THE BOHUSLAVMARTINŮ FOUNDATION THE BOHUSLAVMARTINŮ INSTITUTE THE INTERNATIONALMARTINŮCIRCLE MR martinů complete 2016 3 edition – premieres september—december / vol.XVI / no. martinů and the kroll quartet pro arte quartet mirandolina in venice new discoveries Bohuslav Martinů: nts Complete Piano Concertos ---- Piano Concerto No.1, H 149 (Václav Mácha) new CDs Piano Concerto No.2, H 237 (Karel Košárek) cont Concertino for Piano and Orchestra, H 269 (Adam Skoumal) Concerto for Two Pianos and Orchestra, H 292 3 reviews (Daniel Wiesner, Miroslav Sekera) Piano Concerto No.3, H 316 (Martin Kasík) the bohuslav martinů complete Piano Concerto No.4 „Incantation“, H 358 edition reviewed by notes NIGEL SIMEONE (Igor Ardašev) Piano Concerto No.5, H 366 (Ivo Kahánek) news Prague Radio Symphony Orchestra, 4 Tomáš Brauner (Conductor) new items at the bohuslav Recorded 2015–2016, Radio Studio No.1, Prague martinů institute Český rozhlas, Radioservis, 2016, CR0776-2, TT 175:26 JANA HONZÍKOVÁ, JANA FRANKOVÁ 5 incircle news Masterpieces for Piano Left Hand (II) 6 review (Janáček, Martinů, Brahms, Strauss) Historical recordings, recorded 1962–1999 bmce, vol.4: premieres Martinů: Concertino (Divertimento) for Piano of martinů’s chamber music PATRICK LAMBERT (Left Hand) and Small Orchestra, H 173 Siegfried Rapp (Piano), 7 review Loh-Orchester Sondershausen, Gerhardt Wiesenhütter (Conductor) bmce, vol.3: celebratory concert JIŘÍ KOLÁŘ Recorded in Sondershausen (Germany), 4–6 December 1962, Cruciskirche obituary: miroslav košler / 1931—2016 Praga Digitals, 2015, PRD 250316, TT 78:35 8 research jolly good fellow: Martinů Early Recordings Part 2 the odyssey of william kroll The Shadow – Ballet in One Act, H 102 (1916) TULLY POTTER Dorota Szczepańska (Soprano), Anna Maria Staśkiewicz (Violin), 10 interview Agnieszka Kopacka (Piano) …with the pianist ivo kahánek Sinfonia Varsovia, Ian Hobson (Conductor) ANNA MATOUŠKOVÁ Recorded on 16–17 December 2015 WORLD PREMIERE RECORDING 12 portrait Toccata Classics 2016, TOCC 0249, TT 66:37 jakub hrůša on jiří bělohlávek / part 2 MUSICWEB INTERNATIONAL Recording of the Year 2016 14 research bohuslav martinů and the pro arte quartet Dvořák, Martinů ANNE VAN MALDEREN Christian Poltéra (Cello) Deutsches Symphonie-Orchester Berlin 18 cd review Thomas Dausgaard (Conductor) Martinů: Concerto No. 1 for Cello bohuslav martinů: ariane MICHAELA VOSTŘELOVÁ and Orchestra, H 196 III Recorded in 2014 19 review BIS-2157 SACD 2016 mirandolina in venice DAVID CHALOUPKA

2 | martinůrevue32016 the bohuslav martinů complete edition was reviewed by the reviews international music periodical notes

NIGEL SIMEONE reviews the first of the Janáček complete edition (also published two volumes of the BMCE for by Bärenreiter). With the additional material in the September edition of Notes, the appendices, and the extensive introduction the Quarterly Journal of the Music and critical apparatus, this edition should be of Library Association. the greatest interest to anybody performing or studying this symphony, particularly as the task of editing it has been done so meticulously. EXCERPTS: Martinů’s published scores are not always as un - The Epic of Gilgamesh, H 351: am biguous as they might be. That state of affairs It’s a fascinating work—one in which Martinů provides one very good reason for a schol arly avoids any kind of formulaic writing, draws on the critical edition of his works, but in Martinů’s case influence of medieval music in places to create there are other compelling factors. He has a repu - a rather austere, ascetic sound-world, and finds tation for being “too prolific,” and is some times plenty of rhythmic freedom in the writing. The dismissed for being an uneven com poser. Certainly genre of Gilgamesh was problematic for Martinů: there are times when he relies rather too heavily he wrote that it was “neither an oratorio, nor on tried-and-tested harmonic formulae, and not a cantata—it is simply an epic.” One puzzle is everything is on the inspired level of the Double why it is performed so rarely, and this new edition Concerto or the 1937 opera Julietta. But without should encourage are evaluation of a work that being able to study the scores of all his largescale doesn’t have an easy appeal but is certainly very works, it is hard to come to any bal anced judg - manuscript is now in the Robert Owen Lehman striking. Březina’s edition is a model of its kind. ment. That is just what this new edition will Collection, on deposit at the Pierpont Morgan As well as the discussion of context and genesis, enable us to do, providing the oppor tunity to Library.) These missing measures are to be found the introductory matter also includes a number assess Martinů more thoroughly, and (eventually) among several fascinating appendices in this new of carefully-chosen facsimile pages from various to be able to study the whole of his output. edition, which also include the original versions of stages in the work’s evolution (including the pre - This is a big project, and one that should do the opening of the first movement and the closing liminary sketch). The critical report is laid out with much to secure Martinů’s reputation by making measures of the finale. This edition is the work an admirable combination of clarity and detail, the whole of his output accessible to performers of Sharon Andrea Choa—a conductor as well and the complete English and German libretto is and scholars. as a scholar—who brings to the task practical printed at the end (the score itself prints just the experience of performing the work, as well as high English text set by Martinů). As with the Fourth Symphony No.4, H 305: editorial standards. As Choa notes in the critical Symphony, Bärenreiter’s note-setting is beautifully Those familiar with the published orchestral score report, “the printed full score published by B&H in clear throughout, and well laid-out on the page. of the symphony ([London: Boosey & Hawkes, 1950 was produced with extreme care” (p. 232), As befits an edition of this kind, the paper is of 1950], plate number B & H 16616, 166 pages) but even so there are errors and inconsistencies high quality, as is the sturdy cloth binding of both might wonder whether a new edition is really that Choa has aimed to correct. volumes. Martinů’s admirers have always regarded necessary. The short answer is a resounding “yes,” Throughout the score, the small alterations that him as a significant figure in twentieth-century despite the general reliability of the original have been made are pragmatic and helpful, and music, but concert promoters have not always Boosey & Hawkes score. One reason is that there where Martinů put a mixture of accents in and out shown the same kind of enthusiasm. This new is plenty more to discover about this symphony. of parentheses in B&H (as in m. 11), this is faith - complete edition—which I strongly recommend This new edition is not only useful as a cleanly fully reflected in the new edition—so there’s been to music libraries and serious Martinů enthusiasts edited text, but it also turns out to be extremely no interventionist standardization. The instrumen - alike—should do much to bring his music in from informative. My own curiosity about the musical tal nomenclature has reverted from the English the margins. These first two volumes are a most text of the Fourth Symphony was aroused when used in B&H to the Italian on Martinů’s manu - auspicious start to the project. the autograph manuscript was auctioned at script. The rehearsal numbers from B&H (score Sotheby’s in London on 23 November 2013 (lot and parts) have been retained throughout. The NIGEL SIMEONE 185), including correction leaves that had music editorial guidelines appear to have been worked Excerpts are reprinted from Notes, from the slow movement that was nowhere to out with great care, and I’m delighted to report September 2016, pp 166—170, with their kind permission be found in the Boosey &Hawkes full score. (The that there is none of the notational idiosyncrasy

