THE BOHUSLAV MARTINŮ FOUNDATION & THE BOHUSLAV MARTINŮ INSTITUTE

MAY—AUGUST 2005 / VOL.V / NO.2

ssion ek Pa he Gre reece T ly in G ärvi Final eme J ith Ne ew w dler ntervi ns Kin I ů & Ha Life artin ofthe M ears nů inal Y Marti The F uslav rtinů of Boh on Ma apský ín Tuč NTS Anton & EVE NEWS ts– Conten VOL. V / NO.2 MAY—AUGUST 2005

Bohuslav Martinů in Liestal, May 1956 > Photo from Max Kellerhals’archive

e WelcomE —EDITORIAL —REPORT OF MAY SYMPOSIUM OF EDITORIAL BOARD —INTERNATIONAL MARTINŮ CIRCLE

r Reviews —BBC SYMPHONY ORCHESTRA —CD REVIEWS —GILGAMESH

y Reviews f Research THE GREEK PASSION THE FINAL YEARS OF THE FINALLY IN GREECE LIFE OF BOHUSLAV MARTINŮ • ALEŠ BŘEZINA • LUCIE BERNÁ

u Interview j Memoirs WITH… NEEME JÄRVI ANTONÍN TUČAPSKÝ • EVA VELICKÁ ON MARTINŮ

i Research k Events MARTINŮ & HANS KINDLER —CONCERTS • F. JAMES RYBKA & BORIS I. RYBKA —BALLETS —FESTIVALS

a Memoirs l News MEMORIES OF —THE MARTINŮ INSTITUTE’S CORNER MONSIEUR MARTINŮ —NEW RECORDING —OBITUARIES • ADRIAN SCHÜRCH —BOHUSLAV MARTINŮ DISCUSSION GROUP me– b Welco

THE BOHUSLAV MARTINŮ REPORT ON THE MAY SYMPOSIUM OF THE EDITORIAL NEWSLETTER is published by the Bohuslav Martinů EDITORIAL BOARD Foundation in collaboration with the DEAR READERS, Bohuslav Martinů Institute in Prague THE MEETING of the editorial board in 2005 was held on 14–15 May in the premises we are happy to present the new face of the Bohuslav Martinů Institute. It was attended by the chair of the editorial board of the Bohuslav Martinů Newsletter, EDITORS Aleš Březina as well as Sandra Bergmannová of the Charles University Institute of published by the Bohuslav Martinů Zoja Seyčková Musicology and the Bohuslav Martinů Institute, Dietrich Berke, Klaus Döge of the Foundation and Institute.We hope you Jindra Jilečková Richard Wagner-Gesamtausgabe, Jarmila Gabrielová of the Charles University Institute will enjoy the new graphical look. Our TRANSLATION of Musicology in Prague and the New Complete Edition of the Works of Antonín graphic designer is David E. Cígler, who David Beveridge Dvořák, Kateřina Maýrová of the Czech Museum of Music in Prague, Daniela Philippi has been cooperating with the Bohuslav Martinů Foundation for a long time PHOTOGRAPHS creating the face of the Bohuslav Martinů The Bohuslav Martinů Foundation’s and Institute’s Festival brochures, posters and leaflets. archive and collections of the Municipal Museum – The “summer” issue of the Newsletter Bohuslav Martinů Memorial in Polička brings many interesting articles, concert GRAPHIC DESIGN suggestions and reviews as usual.We tried to focus on the recent opera perform- David E. Cígler ances; you will find the review of a unique PRINTING event – the Greek Passion opera per- formance in Thessaloníki on page 6.It was BOOM TISK, spol. s r.o. the Greek premiere of this work.We have SUBSCRIPTION decided to publish a somewhat „lighter“ CZK 150 • $ 6•=C 6 of the Musikwissenschaftliches Institut in Mainz and the Christoph Willibald Gluck- piece of reading, memories of Adrian The Bohuslav Martinů Newsletter Gesamtausgabe, Giselher Schubert of the Hindemith-Institut and the Paul Hindemith- Schürch, who lived in Martinů’s neigh- is published three times a year. Gesamtausgabe and the Kurt Weil Edition, Jan Smaczny of the School of Music at the bourhood in Schönenberg, Switzerland, University of Belfast, Paul Wingfield of the Trinity College in Cambridge,Vít Zouhar of and became friends with Martinů during COVER PHOTO the Palacký University in Olomouc, Marie Karlická and Alena Dvořáková of Panton the last years of the composer’s life.You The Greek Passion in Thessaloníki International Prague. will find the “Memories of Monsieur Mar- EDITORIAL OFFICE The main goals of the gathering were to discuss important questions concerning the tinů” on the middle pages, as a substitu- editorial rules (the form of musical text in association with changes made by the editor), tion for the traditional Photo Gallery. The Bohuslav Martinů Institute Náměstí Kinských 3 specification of the “Foreword to the Edition” and the “Introduction” suggested by Aleš The next issue will publish (among other 150 00 Praha 5, Czech Republic Březina, editor of the first volume, which is dedicated to the compositions for chamber texts) an interview with Martin Kasík, tel.: +420 257 313 104 orchestra (Concerto grosso H. 263, Tre Ricercari H. 267 and Double Concerto H. 271). a successful young pianist, and a Martinů +420 257 320 076 The meeting was accompanied by an evening cultural event – concert of the Prague enthusiast and promoter, text of Dr. Ivana fax: +420 257 323 761 Spring International Music Competition 2005 laureates.The next meeting is going to take Rentsch’s lecture on Martinů’s encounter e-mail: [email protected] place in May 2006 and it should be followed by a concert pertaining Martinů. Discussion with Einstein, a report by Jana Urbanová www.martinu.cz of musical text and critical report on the first volume of the edition are planned for the on her research in the libraries and next meeting as well as assignment of the editors of the next volumes. Lucie Berná archives of Paris, Greg Terian’s research ISSN 1214-6234 on historical recordings of Martinů’s music, INTERNATIONAL MARTINŮ CIRCLE information from EXPO 2005 in Japan, where Martinů was played in the Czech IN JULY, A NEW SOCIETY dedicated to promoting Martinů and his music will be pavilion, and about the upcoming per- founded in Prague! The IMC will be fully supported by the Bohuslav Martinů Foundation. formance of the Greek Passion (second The structure of the society will be open so that all members will have the possibility version) in the Prague National Theatre to influence the form of the IMC Board. under the baton of Jiří Bělohlávek. Regular The International Martinů Circle is being launched on the initiative of Aleš Březina, columns – events, news, new recordings – director of the Bohuslav Martinů Institute, Ivan Štraus, president of BM Foundation, will of course not be omitted. Dagmar Henžlíková, manager of the Foreign Department of the Czech Radio together We wish you a sunny summer and will be with Greg Terian and Patrice Chevy, both members of the Dvořák Society for Czech back in October with the new Bohuslav and Slovak Music, Mari Tokuda of the Martinů Society Japan, and Judith Mabary of the Martinů Newsletter! THE PREVIOUS ISSUE American Czech and Slovak Music Society.The Secretariat of the new Circle will be Zoja Seyčková & Jindra Jilečková based in Prague with Jindra Jilečková acting as secretary. Editors If you wish to become a member of the International Martinů Circle, or cooperate MUNICIPAL MUSEUM — with the society in any way, please, write to the e-mail address [email protected] WE WOULD LIKE TO ANNOUNCE BOHUSLAV MARTINŮ or postal address Náměstí Kinských 3, 150 00 Praha 5, Czech Republic. THATTHE Membership will (besides other advantages – CDs etc.) include subscription NEW VERSION MEMORIAL IN POLIČKA to the BM Newsletter, which will serve not only as a magazine dedicated OFFERS a permanent exhibition to Martinů but also as a forum for the IMC members. OF OUR WEBSITE dedicated to the life and work of www.martinu.cz had been finished B. Martinů, a guided tour to Martinů’s recently! It is updated regularly; we birthplace in the St. James church NEWSLETTER SUBSCRIPTION inform about Martinů – related events tower and for registered researchers and concerts each month. archive materials concerning Martinů. TO SUBSCRIBE to the BM Newsletter, please, send an e-mail to our address You can subscribe to our “news by Further information available at [email protected] or fill in the application form at e-mail” service at this address: www.muzeum.policka.net and http://www.martinu.cz/english/formular_predplatne.php http://www.martinu.cz/ www.policka-mesto.cz You can also send an application with your full name, address and phone number to english/novinky_zasilani.php the BM Institute’s address: Náměstí Kinských 3, 150 00 Praha 5, Czech Republic

BOHUSLAVMARTINŮNEWSLETTER2)2005 e From the reviews of the BBC tragedy and eerie quiet. Bělohlávek’s affinity with the score was exemplified — Symphony Orchestra’s both by the fact that he conducted it from views memory and by the way that the character Re concert on March 12, 2005, of the music was conveyed with such Barbican, London, England immediacy and subtlety…

A CZECH COMES HOME PROGRAMME / Martinů’s Memorial to Lidice, H. 296 TO THE BBC and Symphony No. 6 – Fantaisies symphoniques, H. 343 — The International and Mozart’s Requiem Herald Tribune Conducted by Jiří Bělohlávek — 18/3/2005 Jiří Bělohlávek — George Loomis

BBC SYMPHONY ORCHESTRA/ What this thrilling performance of the references to a chant associated with the The music of Bohuslav Martinů has long BĚLOHLÁVEK BARBICAN, Fantaisies demonstrated was that, with Czech patron saint St Wenceslas. been a Bělohlávek specialty, and Saturday’s LONDON a conductor who breathes light into the It is all done with such noble sensibility concert included two of the composer’s — Financial Times (London) textures and brings exactness to the that the sudden appearance of the Fate orchestral works along with the Mozart’s — 15/3/2005 syncopated rhythms, Martinů’s stylistic motif from Beethoven’s Fifth Symphony – Requiem… — Andrew Clark palette takes on unexpected coherence symbol of wartime allied solidarity – …Martinů’s music sounds as unmistak- and virtuosic substance. comes as a poignant and thoroughly ably Czech as Dvořák’s or Janáček’s while At the weekend Jiří Bělohlávek gave his natural gesture rather than sounding tracking stylistic developments of the first concert since being named chief musically extraneous. first half of the 20th century. A Czech conductor… The Czech maestro is not INSPIRATION AND INSIGHT The Fantaisies symphoniques, as the title chorale tune adds a measure of hope to a communicator, but he certainly knows AUGUR WELL implies, is a much more elusive piece, full Memorial to Lidice, a remembrance of how to make music, as his stint as BBCSO — The Daily Telegraph (London) of Martinů’s piquant fingerprints and a Nazi atrocity. Bělohlávek maintained principal guest conductor in the late 1990s — 16/3/2005 almost falling over itself with ideas, though fine balances in the work’s soulful proved. — Geoffrey Norris somehow unified by the music’s general, chordal textures.The three-movement …Bělohlávek and the orchestra put on otherworldly atmosphere. Fantaisies symphoniques (Symphony No. 6), their very best face for a programme …Memorial to Lidice commemorates a There is something deeply emotional more diverse in its variety of material, embracing two Martinů works, Memorial to Nazi atrocity during the Second World about the music as a whole, with a strange, maintains a largely stratified texture in Lidice and Fantaisies symphoniques, and the War, in music of dignified defiance that has spectral buzz to the central scherzo and which individual instrumental groupings Mozart Requiem. Martinů is still treated Martinů’s characteristic woodwind pun- moments of chilly apprehension between do their own thing, often animated by condescendingly by London’s orchestras. gency and a fabric of themes woven with passages of elegiac lyricism, hints of arresting rhythmic formulations.

