-young of this quartet was the final impulse Responses to Martinů’s music are almost faces seems to deny this. A turning for the decision to ask permission to always positive, and I do not think that point in the ensemble’s history was the use the name of Bohuslav Martinů in is only because positive responses are year 1985, when cellist Michal Kaňka our title. easy to express and the negative ones left to join the Pražák Quartet and the are kept to oneself. Of course we have Havlák players accepted in his place the What other experiences also encountered negative responses, confident, strong per-sonality of Jitka do you have with Martinů’s music but the positive ones clearly predomi- Vlašánková. They began this phase with and what other of his works nate. The large majority of people a new title, taking the name of Bohuslav do you have in your repertoire? do not expect too much from Martinů’s Martinů. Naturally our repertoire includes all music because they do not know him seven of Martinů’s quartets including as well as the greatest names in music Question for Lubomír Havlák, his first work for this combination, literature, and so they are pleasantly leader of the ensemble: The Three Riders. In addition we try to surprised. Personally I think that we What led to the idea of naming perform his chamber works other than have already converted a few people the quartet after Martinů? quartets (quintets, duos, and trios). to Martinů. Our beginnings are linked with the name I can say that we play his music very It pleases us greatly when during our Havlák Quartet. This title became rela- often, and although it seemed at first travels we come across true Martinů ex- tively well established and still today we would have some problems promot- perts who know much more about him some people call us “the Havlákers”, but ing his music, recently this seems to be than we do, and I can say that we find in essence it was a re-sult of a youthful on the decline. Now his quartets are them all over the world. I think his mu- whim. It was our working title for the accepted almost automatically for the sic speaks to a certain natural inclina- period of about ten years we spent in programs of our concerts practically all tion of people who think positively. As studies. One of the things on which over the world. Our title helps in this, a representative of all of them I would the members at that time (Havlák, since it is assumed we play Martinů name a real enthusiast and expert on Jíša, and the Kaňka brothers) definitely better than anyone else. We try to, but Martinů, Mr. Günther Thiele, whom agreed was our affinity for the music of we never know whether we will be suc- we met at the festival in Arjeplog, Bohuslav Martinů - an affinity which cessful because while Martinů’s music Sweden; he comes to Prague for the grew further after we began studying is beautiful it is also somewhat tricky to Martinů festivals and was very eager to his Fifth String Quartet. It is interesting perform. All performers who have come get our recordings of Martinů’s string that the first quartet of his we played into contact with his music will confirm quartets. was this, the most serious and difficult this. Certainly his string quartets are

14 Anniversary

Bohuslav Martinů: String Quartets, Vol. 1.

Martinů Quartet, String Quartets Nos. 1&2, Three Riders. Recorded 2,6/1997, TT: 71:41 Text: English, German, French. Martinů’s caricature called „The Three Riders“ 1 CD. Naxos 8.553782 from 1910

The Martinů Quartet’s discography is also extensive The recording gives a comprehensive idea of the intensity attests to the unbelievably strong musical imagination and expands each year, confirming to all those inter- of this exceptional young artist’s talent. The full-blown, of the twelve-year-old boy, drawing inspiration from a ested in quartet playing generally or in this ensemble lyrical music-making of these works, with deductible ballad by Jaroslav Vrchlický. The performers have left the in particular that its performances are always polished influences in the gradual formation of a personal style, pollen in full musical glow in this work of a beginner, by and have something to say artistically. Not long ago they gave the Martinů Quartet rich material for their concep- not overburdening either the timbral aspect nor the bril- finished a complete recording of Martinů’s quartets for tion of the interpretation of Martinů’s complete works liance of the individual parts. The Quartet No. 2 shows the the Naxos label. So far Part 1 has been released (1999), for quartet. Here it is above all the acoustical unity of growing self-confidence of the young composer, who has another two compact discs are scheduled to come out their ensemble playing that documents in a completely now completed his studies and gained experience while in the second half of this year. Let’s consider the first unified breath their shared final conception. Their light- composing in Paris. Here the Martinů Quartet invests compact disc of the group’s. This disc contains The Three ness and colorfulness of tone in the “French” quartet, the music with an awareness of further development in Riders - Martinů’s first work for this combination of capturing the composer’s starting point of inspiration the composer’s quartet style and places this work in the instruments, written while he was still a boy - along with in impressio-nist music, is a splendid interpretational radiant light of his youthful caprice, inspired by the era the String Quartet No. 1 and String Quartet No. 2. These contribution. The fact that the quartet members are also he lived in. Fully satisfied with the Martinů Quartet’s in- works represent Martinů’s early style: his compositional active as soloists shines forth here in every melodic arch; terpretation of these first three works, we eagerly await beginnings as a student in the Quartet No. 1 (which he precise phrasing and rich lyricism enhance the work’s their recordings of the remaining five quartets. called “French”), and then in Quartet No. 2 from 1925 song-like quality. The Martinů Quartet invests the same Original text by Eva Vítová was released in the Czech music the first phase of his mature compositional output. expressive means into The Three Riders - a piece that magazine Harmonie 11/2001, text updated for BM Newsletter Announcement On 2 November 2001 the pianist Margrit Weber died at the age of seventy- by Vladimír Vogel, and two works written especially for her: the Fifth Piano seven in Zollikon, Switzerland. After completing studies at the conservatory Concerto (“Fantasia concertante” - 1958) of Bohuslav Martinů and Move- in Zürich - where her teachers included Walter Lang - she launched her very ments for piano and orchestra by Igor Stravinsky (1958-59). Until 1973 she active career as a performer in 1952. Concert tours took her to many coun- taught at the conservatory in Zürich. Already in 1985 she deposited with the tries of Europe and later also to America. Her programs often included not Paul Sacher Foundation a set of musical manuscripts including performing only classical-romantic repertoire but also contempora-ry piano literature. materials as well as prints, correspondence, and photo-graphs. Two years Among the numerous works she premiered were Bagatelles for piano and before her death she donated this collection to the founda-tion. (Copies of orchestra (1958-59) by Alexander Tcherepnin, Epigrams for piano (1964) letters from Bohuslav Martinů to Margrit and her husband Karl Weber are by Wolfgang Fortner, Hoerformen for piano and string orchestra (1972) also deposited with the Bohuslav Martinů Institute in Prague.) “Martinů was a great musician, unforgettable…” Margrit Weber in Conversation with Aleš Březina for the „Out of exile“ documentary Transcripted by Livia Krátka from audio cassette abbreviated and modified by the editors AB: You are one of the few fortunate people in the world Did you speak with him about music? to have received a work from Martinů as a gift - one of Yes. I played something for him; he wanted to hear those to whom a work was dedicated. It was the Piano me. Concerto No. 5, “Fantasia concertante”. How was it that So he could observe exactly what finger technique you you made Bohuslav Martinů’s acquaintance? have, what you like, etc.? MW: It was actually via Erismann, and if I remember He told me that he knew precisely what I had in my well it was in Rome. I was playing there, and there head. I met Martinů and his wife Charlotte... It was really an And was he right - is the concerto comfortable for experience… you to play? Martinů composed works directly for particular per- Yes. Well, you know, when you’ve practiced something sons. it comes automatically. A person likes some things Exactly. And that is the way his music is... Whenever more, some things less... But this concerto pleased I hear it on the radio it has such a distinctive style me very much. that I recognize it at once. A person recognizes How would you describe his personality as you Martinů’s language and expression immediately… knew him? It seems amazing to me. And one can sense his per- He was reserved, but unbelievably kind and friendly, sonality in it. and also modest - very appealing. In the works he wrote for a particular person one Was he aware of what a great figure he actu- can specify features that are typical of that person. ally was, let’s say in contemporary musical life? Did And I must say that in the Piano Concerto No. 5 the times when Martinů and his wife were at our place as he show that he was aware of what a famous com-poser – the Fantasia concertante – one can hear you per- friends... Truly beautiful moments. he was? sonally, as a cheerful and modest person, because it Did Martinů play some parts of his concerto for you at Not at all! He was modest, but people appreciated him; is full of melodies and a sort of quiet humor... What the piano? Or did he simply come one day and say - so they admired his music and admired him as a man. is your relationship to this work? here you have it? You and your husband supported him. Oh, I liked it very much. And I played it frequently, He showed me the concerto beforehand. Then we saw each Well, one can not really speak of support. We simply too. It was an unforgettable period for me. Including other again and we took great pleasure in that. liked him and we were good friends.