martinůrevue32016 | 3 Prague (1947).3 Mucha’s account of the abridge- stage directions relating to The Miracles of Mary, ment is supported by Martinů’s direct response to H 236.6 Moreover, we have acquired copies of indi - s a recording of The Field Mass made by Die Haghe vidual letters between Martinů and various figures w Sanghers, again conducted by Rafael Kubelík (Marcel Mihalovici, Louis Kaufman and Boris (6 June 1956). The composer repeatedly pointed out Koutzen). Furthermore, we have acquired copies ne that the introductory soldier’s song (b. 107–148) is of Alexander Tansmann’s hand-written autobio - assigned to the soloist, not the chorus.4 Melantrich’s graphic notes on the École de Paris from a private rental music material was subsequently corrected. collection.7 The fragmentary nature of the vocal parts pre - served from the premiere does not make it possible OTHER SOURCES to confirm or disprove Jiří Mucha’s assertion Czech Museum of Music – The Bohuslav Martinů new items relating to the shortened bari tone solo, yet it does Institute directed its attention to the archive of document that it did not concern an erroneous Czech Nonet, cataloguing the peronal effects of at the bohuslav copy of the autograph score, in which the soloist’s the ensemble that relate to Martinů. Documents entry is not unambiguously marked. If, then, acquired by the Institute include reviews, pro - Kubelík or someone else finally abridged the grammes and lists of compositions. Notable among martinů institute soloist’s part for the premiere, and handed over these documents are those concerning the Nonet No. 2, H 374. / JANA FRANKOVÁ & JANA HONZÍKOVÁ Bohuslav Martinů Foundation – The Foundation has purchased valuable autographs, prints and sketches from Prof. Ivan Štraus. The materials New sources pertaining to Bohuslav Martinů relate to several works, including the Songs on works – The Field Mass, The Spectre’s Bride, One Page, H 294, Songs on Two Pages, H 302, Violin Concerto No.1, and others Czech Madrigals, H 278, and the Concerto for IN 2015, intensive source research towards the Violin and Orchestra No. 2, H 293. With regard Complete Bohuslav Martinů Edition led to the to the Concerto, the Foundation acquired the auto - acquisition of numerous interesting items by the graph piano reduction (52 pp.), and the autograph Bohuslav Martinů Institute. We not only sought out violin part (12 pp.), and 8 pages of sketches. The sources relating to the currently published works documents are being digitised in high quality at within the Complete Edition, but aimed also to the Bohuslav Martinů Institute. expand our catalogue of archival sources more Schott Publishers – Music materials obtained generally. One of the previous Martinů Revue issues by the Bohuslav Martinů Institute from Schott (1/2016) presented sources from the archive of Publishers are now being digitised in high quality. Die Haghe Sanghers in The Hague in more detail, these sections to the chorus or deleted them alto - These include the autograph score, the autograph specifically those pertaining to The Mount of Three gether, these modifications must have been entered solo part and the autograph piano reduction of Lights, H 349, The Prophecy of Isaiah, H 383 in the now missing segment of the performance Concerto for Cello No. 1, H 196, and the autographs and The Field Mass, H 279 (see also the article material from the archive of the Czech Philhar - of Les Ritournelles and the Esquisses de Danses. in Martinů Revue 2016/1). monic. Princeton University, USA – The Bohuslav Martinů In the meantime, our investigations at the Czech Linked with the same volume of the Complete Institute has acquired several new documents Philharmonic archive have yielded performance Bohuslav Martinů Edition is the discovery and from the archive of Princeton University. These material that was created for the world premiere of digitisation of source material containing Martinů’s include programmes and correspondence relating 5 the The Field Mass, which was conducted by Rafael The Spectre’s Bride, H 214 A. It concerns the to Mar tinů’s tenure at the school between 1948 Kubelík in Prague on 28 February 1946. As Martinů choral score and the piano reduction of the first and 1950. himself did not directly participate in the prepara - version of The Chap-book, H 214 I, which have been tion for the premiere, the new source is not relevant preserved in the archive of the National Theatre in for the work’s critical edition, yet it documents the Prague and came into being in connection with the 1 Identical information is contained in the score’s undated first performance in a very intriguing way. It in- piece’s world premiere there (19 September 1933). copy, made by the Prague-based copyist Karel Adler, which cludes the complete instrumental parts (Picc I, II, These sources are copies of the autograph piano reduc tion, which has been preserved only in frag - is also maintained in the archive of the Czech Philhar - Cl I, II, Tr I, II, III, Trb I, II, Timp, GC, Ptti, Tamb picc monic. The connection between the copy and the work’s ments. The choral score has been preserved it c cord, Tamp picc s timb, Tamb mil, Crot, Trgl, pre miere by the Czech Philharmonic is not defi nite. Russ - Cpnlle, Arm, Pf) and one short vocal score, divided its entirety, while the piano reduction with stage ian translations of the original Czech vocal text added into two books (I, II), containing the chorus tenor directions is only for Acts II and III. under it indicate that the score was used repeatedly. and bass parts, as well as the solo baritone part. Notable, too, is the discovery and acquisition of 2 Jiří Mucha, Podivné lásky (Prague, Mladá fronta, 1988), This vocal score, dated “23. 1. 1946”, sheds inter- copies of the performance material for Concerto pp. 308–309. (In the French edition, Au seuil de la nuit. esting light on previously known details of the for Violin and Orchestra No. 1, H 226, made for Editions de l’Aube, 1991, p. 276.) 3 The situation pertaining to the sources and the genesis piece’s premiere. In terms of its contents and the its world premiere (25 October 1973) in Chicago, of The Field Mass is dealt with in detail by Paul Wingfield division of the vocal parts, it fully complies with given by the soloist Josef Suk and the Chicago Symphony Orches tra (conducted by Georg Solti). in Volume 3 of the Complete Bohuslav Martinů Edition Bohuslav Martinů’s intent as captured in the work’s (in press). These sources are important for the other planned autograph score and the composer’s commentaries 4 See Martinů’s letters to Die Haghe Sanghers (29 July 1956, (see below), in that it presents the baritone solo volumes of the Complete Bohuslav Martinů Edition. Die Haghe Sanghers archive) and Miloslav Bureš in its full extent.1 Even though the sheet music In addition to sheet music, we have also extended (25 September 1956, the Bohuslav Martinů Centre in discovered comports with the autograph score, our stock of correspondence and other related Polička, shelf-mark: PBM Kb 648). For more information, testimony from the premiere has shown that documents. We have procured from the National see www.database.martinu.cz. arrangements were evidently made during the Archive copies of 17 previously unknown letters, 5 The genesis of The Spectre’s Bride and the situation pertaining to its sources is dealt with in detail by Paul rehearsals. In his autobiographical book Podivné written by Martinů to Hubert Ripka and Josef Wingfield in Volume 3 of the Complete Bohuslav Martinů lásky (Strange Loves), Jiří Mucha mentions that the Brumlík. The letters date from between 1940 and 1946, and pertain to Martinů’s involvement in the Edition (in press). soloist (Theodor Šrubař) had his manu script parts 6 The letters are analysed at length in Lucie Jirglová’s study, promotion of Czech music in France during World significantly shortened from what appears in the currently under preparation. composer’s autograph.2 The part’s altered version, War II and his possible participation in similar activ - 7 The source was dealt with in detail by Aleš Březina in his this time with a segment of the solo part trans - ities after 1945. We have obtained copies of three paper École de Paris – Fiction or Reality?, presented at the ferred to the chorus (the soldier’s intro duc tory letters written by Martinů to Josef Munclinger from international conference Paris, City of Light in London song, bars 107–148), was also included in the first the archive of the National Museum in Prague. The on 28 May 2015. The study is now being prepared for edition of the work, published by Melantrich in letters, written in 1935 and 1936, contain intriguing publication.