The young Martinů dedicated this concerto and Cello (1923–26) by Manuel de Falla. listener stood last in line. On the other to Marcelle de Lacour because, as he The choice of this work was not accidental. hand I must say that this is a very carefully- wrote in a letter home,‘she asked me to Its premiere is associated with a harpsi- prepared and professionally-produced CD. write something for her, and she plays chordist who also performed Martinů’s I appreciate the fact that Knoblochová’s a lot on the radio and in very distinguished works – Wanda Landowska, the teacher choice of instrument has not restricted her gatherings.’ The concerto is a little work of Marcelle de Lacour.The piece is rather to interpreting only early music: rather, she of seventeen minutes in a slightly archaic remote from Falla’s previous impression- has dedicated her first CD to music of the Neo-Baroque style.The sound of the ist-influenced style. Here, too, however, he twentieth century, to which she is intensively harpsichord is juxtaposed with that of did not deny Spanish influences, and there devoted. She bet on classics of the modern a piano, which serves as basso continuo. is an interplay between archaism in the era and it seems she could not have done The pastoral-toned Promenades for Flute, spirit of the just-beginning Neo-Classical better for her debut. Violin, and Harpsichord, H. 274 (1939) is movement on the one hand and modern- Lenka Kılıç Monika the second piece on the recording.These ism on the other. are four fresh, predominantly rhythmic In this CD Monika Knoblochová has Knoblochová – Martinů compositions lasting a total of eight and covered all of Martinů’s works for harpsi- Harpsichord Works a half minutes. chord with and without small ensembles. In the Deux Piéces, H. 244 (1935), the third The authenticity of her interpretation work on the recording, Martinů combined derives from careful study of Martinů’s Monika Knoblochová, harpsichord. the harpsichord with piano in an original autographs and the choice of a Pleyel Lenka Kozderková-Šimková, flute. way.This was the first work dedicated to instrument, which evidently corresponds Vladislav Borovka, oboe. Karel Dohnal, the harpsichordist Marcelle de Lacour and most closely to Martinů’s timbral expec- clarinet. Václav Fürbach, bassoon. Martinů’s very first work for solo harpsi- tations. Her playing is full of fresh ease, Adéla Štajnochrová, Daniela Oerterová, chord. Here, too, we sense a strong precise technique, verve, and energy. She Eleonora Machová, violins. Vojtěch Semerád, influence from Baroque music, both in has an intelligent, sensitive, and cultivated viola. Tomáš Strašil, violoncello. Jan Buble, form and in the method of working with style. For collaboration she invited young, contrabass. Jana Vychodilová, piano. Michal the musical material. However, Martinů talented colleagues who devote themselves Macourek, conductor. conceived the Baroque style in his own as she does to interpreting music of the Production: Monika Knoblochová way, for instance with sophisticated twentieth century. As compared with other Text: English, German, French, Czech dissonances. instruments the harpsichord has a handicap Bohuslav Martinů Recorded: July 2004, Church of St. Kunhuta, Bamberg The fourth item – Martinů’s three- in its relatively weak sound.Therefore, Released by: Supraphon a.s. movement Sonata for Harpsichord, H. 368 especially in the first piece, the beautiful Fantaisies TT 59:06 / DDD STEREO / 1 CD Supraphon SU 3805-2 (1958) – is a late work intended for the sound of the Pleyel instrument is almost symphoniques, harpsichordist Antoinette Vischer. She was lost in the accompaniment by the other Fresques, Juliette This profile CD of harpsichordist Moni- so enthusiastic about it that a year later instruments, which is a shame. Certainly ka Knoblochová offers five works by Bo- she received from Martinů two concert this could have been helped by a different huslav Martinů and one by Manuel de Falla. encores: Deux impromtus, H. 381 (1959), manner of recording its sound.Amazingly, Symphony No. 6 (Fantaisies First on the recording is Martinů’s Concerto which close the Martinů series on Kno- the Czech recording company Supraphon symphoniques), H. 343 • Les Fresques for Harpsichord and Small Orchestra, H.246 blochová’s CD. gives the text in the booklet first in three de Piero della Francesca, H. 352 (1935), before which he wrote the Deux The final work is the Concerto for Harpsi- world languages and only then in Czech, • Orchestral Suite from the Opera Piéces, H. 244, placed third on the CD. chord (or Piano), Flute, Oboe, Clarinet,Violin, as though for this Czech label the Czech Julietta for Large Orchestra, H. 253 r BOHUSLAVMARTINŮNEWSLETTER2)2005 CZECH ON CZECH ADVOCACY choral writing has a wide variety of — The Evening Standard (London) Gilgamesh dynamics and meanings, but its overriding — 14/3/2005 trait was purity of sound and perfect s— — Stephen Pettitt HE PRAGUE Philharmonia con- balance, corresponding completely to the eview Tcluded its eleventh season on 25 April detailed and thought-through conception R …In his first concert with the BBC with a bold project: a performance of of the conductor.Actor Boris Rösner lent Symphony Orchestra since the announce- Bohuslav Martinů’s oratorio Gilgamesh. his typical voice to the part of the ment of his appointment as its chief Thus Jiří Bělohlávek bade farewell to narrator. Of the solo singers, along with conductor from July 2006, Jiří Bělohlávek subscribers as the orchestra’s chief was, however, a persuasive advocate for conductor in a very characteristic way, the Fantaisies Symphoniques (the Sixth which is to say a way that was challenging Symphony) and for Memorial to Lidice. and perfect. Starting this autumn the The symphony, written in 1953, is a fasci- ensemble will be led by the Swiss nating, daringly hybrid work, apparently conductor Kaspar Zehnder. composed with no particular regard for The final evening of the season was truly form beyond its three-movement overall symphonic in terms of repertoire. In the shape. It has links with the dreamlike first half of the program Roman Patočka, opera Julietta (which, along with Dvořák’s laureate of the Prague Spring Competi- Requiem, it quotes), but with its constantly tion, played the Violin Concerto of Sibelius, varying, often exotic soundscape also perhaps not yet in a fully distinctive, seems like a mix of Szymanowski, Janáček, personal style and perhaps in an almost perhaps Honegger, and even a dash of too-smooth rendition, but with sufficient middle-period Schoenberg. feeling and technical mastery, and in his Mostly it’s slowish music – only the middle reserved tone he actually correlated well movement is fast – but Bělohlávek held it with the sound of the orchestra, which together well and the playing was alert and Bělohlávek did not try to force beyond its beautifully coloured. capacity.Then the splendid score of By contrast Memorial to Lidice, written in Gilgamesh, thanks especially to the Prague 1943 in response to the notorious Nazi Philharmonic Choir, captured us with its massacre in a Czech village, is a singularity melodic-harmonic interest and timbral Roman Janál, Jaroslav Březina, and Zdena Photo: Zdeněk Chrapek of immense, defiant, moving dignity, with an inventiveness, and could register itself in Kloubová the young bass Roman Vocel obvious statement of the „V for Victory“ the audience’s memory as a modern but made a strong impression. Petr Veber motto from Beethoven’s Fifth Symphony classical-sounding work, dramatically near its climactic end… exciting and with disturbing ideas but Reprinted from Czech musical magazine He’s a good choice. N surprisingly accessible.The highly-exposed Harmonie, No. 6, 2005

Symphony Orchestra St. Gallen, Jiří Kout clear autobiographical disposition – it a given work’s concert performance, Text: German, English. TT: 63:17 quickly became one of the most popular always innovative and extremely well Recorded 2003, 2004 / DDD / 1 CD BMG Ariola Classics pieces. Fantaisies symphoniques was received. March 1955 saw the perform- GmbH, 2004, 82876 57740 2 surprising for its modern sound and ance and recording of Symphony No. 5, profound emotional testimony, which was H. 310 which Martinů once dedicated to – Review by Blair Sanderson even more striking in the recording of the Czech Philharmonic. Just a month Somewhat overshadowed in life by his Memorial to Lidice. later, a recording was made of the cantata more revolutionary contemporaries, then As Chief Conductor of the Czech Philhar- Bouquet of Flowers, H. 260 with Jan Kühn’s eclipsed by the avant-garde generation monic, Karel Ančerl was well respected, Czech Choir, the Kühn Children’s Choir that followed, Bohuslav Martinů is perhaps nevertheless, he remained in the shadow and a collection of fine soloists (Libuše only now being properly recognized for of the great Václav Talich, also still living Domanínská, Soňa Červená, Lubomír his prolific output.This CD is a helpful at this time. It would be true to say that, Havlák, Ladislav Mráz).And in January of restorative for this composer’s reputation, Martinů in during his era, now acknowledged as the following year Supraphon brought and fortunately for listeners searching for legendary, Karel Ančerl was not appreci- out the above-mentioned Fantaisies attractive, accessible, and unabashedly Ančerl’s recordings ated to the extent he is now.Audiences symphoniques,with Memorial to Lidice tonal modern music, the three works were still eager for a flamboyant romantic released in 1957. presented here will be more than satisfac- When a report appeared in the press in style, with changeable, almost tempestu- Stereophonic sound was then introduced tory introductions to Martinů’s unfairly 1960 stating that a Supraphon recording ous, expression.Ančerl represented more and, with it, further Ančerl – Martinů neglected oeuvre.Tastes have changed and had won one of the most prestigious “new objectivity” than tradition, which recordings – Frescos of Piero della Francesca, contemporary audiences may better awards – the Grand prix du disque de listeners sensed particularly in his H. 352 in 1959 (appearing on the first appreciate Martinů’s sophisticated blending l’Académie Charles Cros, all eyes were Romantic repertoire and found hard to Czechoslovak set of stereophonic LP of twentieth century modernism and rich suddenly on this, naturally then still “illicit”, accept.Today we will also find this trait records), Parables, H. 367 and Piano post-Romantic opulence, without fearing monaural record. It contained two works in Ančerl’s Dvořák, Brahms, Mahler, and Concerto No. 3, H. 316 with Josef Páleníček the scorn of those who once regarded by Bohuslav Martinů – Fantaisies sym- others. in 1961. Radio archives contain recordings Martinů as a mediocrity or a lightweight. phoniques, H. 343 and Memorial to Lidice, It is remarkable to think that the first of Ančerl’s concerts from the 1960s, of Indeed, the vibrant orchestration of the H.296, performed by the Czech Philhar- composer through whose works Ančerl’s which some (Symphonies Nos. 1, 3 and 5) Symphony No. 6,“Fantaisies symphoniques”; monic and its Chief Conductor at the typical lyricism began to find acceptance have been released on CD on the Multi- the stirring, quasi-Mahlerian rhetoric of Les time, Karel Ančerl. Record collectors, even then, was Bohuslav Martinů. Karel sonic label. This is the sum of Martinů Fresques de Piero della Francesca; and the however, had known about this excep- Ančerl was the first to make audiences works which Ančerl recorded with the dramatic scene painting of the orchestral tional recording for several years. In 1956 more aware of this composer.Talich and Czech Philharmonic.We would have loved suite from the opera Julietta are qualities and 1957, when the recordings were other conductors did perform Bohuslav to have seen more of them, but even those that most strongly recommend Martinů; made, the composer of these works, as Martinů, yet these were pre-war works. in existence render Karel Ančerl a leading yet there is enough musical ingenuity, yet unfamiliar to many listeners in this When the political situation relaxed and, to date, exemplary exponent of Mar- thematic invention, and formal integrity country, was still living and, moreover, had somewhat after 1956, and even shortly tinů’s scores. in his works to warrant an intellectual made an impact a few months earlier with before this time, it essentially was now Bohuslav Vítek reappraisal.The Symphony Orchestra his new cantata The Opening of the Wells, possible to perform and record Martinů’s English translation: St. Gallen, conducted by Jiří Kout, are clear H.354.Thanks to a prompt recording by later works – highly valued abroad – in Karolina Vočadlo Hughes and vibrant in all three pieces, and Arte Jan Kühn on the only music label in this country as well.And it was Karel Nova’s sound quality is fine. existence here at the time, Supraphon, Ančerl who was behind these recordings. Reprinted from the Czech journal From web pages http://www.allmusic.com and, significantly, on account of the work’s The recordings were generally made after Rudolfinum Revue, No. 2 (2004/2005), p. 15

BOHUSLAVMARTINŮNEWSLETTER2)2005 t — The Reviews GREEk PassiOn FINALLY IN GREECE

WO years ago the British set de- fact that there are many orthodox priests overall shots with details is weakened. deserves a major share of the credit for Tsigner and stage director Pamela in the streets of the city, wearing the robes On the other hand I was fully convinced by the success of the production. In preparing Howard came to Prague to prepare that Grigoris and Fotis don in the opera. the director’s idea of having Fotis cover the it he could rest on his thorough familiarity the Quadriennale. During her free The other characters in this drama, too, dead Manolios with a Greek flag at the end with the work, which he has known since time she went to the Rudolfinum for are precisely-drawn portraits of people of the opera: this detail offers a possible 1999 when he rehearsed it with the Vienna a concert, and there she heard a per- from rural Greece, of which there are explanation for why their village was burnt. Symphony for the world premiere at the formance of a string quartet by Bo- plenty in the streets of Thessaloníki to Also worth mentioning is the added Bregenz Festival as an assistant to Ulf huslav Martinů. It so captivated her this day. character of Aga, a Turk who appears in the Schirmer. Gehren introduced himself to that the next day she went to a store With great surprise I observed what novel by Kazantzakis but not in the libretto. the Czech public in January 2005 in Brno, and bought all the compact discs of a controversial figure Nikos Kazantzakis Pamela placed him imaginatively on the left where he conducted a guest performance works by this composer.A little later still is in Greece, almost a half century part of the city walls and had him follow of The Greek Passion by the English Royal The Greek Passion came into her after his death. His ravishing social dramas the whole action in the village from above, Opera, Covent Garden to great acclaim hands – an opera she decided to based on modern Greek history are drawn indicating his power as well as his consis- at the end of the Year of Czech Music. stage anywhere in the world. During not on the surface, schematically; rather tently-maintained distance from events in His abilities and efforts inspired both the a walk along the Charles Bridge it they are built upon the fates of particular the village he governs. singers and the orchestra to an extraordi- occurred to her that the best pos- sible place would be some opera house in Greece.And thus began an adventure that was to last two years, leading finally to the triumphal Greek premiere of this work.