Bohuslav Martinů Newsletter 2002 - Second issue 15 It was a dream for me to Jiří Tancibudek and Concerto for Oboe and Small Orchestra Janice Stockigt This edited extract is taken from that you are already impatiently waiting a series of interviews held in Adelaide for my letter and some help. But unfortu- at the home of Jiří and Věra Tancibudek nately, I have to tell you quite honestly, in February 2000. The purpose of these that in this matter, I cannot do anything meetings was to record the biography at all for you. Such things as engagements of the Czech oboist Jiří Tancibudek who, etc. are entirely in the hands of officials in January 1950, left Prague and the or people I do not know, and with whom position of principal oboist of the Czech I never come into contact. I receive many Philharmonic Orchestra. In the quest for requests from people like yourself, but a situation outside his homeland, the I am quite powerless to help them. To most exciting offer of a position came secure a position in an orchestra is truly from Rafael Kubelík who, after leaving complicated... It is the same story in Czechoslovakia in 1948, was appointed Canada. I don’t know the situation in conductor of the Chicago Symphony Australia, but I think Australia might Orchestra (1950). Kubelík’s proposal of be easier... Just recently, the U.S.A. a position with this orchestra appealed accep-ted half a million emigrants, so to the Tancibudeks, not only because perhaps you might have the luck to be of the professional status of the Chi- one of them. I am really terribly sorry that cago Symphony Orchestra, but also this I cannot help you to get a job in an or- meant they would be based close to chestra here... But now, at least, I hope Canada, where members of Věra’s family that the following might help you... To- were planning to settle. But upon their wards the end of this letter I write a type visit to the Immigration Department of of recommendation which you should the of America in Germany, show to some professional musician, it was discovered that although Jiří could or music lover who has some influence immediately enter America, Věra’s status with important people – members of an put her into a quota, and there would be audition panel. Perhaps some of them a delay of at least three years before she might even know my name... Please don’t could join her husband. This led to the de- think that I am unwilling to help you. cision to accept an invitation from Eugene On the contrary, I would always gladly help, Goossens (brother of Leon Goossens, a particularly people from the Czech Philhar- former teacher of Tancibudek) to teach at monic. I will certainly cross my fingers for the Conservatory of Music. As a per- you, and hope that you will eventually have former and teacher Tancibudek has had a significant impact upon Australian good employment. I wish you lots of courage, and plenty of good luck. Please audiences, compo-sers, and students, and it is probable that his outstanding do let me know how you are getting on. musical and performing qualities played some part in easing bans imposed by With affectionate greetings the Australian Musicians’ Union upon the employment of European players in Yours [signed] Bohuslav Martinů2 ABC (Australian Broadcasting Commission) orchestras. These interviews were undertaken as part of the project the History of the University Unit of the His- Following arrival in Australia in 1950, Tancibudek was often asked why his re- tory Department at the University of .1 cital programs did not include works by Czech composers. Although small works for oboe works existed, no major item was available; Although Jiří Tancibudek knew that Bohuslav a substantial composition by a Czech master was Martinů, had been violinist with the Czech required for the many solo appearances Tanci- Philharmonic Orchestra, their paths had never budek was beginning to make in his new country.3 crossed. Following his departure from Czecho- Thus, in 1950 Tancibudek wrote once more to slovakia in January 1950 Tancibudek, who was Martinů, who was then in America, stating that then attempting to establish a new career, wrote he had always loved and admired the composer’s to Martinů, who replied (in Czech), and appended music, and would be very happy if Martinů would a recommendation (in English) which could be consider writing something for the oboe which used by Tancibudek. Martinů’s letter reads (in he, Tancibudek, could perform in Australia. By translation): that time Martinů’s fame was growing, and he was beginning to be considered a giant among Czech New York 6 April 1950 musicians – a composer whose stature approached Dear friend, that of Smetana, Dvořák, and Janáček. Your letter came rather late, so I am answe- ring immediately and hope that my answer will still A response from Martinů, finally arrived in 1954. reach you in time. However, if you are no longer He wrote that he had been considering writing there, that would be even better because it could a concerto for Tancibudek, and had already begun mean that you have already received some invita- to sketch the work. He hoped, moreover, that tion, and that you have a good job. I can imagine Tancibudek would give the first performance, and