4 | martinůrevue32016 M R b ]d MARTINŮ REVUE (formerly Bohuslav Martinů Newsletter) is published by the International Martinů Circle in collabo ra - tion with the Bohuslav Martinů Institute in Prague with the financial support w of the Bohuslav Martinů Foundation. incirclene s Jakub Hrůša, Magdalena Kožená, Published with the financial support President of IMC IMC Patron of the Ministry of Culture of Czech Republic, code No. MKCRX006Z32Y VOTING SUCCESSFULLY COMPLETED Editors OVER THE past few months, members of the International Martinů Cir - International Martinů Circle Zoja Seyčková & Lucie Harasim, cle voted on the adoption of the new articles of the IMC and the elec - Bohuslav Martinů Institute GENERAL INFORMATION Justin Krawitz (English language editor) tion of its new delegates. We are now pleased to announce that the vot ing has been completed! Asufficient number of votes have been cast Members receive the illustrated Publisher’s Office Martinů Revue published three times International Martinů Circle, o.s. for the IMC’s operation to continue. Following the January meeting of a year plus a special limited edition CD IČ: 22688846 the Board of Delegates, at which a new committee and chairman will containing world premieres, historic Bořanovická 14, 182 00 Praha 8-Kobylisy, performances and archival recordings Czech Republic be elected, all the relevant documents will be delivered to the Municipal e-mail: [email protected] Court in Prague and an application will be submitted for the IMC’s in cor - from the annual Martinů Festival not www.martinu.cz poration in the Register of Societies. The next issue of the Martinů obtainable commercially. The IMC is supported by the Bohu - Translation of selected articles Revue will introduce the newly elected delegates and members of the slav Martinů Foundation and Bohuslav Hilda Hearne new com mittee. We greatly appreciate the support and collaboration on Martinů Institute in Prague. Photographs the part of all the IMC members who participated in the vote. Thank you The Bohuslav Martinů Foundation’s MEMBERSHIP & SUBSCRIPTION and Institute’s archive, collections of the very much indeed! INFORMATION Bohuslav Martinů Center in Polička Graphic Design David Cígler IMC BOARD MEETING ï YEARLY SUBSCRIPTION: Printing BOOM TISK, spol. s r.o. THE BOARD of Delegates will meet on 27 January 2017 at the Bohuslav 25 EUR / 30 USD / 18 GBP / 450 CZK The Martinů Revue is published Martinů Institute in Prague. The meeting coincides with a performance ï SUBSCRIPTION FOR CORPORATE three times a year in Prague. of Martinů’s The Epic of Gilgamesh at the Rudolfinum, with Jiří Bělohlávek MEMBERS: 100 EUR / includes Cover conducting the Czech Philharmonic. 10 copies of each Revue PLUS 3 copies Bohuslav Martinů in New York, 1942 of the special limited edition CD ï SPECIAL RATE for music students ISSN 1803-8514 2017 SUBSCRIPTION PAYMENTS under 25 years of age: MK ČR E 18911 WE WOULD REQUEST members to forward their 2017 subscription 10 EUR / 250 CZK www.martinu.cz payments through their usual channels. A list of our international ï SINGLE COPIES OF THE REVUE: contacts: 80 CZK / 3 EUR / 4 USD + postage