Already in June 2003 Pamela visited the Bohuslav Martinů Institute in Prague to become acquainted in detail with both versions of The Greek Passion.From the very beginning she was clearly more attracted to the first,‘London’, version which is more dramatic and is based more consistently on the original novel by Nikos Kazantzakis.While preparing the Passion Pamela refused a number of other projects, even though it was by no means sure that her staging would come to fruition. Finally she found a kindred spirit in Prof. Ioanna Manoledaki, director of the Opera of the National Theatre of Northern Greece in Thessaloníki.For this company, founded only eight years ago in 1997, this was the first encounter with an people with whom the reader immediately An important contribution of this produc- nary performance in their first encounter opera of the twentieth century, and it must identifies. On the other hand his leftist tion was that it engendered a Greek with a work by Martinů. be said it was an extraordinary experience thinking (though far removed from any translation of the libretto.The translator, Except for Manolios (Keith Olsen) all for all the artists involved as well as the ideology) and his critical stance toward the Ioanna Manoledaki, based her work the soloists were Greek. However, since audience. Greek Orthodox Church and its represen- consistently on the wording of the original there is no great tradition of opera in Pamela planned her production from the tatives are hard to accept even today for novel by Kazantzakis, which is very well Greece, most of them perform primarily outset as an open air staging, and found existing political and religious leaders. known in Greece to this day.This allowed abroad. I was very impressed by the acting a splendid place for it: the old Byzantine Clear evidence of this was the firing of the audience to identify with the action on potential of the convincing priest Fotis fortress of Heptapyrgion at the top of the Ioanna Manoledaki during the course of the stage to an incomparably greater (Fillipos Vazakas).The imposing priest city’s fortification called the Kástro, which preparations for the production. degree than in any previous location where Grigoris (Dimitris Kassioumis) cap- served earlier as a prison.And she adapted I consider the only erroneous staging the work has been staged. For me tured well the drama of a man doing evil her staging completely to this site. In com- decision to have been the cut of the open- personally The Greek Passion sounded very not out of his own conviction but in the parison with previous stagings of the first ing chorus, in which the villagers leave the natural and ‘authentic’ in Greek: in this faith that this is correct for the village and version of the Passion (by David Pountney church after a worship service to the environment the words of the Greek for preservation of the unshakeable in Bregenz, Covent Garden, and Brno and sound of bells and the singing of liturgical liturgy with which Martinů works in the authority of the church.The star of the by Rosamund Gilmore in Bremen), her songs.Although the opera thus begins with opera lose their isolation and form an production was Manolios as rendered by conception was strikingly more naturalistic the paradoxical assertion of the Captain, organic whole with the secular parts of the the American tenor Keith Olsen, who was and folk-inspired.This corresponded well ‘This world is really perfect,’ creating the libretto. Everything indicates that Mrs. not afraid to show certain traits of eccen- to the fact that unlike all the previous greatest possible contract to the ensuing Manoledaki chose the correct approach: tricity that distinguish Manolios in the stagings, this one took place in Greece, in action, through this cut we lose several she focussed on conveying a feeling of novel by Kazantzakis, even adding to them the land of Nikos Kazantzakis, not too far important bits of initial information, which smooth flow of the spoken word, to which mild suggestions of a certain aggressivity, from the setting of his novel O Khristós in my opinion Martinů wanted to present in she adapted the sung melody where neces- especially in the scene where he sharply Xanastavrónetai (Christ Crucified Anew). this introduction: that this is a choral opera sary.The result was absolutely convincing repels Panait/Judas as he courts his favour. Therefore this time – in a location where from a liturgical environment, in which for those not knowing Greek as well as for Mr. Olsen acted the scene of the murder the difference between the story of The through-composed passages will alternate the local audience, which followed the with such intensity that some audience Greek Passion, or rather its depiction on the rapidly with recitatives and kaleidoscopic performance very intensively. members cried out in horror. Pamela stage, and everyday life is so slight – it was entrances of individual characters.Thus at Musical preparations were taken on by the entrusted the role of the Commentator impossible to perceive it as only a theatri- the very beginning the whole loses its outstanding young German conductor untraditionally to a woman, and it was cal piece. By this I mean not merely the balance and the film-style alternation of Christian von Gehren, who undoubtedly rendered very expressively by the popular y BOHUSLAVMARTINŮNEWSLETTER2)2005 NEEME …with view— JARVI•• Inter

Greek actress Lina Lambraki.Out- EVA VELICKÁ with 35,000 people singing in the chorus standing among the lesser roles was the – and the entire population of Estonia is inwardly frustrated Panait/Judas (Dimi- only two million! tris Nalmbandis), the good-hearted Neeme Järvi, a native of Estonia and ‘citizen of the world’, is well known Janakos (Aaron Ovadias), and especially for his affinity for the music of Bohuslav Martinů. He has conducted many How do you like working with the Kostandis (Akis Lalousis), whose voice of Martinů’s works, for example in the 1998 Martinů Festival La Bagarre, Czech Philharmonic? was well-suited to the role.The rendition H. 155, the Concerto for Cello and Orchestra, H. 196, and the Symphony No.2, of Katerina (Katerina Karatza) was H. 295. And in the 1980s he made a pioneer recording of Martinů’s complete I am very fond of the Czech Philharmonic disturbed by occasional imprecision in symphonies for the Swedish label BIS. and think it is one of the finest orches- intonation and rhythm. By contrast Lenio tras. I have known its sound since I was (Olga Xanthopoulou) made a favourable a child: I have perhaps all the Supraphon impression with her pleasant singing as well recordings made with the orchestra. as her acting. ROM 31 March to 2 April 2005 the influenced by various trends including jazz, I think it is better than the Vienna Philhar- The original introduction to the first ver- FCzech Philharmonic Orchestra but as soon as we hear one of his arching monic, because it has its own distinctive sion of The Greek Passion sounded in Thes- presented three concerts in Prague’s melodies it is always absolutely Czech. sound: the colour of the wind instruments, saloníki for the very first time: previously Rudolfinum under Mr. Järvi’s baton, for example, is unique. Moreover the all productions had accepted the decision including works of Rossini and Hinde- You have been called one of the Rudolfinum is a wonderful hall. In Czech by Ulf Schirmer, conductor of the world mith, Martinů’s Oboe Concerto, and the greatest Estonians of the twentieth culture in general there is great potential, premiere in Bregenz, to replace it with the Symphony No. 15 of Dmitry Shostakovich. century. Unfortunately we don’t which must be supported by the state. opening bars of the overture from the All the concerts were warmly received know much about Estonia.Are there Unfortunately the situation in Europe second version. It will be interesting to see and the Czech Philharmonic exerted similarities between our two small is similar everywhere and support for whether future productions will incline itself to the maximum, delivering an countries? culture is weak. towards the strong main subject matter unusually fine performance.After one of presented in the introduction to the second the rehearsals Mr. Järvi very willingly Our countries have in common their You yourself work with many orches- version of the opera or towards the more chatted with me at length, despite the communist past, but otherwise the Czech tras, sometimes as a guest, sometimes neutral beginning of the first version. fact that he was under the weather and Republic has a different history.The as a resident conductor. How do you Sharing in the production, besides members had a marathon in store for him with Czechs have always belonged to central see the difference between these two of the Opera Thessaloníki ensemble, were the three concerts. In his comments he Europe, earlier as part of the Austro- functions? artists from several other Balkan countries: touched on current politics in Estonia, Hungarian Empire where culture had an the good local opera chorus was reinforced the problem of pirate recordings, and important position. Prague is a wonderful As a guest conductor you prepare one by several Bulgarian singers, and from the his love for Czech music and admiration city, like Budapest and Vienna-music, archi- concert, but you can’t do much with orchestra pit we heard the excellent opera for the Czech Philharmonic. tecture, and all the other arts have been one concert.The orchestra needs a orchestra of the National Theatre in Timi- a part of life here. Estonia has always been trainer, such as Talich and Ančerl were. soara. (The Thessaloníki Symphony Orches- Do you yourself prefer to conduct under the influence of strong neighbours They shaped the Czech Philharmonic. tra allegedly refused to perform the work works purely for orchestra, or do you – Germans, Swedes, and Russians. Only in You have to be proud of your conduc- unless it received an extra fee for the ‘large also like to ‘accompany’ soloists? 1917 did a short period of freedom arrive. tors. It seems to me that foreign con- amount of music’.) An excellent contribu- What is important, however, is that people ductors have not accomplished very much tion to the production’s atmosphere was It makes no difference to me. Some con- never stopped singing in Estonian, and here as yet. Maybe the fault lies in poor made by lighting designer Henk Van der certos for solo instrument and orchestra since 1869 there has been a tradition in selection. Naturally money is a factor Geest. from the nineteenth century perhaps Estonia of great choral gatherings. I con- as well.What is most important in a A very appropriate complement to whole require only ‘accompaniment’ from the ducted the last such gathering last year, conductor, however, is artistic vision and event was an exhibition prepared by the orchestra, but almost all twentieth-century love for music – not to perform Dvořák’s curator of the Nikos Kazantzakis Museum, concertos are very demanding music with Ninth Symphony over and over again, but in which one could view among other a deep sense also for the orchestra. maybe, say, the complete symphonies of items original letters from Martinů to Martinů. Kazantzakis and later to his widow, and How does ‘national music’ manifest a Greek documentary film about the itself in works of the twentieth century, You devote a lot of attention to collaboration between the two artists and what does this concept actually recording. Do you think there’s value including commentary by Prof. Růžena mean? in recording over and over again works Dostálová and Prof. Jaroslav Mihule. for which we already have many I’m curious whether the voices that pro- Every national musical style is represented excellent recordings? claimed The Greek Passion a potential Greek by great names.Among the Russians they national opera during rehearsals and are Stravinsky, Shostakovich, and Prokofiev. Today anybody in the world can have any especially after the opening will prove to The Hungarians have Bartók, the Germans recording he or she wants. Everything can be correct.What is certain is that this Hindemith, the Czechs Martinů, and the be downloaded from the internet and production confirmed Martinů’s virtuosity Estonians Tubin.Almost all of these com- copied.You can also come across the most in working with theatrical means, and his posers had to flee from their countries, amazing cheap recordings, for example unerring ability to create an impression of but they always retained their national an unknown Slovenian orchestra with an absolute authenticity – which he establishes specificity. Eduard Tubin (1905–82) always unknown conductor playing Beethoven’s and then abandons in alternation to point remained an Estonian even though he lived Fifth Symphony, but you can also hear the out to the audience that this is ‘only’ for more than forty years in Sweden. same music anytime as rendered by Kara- theatre.The opening performance was All the symphonies of Bohuslav Martinů, jan or Bernstein. One has to record again received extraordinarily well, as evidenced which I love, where written and first and again and thus educate listeners. by the conclusion of a review from the performed in America, but nevertheless That’s our work. n English version of the Greek daily Kathi- this is Czech music.Today’s concert will merini:‘The opera was a once-in-a-lifetime include Martinů’s Oboe Concerto,which experience for the people in Thessaloníki.’ is also a splendid work. Martinů – the The entire text of the interview you can find Aleš Březina ‘Czech Stravinsky’ – is very modern, at www.martinu.cz

BOHUSLAVMARTINŮNEWSLETTER2)2005 u rch– Resea MaRtinŮ&Hans KIND

HERE are two important composi- F. JAMES RYBKA & BORIS I. RYBKA usually with Doris and Bakala at each Ttions that Bohuslav Martinů dedicated piano, and with him standing on a box in to Hans Kindler, the founding conductor the middle.We know that Kindler of the National Symphony Orchestra in Rybka moved to Philadelphia in 1922 to Doris, Bakala was an excellent pianist, reviewed the Martinů manuscripts that Washington, DC: Thunderbolt P-47, when both men were still bachelors. very nimble at sight-reading, so he was Bakala had brought, and this was his first H. 309 premiered by that orchestra on Rybka had an automobile, the symbol of chosen to go on tour with Hans for introduction to the composer, whose December 19, 1945, and Third Sonata a modern freedom in that time.They several months.At this time, Kindler was music he came to esteem. On one of his for Cello and Piano, H.340 premiered vacationed together at Atlantic City, New also endeavouring to become a conductor, subsequent trips to France, Kindler met in Washington, DC in 1952. How was Jersey, and at Keene Valley, in New York and the Rybkas were of considerable help Martinů in Paris. it that Martinů got connected with this State’s Adirondack Mountains, to him. It is interesting how awkward it Blessed with an outgoing personality, Dutch-born cellist? a picturesque community enjoyed years must have been for an aspiring conductor Kindler was quite a handsome figure, and The connection is Frank Rybka, (b.1895) later by Martinů. By 1925, both had to practice in this era before recordings. had an élan about him. He was also who migrated to America in 1913, after married. Frank’s wife, Doris Summers The Rybkas’ second floor apartment on a natural at self-promotion. In a few years, graduation from Janáček’s Brno Organ Rybka, was an exceptional pianist who had Chestnut St in Philadelphia was unusual he became a “confidente” to Elizabeth School.Years later, he became a good friend studied at the Curtis Institute in because it had two grand pianos in the Sprague Coolidge (1864–1953), a well- to both men, Kindler the first. Hans Philadelphia which, at the time, was living room that had to be hoisted in known philanthropist who sponsored Kindler was born in Rotterdam in 1892 directed by the legendary Josef Hoffmann. through the window. Kindler made use of music festivals and many commissions, and, as a youth, was recognized as being Alice Riddle Kindler was an artist who had these to practice conducting cues, using particularly for chamber music.These a prodigy on the cello. He studied for studied at the Pennsylvania Academy of orchestral scores for piano four-hands, were given at the Library of Congress in a time with Pablo Casals in France.At age Fine Arts.The Kindlers had Washington, DC. She commissioned Igor 17, he became the principal cellist of the two children. Stravinsky’s ballet, Apollon musagete (later Charlottenberg Opera House in Berlin, and The first Martinů connection renamed Apollo) and, on April 27, 1928, a professor at the Scharwenska Conserva- to this story appeared in Kindler made his debut in Washington as tory. In 1914, for a vacation, he came to the 1925 when Břetislav Bakala, a conductor with the world premiere of United States, but this visit was abruptly (b. 1897), also a Janáček this work at the Library of Congress. In altered by the outbreak of World War I, graduate, came to Philadel- 1931, Kindler was appointed conductor of making his return to Germany impossible. phia from Brno to work the newly-established National Symphony He then auditioned for Leopold Stokowski with his good friend, Orchestra in Washington, DC, a risky time who, on the spot, appointed him the prin- Rybka. On passing through to launch an orchestra because the nation cipal cellist of the Philadelphia Orchestra. Paris, he renewed his was in the middle of an ugly depression. While there, he was the soloist for a friendship with Martinů But he was the right man for this post, and number of compositions for the cello, who, in turn, gave him he grew with it.Thanks to Mrs. Coolidge, including the world premiere of Bloch’s some manuscripts to Washington, DC had begun to emerge Schelomo. He left that orchestra in 1920 hand-carry to the US, from its sad distinction as one of the most to pursue a career as a soloist. hoping to place them musically backwater national capitals in During the War, Frank Rybka was an with a conductor. the world. She greatly admired Kindler’s organist, and had been studying diligently At that time, Kindler’s opinion, and he may have been of help to become a cellist. He advanced to where career as a soloist behind Martinů’s receiving the Coolidge he was a substitute for the Pittsburgh required an accompanist prize of $1000 in 1932 for the Sextet for Symphony.While there, he met Kindler on piano, and Bakala’s Strings, H.224 which came at a crucial who visited that city rather frequently. arrival proved to be time for the composer, permitting his The friendship became more solid after fortuitous. According purchase of a Pleyel piano.