16 Profile have a piece by Martinů

because of the time involved, Martinů asked if a commission another had come in which Martinů, asked could be arranged for the work. In 1955 Tancibudek received for a manu-script of ‘preluding’ type oboe pas- a further letter from Martinů stating that he, Martinů, sages that Tancibudek might use to warm up would finish the concerto in about ten days, and would the instrument—passages specifically suited to then send a copy of the score to Australia. Tancibudek was his tone and technique. Such examples would wished every success with performances of the work. Part enable Martinů, to fashion the oboe part from of Martinů’s letter reads Tancibudek’s own playing. So the oboist obliged (in translation): the composer by preparing a manu-script of excerpts from passages of the type he played I think your part is brilliant, as warming up exercises. The manuscript, which and you always have enough should have been posted by registered mail, time to breathe and I am sure was inadvertently sent by ordinary airmail. that you will have success with it, Some weeks later Martinů, wrote to say that if not with this, then with nothing. the musical examples had not arrived, and in Now, you have freedom to adjust his impatience to get on with the work he had virtuoso passages to suit your tech- used oboe studies by Bozza as a guide to the nique... Try to get a good fee for the possibilities of the instrument.5 premiere...4 In 1955 a score of the concerto even- Just before this letter’s arrival, tually arrived in Australia. At that time

REVIEW of the ‘Haydn’ in comparison, with the Prague Symphony Orchestra Mark Todd under Harry Newstone, and here it seems to me that it is Tancibudek Jiří Tancibudek who gives the more sprightly ren- dering and the Adelaide Chamber Martinů: , H. 353 Orchestra under Richard Divall is more involved. The Martinů work Haydn: Oboe Concerto, Britten: Metamorphoses, Feld: Sonata is unfortunately the least well for Oboe and Piano, Sutherland: Sonatina for Oboe and Piano recorded item on the disc so far as Adelaide Symphony Orchestra, Elyakum Shapirra – conductor. the orchestra is concerned, though Text: English. Recorded 13, May 1976, Adelaide. TT 73:49. it sounds much clearer than it did 1 CD. ABC Classic, Australian Heritage when issued on LP. Bělohlávek and Turnovský and their orchestras are perhaps not surprisingly more in Martinů wrote his oboe concerto the world premiere in Sydney, with harmonia under Bělohlávek, on a CD touch with the idiom of the music for Jiří Tancibudek, a Czech oboist Hans Schmidt-Isserstedt conducting, issued from the Martinů Festival) but than Shapirra and the Adelaide who had played first oboe in the in August 1956. Although he made authoritative and effective. The disc players, but some people may Czech Philharmonic from 1945 until recordings for various Radio stations also includes Haydn’s Oboe Concerto, prefer the playing of the Adelaide January 1950, when he decided in the fifties, no commercial recording Britten’s Metamorphoses for solo horn player in the slow movement to leave the country. On the notes was issued at that time. oboe, a sonata by Jindŕich Feld, and to that of his Brno counterpart on to the CD “Jiří Tancibudek - The an attractive sonatina by Margaret the Hanták’s disc. Landmark Recordings” (ABC Austra- On the CD, Martinů’s Oboe Concerto Sutherland, an Australian pupil of lian Heritage 461 703-2) David is presented in a performance from Bax. The Feld piece, in which Tanci- The disc is very well produced, Nuttall, Senior Lecturer in Oboe at 1976, with the Adelaide Chamber budek is joined by Daniel Blumenthal with photographs of Jiří Tanci- Canberra school of music remarks: Orchestra conducted by Elyakum on the piano, was also written for budek at various stages of his life, “We can be grateful that at that time Shapirra. This obviously has a special Tancibudek in 1982 after Feld was including one wirh Hans Schmidt- USA immigration laws were very interest, especially as the version Composer in Residence at Adelaide in -Isserstedt at the time of the premi- stringent as Jiří Tancibudek had Tancibudek plays differs in some 1967-8 and is a good example of his ere. As well as Anna-Lisa Whit- already been invited by Kubelík to respects from the published version lyrical and virtuoso writing. There is ing’s notes on the music, David accept a position with the Chicago which apparently contains a number very possibly a third piece by a Czech Nuttall’s account of Tancibudek s Symphony Orchestra!” Instead, he of errors and changes. composer on this disc as, in her inter- life and work includes interesting went with is family to Australia and esting note, Anna-Lisa Whiting points extracts from his own account of his became principal oboe in the Mel- Recordings by other Czech oboists out that the Haydn concerto is ‘almost nighttime mid-winter escape from bourne Symphony Orchestra and over the years have been available, certainly not written by him’, and Czechoslovakia to Germany. worked with other ensembles and and Tancibudek’s performance is notes that the folk-like theme of the as a professor. He still continues to in the same tradition as these, less final Rondo movement ‘also appears • • • teach advanced oboe students. This directly expressive than those by in a Wind Octet by Leopold Koželuch, CD has been issued to celebrate his František Hanták (with Brno Phil- a composer whose style bears an af- Reprinted eightieth birthday. harmonic Orchestra under Martin finity to the Oboe Concerto.’ from The Dvořák Society Newslet- Turnovský, on a Supraphon LP and ter No. 59 Martinů wrote his Oboe Concerto Urania CD, both now released) and All the performances are excellent. for in 1955 and Tancibudek gave Zbyněk Müller (with the Prague Phil- I listened to Hanták’s old LP version