> For Great Britain: For further details and for single copies Phillip C. Boswell, [email protected], 3 Warren Croft, of the Martinů Revue contact: Storrington, RH20 4BE Great Britain Lucie Jirglová > For Netherlands and Luxembourg: phone: +420 773 656 586 e-mail: [email protected] Gert Floor (Netherlands), [email protected], +31725095262, Gortersweg 6, 1871 CC Schoorl, Netherlands The International Martinů Circle, o.s. > For France and Belgium: Bořanovická 1779/14 182 00 Praha 8-Kobylisy, CZ Nicolas Derny, 55 Chemin de Mons, 6220 Fleurus, Belgium, phone: +32 472360869, [email protected]

THE PREVIOUS ISSUE > For USA: WELCOME NEW MEMBERS Robert Simon, [email protected], mobile number 216-973-7716, > Thanh-Tâm Lê, France 322 E Colfax Ave #103, South Bend, IN 46617, USA > Charles Olivieri-Munroe, Canada THE BOHUSLAV MARTINŮ CENTER > For Germany: IN POLIČKA offers an interesting, inter - NEW CD actively conceived exhibition on the com - Lucie & Clemens Harasim, [email protected], +49 152 581 668 32 Bohuslav Martinů Days 2014: String poser’s life and work. The modern display of Members from other countries please pay via: Quartet No. 4, H 256, Field Mass, Bohuslav Martinů’s life and work is located – IMC Paypal account at: www.martinu.cz, section International H 279 (historical recording) in the historical building of the former council school, which Martinů attended Martinů Circle, subsection Membership as a child. Consequently, the project also – or directly via bank account in Prague (the number you can find at comprises a reproduction of Martinů’s the same web page — section). classroom, complete with period painting PLEASE ADD YOUR NAME WHEN PAYING VIA BANK TRANSFER, and furniture. The centre also contains an audio-visual hall and study room. SO WE CAN IDENTIFY YOUR PAYMENT. Bohuslav Martinů Center Members who pay their subscriptions via the Dvořák Society should Tylova 114, 572 01 Polička continue to do so. Those wishing to pay in Czech currency or by cash tel.: +420 461 723 857 should contact us at [email protected] ❚ www.cbmpolicka.cz

martinůrevue32016 | 5 premieres of martinů’s chamber music given by members of the prague philharmonia reviews /bohuslav martinů complete edition, volume 4

/ PATRICK LAMBERT

IT IS ADMIRABLE that the Bohuslav Martinů Institute is establishing a tradition whereby compositions receive premiere performances in their critically edited form as each volume rolls off the production line. After Martinů Revisited, we now have Martinů Reborn! These “world premieres” take place not only in Prague but also in Brno, where for instance The Epic of Gilgamesh, H 351 (Volume 1) was given at a Brno Philharmonic concert conducted by Aleksandar Marković (December 2014) and where that work is now included in Brno

y Aleš Březina (presenter) & members of the PKF – Prague Philharmonia

< From left to right: Aleš Březina, Jitka Zichová, Jitka Pánek Jurková, Ludvík Kašpárek, Jonáš Hájek

played, despite the cav - ernous acoustic of the Museum’s atrium, they express the sheer joy of music making, which National Theatre’s repertoire in a fully staged is all one should ask of serenades written as presentation as part of a double bill with a kind of homage to Mozart. Part one was Purcell’s Dido and Aeneas. The cantata The rounded off by a lively account of Les Rondes, Spectre’s Bride, H 214 A (Volume 3, originally H 200, a work that I have always felt deserves the final part of Špalíček) was also performed to be played just as often as the similarly by the Brno Philharmonic under the baton of scored, jazz influenced ballet suite La revue de the up-and-coming young conductor Jiří Rožeň cuisine, H 161. It was dedi cated to Jan Kunc, (23, 24 November 2016). Let us hope that such who in the late 1920s unsuc cessfully tried to ‘christenings’ will promote further per form ances persuade Martinů to return to Czechoslovakia now that musicians know that reli able and to teach com position at the Brno Conservatoire The last page of Ančerl’s letter to the composer easily obtainable editions from a single source of which he was director. For perhaps the first from 14 January 1957 with all textual problems expertly ironed out time in Martinů’s output the music is deeply now exist in the world. influenced by Moravian folk idioms. Indeed, obvious and simple mistake was a displaced The concert of five chamber works, combin - in a letter to Jan Kunc Martinů entitled this trumpet line and the players gave a graphic ing wind with stringed instruments, (Volume 4, set of six effectively contrasted numbers as ‘before and after’ demonstration, not without editor Jitka Zichová) given by members of the Moravian Dances. Superbly scored, with brilliant modest blushes from the excellent trumpeter. PKF – Prague Philharmonia and friends on piano and trumpet parts, it unfor tunately The Institute deserves congratulations for 17 Oc tober in the Czech Museum of Music, sounded rather muddled during fast passages, successfully gathering together five very able opened with two of the little Serenades only because of the problematic acoustic. recorder players for the work that opened the (Nos.1 & 3, H 217, H 218). These charming, Aleš Březina, a director of Bohuslav Martinů second half of the concert: Stowe Pastorals, expertly crafted yet unpretentious pieces nicely Institute, explained that, though most of the H 335, written in New York in 1951. Here, the set the mood for the evening. Beautifully editorial corrections were quite subtle, one church-like acoustic actually enhanced the