Thunderbolt, December 19, 1945 – First performance anywhere >

Republic Thunderbolt P47D KL216 was one of the three most important American fighters produced during the War and saw extensive service with the United states Army Air Force before its comparatively late introduction into British Royal Air Force operational service in 1944 > Photo: Richard Beith’s Archive

i BOHUSLAVMARTINŮNEWSLETTER2)2005 rch– DLER Resea

Hans Kindler premiered many new suspended under the fuselage beginning in symphonic works in his career. On March 1943, permitting the P-47 to escort heavy 5, 1944, the world premiere of Walter bombers much further into Germany. In Piston’s Second Symphony was performed addition to its high-altitude record as an in Washington. Some of the world’s finest escort fighter, the P-47 was excellent in soloists performed with the symphony low-altitude combat because of its ability including Josef Hoffmann,Vladimir to absorb damage and keep flying. It was Horowitz,Arthur Rubinstein, Jascha indeed, an important pillar behind the Heifetz, Fritz Kreisler, Kirsten Flagstad and, Allies winning the War. another good friend of Frank’s, Rudolf Thunderbolt was given its world premiere Firkušný. Stravinsky was once engaged December 19, 1945 by the National there as a guest conductor. Symphony Orchestra, and it was very well Kindler never left his cello for long. He received.We are almost certain that the continued, now and then, to act as soloist Martinůs attended. Frank could not for first performances of works by Ravel because of his commitments with choirs and Schoenberg.Although he was succes- before Christmas. sful in significantly advancing the artistic Hans Kindler’s remaining leadership of this position of the National Symphony orchestra would be shortened. On March Orchestra, he was known among 16, 1947, he put down his baton of the musicians to possess an autocratic streak remainder of the season due to illness. He and could be difficult to work under. Part died in 1949 at Watch Hill, RI. His death has of his problem was the flawed acoustics of been reported as a suicide. If true, Frank Constitution Hall, a big barn of an audito- who, sooner or later, should have known rium. He was known to have vigorously about it, never mentioned it to his family. “milked” the strings, endeavouring to Thereafter, Frank visited Persis Kindler and achieve a refined, resonant sound in that her family, both in Washington and in Rhode venue that was, unfortunately, scientifically Island. Martinů also visited Watch Hill with unachievable. Outside the concert hall, Frank on at least one occasion, in 1950. however, he was usually very pleasant and We know that they played Martinů’s Second witty. He was fluent in several languages Sonata for Cello and Piano, H.286 for and was an excellent raconteur, becoming Mrs. Kindler and her other guests. especially popular with the president, From the left: Břetislav Bakala, Hans Kindler and Frank Rybka, 1924–1925 Persis Kindler wanted to underwrite some Franklin D. Roosevelt, so he was invited to commissions for cello in memory of Hans. the White House not infrequently. In 1952, the Kindler Foundation was After joining the Navy, Boris Rybka was was only natural that Frank would try his same letter, had already decided to take it established. On September 21, 1952 assigned to the US Navy School of Music go-between skills to secure a commission and began working on it. Martinů went on in a letter to Frank from Vieux Moulin, in Washington, DC where he played from the National Symphony for Bohuš. to work out the Scherzo. He complained Martinů says: French horn. He participated with the Kindler obliged, although he had to do in that same letter of the physical labor of ”I am working on the sonata. I took the piano Navy Band at the state funeral of this by paying for it with his personal writing so many notes, something we non- with me to be ahead because I will be very President F.D.R., among other events. money because the orchestra had no composers never thought much about: busy in New York (when I return). I pushed In 1944, before being shipped off to the budget for commissions. Out of monetary “Now, I am freer, so maybe I will start the the price of the sonata from $500 to $750 Pacific, Boris arranged to see Kindler who consideration, it could only be a short Scherzo. It’s too much writing – too many and Mrs. Kindler accepted it without had not seen him since he was a small boy. piece. Kindler wrote to Frank: notes – which is uncomfortable.You write and a complaint…” They met after a concert, and Kindler said, ”Thank you for your letter and Martinů’s write and you are not moving ahead!” “Well, Boris, you look just like your father – address. I may go to see him if it is not far In a letter to Frank dated January 9, 1958, only much more handsome!” Frank had from here.The proposal I made to him was to Then, in his next letter, September 19, Martinů writes: “The cello sonata was a big laugh when hearing of his friend’s write us a short piece – as I personally will 1945 Martinů gives a mixed report: published in Prague, so I will send it to Mrs light-hearted slur. have to pay for it. I cannot afford a fee worthy “Kindler gave me lots of work for too little Kindler.” We do not understand why it was The Kindlers were divorced in the 1930’s. of his talent. But – I offered him $200 for his money. I will dedicate it to him if he can hustle published in Prague (rather than in the Alice remained in southern France conti- time and hope that he’ll accept.This is strictly a decent commission in exchange.” US), or why it took five years to do so. nuing her career as a painter. Sometime confidential, of course, but as you are some- But then a few lines further: Then during the summer of 1958, Frank during the War, Hans married a much what by way of an intermediary, I tell you. “The Kindler Scherzo is brilliant. I hope that learned that Persis Myers Kindler was younger woman, Persis Myers. Her family Don’t mention it to him as he might not like they will play it right. I’m looking for a proper killed in southern France in an automobile was connected to the Liggett and Myers it.We have no funds (the N.S.O.Assn. I mean) American title for “Scherzo”. It is not accident. He passed this on to Martinů, tobacco fortune, and her father, George or else I’d see to it that we’d do better. …” interesting enough.Think of something.” who replied September 7, 1958 in a letter Hewitt Myers, had a deep interest in from Nice: collecting rare and valuable textiles, On July 24, 1945, Martinů wrote to Frank: Frank did think about it. He came up with “We are surprised by the news about Persis. especially those from the Middle East. Her “Your letter arrived today, so did a letter from P-47 Thunderbolt. The War was on every- We wondered why she did not answer. name,“Persis”, may have taken origin from Kindler. He wants a short composition, about one’s mind at the time, and one bright We wrote her before our departure to ask his side passion for Persia.Aside from 10 minutes, and offers $200. I wrote back to bit of news that seemed to be turning it about some rental in Valouris. Poor girl, what properties in Washington, they owned an him that I am thinking about it and will give around was the success of the fighter a pity! She was so nice and humane.This is elegant ocean-front estate in Watch Hill, him an official answer in a few days.What plane, the P-47. On April 8, 1943, it flew the problem with the car. I am amazed that Rhode Island that became a gathering spot do you think? A scherzo, or a dance, would its first combat mission, taking off from we do not have more accidents when one of musicians and artists, particularly when not be a bad idea. He wrote that he must England for a sweep over Western Europe. sees how fast they drive, especially here. Persis took over the family’s interests after pay for it out of his own pocket and cannot During the next several months, the No control…” her father’s death. afford any more.” American pilots learned that the Thunder- After Martinů came to America and Frank, close friend to both, advised bolt could out-dive any Luftwaffe airplane This terminates the Martinů–Kindler became such a close friend of Rybka, it Martinů to take it. But Martinů, in the it encountered.An auxiliary tank was connection. n

BOHUSLAVMARTINŮNEWSLETTER2)2005 o oirs– Mem MEMORIeS OF

BY ADRIAN SCHÜRCH

YMOTHERhad a few acquain- and didn’t expect any explanations. I soon grasped that our lovely short autumn shoots grew out of it that looked Mtances in musical circles, so we had Occasionally he took me with him on period together would not last long. bizarre to us, and in the autumn Monsieur relatively frequent visits from Paul Sacher walks and on shopping trips. He loved Monsieur Martinů had lost a lot of weight. Martinů completely removed them. In the and from Rafael and Ludmila Kubelík nature more than anything, especially His spark and his joie de vivre had greatly spring, then, he carefully raked the sandy among others.When the Martinůs moved birds. Often he sat down on a bench and declined, and only with difficulty did he soil smooth and inspected the bed daily. to the Sachers’ home at Schönenberg near listened.And because we couldn’t emerge from his beloved farmstead. Soon One day he took me again to that Pratteln we got to know them, too. For converse together, I wasn’t tempted to he was sent to the hospital in Liestal, mysterious bed in the garden. He brought Monsieur Martinů our house was ideally disturb the voice of nature. I assume that where I was able to visit him once briefly. a long knife from the kitchen and dug situated, because it lay on the tram route it was in precisely such moments that his I felt like crying. with his hands in the dirt, where he cut from Basel to Pratteln and he could use it music came into being. During all funerals Toto and I had to stay something off. In his hand he held almost as a base. He would take the tram The third member of our company on home – I guess we would only have a beautiful white stem of asparagus. from the city to our house with full outings was our hirsute dachshund Toto. gotten in the way. Fortunately that warm, Proudly he took it home, where shopping bags. He then had some refresh- He was the same age as I, and we had cordial, and sometimes also mischievous Charlotte, who was an excellent cook,

Paul Sacher’s house in Frenkendorf

Hospital in Liestal, where Martinů died in 1959

ments or supper at our house and hoped grown up together. Because eleven years is person lives on in his unique music. I’m boiled that solitary asparagus stem in that one of us would have time to take a respectable old age for a dog, our friend very glad that I was able to know salty water and then served it to the him to Schönenberg. Otherwise he had to had his eccentricities. Toto had no collar Monsieur Martinů. zealous gardener with home-made go by tram to Pratteln and then about or leash, so he went with us on walks or mayonnaise.Although the total harvest another thirty minutes home by foot. stayed by the house – according to what ASPARAGUS was hardly more than a half dozen, each Thanks to his charm, however, he almost he felt like. Sometimes when he got bored On the land of the Sachers there stood individual stem was expertly prepared. always found some chauffeur among us, he simply turned around and went back to a summer residence from the turn of the which of course suited him very nicely. Schönenberg alone, which always greatly century; it was very dilapidated and has GARLIC I myself had a very special relation to amused Monsieur Martinů.And so the now been torn down.And that miniature Occasionally Madame Martinů went to Monsieur Martinů. Because he three of us were a good, even if somewhat Schloss had a neglected garden that visit her relatives in Paris, and Monsieur didn’t understand German and I knew only odd team. Monsieur Martinů liked very much, surely Martinů enjoyed being a bachelor for a a few words of French at that time from One day I was informed that Monsieur in part because there were many birds short while. Usually he set out at once on school, we could speak together only with Martinů was going for the summer (or the bustling about there. However, his a prolonged walk to Basel to go shopping, difficulty. However, I think he was glad winter?) to Nice. I looked forward to his attention was focused above all on one and came back with his nylon net bags full. when he could be with someone he could return and to more of our joint ventures. bed in the garden that was hardly five Whoever might think that Monsieur Mar- talk to but who didn’t ask about anything But when he returned to Schönenberg paces long. During the summer and tinů dined with his friends and acquain- a BOHUSLAVMARTINŮNEWSLETTER2)2005 oirs– MOnsiEurMaRtinŮ Mem

[ Photo from Max Kellerhals’ archive ]