Bohuslav Martinů Newsletter 2002 - Second issue 17 Profile

Tancibudek was about to sail remaining attached to the most authentic from Melbourne to Sydney to depute as classic tradition. His music is contemporary principal oboe with the Sydney Symphony since it expresses essen-tially the deep Orchestra. Thus, the oboe part began to problems of our time...’ 9 be copied from the score to the accom- paniment of the sea during the voyage Although Martinů and Tancibudek met between the two cities. The Australian on only one occasion, Tancibudek found the Broadcasting Commission programmed composer to be a delightful man, “...tall, the premiere of Martinů’s concerto for per- unassuming, shy, softly spoken, most warm formance during a series of five Subscrip- hearted and human, immediately friendly tion Concerts to be given in Sydney during and sympathetic, extraordinarily kind, the 1956 season. John Champ (whom obliging, humble, and a lovely person – Tancibudek had known from the time of that is all I can say”.10 A trip to Polička could arrival in Australia) facilitated sponsor- have been arranged for Tancibudek during ship of the new work through personal his visit to Prague in 1990, but because of contacts with the Sydney newspaper the a number of commitments during this time, Daily Telegraph, and US $750 was sent to he was unable to accept the offer – much to Martinů in Europe.6 Martinů’s Concerto for his later regret. Oboe and Small Orchestra was premiered in August 1956 at the Sydney Town Hall, The Concerto for Oboe and Small Or- with Hans Schmidt--Isserstedt conducting chestra was first heard in Europe in 1958, the Sydney Symphony Orchestra and Jiří when it was performed by Tancibudek in Tancibudek as soloist. Five performances Hamburg with the North German Radio of the work were given at that time. Symphony Orchestra conducted also by Schmidt-Isserstedt. In that same year Originally Martinů, had written two Tancibudek played the work in Vienna with cadenzas to allow a double display of virtuosity by the soloist. When, in 1958, the Vienna Symphony Orchestra conducted by Felix Procházka (a performance Tancibudek eventually met the composer at Basel, the work was still unpub- recorded for Austrian Radio), in England in a performance conducted by Moris lished. At that time, they both agreed that for a relatively short work (it takes Miles (recorded for the BBC on the Third Program), and in Vancouver. In about 17 minutes to perform) one cadenza might be sufficient. Thus, Martinů 1964 Tancibudek performed the work in Frankfurt with the Hessischer Rund- asked the publisher (Eschig) to include only the first of the two cadenzas in funk Symphony conducted by the American conductor Dean Dixon. Further the publication.7 Following Martinů’s death in 1959, Tancibudek included Australian performances of the Concerto for Oboe and Small Orchestra were both cadenzas in performances he gave of this work. given by Tancibudek in Melbourne with the Victorian Symphony Orchestra conducted by Karel Ančerl (1961), in Adelaide with the Adelaide Symphony Despite Martinů’s non-receipt of the manuscript that Tancibudek had Orchestra conducted by José Serebrier (1977), in Sydney with the Sydney prepared for him, and notwithstanding Martinů’s reliance on the Bozza’s 18 Symphony Orchestra conducted by Louis Frémaux (1981), and in Canberra Etudes, Tancibudek is firmly convinced that the concerto is a highly satisfy- with the Victorian Symphony Orchestra conducted by Hiroyuki Iwaki (1981). ing work to play. Although successful performance requires great virtuosity Tancibudek’s performances of this work have always been well received. In from the performer (with moments of real difficulty), the writing for oboe is 1977 he recorded Martinů’s concerto with the Adelaide Symphony Orchestra always highly idiomatic: it is a ‘playable’ work. The composition is fresh, and conducted by Elyakum Shapirra, whose great interest in the score resulted although not styled in the brilliant modern idiom (the harmony is relatively in a highly satisfying performance from the orchestra. In 1980 a recording simple), it is completely original. “Martinů was unconcerned with new styles of was issued on a long-playing disk, together with concertos of Haydn and composition, remaining true to himself, and achieving results that were fresh, Telemann.11 (see p. 17) vital, and enjoyable.”8 For Tancibudek, the graveside speech made at Martinů’s funeral by Marcel Mihalovici (a French composer of Roumanian origin, and Finally, it is notable that the Concerto for Oboe and Small Orchestra has en- a close friend of Martinů), sums up the qualities of the composer: ‘At a time joyed great success. It has been recorded by a number of artists, including Heinz when so many of our friends lost themselves in anxious self questioning and Holliger and Ingo Goritzki, and apart from its many performances in concert halls experimentations, Martinů went his own way and remained himself... he had throughout the world, the work is frequently included in as an item in international the courage to express himself in a simple and accessible idiom where atten- oboe competitions, often as a compulsory work in the final stages. tion to detail never obscured the greatness of the theme. He was modern while

1 The History of the University Unit was established to promote and facilitate research and publication 5 Eugène Bozza, 18 Etudes (Leduc). about all aspects of the history of Melbourne University. The world premiere of Martinů’s Concerto for 6 In a letter dated 26 November 1956 Martinů stated that he had not yet received the payment. A letter Oboe and Small Orchestra took place when Jiří Tancibudek was a member of the teaching staff of the dated 25 August 1957, however, advised Tancibudek that the sum had arrived. Conservatorium of Music at the University of Melbourne. 7 The autograph of the second cadenza is now kept at the Bohuslav Martinů Memorial in Polička. Infor- 2 Cited with the kind permission of Jiří Tancibudek, who also made the English translation of Bohuslav mation kindly provided by Aleš Březina. Martinů’s letter. 8 Jiří Tancibudek, from the interviews taped in February 2000. 3 Shortly after their arrival in Australia, a full length oboe recital was given by Jiří and Věra Tancibudek 9 From the speech of Marcel Mihalovici, delivered at the burial of Bohuslav Martinů at Pratteln, (possibly the first of its kind ever given in Australia), arranged by the Sydney Conservatory. This led 1 September 1959. The English translation from the French was kindly provided by Jiří Tancibudek. to a multitude of invitations to play solo concerts. 10 During the interviews Martinů’s cartoons and illustrations – so simple, yet expressive and charming – 4 Cited with the kind permission of Jiří Tancibudek, who also made this translation. When Tancibudek were recalled. These seem to encapsulate the personality of the composer, and reflect a quality to be received the first contract for the premiere performances, the Australian Broadcasting Commission heard in his music. offered a fee of AUS Ł8 per performance of a world premiere of a new work by a major composer. 11 On the SAREC (South Australian Recording Company) label. In August 2001 the SAREC LP performance was Naturally, this offer caused distress. Tancibudek visited the office of the ABC’s Music Supervisor for remastered and issued on CD (ABC Classics: 461-703-2) as the first of a new series ‘The Australian Heritage’, Victoria to advise that he was afraid he could not accept the terms of the contract. But already there a sub-label of ABC Classics devoted to recordings of historic value made by artists whose musical legacies had been publicity about this new work, and brochures had been printed. After two or three weeks, are of lasting influence on Australian culture. Since ABC Classics has no international distributor at present, the ABC reconsidered, and offered a fee of AUS Ł250 for all five performances. purchases may be made via the internet, and enquiries should be directed to www.buywell.com