6 | martinůrevue32016 review celebratory concert marking miroslav košler’s birthday /bohuslav martinů complete edition, volume 3

/ JIŘÍ KOLÁŘ Czech Republic and the State Fund for Culture music and I was not the only one to detect of the Czech Republic, last year saw the launch a Christmas aura to this beguiling com po - ON MONDAY 27 JUNE 2016, under the auspices of Complete Bohuslav Martinů Edition. This sition; perhaps the three movements should of the Minister of Culture of the Czech Republic, praiseworthy project aims to make all Bohuslav have been called Pastorellas. The evening was Daniel Herman, the Prague Mixed Choir held Martinů’s compositions accessible in all the brought to a glorious close by a well estab - a concert marking the 85th birthday of its versions made or authorised by the composer. lished masterpiece from the very end of the honorary artistic director, Miroslav Košler. Born It will also encompass recently discovered or composer’s life: Nonet No.2, H 374, dating on 25 July 1931, Košler is a legend of Czech previously unpublished Martinů pieces. In 2015, from January/February 1959 and dedicated choral art. The audience at the packed Church editorial work on the cantata The Epic of to the Czech Nonet on its 35th anniversary. of Saints Simon and Jude in Prague heard three Gilgamesh, H 351, and Symphony No. 4, H 305, Two years earlier, in a letter to the composer grand vocal-instrumental works by Bohuslav was concluded. One of the works the editors (14 January 1957), Karel Ančerl had explained Martinů, one of Mr. Košler’s favourite com - have been focusing on this year is the chal leng - the instrumental make up of the nonet of posers: The Opening of the Springs, H 354; ing Field Mass. In the Addendum to the main the Czech Philharmonic , describing it as an Field Mass, H 279; and Mikeš of the Mountains, musical text, they have presented the original, “outstanding ensemble” and informing him H 375. The programme showcased the excel - previously unpublished, not yet performed final that his pupil Jan Novák had recently written lence of the individual sections of the choir, section of the piece, written to a text of the “delightful Balletti” for them. By the time which were specially reinforced for the occa - 14th-century Czech sacred song Jezu Kriste, Martinů sat down to write his own piece for sion, as well as the strength of its basic mixed štědrý kněže (Merciful Jesus Christ). Martinů this combination, Novák had sent him the configuration. Splendid performances were also changed this concluding section immediately score of Balletti à 9 and invited his comments. given by the soloists Nao Higano (soprano), after finishing the work in December 1939. In a belated reply, Martinů conceded that Martina Bauerová (alto), Jakub Turek (tenor) and Following an explanatory introduction delivered they “contain a spark”, but felt that the Josef Škarka (baritone), the instrumentalists by Prof. Václav Riedlbauch, Director of the thematic working out was somewhat facile Vladislava Hořovská and Anna Anghelescu Bohuslav Martinů Foundation, the audience (Martinů’s letter from February 1959 is (violin), Zuzana Peřinová (viola), Petr Ožana at the Church of Saints Simon and Jude heard quoted in Charlotte Martinů: Můj život (piano), and the Band of the Castle Guards and this original final section as an encore at the s Bohuslavem Martinů, 2003 Editio Bärenreiter Police of the Czech Republic. Occupying the end of the first half of the concert. Praha, p. 193–194). I cannot help thinking podium were the conductors Jiří Petrdlík and The wonderful performance, particularly that he himself was partly prompted to Jan Steyer, who were most convincing. the splendid accounts of the cantatas Field compose his nonet out of a sense of friendly The audience, which included a number of Mass and Mikeš of the Mountains, was a fitting rivalry with his former pupil. Needless to say, prominent Czech musical figures, were in for birthday present indeed for Miroslav Košler, the thematic working out is masterly, though a special treat. With support from the Bohuslav in recognition of all he has done for Czech Martinů was seriously ill by that time. Despite Martinů Foundation, the Grant Agency of the choral singing over the past six decades. ❚ the folkloristic brightness of the music, this three movement piece is more than occa sion - ally “tinged with sadness”, as the aging com - poser once described his music, and I have obituary always felt that this work somehow repre - sents his farewell and Amen to life. I recently miroslav košler /1931—2016 discovered a Soviet LP, probably dating from the 1970s, where the players take six ON 20 SEPTEMBER 2016, the distinguished Czech conductor, chorus and a half minutes to perform the central master and music educator Miroslav Košler passed away. Brother of Andante, as against just over five minutes the famed con ductor Zdeněk Košler, he was born in Prague in 1931. In taken by the Czech Nonet, the dedicatees, in 1951 he was named artistic director of the Prague Mixed Choir, with their authentic original recording. The players whom he garnered acclaim in numerous coun tries in Europe, as well from the PKF – Prague Philharmonia success - as in Japan and the USA. He also directed the Prague Male Choir and, fully proved that it is not necessary to adopt from 2005, the Prague Philhar monic Choir. Moreover, he worked with a funereal tempo in order for this work to be a number of promi nent ensembles and orchestras, including the Wiener Philharmoniker and the deeply moving. A wonderful concert all in all Dresdner Phil harmonie, LaScala in Milan, and the Slovak Philharmonic in Bratislava. Noteworthy and a great occasion! ❚ too are his collabo rations with such globally renowned con ductors as Zubin Mehta, Riccardo Muti, Kent Nagano, Jiří Bělo hlávek and Vladimír Válek. Throughout his career, Miroslav Košler was an photos vojtěch jouza enthusiastic exponent of Bohuslav Martinů’s choral works. ❚

martinůrevue32016 | 7 research jolly good fellow:

/ TULLY POTTER

THE VIOLINIST William Kroll, who premiered two important works by Bohuslav Martinů – the String Sextet, H 224, and Concerto da Camera (String Quartet No.7), H 314 – was a familiar figure on the American chamber music scene for half a century and one of the key artists who assisted Elisabeth Sprague Coolidge in her crusade on behalf of contemporary composers. Described by W. W. Cobbett as ‘the Lady Bountiful of chamber music’,1 she had an enormous influ ence on the propagation of new works, not only in the United States but in Europe as well. Kroll, known as Fritz to his friends because of his idolizing of Kreisler, was born in New York City on 30 January 1901. After initial studies with local violin teachers, he showed such prodi gious talent that he was sent off to study with Henri Marteau Kroll Quartet: Harry Zaratzian, William Kroll, William Stone, Avro Twerdowsky at the Hochschule für Musik in Berlin (1911–14). Although he made a suc cess ful New York début in 1915, he felt he needed further training and so, Hugo Kortschak now playing the viola. And in 1926 gress, this ensemble premiered Martinů’s String after a gap of two years, he continued his studies his quartet, with the com poser Conrad Held on Sextet, H 224, which had won the previous year’s in violin and chamber music with the great quartet viola, inaugurated that year’s festival in Pittsfield Coolidge Prize. That often obtuse critic Olin Downes leader Franz Kneisel and in composition with Percy with an American programme, featuring quartets kept referring to it as a quartet, but did at least Goetschius at the Institute of Musical Art in New by G.W.Chad wick, David Stanley Smith and Rubin allow that it was ‘rich in material’ and wrote: ‘Its York. At the Institute, which was the fore-runner Goldmark. At the first of Mrs Coolidge’s two con - strength, freshness, and swing delighted the audi - of the Juilliard School (1917–22), he won the certs in Paris in October 1929, Kroll was warmly ence.’6 Kroll’s colleagues were Nicolai Berezowsky, Maurice Loeb Prize. In 1922, he joined the Elshuco applauded for his contribution to Malipiero’s Léon Barzin, David Sackson, Milton Prinz and Ossip Trio, which was closely associated with Mrs Sonata a tre. Henry Prunières thought his playing Giskin; and they ended the programme with Verklärte Coolidge.2 He stayed with the trio – whose other ‘was a revelation in its delicate sensitivity, power and Nacht, praised by Downes: ‘Mr Kroll’s ensemble had members were Aurelio Giorni (piano) and Willem brilliant sonority’.4 At the same con cert, Martinů’s given very fine performances of the same composition Willeke (cello) – until 1929. Mrs Coolidge was Coolidge Prize-winning String Quintet, H 164, in New York, but its performance this morning sur - a true American aristocrat and, like her rival musi - had its third performance, played by the Quatuor passed any previous one that the writer has heard, cal patrons Mrs Gertrude Clarke Whittall and Mrs Pro Arte and Lionel Tertis, and was much liked by and in fact must rank as one of the finest ensemble William Andrews Clark, was consider ably deaf: at Prunières: ‘This work impresses me as one of the performances in the history of these Washington concerts she would wield a large ear trumpet and best produc tions of present-day chamber music. festivals.’7 They gave several more ren derings of the unobtrusively lower it to her lap if the music or One feels from start to finish the presence of an Martinů, includ ing one at aprivate house – paired the performance displeased her. At the 1923 Berk - extremely delicate sensibility and a wholly remark - with Verklärte Nacht – and the New York premiere shire Festival, held under Mrs Coolidge’s auspices able constructive spirit. Nothing is more alive, more at Town Hall on 7 December 1934, with Brahms and at Pittsfield, Massa chusetts, Kroll led the newly- instinct with life. The finale is a trifle scholastic and Bridge also on the programme. That year, Kroll formed ‘Festival Quartet of South Mountain’ (with recalls somewhat the over ture of The Mastersingers, formed another trio with the pianist Frank Sheridan Karl Kraeuter, Edward Kreiner and Willeke) in Hin - but the ensemble of the quintet reveals a musician and the cellist Prinz. He also took over the leader - demith’s Op. 10 – the start of a lifetime’s engage - with whom one must reckon in the future.’5 ship of the New York String Quartet – which had ment with this composer’s music – and gave In 1930, Kroll was leading another quartet, originally been com posed of expatriate Czechs – the U.S. premiere of Gian Francesco Mali piero’s with Ralph Silverman, Egon Kornstein and Naoum until it disbanded in 1936. By then, only one founder, Stornelle e Ballate. Richard Aldrich wrote that the Benditzky. Soon he had organised what at first second violinist Jaroslav Siskovsky, re mained: the ensemble played ‘with the precision of a veteran was called the William Kroll String Ensemble and other members were David Mankovitz and Horace organization and much more feeling for style and then the William Kroll Sextet. Their warhorse was Britt. Playing with them brought him into the orbit authority of utterance than many of its elders’.3 Schoenberg’s Verklärte Nacht, which they broad - of the New York Chamber Music Society. For Mrs Coolidge’s inaugural Festival of Cham - cast on 19 November 1933 in the composer’s pres - In June and July 1935, Mrs Coolidge spon sored ber Music at the Library of Congress in Washing - ence. On 25 April 1933, in the fourth concert of a Brahms chamber music series at the University of ton, D.C., in 1925, Kroll again led the quartet, with the Cham ber Music Festival at the Library of Con - California and Kroll was chosen, with his col leagues