From the left – Charlotte Martinů, Max Kellerhals,Adrian Schürch, Bohuslav Martinů,Willy Reber with his two sons, and Adrian’s dachshund Toto in the front, Liestal, May, 1956

tances during this time would be mistaken. menade on the piano, sleep in the Mar- bird, too, was a good friend of Monsieur the first to see Monsieur Martinů coming. On the contrary, after his shopping ex- tinůs’ bed, sit on the table during meals – Martinů and got petted regularly. Once it Down the stairs. Open the door. ‘Bonjour, cursions it was as though he had fallen into simply whatever she wanted.Almost every happened that Minouche knocked the bird Monsieur Martinů, entrez.’ He took off his the earth, sometimes for three or four time Monsieur Martinů left the house he to the floor. Monsieur Martinů was dis- jacket and beret, laid down the yellow days.The reason for his regular disappear- wore a beret. Once he wanted to go out consolate, but fortunately it turned out shopping bag, and without ado headed for ance was clear to us after glancing into the but couldn’t find his beret. He looked that the bird only had one leg broken. ‘his’ big blue armchair. ‘Voulez-vous un shopping bags.We discovered a half dozen everywhere and only after some time did The leg was glued back on and, to be safe, campari?’(Would you like a Campari?), cloves of fresh garlic and a large sack full he finally locate it – Minouche had made reinforced with a match stick and thread. I asked in ‘fluent’ French. He nodded, of onions. Monsieur Martinů explained herself comfortable on it. Monsieur Mar- But Fifi was now unable to hunt for his smiled slyly, and replied: ‘Avec plaisir.’ that when Charlotte was away he cooked tinů began scolding the cat, but she got up own nourishment, and so Monsieur Mar- (Gladly.) I hurried into the kitchen.A glass his favourite food for himself – garlic and only very slowly and glared at the one tinů made him an aid from a piece of card- with one ice cube, a little piece of lemon onions – and that the stench made him who had disturbed her rest. Her audacity board; with a four-coloured pen he drew rind, salty nuts from the blue jar, a few socially unacceptable for a few days. left Monsieur Martinů speechless, but when on it a fence, a lawn, worms, and bugs, and stuffed in my mouth, everything on a tray, Unfortunately Monsieur Martinů’s original he recovered he said to her emphatically: sat Fifi down there. Monsieur Martinů was a bottle of Henniez (mineral water) under recipe has not been preserved. ‘Et surtout, ne fais pas des grimasses!’ (And very proud of his work. my shoulder, and quickly to Monsieur above all don’t make those grimaces!) Martinů, who was waiting contentedly.All MINOUCHE Slowly the cat withdrew and we could set CAMPARI these motions worked well because they In the household of the Martinůs there out on our walk. Monsieur Martinů generally appeared at had been rehearsed so many times.And was a cat named Minouche, a tiger cat our house between four and five in the I knew exactly how much Henniez he with white markings. She was a great FIFI afternoon, when I was usually doing my wanted to have poured – but I stopped friend of Monsieur Martinů. Minouche was Monsieur Martinů had a little bird of glass homework. Because my room was over pouring only when he so indicated. allowed to do almost everything – pro- that had a place on the bookcase.This the entrance to the house I was generally Monsieur Martinů always wanted his

BOHUSLAVMARTINŮNEWSLETTER2)2005 s oirs– Mem MEMORIeS OF MOnsiEurMaRtinŮ

Campari, so the ceremony could have uninteresting. He played a chord, wrote, been abbreviated considerably, but both hummed to himself, played on the key- of us always enjoyed this little game. board again briefly, talked with himself in Unfortunately I then had to return to my a different language that I didn’t under- homework. stand, wrote something again, etc. I think Monsieur Martinů noticed me, because THE BEAR FROM BERN after a while he went out of his room Once there was a holiday in Basel.The again and left the door open, which other- residents were asked to decorate their wise didn’t happen. houses with flags. Because we had neither the Basel flag nor the Swiss flag, we hung EATING BREAD the flag of Bern across our balcony. When Monsieur Martinů ate at our house Monsieur Martinů came at his usual time there always had to be bread on the table, and thoroughly inspected the flag. He because he liked it very much. He was asked what it was supposed to be and accustomed to eating only the soft part I explained ‘C’est l’ours de Berne.’ (It’s the and laying the crust aside. I’ve already bear of Bern.) Another look at the flag spoken about the friendship between and then his commentary: ‘Il a l’air très Monsieur Martinů and our dachshund Toto. méchant’ (He looks very nasty.’) And Toto knew how to assert himself during a meal as well. He liked to take RESPIGHI a place next to or, even better, between At that time recordings of Monsieur Mar- Monsieur Martinů’s legs. Monsieur Martinů tinů’s music were still a rarity.Through was informed that Toto was not to be fed a complicated process a tape with his at the table. But Toto very soon sized up music was obtained from Czechoslovakia. Martinů with a cat, Schönenberg, 1957–1958, photo by K. H. Lasch Monsieur Martinů and determined that he In order to show sufficient reverence for might get something here. In any case the this event, people were invited for the with a yellow nylon net bag, and finally ing a glorious concert in Besançon that crusts always disappeared without a trace. occasion. Monsieur Martinů occupied his a black beret. Et voilà, Monsieur Martinů they would venture to play the Concerto Occasionally, however, Monsieur Martinů’s big blue armchair.The tape player was stepped out on the sidewalk, said goodbye for Two Pianos. After a little practice left hand also disappeared under the table, turned on and we all listened to the music, to Werner, and strode off briskly toward Monsieur Martinů was asked whether he and sometimes his face trembled when moved.The piece ended and everyone, the centre of town.There was much might like to listen to their rendition Toto, in his eagerness, bit into his finger. touched, remained silent.Then sounded conjecturing and speculation about the sometime. All three of them vanished into Monsieur Martinů always expressed from the blue armchair: ‘Çà, c’est du mysterious man, and Monsieur Martinů the music room and I remained close by hypocritical regret that the dog was not Respighi!’ (Hey, that was by Respighi!) seemed to enjoy this. to the extent this was possible, so as not allowed to eat the crusts he left. It should be noted that a certain work by to miss anything.After a few bars Monsieur Martinů had been premiered CHARTREUSE ROSE Monsieur Martinů began correcting them THE WEDDING shortly before that. In one review it was After making the rounds of the shops, and explaining how he would play this and One day we were informed that Monsieur written that his music was influenced by Monsieur Martinů also took time to stop that passage himself. Although I didn’t and Madame Martinů were going to be Respighi. I think that evaluation greatly at the Casino café. Before sitting down understand his corrections, I heard im- wed. Of course we were curious what this annoyed Monsieur Martinů. he examined the personnel. He found mediately what he improved and how. would be like. Originally they had been himself a free seat in a section where he An hour later the door opened again and married only in a civil ceremony – for the A SHOPPING EXCURSION didn’t know the waiter.The diligent boy I had to find a better hiding place as well-known reasons – and they decided Herr Sacher owned a black Rolls Royce was soon at his place and asked what quickly as possible.Two completely they would have a church wedding later. and a blue Bentley; both cars were driven Monsieur Martinů would like. He ordered exhausted pianists appeared, followed by The most important requisites were found by a chauffeur,Werner, who wore a dark Chartreuse rose (a French liqueur).The the obviously-satisfied Monsieur Martinů. with Pastor Max Kellerhals in Liestal, blue uniform and occasionally a cap with waiter disappeared, and after some time For me there were two conclusions from a handful of people were initiated into the a black visor. Monsieur Martinů took ad- returned with the information that the this event: I saw that even the people who affair, and the couple, more than sixty vantage of every opportunity to ride into Casino had only Chartreuse verte. were in charge of bringing me up had to years old, finally had a wedding with all the town with Herr Sacher, the Rolls Royce, Monsieur Martinů referred to the menu, obey sometimes, and furthermore, which trimmings. Of course I was still too young and Werner.At that time Basel had a side- and so there was searching and discussion is much more important, I got to hear the to be present for the occasion. walk café called the Casino.About fifty until the head waiter was called. He knew Concerto for Two Pianos as Monsieur little marble tables with plastic chairs were Monsieur Martinů well. He hurried to the Martinů actually wanted to have it. EPILOGUE arranged on the main square and all of aid of his unhappy subordinate and Obviously, more than forty years ago Basel gathered there to see and be seen. explained to him that the bottle being EAVESDROPPING some things happened differently from Occasionally something peculiar happened sought was in the bar on the upper floor. ON THE COMPOSER what I have recorded here. However, I am at the Casino before the eyes of the café The waiter brought the drink and Once we – Monsieur Martinů and I – not concerned with presenting precise customers.A black Rolls Royce drove up Monsieur Martinů rejoiced in having found came home to Schönenberg from some information about Monsieur Martinů. and stopped.A liveried driver got out, another victim of Chartreuse rose. He told short walk. Monsieur Martinů opened the My intent is that the reader should gain walked around the car, and opened the us the story with a smile. I don’t know door to his music room and evidently a sense of what he was like outside the door to the back seat. Necks in the café whether Monsieur Martinů was really so wanted to work. But first he had to go world of music. In my opinion he didn’t stretched out and suspense mounted – fond of drinking Chartreuse rose and into the flat opposite and disappeared. like to stand in the limelight. He was who would step out of the car? Some whether the Casino changed this item in Despite strict prohibition I crept under against superficiality, tending to be shy and world-famous virtuoso, a well-known its menu when he was no longer able to the piano and waited for the music that reticent.With people whose confidence painter, or even some movie star (prefer- go there. was to come. It’s worth noting that the he had won he came to life – he was ably Brigitte Bardot or the like)? First piano had allegedly once been owned by conversational, open, and had a sense of a pair of blue tennis shoes from Baťa came THE PIANO LESSON Clara Schumann. Monsieur Martinů humour.To describe Monsieur Martinů is into view, then came olive-green corduroy My mother and her life’s partner played returned, and I saw only his blue Baťa very difficult; the best thing to do is to pants, a slightly tight grey jacket, a hand piano quite well and it was decided follow- tennis shoes.Actually what I heard was listen to his music. n d BOHUSLAVMARTINŮNEWSLETTER2)2005 rch– The FinalYeaRs Resea OF THE LIFE OF BOHUSLAV MARTINŮ LUCIE BERNÁ

…and I can make the leaves of the fig tree stir and the night fill with scent… from a letter of Martinů to Nikos Kazantzakis, Paris 1955

‘OWARD the end of his life Bohuslav TMartinů chose subjects for his works that speak to the soul of every human being. Perhaps for this ’very reason the works he composed during this period were among those that assured him immortality. He found the basis for his last opera, The Greek Passion, H. 372 in the work of the German writer Nikos Kazantzakis and his novel O Khristós Xanastavrónetai (Christ Crucified Anew). Martinů’s work on this opera, which lasted almost three years, became his ‘swan song’ of a sort. It was preceded by a long and crooked path of composi- tional development lined with more than four hundred works of the most varied types and genres.Along this path Martinů had numerous encounters with important performers of his era. Many times he was heaped with admiration and honours by his audiences, colleagues, and students. However, during his life’s pilgrimage he was not spared from painful partings, bitter rejections, and disappointments. Although Martinů found many places during his wanderings where he felt well and to which he liked to return (in France, the USA, Italy, and Switzerland), what remained dearest to him was his native region in the Vysočina (the Bohemian- Moravian Highlands). During the last three years of his life he engaged in a dialogue with his own memories in musical settings of texts by Miloslav Bureš – in Otvírání studánek (The Opening of the Wells, H. 354), Legenda z dýmu bramborové nati (The Legend of the Smoke from Potato Tops, H. 360), and Mikeš z hor (Mikeš from the Mountains, H. 375). Who knows how many times during this period the fateful moments of his life that determined his permanent exile came to Martinů in Nice, May 1959 © PBM his mind?

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It’s like in a theatre. The curtain has dropped again and one has to wait for the next act – if there is one. from a letter of Martinů ‘ to Oldřich F. Korte, Rome 1956 Although Martinů considered returning to his homeland immediately after the end of the World War II, several fundamental external circumstances contributed to the fact that’ this never came about.The first occurred when Václav Talich, conductor of the Czech Philharmonic Orchestra, was accused of collaboration with the Nazis and subsequently imprisoned. Even after his acquittal, the ‘Talich Affair’ aroused justified concerns on Martinů’s part regarding the trend of conditions in Czechoslovakia. He was invited to come, and was offered a position as professor of composition at the conservatory in Prague, but never received official notifications from ‘the appropriate authorities’. Naturally, the leading officials of the new political orien- tation (including Zdeněk Nejedlý, Minister of Education) had no real interest in Martinů’s return from the United States. By contrast his prestige abroad was continually rising. Paul Sacher, conductor and founder of the Basel Chamber Orchestra, commissioned a new work – Martinů. Schönenberg, 1959 © PBM Martinů at the German premiere of the opera the Toccata e due Canzoni, H. 311. At Juliette in Wiesbaden, Germany, January 1959 this time Martinů was also looking forward to composing a concerto for the pianist Rudolf Firkušný – the Piano Concerto fears. His most intimate friends included I regret only one thing: during his stay in Nice, for which he and No. 3, H. 316. When a second invitation the outstanding organist and cellist Frank Charlotte departed early in April 1959.At came, in association with the Prague Spring Rybka, whom he had met in 1941 shortly that I can no longer the end of May he had to be hospitalised in Festival, Martinů and his wife were unable after his arrival in New York. Rybka’s learn more. […] May God Liestal, Switzerland, where the doctors to procure the necessary documents for youngest son, James, still recalls how found that he had an advanced case of departure from the United States in time. deeply shocked his father and Martinů give me credit for that. stomach cancer and there was nothing that Further plans for a return home were were when they heard that Jan Masaryk Martinů to Paul Sacher, Liestal 1959 could be done. Besides his wife Charlotte, foiled for a long time by still another had been murdered in March 1948. who cared for him constantly, the self- fateful circumstance: an unfortunate injury In the meantime the musical public at sacrificing Maja Sacher (wife of the during Martinů’s stay in the town of Great home was apparently divided into two As Martinů’s wife recalled in her memoirs, conductor Paul Sacher) also tried to ease Barrington, Massachusetts – near Tangle- camps: on one side stood Martinů’s ‘the first signs of his serious illness the patient’s stay in the hospital. During wood where he was to serve as a pro- courageous defenders and promoters, appeared during his stay in Basel in most of the duration of his hospitalisation fessor of composition during the summer. including e.g. the composer Oldřich F. October 1958 on the occasion of Martinů devoted himself to reading, and he One night in July he fell more than two Korte, and on the other side blind critics celebrations of the sixtieth birthday’ of the never gave up his beloved cigarettes. meters from the poorly-protected edge of who portrayed the composer from composer Marcel Mihalovici. Because In the final months and days of the a terrace.Although the injury was not life- Polička as a cosmopolitan formalist, Martinů was known as a refined gourmet, composer’s life many friends from Czecho- threatening, recovery took several months allegiant to a thoroughly inimical and his lack of appetite and nausea aroused slovakia came to visit him: the poet and and consequences of the injury remained decadent world. Interest in his works rose justified fears among his friends.The journalist Miloslav Bureš, the pianist Josef with Martinů practically for the rest of his significantly after the premiere of stomach ulcer that was found required an Páleníček, the violinist Petr Rybář, the life. His friends reported that he often Otvírání studánek (The Opening of the operation, which Martinů underwent also director of the Dilia publishing house complained of headaches and of a hum- Wells, H. 354 ) on 7 January 1956 by the in Basel. He then recovered slowly at the Vojtěch Strnad, and Karel Šebánek who ming in his right ear.Also evident was Opus choir of Brno under the baton of Sachers’ farmstead at Schönenberg near worked for many years in the Melantrich a change in his behaviour – he was much Zdeněk Zouhar. However, the tragic Basel, which became a long-term retreat publishing house. James Rybka also visited more sensitive now, reacted more slowly events in Hungary associated with the for the Martinůs for the ensuing months. Martinů while travelling around Europe. in conversation, and sometimes it seemed invasion by the Soviet army once more Two months later Martinů felt somewhat Šebánek, after returning home, described that he did not fully register what was turned Martinů away from the idea of better and was able to attend a perform- his last encounter with Martinů as follows: happening around him. returning home.Then when another ance of the opera Julietta, H.253, Trembling, I entered the hospital. I walked Martinů and his closest associates from opportunity arose two years later he no in Wiesbaden, Germany conducted by along a hushed hallway, gently opened the Czechoslovakia now followed events in longer had the strength. L. Kaufmann on 25 January 1959. However, door to Room No. 45, and suddenly heard eastern Europe after 1948 with growing the final stage of his illness arrived already the words: ‘Hello, Karel!’ This quiet greeting