18 Events The Night, 1942 - František Muzika ConferencesConferences andand festivalfestival French Surrealism Czech Music in Musical Theater of the and French Twentieth Century. Culture. An international musicological Sympo- An international musicological sium scheduled for 20-22 July 2002 conference scheduled for 14-16 on the occasion of the production of November 2002 at the Sor-bonne the opera Julietta in Bregenz. In coo- in Paris on the occasion of the peration with the Bregenzer Festspiele production of the opera Julietta and the Technische Universität in in Paris. In the frame-work of Berlin. Associated with presentation the project A Czech Season in of the exhibit Stage Works of Bohuslav France. Martinů in the View of Today’s Art- Martinů ists, in association with the Bohuslav in Parisian Martinů Institute in Prague. Metro, 1932 Photo: S. Hippmann Programme 20 July 2002, 10 00 a.m. - 01 00 p.m. • Wolfgang Dömling Surrealism in Painting A Czech Season in France • Michael B. Beckerman Images of the Idyllic in Surrealism (www.bohemiamagica.com) • Theo Hirsbrunner Jean Wiéner and the Avant-Garde after the First World War Bohemia Magica, a project of the Czech Season in France, is framed by the his- torical span of two Czech composers who are inseparably linked with France. The Chair: Jürgen Maehder first of them - Antonín Rejcha - was a friend of the young Beethoven, became 00 30 20 July 2002, 03 p.m. - 06 p.m. a French citizen, and taught composition at the Paris Conservatory to such • Jürgen Maehder: Guillaume Apollinaire and great musicians as Berlioz, Liszt, Gounod, and Franck. The second - much closer • Jens Rosteck: Poulenc and Milhaud: Paths and Detours chronologically to our own time - was Martinů, whose compositional mission on the Way Toward Surrealistic Musical Theater was strongly influenced by the Poem de la Foret of Albert Roussel whose pupil • Eckhard Weber Levels of Reality in Bruno Maderna’s Don Perlimplin Chair: Theo Hirsbrunner he became. The concert offerings will be enlivened by (among other treasures) the wonderful musical speech of this composer who became a Parisian by his 00 00 21 July 2002, 10 a.m. - 01 p.m. own choice - a composer who was unjustly neglected in concert programs in • Jarmila Gabrielová Between Prague and Paris: The Soldier and the Dancer France until recently. in the Context of Opera and Ballet in the 1920s • Jörn Peter Hiekel Irony, Grotesquerie, and Surrealism in Martinů’s Programme - We give only a selection from Martinů’s work. Early Theatrical Works: Remarks on The Soldier (Some of the programs have not been specified yet) and the Dancer, La revue de cuisine, Les larmes de couteau, and Les trois souhaits • Jan Smaczny ‘Seeing is Believing’ - Strategies of Recognition PARIS Two pieces for Harpsichord, H. 244 in the Operas of Martinů Amphithéàtre Richelieu Théàtre Bouffes du Nord Chair: Wolfgang Dömling 18 June 2002 „Festival d’Ile-de-France“ Věra Binarová - Viola, Jan Petr - Piano 8 December 2002, 03 00 p.m. René Magritte Sonata No. 1 for Violin and Piano, H. 182 The Pražák Quartet Ominous Times String Quartet No. 7 1928 The Czech Center (Concerto da camera), H. 314 27 September, 25 October 25 November 2002, 08 00 p.m. Théātre de l’Athénée-Louis Jouvet Trio des Iscles, Trios for Piano, Violin „Festival d’automne“ and Cello (Dvořák, Smetana, Martinů) 13, 14, 16, 17, 19, 20 December 2002 in cooperation with the Atelier Opéra Garnier des Voix du Rhin, Strasbourg 6, 9, 13, 18, 22, 25, 27 November Les Larmes du Couteau, H. 169 M. Albrecht, A. Cousin - Julietta , H. 255 (sung in French) Julietta or the Key to the Dreams, H. 253 ANNECY Cité de la Musique / Salle des concerts 15 October 2002 16 November, 08 00 p.m. Scène nationale Bonlieu The Czech Philharmonic, V. Ashkenazy - The Talich Chamber Orchestra 21 July 2002, 02 00 p.m. - 05 00 p.m. Conductor, E. Batiashvili - Violin (Dvořák, Martinů, Janáček, Suk) • Lydia Goehr Julietta: The Commodification of Desire Frescoes of Piero della Francesca, H. • Ivana Rentsch A Dreamed Life: Martinů’s Julietta and Surrealism 352 AVIGNON • Derek Katz Sounds, Dreams, and Memory in Martinů’s Julietta „Musique sacrée en Avignon“ 00 Chair: Michael B. Beckerman 17 November, 03 p.m. 24 July 2002, 06 00 p.m. L. Vondráček - Piano Métropole Notre-Dame-des-Domes 00 00 22 July 2002, 10 a.m. - 01 p.m. Fenètre sur le jardin, H. 270 „Tribute to Czech Music“ • Frank Harders-Wuthenow Anima Figures in Opera, with Emphasis on Julietta P. Ahlander - Soprano Centre de Musique Baroque • Jörg Schmidt From opera stage to Cinema Y. Mathiak - -NN, Baritone, Mezzo de Versailles (78) Remarks on the Staging of Martinů’s Opera C. Palm, G. Kovacs - Violins 6 October, 03 00 p.m. Les trois souhaits in Augsburg J. C. Basson - Cello Bibliothèque de Versailles Roundtable L. + L. Antonini – Organ Galerie des Ambassadeurs • Alfred Wopmann (artistic director) (Pieces for Voice, Strings and Organ) “Homàge to Marcelle de Lacour“ • Eva Kleinitz (artistic manager) (It continues on the next page) Chair: Aleš Březina V. Luks, M. Knoblochová - Harpsichord