8 | martinůrevue32016 the odyssey ofwilliamkroll

With Mrs Coolidge’s blessing, Kroll founded an rhapsodic quality of the slow movement. The scoring ensemble under his own name in 1943 that ran for the four strings has the precision and clarity concurrently with the Coolidge for a year or so. of a composer who knows his milieu thoroughly. His colleagues were Louis Graeler, Nathan Gordon The assurance, vigor and vitality of this music are and Avron Twerdowsky, and they gave their first engaging. The Kroll Quartet … gave the score recital at the Library of Congress on 13 December a dashing, mettlesome performance, with Mr Kroll 1943. It was difficult starting an ensemble in playing the first violin part with particular spirit. wartime and without Mrs Coolidge’s backing. They Mr Martinů was in the audience and shared in the all needed other means of support. Graeler and applause.’12 The players kept the work in their Gordon were in Toscanini’s NBC SO, Twerdowsky repertoire for some time: on 14 January 1949 they was with the Ballet Russe de Monte Carlo and the played it at the Library of Congress. New Friends of Music, and Kroll had his solo work In 1957, the Musicians’ Guild suspended its and various teaching jobs. In 1946, they formed activities after 11 years. It had performed around the Musicians’ Guild, with pianist Frank Sheridan, 150 works, more than 40 by contem porary com - cellist Leonard Rose and the brother-and-sister posers. The Kroll Quartet suffered two personnel team of Joseph Fuchs, violin, and Lillian Fuchs, changes in the early 1960s: William Stone came in viola. At the very first concert, in the New York as second violinist and Harry Zaratzian as violist. Times Hall on 20 January 1947, they performed They premiered David Diamond’s Second Quartet Martinů’s Sextet, H 224, in the composer’s pres - on 26 April 1961, and Piston’s Fifth on 8 October American violinist William Kroll, 1959 ence with Carlton Cooley and Frank Miller of the 1962. In 1964 Kroll was appointed head of strings NBC SO. ‘As in his other compositions, Mr Martinů at the Cleveland Institute of Music. The Quartet has something to say in this sextet,’ Howard carried on for another five seasons but in 1969 the Berezowsky, Barzin, Britt and Sheridan, to perform Taubman commented. ‘He writes with the vigor, players disbanded amicably. Although they had 24 works in eight con certs, atask for which he feeling and affirmation of a man who believes in not been able to pursue the sort of radical reper - was well equipped. Just over a year later it was himself, his music and his future. If this music, in its toire espoused by the Coolidge Quartet, they had announced that Mrs Coolidge was to sponsor zest, color and boldness, is represen tative of the way achieved a good deal for contemporary music. a Coolidge Quartet consisting of Kroll, Berezowsky, Mr Martinů’s countrymen feel, it is easy to see that Sadly they made few commercial record ings: Nicholas Moldavan and Victor Gottlieb as the his country will have the energy to rebuild rapidly. best known are Beethoven’s Grosse Fuge on resident ensemble at the Library of Congress. In the meantime, it has a rich voice to sing for it in 78rpm discs and on LP, Wallingford Riegger’s She entered into the project with enthusiasm, Mr Martinů.’10 From then on, the Kroll Quartet gave Second Quartet; Tchaikovsky’s First Quartet with calling her quartettists ‘the Four Horseman of four New York concerts every season with the Prokofiev’s First; Haydn’s Opp. 54/2 and 77/1; the ApoCoolidge’8 and writing: ‘My pleasure is aug - other Guild members. They were still welcome at Haydn’s ‘Lark’ with Schubert’s ‘Death and the mented by pride in the fact that these four young the Library of Congress and they gave innumer - Maiden’; Mozart’s ‘Hunt’ and ‘Dissonance’; artists have chosen to call them selves “the Coolidge able recitals at Town Hall, as well as touring. Hindemith’s Op. 22 with Beethoven’s Op. 95; and Quartet”. No sweeter honor could befall me; On 15 March 1947 they premiered Jacobi’s Third Mendelssohn’s Octet, for which they were joined because, in addition to the high artistic esteem in Quartet,11 on 22 April they took part in the pre - by a New York Philharmonic quartet. The Library which I hold them, I feel a real family relationship miere of Aaron Copland’s Sextet, with Leo Smit, of Congress has concert recordings of such works – stronger, perhaps, than some of those of blood. piano, and David Oppenheim, clarinet, and on as Martinů’s Concerto da Camera,13 Mrs Coolidge’s In adopting my name they seem almost to have 20 April 1948 they premiered Ross Lee Finney’s E minor Quartet, Piston’s Fifth Quartet and String become my adopted children.’9 Fourth Quartet. They made a point of playing Sextet (with Walter Trampler and Benar Heifetz), Alas, they never gelled into the great quartet Hindemith’s Op.22, which they later recorded – Schuman’s First Quartet, Malipiero’s 1963 she hoped for. No doubt personnel changes were Kroll’s second document of the piece. Quartetto per Elisabetto, Irving Fine’s 1952 partly responsible for this ultimate failure: the On 11 January 1949, they gave the premiere of Quartet, Egon Wellesz’s Op.60, Finney’s 1958 original line-up stayed together until 1940, but Martinů’s Concerto da Camera (String Quartet Quintet, Persichetti’s Quintet (with the composer then there were three new second violinists No.7), H 314 in a Musicians’ Guild concert at the at the piano), Beethoven’s ‘Harp’, Second (Jack Pepper, Louis Graeler, Leon Rudin), two new New York Times Hall. Expressing the opinion that ‘Rasumovsky’ and Op.131, and Schubert’s C major violists (David Dawson, Jascha Veissi) and two there was ‘little that could be described as radical’ Quintet. The players used fine instruments: Kroll new cellists (Naoum Benditzky, Daniel Saiden- in the work, Taubman wrote: ‘The Mar tinů quartet the 1709 ‘Ernst’ Stradi vari (up to 1950 he had berg). Recordings confirm that they reached harks back in spirit and in facture to the late nine - a Guadagnini), Graeler a 1744 Carlo Bergonzi, a respectable standard but nothing more. By 1941 teenth century. It is as if this Czech-born com poser, Mankovitz a Gasparo da Saló and Twerdowsky the tensions within the ensemble were critical, by now living here, were recalling the feel and color of a 1704 Matteo Goffriller. 1944 they were almost inactive and in 1945 they his country and its people. The thematic material William Kroll was a busy teacher: he taught disbanded. Meanwhile, in 1942, Kroll was awarded is songful, whether dressed out in the vigorous at the Institute of Musical Art and then Juilliard the Coolidge Medal. rhythms of the end movements or in the sustained, (1922–38), he headed the chamber music depart -