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The attitude taken toward Martinů’s music often stopped at one-sided emphasis on its Czechness and its roots in folk music: Therefore it was perhaps precisely in the 1930s that for the first time he turned more fully to Czech styles and folk poetry, and began to enrich Czech and worldwide music with new, distinctively personal tones of joy and contentment. Despite the celebratory tone and words of praise, Martinů was not spared a quiet rebuke – that he remained remote from the struggles at home for ‘a better tomorrow’. But how was Martinů remembered by those closest to him? His wife Charlotte loved his inexhaustible optimism and selflessness. She admired his humility and his absolute devotion to music and composition. In her memoirs she revealed that Martinů always liked to dress taste- fully and insisted on dignified conduct and good manners.This observation was corroborated by Maja Sacher, for whom Martinů was ‘a distinguished diplomatic in every bone of his body’. Martinů usually concentrated his full attention on composition, for which he needed a quiet environment where nothing would disturb him. He did not like being burdened by the concerns of everyday existence, and in practical life he was almost lost. But he could always rely on the care of his self- sacrificing wife and help from friends. He overwhelmed everyone he met with his © PBM Martinů in Liestal, May 1956 © PBM extraordinary intellect and knowledge of literature.Throughout his life he was also deeply religious, and therefore he and Charlotte asked Chaplain Max Kellerhals somewhat relieved my feeling of anxiety. Compatriots who came to the funeral Lidice, H. 296) expressing his opposition less than two weeks before his death to I saw the ill composer, frail, tormented by included Miloslav Bureš,Václav Dobiáš to the German occupation.Also often marry them in a church ceremony. disease and suffering.We embraced and (chair of the Union of Czechoslovak cited in connection with his name were If still today we are sadly surprised by greeted each other. Martinů’s eyes Composers), Josef Páleníček, and Petr vocal-instrumental works inspired by folk Martinů’s indecisiveness and the twists of sparkled with joy that he could speak in Rybář.The funeral speech was delivered on texts such as Špalíček (The Chap-Book, fate that prevented him from returning his native language:‘So you have come. It’s behalf of all by Marcel Mihalovici. Martinů H. 214) and Písničky na jednu stránku home, in many ways the very wise and apt been a long time!’ With emotion was buried at Schönenberg, where he (Songs on One Page, H. 294). Of words of his friend and admirer Oldřich I followed his thoughts. He spoke about remained until 1979 when his remains orchestral works, reference was made to F.Korte can be an inspiring consolation as others and did not utter a word about his were transferred to Czechoslovakia. his six symphonies and the Double we conclude this look back: own condition. He could move only his Concerto for Two String Orchestras, It’s hard to imagine how our beloved Master, head, while his right arm received Piano, and Timpani, H. 271, in which extremely sensitive and shy and with his intravenous nutrients and the left lay I don’t think it’s nice of he ‘responded to external stimuli and the intrinsic honesty, could have faced the pres- motionless along his body. you to go away like this tragic events of the World War II’. sures, tugs of war, genuine enthusiasm, and This final farewell of Karel Šebánek, who Those who wrote necrologies had to say stilted courtesies, how he would have born all was accompanied by the violinist Petr and not say where. something about Martinů’s involuntary the honours and celebrations under the Rybář, was also described by Charlotte from the necrology by Martinů’s pupil exile, his successes abroad, the range of patronage and supervision of those who had Martinů in her memoirs: Jan Novák, 1959 subjects he chose for his works, and his so recently denigrated him and essentially had A day before Bohuš’s death they waited a long compositional profile.That profile was never wished his return. […] But I knew best time in the hospital, because Bohuš had pains. very remote in many ways from the ideal why he hesitated so much: this was the only […] Šebánek came into the room, could not As soon as news of Martinů’s death reached of a ‘progressive artist’, but in several way he could preserve his image of the home control himself, and broke out weeping. […]‘his native country, numerous reactions and articles one can sense an effort to graft he dreamed of, in that childlike, untouched The farewell lasted only a moment.The next necrologies appeared in the domestic Martinů’s music onto the criteria that form, so beautiful one could weep and sancti- day the petit pêre was already in a coma. press.Although we still find ’simplifying and prevailed at that time: fied by painful longing, as it breathes from all Martinů died at 7:30 PM on 28 August distorting evaluations of his music in 1957 There have been many disputes regarding his music.And that’s exactly the way he was 1959. His chief physician Dr. Kraider and 1958, after his death the Czech press whether his music is Czech and whether we and remains, here with us since time confided to Charlotte his admiration for sang a song of praise in most cases. can accept the genuineness of his attitude immemorial and forever, through the strength the dying man with emotion in his voice: At that time Martinů was known at home toward life. In his works Martinů took and beauty of his sublimated returns home Never in my life have I met anyone so mainly as the composer of the Polní mše a stance among the leaders in the fight for […]. wonderful and magnanimous. I should like to (Field Mass, H. 279) and the orchestral the freedom of humankind and for a more Reprinted from the Czech musical magazine die as he did. piece Památník Lidicím (Memorial to beautiful and human life. Harmonie, No. 8, 2004

BOHUSLAVMARTINŮNEWSLETTER2)2005 h EXHIBITION oirs– ANTONIN TUCAPSKY em COSTUME AND SET DESIGNS M FOR STAGE WORKS BY B. MARTINŮ