Bohuslav Martinů Newsletter 2002 - Second issue 19 Events

BESANÇON CHÀLON-SUR-SAÔNE MÉRY - SUR - OISE 15 August, 05 30 p.m. 6 December 2002, Opéra - Théàtre 12 October 2002 25 May 2002 (Saintes: 28 May, Trio Wanderer The Prague Philharmonic Choir Auditorium du Conservatoire Saujon: 30 May, Mirabeau: 31 May) Piano Trio No. 2 in d minor, H. 327 Concert a Capella (Černohorský, Bach, V. Figuri - Actor, Y. Pochtar - Piano, The Talich Chamber Orchestra 18 August, 05 30 p.m. Pärt, Eben, Poulenc, Martinů, Martin) I. Moretti - Harp, K. Lethiec - Violin and Serenade for Chamber Orchestra, H. 199 L. Wright - Piano Viola, Three Melodramas, H. 82, 83, 84 BOURGES CHAMBÉRY A. C. Villars - Violin S. Feyerabend - Viola „Les Très Riches Heures NICE 10 October 2002 P. Muller - Cello de l’Orgue en Berry“ Festival House of B. Martinů/Festival Pablo Casals Théàtre, Talich Chamber Orchestra Piano Quartet, H. 287 13 August 2002, Cathédrale Serenade for Chamber Orchestra, H. 199 de Prades, 21 or 27 October 2002 Organ Recital by František Vaníček Talich Quartet and Soloists 24 August, 05 30 p.m. (Černohorský, Seger, Kuchař, Eben, 7 December 2002 Programme 1: The Kitchen Revue, H. 161 R. Garioud - Cello, Wiedermann, Janáček, Martinů) Espace Malraux Nonet A. Alexandrescu - Piano The Prague Chamber Choir Programme 2: String Quartet Sonata No. 1 for Violoncello BRUÈRE-ALLICHAMPS Concert a Capella Sonata for Piano, H. 350 and Piano, H. 277 (Abbaye de Noirlac) (Černohorský, Bach, Pärt, Eben, Pou- Programme 3: Les Rondes, H. 200 Festival de Noirlac, Rencontres lenc, Martinů, Martin) The Kitchen Revue, H. 161 SOCHAUX Internationales d’Art vocal 11 October 2002 27 July 2002 COLMAR NOIRLAC Théàtre, Talich Chamber Orchestra Bruère-Allichamps, Abbaye de Noirlac Atelier du Rhin Festival de Noirlac, Rencontres Inter- Serenade for Chamber Orchestra, H. 199 The Prague Philharmonic Choir 5, 6 December 2002 nationales d’Art vocal (Černohorský, Eben, Martinů, Schnittke) Théàtre de Manufacture Bruère-Allichamps, Abbaye de Noirlac SULLY - SUR - LOIRE Ensemble Ostinato 27 July 2002, The Prague Philharmonic Choir 1 June 2002 (Marenne, 2 June) CANNES Les Larmes du Couteau, H. 169 The Romance of the Dandelions, H. 364 „Festival de Sully-sur-Loire“ 1 December 2002 Alexandre Bis, H. 255 Orchestre Poitou - Charentes Théàtre Noga-Croisette RENNES L. Svárovský - Director Orchestre Régional de Cannes Atelier du Rhin, 23 September 2002 M. Lethiec - Clarinet Provence Alpes Côte d’Azur 9 December 2002 or 5 December 2002, 08 30 p.m. Sinfonietta La Jolla, H. 328 „Mozart in Prague“ M. Jocelyn - Ensemble Instrumental Opéra, The Prague Philharmonic Choir Jan Talich - Violin, Philippe Bender Singers - Opéra du Rhin J. Brych - Conductor TAVERNY - Director (Mozart, Eben, Mařatka, Les Larmes du Couteau, H. 169 Vocal and Instrumental Soloists 29 September 2002 Martinů, Prokofjev) Alexandre Bis, H. 255 Four cantatas d’apres Bureš Festival d’Ile de France (création de la version fránçaise): Église de Taverny CATTLAR ECHIROLLES Opening of the Wells, H. 354; The Ro- The Prague Philharmonic Choir Festival Pablo Cassals – Prades 14 October 2002 mance of the Dandelions, H. 364; Mikeš (Martinů) 2 August, 06 00 p.m. Théàtre, Talich Chamber Orchestra of the Mountains, H. 375; Legend of the Eglise de Cattlar Serenade for Chamber Orchestra, H. 199 Smoke from Potato Fires, H. 360 TOULOUSE „Violoncello à la Carte“ 11 June, 08 30 p.m. Mihaela Martin, Gil Sharon - Violins LILLE SCEAUX Halle-aux-Grains Itamar Golan - Piano, Frans Helmer- 5 December 2002 Orangerie / Festival de l’Orangerie The National Chamber Orchestra son, Philippe Muller - Cellos Palais des Beaux – Arts / Atelier Lyrique de Sceaux, 3 August, 05 30 p.m. of Toulouse Duo for Violin and Cello No. 2 de Tourcoing, Pražák Quartet J. P. Sabouret, V. Roux, P. Bary Partita (Suite No. 1 in D Major, H. 371 String Quartet No. 7, H. 314 Piano Trio No. 1 (Cinq pièces brèves), H. 193 for String Orchestra), H. 212 RESEARCH Martinů - Always New Three Fruithful and Exciting Working Visits to Prague Harry Halbreich Since last autumn, I have undertaken a thorough bered as “bis” in order not to upset the by now familiar revision and updating of my book on Bohuslav Martinů, and standard “H” numbers (I am known over them as with its Catalogue of works, which was published by “Mr. Köchel Martinů!”) bringing the total number of Atlantis, Zürich, back in 1968 and has long been out his works from 387 to 417, though even this is not of print. In thirty five years, a lot has happened in definite, other works are likely turn up! The number the world, both music and in politics. Martinů’s home of missing pieces has been reduced to less than 50, country has at last recovered its freedom, in time for almost all “Juvenilia”, so an almost complete survey of his hundredth birthday, and he is now the most popu- his immense output at last becomes a reality. Among lar and most frequently performed twentieth-century the few important pieces still missing, while there is Czech composer in this country. His music was in urgent little hope about the 1st String Trio (H. 136 the first need of reassessment, times have changed, the serial piece written in Paris) the Wind Quintet, H. 187 of 1929 terrorism of the fifties and sixties is fortunately a part was traceable until 1967, and rediscovery of the Three nightmare (its collapse coinciding in time with the fall Apollinaire Songs, H. 197 of 1930 is also a possibility. of communism) and present trends lend a new relevance While hope for the Trio for Flute, Violin and Bassoon, to Martinů’s aesthetic ideal. He has long since taken H. 265 of 1937 is fainter. This just shows that Martinů his place in history as a true classic. But above all, the remains a most exciting and lively subject for scholars availability of his music has taken a dramatic turn for and musicologists. I have devoted forty years of my life the better, lots of missing works have turned up again, to it, and I am not nearing the end. Even my new book, others have been newly discovered. In the last few up-to-date when it shall appear, is likely to be super- months, my three lengthy visits to Prague (including seded by new research, and it is most encouraging to also short stays in Brno and Polička) have yielded exciting discoveries. I’m see a devoted and enthusiastic young generation of specialists taking over, now in the last stages of completing what is actually a new book, hopefully to some of whom are active in that ever-hospitable house on Kinský Square the be published by Schott very soon. Seat of the Bohuslav Martinů Institute and Foundation, which has become for The newly-revised catalogues includes no less than 30 new items (num- me something like a second home.

20 News MartinůNews CDs ANNIVERSARY Boston Archives In connection with the 100th anni- April marked the twentieth anniver- versary of Symphony Hall in Boston, sary of the death of Martinů’s first the Boston Symphony has issued a biographer, Miloš Šafránek (1894- 12-CD set of performances drawn from 1982), writer and diplomat. In comme- its archives and covering the years moration thereof his Pamětí (Memoirs) 1943-2000. Martinů is represented are being prepared for publication by the Double Concerto for Two String early in 2003. The Martinů Foundation Orchestras, Piano and Timpani as per- has decided to honor his memory by formed by Rafael Kubelík on 13 Janu- and Sixth Symphony under Munch and dedicating to him the final concert of ary 1968, which will no doubt prove the First Symphony as performed un- the 2002 Martinů Festival (the Czech to be another of his powerful and der Václav Neumann in 1982. Perhaps impressive readings. The album does these will be made available at some Philharmonic, 19 and 20 December not draw on Martinů works specifically future date. 2002). On April 22 Šafránek’s daugh- associated with Boston, performances From the “Martinů Review” by Greg ter Dr. Anna Fárová received a diploma of which are preserved in the orchestra Terian in The Dvořák Society Newslet- “In Memoriam M. Šafránek” from archives. These include the Parables ter, No. 58 the Czech Bohuslav Martinů Society, and in December he will be awarded ••• posthumously a Martinů Foundation In Preparation Medal. C.E.M.A. is planning to release a CD recording titled Piano Miniatures by Martinů and Janáček (Film in Miniature, H. 148; Four Movements, H. 170; Dumkas; More on Miloš Šafránek in the next issue. The Fifth Day of the Fifth Moon, H. 318). The pianist is Karel Košárek. ••• Supraphon is preparing the following recordings: BOOKS and ARTICLES SU 3650 The first part of the complete symphonies with the Czech Philharmonic under Jiří Bělohlávek (Symphonies Nos. 5 and 6) “Fragen der Freundschaft, der NEW Journal of The Dvořák Society for Czech ••• Liebe und des Todes. ‘Das Gil- and Slovak Music (Volume 21, 1999/2000) gamesch-Epos’ von Bohuslav - Sharon Choa: “Three Missing Bars in the Re-releases Martinů”, in Texte zur Chor- Largo of Martinů‘s Symphony No. 4 (1945)” SU 3656-2 The complete piano works played by Emil Leichner musik by Ines Matschewski, - Aleš Březina: “A ‘Fantastic Learning (original No. 11 1010-2133) published by Carus-Verlag, Stut- Experience’ in Composing for String SU 3643-2 Serenades (original Nos. 11 0098-1 031 and 11 0098-1 031) tgart 2001. Orchestra -Martinů‘s Interventions SU 3622-2 Concerto for oboe and small orchestra (original No. 0180-2031) ••• in Vítězslava Kaprálová‘s Partita (1938)” Concerto for cembalo and small orchestra (original No. 11 0107-2031) An article by Aleš Březina on the - Alena Němcová: “Vítězslava Kaprálová and Concerto for piano and orchestra No. 3 (original No. 11 0374-1, 2, 4 031) first version of The Greek Passion Jan Novák: Two of Martinů‘s Moravian Pupils” SU 3672-2 Concerto for piano and orchestra No. 3, H. 316, Kytice, H. 260 titled “ ‘...abych se mohl na změny ••• předem duševně při-pravit’: Řecké On May 11 at 4 PM Jaroslav Mihule had an pašije - dvě opery Bohuslava autographing session on the occasion of DISCOVERY Martinů (“... So that I can prepare publication of his book B. Martinů - Osud Jana Honzíková has dis- myself spiritually for the changes skladatele (B. Martinů - The Fate of a Com- covered that the Czech in advance”: The Greek Passion - poser) in Prague’s Industrial Palace during National Film Archive has Two Operas by Bohuslav Martinů”) the “World of Books” trade fair. the documentary film in the journal Hudební věda, Vol. ••• Střevíček (The Slipper) 38 (2001), Nos. 1-2. In Preparation and the acted film Mari- ••• My Life with Martinů. A new revised and jka nevěrnice (Unfaithful Dietfried Bernet and Aleš Březina annotated edition of the memoirs of Marijka) with script by have prepared a German transla- Mrs. Charlotte Martinů. Vladislav Vančura after tion of Julietta for a pro-duction The B. Martinů Foundation in cooperation a novel by Ivan Olbracht, of this opera in Bregenz. The with the B. Martinů Memorial in Polička. for both of which Martinů translation is published in the This project is part of commemorations in composed music (H. 239 in Martinů with I. Olbracht and V. Vančura, Prague 1933 “Textbuch” Bregenzer Festspiele 2003 of the twenty-fifth anniversary of 1935 and H. 233 in 1933). 2002. Charlotte’s death. Thanks to the kindness of the NFA this material will be available for study purposes at the Martinů Institute. This discovery is complemented by another piece of good news. The autograph score to Strevíček has been purchased by the Martinů Foundation at the Sotheby’s auction house in London together with another film score by Martinů - Město živé vody: Marián- ské Lázně (City of the Water of Life - Mariánské Lázně), H. 240 from 1935. However, the documentary film of this title to which the music belongs is still missing. Both works will sound in this year’s Martinů Festival - on December 8 as rendered by the Berg Chamber Or- chestra. The latest news from the NFA pertains to the docu- mentary film Slovácké tance a obyčeje (Mora- vian-Slovakian Dances and Customs - H. 134, 1922), which has survived only Prague, J. Sudek, 1938 as a silent film.

Bohuslav Martinů Newsletter 2002 - Second issue 21 News MartinůNews PUBLISHED MU- NEWS FROM SIC THE B. MARTINŮ ANNOUNCEMENTS Panton International of Prague and Mainz has reprinted the Sonata in D INSTITUTE’S On 17 January 2002 at the College next issue. minor for Violin and Piano, H. 152 of Liberal Arts of Charles University, • • • including the violin part. LIBRARY on the occasion of her promotion In April 2002 the “Association Bohus- ••• to professor, Doc. PhDr. Jarmila Gabri- lav” was founded in France. Its activi- Bärenreiter of Kassel has published The institute’s library has an impor- elová, CSc. read a study titled “Timing ties will pertain to chamber music of the Promenades for Flute, Violin, and tant new acquisition that will be espe- devienne le cauchemare”: Dramatic Martinů, concerts and conferences. Harpsichord, H 274 including perform- cially pleasing to researchers who do Treatment in the First and Second Ver- Representatives and founders of the ing parts. not read Czech: an English translation sions of Martinů’s The Greek Passion”. association are: ••• of Dopisy domů (Letters Home), previ- This was the first lecture for a promo- pianist Eric Kullock, flutist Catherine Associated Music Publishers, Inc. has ously published in Czech by the Mladá tion to professor that has pertained to Debever-Perrier, violinist and violist published the Piano Quartet, H. 287 Fronta publishing house in 1996 as the music of Martinů. Jean-Francois Schmidlet (for violin, viola, cello, and piano) in- edited by Iša Popelka. The translation • • • Contact: [email protected] cluding parts (ISBN 0-7935-9831-1). is made by Ralph Slayton. On 25 April 2002 Martinů’s very • • • rarely-performed Concerto for Violin, On 25 May a celebration was held Piano, and Orchestra, H. 342 was on the occasion of the tenth an- RESPONSE performed by the Moravian Philhar- nual performance of The Opening Mrs. Jarmila Juliet Kepl of New York, daughter of the journalist Rudolf Kepl, monic of Olomouc under the baton of the Wells in the village of Tři responded to the article “Bohuslav Martinů’s Correspondence in the Museum of of František Preisler. Studně (Three Wells) - the place where National Literature in Prague” on page 16 of the last issue of the Newsletter, remembering • • • Martinů spent his vacation before the encounter of her father with Martinů and Roe Barstow in Paris. Bohuslav Martinů has been named the Second World War. Here is her memory: “Composer of the Season” of the I remember Martinů coming to our house in the rue Boissonade in Paris in 1948 when Aargauer Symphonie Orchester for I was thirteen, accompanied by a lady, who took a great interest in me and was surprised the 2002-03 season. Program in the that I was reading War and Peace at my age. (Privately I thought there was nothing to it and that she didn’t realise children’s ability to skip any parts that were boring!). My father had known Martinů for years, certainly since he came to Paris, when as my father said, NEW SOURCE DOCUMENTS he was rather poor and when he came on business to see my father at the Czech Legation (it was not yet an Embassy at that time) would generally come just before lunchtime Mr. Zdeněk Vokurka has lent the and be invited to a meal by my father. The lady who came to our house would have been sketch for the Fourth Symphony and Roe Barstow. She took a kindly interest in me and told me about the American Library an unknown photograph of Martinů to in Paris, which became a great source of delight for me later. the Martinů Institute for scanning in After their visit, my father said sadly that Martinů was not the man he had been before his electronic pictorial form. accident. I thought he was a very handsome man, but I remember he was rather quiet. • • •