This exhibition, held in the vestibule of the ON MARTINŮ’S POLNÍ MŠE, H. 279 Municipal Museum and Gallery in Polička from (FIELD MASS) – THE MARTINŮ CASE 14 May to 3 July 2005, displayed a large number of drawings, paintings, photographs, three-dimen- sional models of sets, and even actual costumes. N DVOŘÁK Society Some original designs purchased by the museum INewsletter No. 70 in the 1970s, 1980s, and 1990s were presented Brenda Rayson and to the public for the very first time. Especially Patrick Lambert wrote striking were colourful sets for the operas Hry about the performance o Marii (The Plays of Mary) and What Men of Martinů’s Field Mass Live By and for the sung ballet Špalíček (The and expressed their Le Jazz admiration for this un- usual composition. It is really quite a unique work which conveys a ‘universal message’, as Patrick Lambert puts it. I am only very sorry that I was unable to attend the concert in November which was given by the Philharmonia Orchestra under the conductor, Richard Hickox. I will add to both articles my modest and sincere comments. Since my student days I have been a great admirer of Martinů and had certain writ- Chap-Book). Much space was devoted to Mar- ten contact with this great composer. In tinů’s own favourite among his operas: Julietta. the early ’fifties – as a student – I obtained Visitors had the opportunity to compare sets for the famous production by František Muzika from Martinů’s New York address and sent him 1938 with the conception of Julietta by the Slo- a letter – brief, but full of praise and admi- vak visual artist and set designer Milan Ferenčík. ration for his music.With tense expecta- The largest number of designs in the museum’s tion I awaited what would happen but collections are by Vojtěch Štolfa, who served for almost half of the year passed and nothing almost twenty-five years as artistic director and happened.After six months my letter head designer for the State Theatre in Brno. Items came back, the envelope full of postmarks displayed from his workshop included models of and notes – from New York my letter was sets for the operas Les larmes du couteau re-addressed to Paris, from Paris to the (The Knife’s Tears) and Ariane, and set designs for the ballets Špalíček and Echec au roi (The South of France then to Rome and from King in Check). Standing somewhat apart among Rome back to me in Brno with the note costume designs were those for the opera The ‘addressee unknown’. I was very impressed Marriage, in that they are painted on wood.The by the colourful envelope with so many greatest interest on the part of visitors, however, comments, I was impressed with the was attracted by costumes from the 2000 efficiency of the postal services, but very production of The Greek Passion, kindly lent to disappointed that my letter hadn’t reached the museum by the National Theatre in Brno. Martinů.A few years later I performed Lucie Jirglová Martinů’s popular chamber cantata The Opening of the Wells, H. 354 (Otvírání AWARDS studánek). (Incidentally, I was one of the THE AWARDS OF CZECH MUSICAL first performers of this charming and Field Mass, front page of the autograph, PBM archives JOURNAL HARMONIE 2004 nostalgic work.) I wrote again to Martinů, this time to Switzerland, and within two cians from the Janáček Philharmonic and liberal opinions. Under such pressure At the evening ceremony in Aria hotel on March 17, weeks I received a letter from him.Though Orchestra were in favour, and everything I was forced to give up the idea of 2005, the laureates of the annual Harmonie Awards short, it was full of cordial greetings and seemed to be well timed, but … perhaps performing this unique work with its 2004 were announced.We made a selection of words of thanks. I was very delighted and the political situation had eased in Prague ‘universal message’. awards presented to artists who contributed signifi- treasured it with pride. I still had my earlier and other places, but not in Ostrava.When cantly to the promotion of Martinů and his work: letter with the envelope filled with various some communist functionaries learned FINAL COMMENT Prime Award for a Lifetime Contribu- stamps and notes. Unfortunately, both that I was about to perform Martinů’s After my move to England in 1975 my tion to Czech and Worldwide Musical letters are now lost due to my frequent Field Mass the obstacles and objections compositions were very rarely performed Culture changes of address. mushroomed against both the work and in Czechoslovakia, if not officially forbid- Jiří Kout – Conductor myself. I may need to remind you that the den. In the late ’eighties – still before the (Jiří Kout with the Czech Philharmonic Orchestra BACK TO THE FIELD MASS tolerant atmosphere even in the ’sixties ‘velvet revolution’ one critic labelled me and pianist Emil Leichner performed Martinů’s Symphonic Fantasies, suite from the opera Juliette My admiration for Martinů was lasting. was controlled by the totalitarian regime. in a similar way to Martinů – “a renegade and Piano Concerto No. 5 at the Bohuslav Martinů In the ’sixties when I was conducting the Even after his death, Bohuslav Martinů was who serves western capitalists”. It is Festival 2003) Moravian Teachers’ Choir I decided to labelled by some ‘apparatchiks’ as a re- difficult to understand the situation, perform Martinů’s Polní mše.The score of negade and traitor who “served western certainly for those who have no personal Young Czech Artist of the Year Jakub Hrůša – Conductor this remarkable work was first published capitalists”.There were objections to the experience of a totalitarian regime. I lived This talented young conductor performed by Melantrich in Prague in 1947 and as theme of the work as well. However through it experiencing it mentally and with the Czech Philharmonic Orchestra soon as it was issued I bought the score patriotic, it is after all ‘a religious work’. almost physically. However, the critic who at the Bohuslav Martinů Festival 2004 and studied it very carefully. I still have it We know that communist ideology was used this demagogic terminology put me (Rhapsody forViola and Orchestra, Parables) with all my marks and comments. In the materialistic and openly atheistic and came unwittingingly into the same category as Czech Recording of Classical Music ’sixties the political situation was a bit down hard on any suspected deviation. Bohuslav Martinů and I was honoured to Martinů: Symphonies No. 3 & 4 softer, or more tolerant and I thought that It was very difficult to argue with such be in such illustrious company. Czech Philharmonic Orchestra, the time was ripe to bring out Martinů’s a demagogy.Another attack was directed Antonín Tučapský conductor Jiří Bělohlávek (Supraphon) Mass, and make it better known. I had the against me because I tried to promote First published in the Dvořák Society Newsletter This recording also received a Grammy Award services of an excellent male choir, musi- the Field Mass and revealed my idealistic No. 71, April 2005 nomination – see the last issue of the Newsletter. j BOHUSLAVMARTINŮNEWSLETTER2)2005 CONCERTS NOVEMBER BALLETS – 1 November 2005 / 7:30 p.m. ents SEPTEMBER 6 October 2005 / 7:30 p.m. Ev • St. Simon and Jude Church, Prague, CZ 9 October 2005 / 8:00 p.m. 2 September 2005 / 7:30 p.m. FOK Orchestra, 10 October 2005 / 2:00 & 8:00 p.m. Chamber Music 11 October 2005 / 2:00 p.m. • Dvořák Hall, Rudolfinum, Prague, CZ Variace Ensemble The Prague Radio Symphony Orchestra (SOČR) Olga Černá – Mezzosoprano • Lyric Theatre, Kansas City, Kansas, USA Jan Kučera – Conductor Jana Štěpánková – Recitation Kansas City Ballet, www.kcballet.org Jiří Válek – Flute Jitka Čechová – Piano Paula Weber – Choreographer MLADÁ SMETANOVA LITOMYŠL Martin Válek – Violin Hana Jouzová-Müllerová – Harp Toccata e due canzoni, H. 311 (THE YOUNG SMETANAS LITOMYŠL) Concerto for Flute,Violin String Trio No. 2, H. 238 • Two Ballads Ballet performance on the music of B.Martinů Litomyšl, CZ and Orchestra, H. 252 to Folk-Song Texts, H. 228 • Three Melo- Concert at the anniversary of principal conductor dramas, H. 82, 83 and 84 • Vocalise, H.188 22 and 23 October 2005 / 3:00 p.m. 23 September 2005 / 7:00 p.m. Vladimír Válek • Four Songs on Czech Folk Poetry, H.282 22 October 2005 / 8:30 p.m. bis • String Sextet, H. 224 • Smetana House / Opening Concert 15 September 2005 • Ballet du Capitole,Toulouse, France, Czech Chamber Philharmonic Orchestra 3 November 2005 / 8:00 p.m. www.theatre-du-capitole.org Pardubice, Miron Šmidák – Piano • Janáček Theatre, Brno, CZ 4 November 2005 / 2:00 p.m. Ballet I „Before Nightfall“: a ballet performance Sinfonietta La Jolla, H. 328 Brno State Philharmonia 5 November 2005 / 8:00 p.m. on Martinů’s Double Concerto, H. 271 Petr Altrichter – Conductor Nils Christe – Choreography INTERNATIONALE MUSIK- Ivan Kusnjer – Baritone • Verizon Hall, Kimmel Center, FESTTAGE B. MARTINŮ 2005 Aleš Bárta – Organ Philadelphia, Pennsylvania, USA 30 October–13 November 2005 Czech Rhapsody, H. 118. Philadephia Orchestra Basel, Switzerland Peter Milanov – Conductor FESTIVALS www.martinu.ch 21 September 2005 / 8:00 p.m. Symphony No. 6 (Fantaisies Symphoniques), H.343 22 September 2005 / 2:00 p.m. 8 November 2005 Patronage: Václav Havel, Moritz Leuenberger – FESTIVAL PABLO CASALS • Ray Thomson Hall, member of the Federal Council, Josef Suk, 26 June –13 August 2005 Toronto, Ontario, • Wigmore Hall, London, England Neeme Järvi, Dr Thomas Staehelin Prades, France, Canada Libor Nováček – Piano Artistic director: Robert Kolinsky www.prades-festival-casals.com Toronto Symphony Orchestra, Programme: Mozart, Brahms, Martinů, Liszt 30 October 2005 Peter Oundjian – Conductor 10, 12, 14, 15 November 2005 / 7:30 p.m. 11 August 2005 / 6:00 p.m. Symphony No. 6 (Fantaisies Symphoniques), H.343 • Opening concert in the Stadtcasino, Music Hall • Aula of the Vrije University, Eglise d’Olette Basel Symphony Orchestra De Boelelaan 1105 Amsterdam, Netherlands „Contrastes“ Vladimir Ashkenazy – Conductor OCTOBER Robert Kolinsky – Piano 18 November 2005 / 7:30 p.m. David Grimal, Erika Raum – Violins Paul Coletti – Viola Ouverture, H. 211, Piano Concerto No. 2, 5 October 2005 / 7:30 p.m. H.237, Les fresques de Piero della • Broerenkerk, Zwolle, Netherlands David Geringas – Cello Niek de Groot – Bass Francesca, H. 352 • Dvořák Hall, Rudolfinum, Prague, CZ Opera Groots en Meeslepend wil ik Leven, Maurizio d’Alessandro, Michel Lethiec – Clarinets Czech Chamber Music Society www.theatergriffioen.nl 2 November 2005 Mireia Farrés – Trumpet Concert dedicated to Smetana Quartet Mariken of Nimegue, 2nd part of the Amaury Wallez – Bassoon at the 60th anniversary of their first concert Hry o Marii (The Miracles of Mary), H.236 • Film Evening in the Municipal Cinema Jeremy Menuhin – Piano Škampa Quartet Academy Award winner Jiří Menzel 18 November 2005 / 8:00 p.m. Fine Arts Quartet String Quartet No. 5, H. 268 and Madeleine Hirsiger present: La revue de cuisine, H. 161 „Unfaithful Marijka“(ČSR 1934) • Braden Auditorium, Bloomington 6 October 2005 / 8:30 p.m. Director: V. Vančura, Music by: B. Martinů 7 October 2005 / 8:30 p.m. 19 November 2005 / 8:00 p.m. SANTA FE CHAMBER MUSIC 9 October 2005 / 4:00 p.m. FESTIVAL 6 November 2005 • Sangamon Auditorium, Springfield 17 July–22 August 2005 • Jazz-Concert in the Bird’s Eye • Auditorium di Milano, Milan, Italy “The Red Violin” Santa Fe, NM, USA Sandra Studer – Vocals, Orchestra Sinfonica di Milano Giuseppe Verdi The Illinois Symphony Orchestra, www.santafechambermusic.org Jean-Paul Brodtbeck – Piano, & friends www.orchestrasinfonica.milano.it/start.htm www.ilsymphony.org Improvisations on the works of Christopher Hogwood – Conductor Rachel Barton – Violin 31 July & 1 August 2005 / 8:00 p.m. P.Tschaikovsky, G.Verdi and B. Martinů Sinfonia Concertante, H. 219 Double Concerto for Strings, • St. Francis Auditorium 13 October 2005 Piano andTimpani, H. 271 9 November 2005 Comments begin at 7:15 pm Catherine Cho,Whitney Crockett, Marji Danilow, Kirsten Johnson, Eric Kim, Kathleen • Hungarian Academy of Sciences, • Children’s Concert in the Jean Tinguely Museum 20 November 2005 / 11:00 a.m. McIntosh, Marc Neikrug,William Preucil, Budapest, Hungary Works by Mendelssohn, Schumann, Stephen Taylor, Liang Wang – Performers Debussy, Glinka, Steinbeck, Cage, Martinů Borbála Dobozy – Cembalo • Iwaki Auditorium, ABC Southbank Variations on aTheme by Rossini, H.290 Concerto for Cembalo Centre, Melbourne, Australia Played by the pupils of the School of Music Liestal and Small Orchestra, H. 246 “Invitation To The Dance” MUSIC FROM ANGEL FIRE, 13 November 2005 The concert will be recorded live by Monica Curro, Matthew Tomkins – Violins, 19 August–5 September 2005 the Hungarian Radio Isabel Morse – Viola,Sarah Morse – Cello, Angel Fire, New Mexico, USA • Music Academy Basel, Great Hall Sylvia Hosking – Double Bass,Wendy Clarke – 16 October 2005 / 2:15 p.m. www.musicfromangelfire.org/enter.htm Heinz Holliger – Oboe Flute, Jonathan Craven – Bass Clarinet, Wieslaw Pipczynski – Theremin Rolf Kuhlmann – Bassoon, Geoffrey Payne – • De Vereeniging, Nijmegen, Netherlands 2 September 2005 / 7:00 p.m. Keller Quartett The Gelders Orchestra Trumpet, Caroline Almonte – Keyboard Robert Kolinsky – Piano La revue de cuisine, H. 161 The Bach Choir Nijmegen • Shuler Theater, Raton Quartet for Oboe,Violin, Cello and Piano Martin Sieghart – Conductor Fantasia for Theremin with Oboe, 5 September 2005 / 7:00 p.m. Jard van Nes, Iveta Jiříková, Nikolaj Nekrasov, DECEMBER String Quartet and Piano, H. 301 Brian Galliford, Jan Martiník, Margriet van (Opening Speech by Iso Camartin: • Immaculate Conception Parish, Las Vegas Reisen, Janine Pas, Jan Alofs – Soloists 8 December 2005 / 7:30 p.m. „From Martinů to Hitchcock“) Nonetto for Winds and Strings, H. 374 Mariken of Nimegue, 2nd part of the Hry o Marii (The Miracles of Mary), H. 236 • Seaton Town Hall, Fore Street, Seaton, UK, BOHUSLAV MARTINŮ FESTIVAL, PRAŽSKÝ PODZIM (Matinee Series, opening speech: http://seatonmusic.org 3–9 December 2005 / Prague, CZ (PRAGUE AUTUMN) Maarten Brandt, 1:15 p.m.) Gemma Rosefield – Cello (For programme changes and updates please 12 September –2 October 2005 Simon Lepper – Piano see our web pages: www.martinu.cz/english) 25 October 2005 / 7:30 p.m. Prague Variations on a Slovak Folk Song, H.378 8 and 9 December 2005 / 7:30 p.m. • Besední dům, Brno, CZ 10 December 2005 / 10:30 a.m. 14 September 2005 / 7:30 p.m. „Piano Recital“ • Dvořák Hall, Rudolfinum Petra Besa – Piano • Lichtenštejn Palace, Prague, CZ • Rudolfinum Czech Philharmonic Orchestra Three Czech Dances, H. 154 Czech Chamber Music Society The Prague Radio Symphony Orchestra (SOČR) Jane Eaglen – Soprano Trio concertino Vladimír Válek – Conductor Gerard Schwarz – Conductor Bergerettes, H. 275 Field Mass, H. 279 Symphony No.3, H.299

This is only a selection of Martinů performances all over the world. Please, help us to compile the concert calendar; inform us about events involving Martinů’s music! BOHUSLAVMARTINŮNEWSLETTER2)2005 k s THE MARTINŮ INSTITUTE’S CORNER New –– a picture postcard from Polička addressed life – travels in France, Italy, and Switzer- NEW THESIS to Zrzavý in Prague, on which Martinů land and his worsening health but above writes that he is planning a trip to Prague all work on the piano concerto and the IN MARTINU and would like to meet with his friend, and circumstances surrounding its first per- INSTITUTE LIBRARY a letter sent from Paris in which Martinů formance. asks Zrzavý to send money from Mr. NACHMILNEROVÁ, EVA: Storch and complains about toothaches. LETTERS AND PICTURE Bohuslav Martinů. 2. houslový NEW DISCOVERIES Both autographs are undated but were POSTCARDS TO THE koncert / 2nd Violin Concert written approximately in the first half of DESARZENS BROTHERS Prague, Charles University 2005. 81 pages. the 1920s. (In Czech) PICTURE POSTCARD FROM THE STADTBIBLIOTHEK in GUENTHER, LILLIAN: AND LETTER TO JAN ZRZAVÝ LETTERS TO MARGRIT Winterthur the Martinů Institute has Bohuslav Martinů and the Boston AND KARL WEBER acquired for its archive copies of letters Symphony Orchestra:A Musical AT THE VLTAVÍN Auction Hall the and picture postcards written to the Collaboration 1925–1959 Foundation has acquired two more items FROM THE PAUL SACHER Stiftung in Swiss artists Victor and Georges Brown University, USA 2005. 37 pages. in the correspondence between Martinů Basel the Martinů Institute has acquired Desarzens, who commissioned from (In English) and the painter Jan Zrzavý, consisting of copies of correspondence between Martinů a piece for two violins which the Martinů and the Webers.To the pianist composer titled Duo concertant pour HŘEBÍKOVÁ, JANA: Margrit Weber, wife of the Swiss deux violons et l’orchester (H.264). Bohuslav Martinůs Konzert This correspondence from 1937–38 für Klavier und Orchester Nr. 4, Inkantation provides a detailed description of the Magisterarbeit. Chemnitz, Philosophische origin of the work and attests to Fakultät Musikwissenschaft, 86 pages. intensive co-operation among all three (In German) artists. KAFKOVÁ, VENDULKA: NEW LETTERS (COPIES) Jazzové stylizace v klavírních cyklech FROMTHE BIBLIOTHÈQUE Bohuslava Martinů / Jazz Stylizations NATIONALE DE FRANCE in Piano Cycles by Bohuslav Martinů (from our co-operator Jana Prague, Charles University 2004. 77 pages. Urbanová) (In Czech) Letters to Nadia Boulanger ARTICLES 8 letters from the years 1930, 1933, 1941, Bohuslav Martinů and Margrit Weber 1942, 1955 IN THE CZECH MAGAZINE Letters to Andre Coeuroy RUDOLFINUM REVUE (IN ENGLISH LANGUAGE) businessman Karl Weber, Martinů 2 letters from 1929 (concerning the libretto of the ballet “Echec au roi”) dedicated his Fifth Piano Concerto SKÁLOVÁ,VANDA: (H.366), titled Fantasia concertante.This Letters to Georges Jean-Aubry Alén Diviš & Bohuslav Martinů correspondence from 1957 to 1959 2 letters from 1939 (recommendation of Vol. 3, 2004/2005, p. 20–21 captures the final years of the composer’s his latest works, list of his compositions) KADLEC, PETR: Jiří Tancibudek Vol. 2, 2004/2005, p. 37–39 MARTINŮ IN LONDON—ERRATUM KADLEC, PETR: Closely observed instrument. In the last issue we published an interesting article about Martinů in London in Jana Brožková as soloist in 1919 by Richard Beith. However, we forgot to attach the programmes of the Martinů’s Oboe Concerto concerts to the text.We are publishing the programmes now with many apologies Vol. 3, 2004/2005, p. 22–26 to the author and all readers! Editors Interview with oboist Jana Brožková

NEW 26 May / Smetana — Šárka Prague Teachers Choir: RECORDING Smetana — Rolnická Moravian Teachers Choir PHILADELPHIA ORCHESTRA Suk — Montenegrin Cradle Song Slovák folk songs AND ONDINE DEAL Madame Destinnová Smetana — The Kiss — Vendulka’s Lullaby THE PHILADELPHIA Orchestra – one of Dvořák — Rusalka — aria the US’s ‘Big Five’ orchestras – has signed a record contract with Helsinki-based 30 May / Dvořák — Symphony ‘From the New Worlď Dvořák — Violin Concerto — J. Kocián Ondine Records for publishing three discs Prague Teachers Choir within three years. Jan Kunc — Ostrava and Song of the Silesian Coal Miner The first recording took place in May Novák — Ballad on the Vah Moravian Teachers’ Choir 2005, live in Verizon Hall. Eschenbach Ostrčil — Christmas Legend Slovak folk Songs conducted a programme of music by composers affected by the Nazi regime; 30 May / Novák — Slovak Suite the emigre Béla Bartók’s Concerto Suk — Fantasia for violin and orchestra — Karel Hoffmann for Orchestra, Bohuslav Martinu’s Fibich — Romance for Orchestra — At Dusk Madame Destinnová powerful response to the Nazi destruction Dvořák — The Spectre’s Bride — aria on an entire village, The Memorial to Folk Songs Lidice and the Partita for String Orchestra and combined choirs Orchestra by Gideon Klein, murdered Novák — Three Choral Poems in honour of the Czechoslovak Legions by the Nazis in a concentration camp. l BOHUSLAVMARTINŮNEWSLETTER2)2005 OBITUARIES BOHUSLAV MARTINŮ s RALPH EMIL SLAYTON DISCUSSION GROUP –– We choose some interesting contributions from the Bohuslav New Ralph Emil Slayton, Ph.D., lecturer of English and literature at the Faculty of Martinů Discussion Group. Education, the University of Hradec Králové and at the Faculty of Philosophy As we informed you in the last issue, you can join this group at and Science, the Silesian University in Opava, passed away at Hradec Králové http://groups.yahoo.com/group/BohuslavMartinuDiscussion/ Teaching Hospital in the early hours of March 16, 2005, age 70 years. RALPH SLAYTON was born on June 1, 1934 in Glen Ridge, OBOE CONCERTO IN MADRID show off their virtuoso acrobatics? It’s a New Jersey, USA. His BA, MA and PhD are all from Columbia CONSERVATORY beautiful trio with an unusually large University, New York City. During his life, he lectured in litera- third instrument.That’s how I would ture and drama in various universities, including the University (http://www.real-conserv-madrid.es/real- describe it. Hauntingly beautiful. I heard of Pamplona in Colombia, Rutgers University, Brooklyn conserv-madrid/exa-obrasobligadas.htm) all this on a scratchy recording through College, Utica College of Syracuse University, The State MARTINŮ’S OBOE CONCERTO earphones to enhance the experience. University of New York, and Herkimer County Community appears as a compulsory work for Write every conductor who has per- College. He was founder and producer of the Children’s exams at Real Conservatorio de Madrid formed Martinů’s orchestral works and Theater in Herkimer, New York. for the 2004–2005 period. urge him to be the first to premiere this After his arrival in the Czech Republic in 1990, he taught at a grammar school in Český Santiago de Castillo masterpiece. March in the streets of Těšín and Bučovice. Later he became an assistant lecturer at the Department of English Prague! Write letters to the editor of at the Faculty of Education in Hradec Králové, where he remained until 2004. During something or other. Lawrence J Lemer his last year, he lectured English literature at the Institute of Foreign Languages of the QUARTET FOR OBOE, Silesian University in Opava. He has been a loyal parishioner of the Cathedral of Holy VIOLIN,VIOLONCELLO WELL, IF THE WORK in question just so Spirit and a dedicated teacher of English, which became his life-long mission. AND PIANO, H.315 happens to be the Concerto da Camera Ralph Slayton closely co-operated with the Bohuslav Martinů Institute; Aleš Březina, for Violin,Piano, Percussion and Strings, director of the Institute, says about him: “He was a zealous man of the theatre. and I HAVE JUST HEARD live Martinů’s H. 285, composed in 1941, look no what attracted him to Martinů was mainly his operas and ballets, then also his corres- Quartet for oboe, violin, cello and piano, further than the recording on Musica- pondence. That’s why it occurred to him to make an English translation of Popelka’s with its three movements, I) Moderato phon, catalog #M 56821, released selection from Martinů’s letters sent home. Ralph launched into the project completely poco allegro, II) Adagio Andante poco November 19, 1996, with soloist Sabina on his own, having no agreement with a publisher and nobody to go through the text moderato, III) Allegretto, played by Windbacher (violin–piano soloist with him. When he sent me the translation in the summer of 2003 we agreed that students of the local Reina Sofia Music unspecified), together with Martinů’s I would undertake a thorough revision of it (which took me until January 2004) and School, in a chamber music recital of Concertino for Cello and Small Orches- attempt to find a suitable publisher. Such a publisher was found in Martin Anderson of groups with piano. tra in c minor H. 143, composed in 1924, Toccata Press, who set about editing the text. In the meantime Ralph passed away, and Since no viola is involved, this was new soloist Martin Rummel, and Werner one of his last wishes was that the publication include in an appropriate position the for me. May I say that I liked this music Steinmetz’s Solo and Chamber Music for dedication of his translation to a little girl with whom he became friends in the hos- very much – I heard it for the first time. Violin, Piano and Orchestra, with the pital.The book will be published next year.” The 2nd movement in A–B–A form, very Austrian Chamber Symphony conducted inspired, and the final Allegretto of exhil- by Ernst Theis. DAVID DIAMOND arating sparkle. Available at Tower Records for $14.99; What was remarkable was the make at Amazon from $15.31 and up; and at David Leo Diamond, a major American composer, died 13 June 2005 of heart up of the ensemble, very international ArkivMusik for $15.99.Tower and Arkiv failure at the age of 89 in his birthplace, Rochester, N.Y., USA. indeed: a Turkish girl oboist,an Uruguayan both report “Low Stock” but often this DIAMOND was born on 9 July 1915 and studied at the Eastman School of Music. Soon violinist, a Spanish girl cellist and a His- means if you go ahead and order you’ll he became an important voice in American music, composing pano/Arab pianist, average age around get it – unlike “Special Order” which in a Neo-Romantic style. Romanticism fell out of favour in the 23 years.This shows again that Martinů’s usually means you can kiss the order 1950s, when such music was considered old-fashioned. How- idiom can be understood by everybody. goodbye before you place it.Amazon has ever, Mr. Diamond stuck to his musical guns, and continued They played very well indeed – it was very good deals if you buy CDs from writing music that made sense to him. a great pleasure to listen to. them used. Eric Koenig As a young man Diamond moved to Paris to study with the Juan Krakenberger renowned pedagogue Nadia Boulanger.There he had contacts THERE IS APPARENTLY some confusion with the famous Maurice Ravel, who admired his music, as well about this work – it is NOT the Con- as with Gertrude Stein, James Joyce, and Igor Stravinsky; he CONCERTOS FOR VIOLIN, certo da Camera from 1941, nor is it also met Bohuslav Martinů. During the Paris years Diamond’s PIANO AND ORCHESTRA the very early “Concerto for Violin and music came to the attention of Boston Symphony conductor Piano”, which is a duo (no orchestra). Charles Munch, who championed his works. Diamond then returned to New York, I WAS LOANED a rare tape of an old LP Rather it dates from 1953, written where the 1940s were exciting years for him: his friends included Aaron Copland and recording of the otherwise completely around the same time as Fantaisies Leonard Bernstein, and four important conductors including Bernstein premiered his unavailable Concerto for Violin,Piano Symphoniques.The only commercial first four symphonies. and Orchestra and am here to declare it recording was made by Nora Grum- Diamond was appointed Fulbright Professor at the University of Rome, and lived a WINNER! Why it is not performed is líková (recently deceased) and pianist in Florence, Italy from 1953 until his 50th birthday when he returned to the USA. a mystery and unjustifiable. Could it be Jiří Kolář (Supraphon, 1973). He taught at Salzburg, at the Harvard Seminar in American Studies, at the Manhattan that the two soloists are not required to Erik Entwistle School of Music, and at Buffalo. He was a member of the American Society of Com- posers, Authors, and Publishers and was appointed Vice President of the National Institute of Arts and Letters. Jindra Jilečková taking note of the camera, about his admiration for Martinů – his invention, the concen- DIAMOND’S CAREFUL craftsmanship and sensibility have assured his position as tration of his style, and his technical perfection. He also recalled very clearly dozens of a 20th century classicist. experiences they shared including ones that were important, less important, and merely Bohuslav Martinů and David Diamond were bound by a warm friendship that lasted anecdotal, such as for instance visits to the Café Dome in Paris where the beautiful many years, founded on similar artistic opinions. According to both composers con- dancer Kiki wandered among the guests in a transparent gown: Martinů was allegedly temporary music should maintain emotional and rational components in perfect unable to take his eyes off her and wanted to write a piece about her. More important balance, and should not be shy about being beautiful in passages where the work for music, however, was a recollection of black drummers in a Paris night club called the requires this. They met in Paris before World War II, while Diamond was studying Dingo Bar with whom Martinů engaged in long debates about the rhythm of jazz.After composition there with Nadia Boulanger. I’ll never forget one long day in April 2000 both composers moved to New York their friendship grew still firmer. In the summer of when Diamond received Jiří Nekvasil and me at his home in Rochester, New York, to 1945 Diamond even lived in Martinů’s flat while he was away. There he composed converse with us for the documentary film Martinů and America. His receiving room a major portion of his Symphony No. 4, about which he consulted Martinů. It will sound was decorated with drawings by Cocteau and other art works as well as portraits of this December in a concert of the Czech Philharmonic as part of the Martinů Festival – musical geniuses of the twentieth century, most notably Igor Stravinsky and Maurice a concert which was to be a tribute to Diamond for his ninetieth birthday and instead Ravel, with cordial dedications in their hands. For many hours he spoke, without once will be, unfortunately, a memorial. Ales Březina

BOHUSLAVMARTINŮNEWSLETTER2)2005 ; FROM THE NEW DISCOVERIES

Picture postcard from Polička addressed to Jan Zrzavý in Prague, on which Martinů writes that he is planning a trip to Prague and would like to meet with his friend. [ For more information see p.18 ]

< Jan Zrzavý with his drawings, 1924, from the JUDr. Jaromír Čihař’s heritage

Music Publishing House Editio Bärenreiter Praha BOHUSLAV MARTINŮ announces its newcomer STRING QUARTET No.5 String Quartet No. 5 is indisputably one of the most important chamber works by Bohuslav Martinů, which its modern, supremely dissonant and chromatic mode captures attention.The work was published as a pocket score only in one edition (1959) until today, so the interpreters had to perform it from bad transcripts and its copies. Martinů wrote the work in Paris from April to May 1938 and considered it to be so private that, his whole life, he declined to publish it (the complete particell of the work contains, apart from other things, several personal notes which document not only the circumstances linked with the origin of work but also the composer’s intimate relationship with the talented composer Vítězslava Kaprálová, 25 years his junior.The quartet is dedicated to her). It was only a few months before his death that he gave permission for the work’s publication, but he did not participate in publishing at all. Thanks to Aleš Březina and Adam Klemens, the two editors of new edition, whose careful work was based on studying the autograph of the score, all problematic and rather wilful editor’s interferences in the first edition are thoroughly removed. We believe that the presumed urtext edition of study score and parts will support that Bohuslav Martinů’s String Quartet No. 5 becomes the number in repertoir of many Czech and foreign ensembles. POCKET SCORE H 7941, ISMN M-2601-0343-6, Editio Bärenreiter Praha, spol. s r. o. phone: +420 274 001 933 68 pages, price 21 EUR Customer Service fax: +420 274 001 920 PARTS Běchovická 26 gsm: +420 603 179 265 H 7941a, ISMN M-2601-0344-3, 100 00 Praha 10 e-mail: [email protected] 80 pages, price 36 EUR Czech Republic http://www.sheetmusic.cz