Late in 2001 the Martinů Foundation acquired a large set of photograph- ic negatives encompassing almost a thousand items capturing events relating to Martinů in Polička. The set B. Martinů with Roe Barstow in Alps, 1948 contains shots from 1973 through the late 1980s: the opening of new museum exhibits at the Martinů Memorial, trips News prepared by Jana Honzíková of the Martinů Society and the foundation of its branch in Polička, the burial of the composer’s wife Charlotte, transfer of the composer’s remains to Polička and their burial, scenes from concerts, opera performances, and celebrations The Bohuslav Martinů Newsletter is published by Fax: +420-2-57323761 in the town, shots of various places in the town, items from the estate, etc. The International Bohuslav Martinů Society in e-mail: [email protected] collaboration with The Bohuslav Martinů Insti- www.martinu.cz The photographer is Zdeněk Holomý of Svitavy (born on 7 August 1924 in Dolní tute in Prague 2000 with the financial support of Secretary of IBMS: Němčice), who has carefully documented important events in Martinů’s native The Bohuslav Martinů Foundation in Prague Jindra Jilečková town over the course of decades. With his revealing photographs, which are also e-mail: [email protected] frequently focused on natural and agricultural landscapes, he has provided il- Editor: The Cover: Price for non-members of IBMS: Jana Honzíková Lindbergh flight’s collage CZK 50, 2 $, 2 Euro lustrations for many books, studies, calendars, and other printed materials. The Associate editor: Seat: The International The preceding issue: Martinů set provides valuable documentation for researchers, cultural journalists, Sandra Bergmannová Bohuslav Martinů Society and exhibitors. It will be processed and deposited in the Martinů Memorial in Translation: David Beveridge Acacialaan 28, Photography: The Bohuslav Polička, whose collections also include other important photographs by Holomý B 1820 Steenokkerzeel, Belgium Martinů Foundation’s and Tel. /Fax: +320-16-655057 taken throughout his career. Institute’s archive Karel Van Eycken Jan Kapusta Graphic design and printing: E-mail: • • • Belák Attila [email protected] Office of IBMS and editorial office: Jan Smaczny has made copies of contracts, correspondence, and other documents The Bohuslav Martinů Newsletter is The Bohuslav Martinů Institute printed on recycled paper from the archive of the Boosey and Hawkes publishing house for the Martinů Nám. Kinských 3, 150 00 Prague 5 Foundation and the Martinů Institute. It is published three times a year Tel: +420-2-57313104, 57320076

22 Bohuslav Martinů Newsletter 2002 - Second issue 23 The B. Martinů Institute Recommends

Great Conductors of the 20th Century Karel Ančerl Shostakovich, Novák, Krejčí, Janáček, Mácha, Smetana, Dvořák Martinů: Symphony No. 5, H. 310 Massey Hall, Toronto. Live Recording November 1971. Text: English, German, French. TT 1: 76:37. TT 2: 78:58 2 CD IMG Artists 7243 5 75091 2 1.

Bohuslav Martinů Suite concertante, H. 276 (second version) Concerto for Violin and Orchestra No. 1, H. 232 bis Czech Philharmonic Orchestra, B. Matoušek - violin, Ch. Hogwood - conductor Recorded in May 2001. Text: Eng., Ger., French. TT: 47:45. 1 CD Supraphon SU 3653-2 031

Bohuslav Martinů Martinů: Concerto for two and Orchestra, H. 292 Alfred Schnittke: Concerto for two Pianos and Orchestra. Klavierduo Genova & Dimitrov, Radio-Philharmonie Hannover des NDR, Eiji Oue. Hannover, January and March 2001. Text:, German, English, French. TT 54:04. 1 CD CPO 3610808.

Jiří Tancibudek Martinů: Oboe Concerto, H. 353, Haydn: Oboe Concerto, Britten: Metamorphoses Feld: Sonata for Oboe and Piano, Sutherland: Sonatina for Oboe and Piano Adelaide Symphony Orchestra, Elyakum Shapirra – conductor. Text: English. Recorded 13, May 1976, Adelaide. TT 73:49. 1 CD. ABC Classic, Australian Heritage. See page 16-18.

Klassizistische Martinů Lydia Kavina Moderne Volume The Epic of Works for I Gilgamesh Theremin

Martinů: Toccata e due canzoni, H. 311 Martinů. The Epic of Gilgamesh, H. 351 Original Works for Theremin – Lydia Kavina Stravinskij: Concerto en Ré, Honegger: Slovak Philharmonic Orchestra, Zdeněk Ko- Martinů: Fantasy for Theremin, H. 301 Symphony No. 4 „Deliciae Basilienses“ šler. Slovak Philharmonic Choir. Ivan Kusnjer, (J. Schillinger, F. Wilckens, P. Grainger, I. Kammerorchester Basel, Christopher Hogwo- Štefan Margita, Luděk Vele, Milan Karpíšek. Achron, Vl. Komarov, L. Kavina, J. Antunes) od. Text: German, English, French. Recorded: Text: English, German, Libreto: Czech, En- Recorded 22 June 1997, Portland, USA. 3/2001 Radio Studio Zürich. glish. Recorded 23, 24 Nov. 1989, Concert Text: German, English, French. TT 66:24. TT 65:43. DDD. 1 CD. 2001 Hall of the Slovak Philharmonic, Bratislava. 1 CD. Mode Records 76 Arte Nova Classics 74321 86236 2. TT 55:31. Re-release (first released on Marco See page 7 Polo in 1990). Naxos 8.555138