martinůrevue32016 | 9 ment at Tanglewood from 1949, and the violin faculties at the Peabody, Hartt and Mannes …with the pianist ivo kahánek music schools and Queens College. He started the cham ber music series at New York Univer - sity. He was also a composer: his orchestral pieces included one called Jolly Good Fellow. interview “bohuslav martinů is For string quartet he wrote Four Bagatelles and Four Characteristic Pieces. Every U.S. violinist plays his encore Banjo and Fiddle, a delightful piece of Americana. He died in Boston, Massa - chusetts, on 10 March 1980, aged 79. In his magisterial study Great Masters of the Violin, Boris Schwarz wrote: ‘Kroll played with an extraordinary ease and elegance, unfailing into na - tion and bow control. His musicianship had depth and insight, and he led his quartet with authority, vigor, and much temperament.’14 And in Violin Virtuosos, Henry Roth wrote: ‘As a violinist Kroll was greatly influenced by Kreisler. His playing, meticulous though at times a bit over-refined, was not without glints of temperament. His sweet, clear, comparatively small tone never dominated his colleagues, and the chamber music perform - ances he led were always marked by the supple - ness, fluency, and polish of his playing.’15 / ANNA MATOUŠKOVÁ Tully Potter has been a professional journalist for THE RENOWNED Czech pianist Ivo Kahánek, a prize-winner at the Prague Spring International Music more then 50 years. He has written for various international musical journals, notably The Strad, Competition, has a highly professional approach to Bohuslav Martinů’s music, yet he also feels a per- and for 11 years he edited the quarterly magazine sonal affinity for it. So it follows that he has included Martinů’s works on many concert pro grammes. Classic Record Collector. Kahánek’s recent appearance at a benefit concert to support the Bohuslav Martinů Institute bears Now he is preparing a book on the great quartet witness to his close relationship to the composer’s music. The concert took place on 28 Novem- ensembles. ber 2016 and included a selection from the New Slovak Songs performed with Martina Janková He is also a member of International Martinů Circle. (Soprano) and Tomáš Král (Barytone). We asked Ivo Kahánek about his path to Martinů and his approach to the phenomenal composer’s music.

1 Cobbett’s Cyclopedic Survey of Chamber Music, compiled and edited by Walter Willson Cobbett (Oxford Univer - How do you approach interpreting Bohuslav hand, I am quite surprised by how many people sity Press, London, Second Edition, 1963), Vol. II, 302. Martinů’s works? I don’t think it is the kind of dislike Janáček, to such a degree that they would 2 The group’s name derived from the patron’s married music you can sit down to and simply sight- rather listen to Stockhausen. In terms of harmony name Elizabeth Shurtleff Coolidge. read for pleasure. and melody, Janáček’s music is actually nice. It 3 ‘New Music Heard as Festival Ends’, The New York Bohuslav Martinů had a great penchant for perma - doesn’t feature any aggressive modern atonality, Times, 30 September 1923. nently motoric rhythm. But the pianist must be but some people find it difficult to cope with so 4 ‘Concerts in Paris’, The New York Times, 1 December careful that it doesn’t kill the other facets present intense an emotional edge. Martinů presents 1929. 5 Ibid. in his pieces. Everything in the score that seems a different problem. You need to listen to his pieces 6 ‘Prize Composition Heard at Festival’, The New York just like a motoric element or figuration may also several times and only then does it strike you how Times, 26 April 1933. have other functions in the music. It can be said fantastic his music is. I say that there are many 7 Ibid. that when it comes to Martinů’s pieces for piano, Martinů pieces that people only appreciate at the 8 Quoted in Elizabeth Sprague Coolidge: American Patron they are not entirely typical in terms of technique third hearing or even later. His music is rather of Music, by Cyrilla Barr (Schirmer Books, New York, either. Accordingly, it takes you a while to get to complex, it contains certain surrealistic elements, 1998), 283. the bottom of his music. I would compare it with passages that rather play with the listener, and 9 Broadcast speech, 7 August 1936. Ibid., 283–4. the music of Béla Bartók, for instance: the diffi - such passages may weaken the first impression. 10 ‘Distinctive Music Offered by Guild’, The New York Times, 21 January 1947. culty of his compositions lies in their being atypical. Foreigners may find it difficult too. 11 They also gave the first New York performance two days later. When it comes to listening, do you think that How do you – as a musician/performer – 12 ‘Martinů’s Quartet Has Première Here’, The New York someone not possessing any experience with approach Bohuslav Martinů’s music? Times, 11 January 1949. Martinů’s music has any chance to get Bohuslav Martinů is mysterious in some respects. 13 From the 14 January 1949 concert. attached to it or comprehend it? The sources of his inspiration were rather clear-cut 14 Great Masters of the Violin, by Boris Schwarz When we compare Martinů with Janáček, for and non-traditional. During his mature period, he (Robert Hale Limited, London, 1983), 511. 15 Violin Virtuosos, by Henry Roth (California Classics instance, I think that Janáček in particular has the also drew stimuli from Italian vocal polyphony. Books, Los Angeles, 1997), 251. advantage of a particular naturalness. His works When considering all this together, many a thing have an overwhelming emotional charge, and so becomes clear. Including, for instance, the reason they don’t leave anyone indifferent. On the other why Martinů sometimes didn’t write bar lines, which

10 | martinůrevue32016 work for solo piano, even though it has been referred to as one of the high-points of his piano œuvre, which, in a way, it is. But sometimes, because is exudes what Martinů was going mysterious in some respects” through, it is not easy to listen to. What are the greatest difficulties that pianists have to contend with in Martinů’s music? is connected with the linear narrative of his music Its difficulty lies in the overall musical and tech ni - – it cannot be bound by “graphic charts”. Another cal aspects, but I don’t think that it concerns any thing is that you have to decrypt his mu sic: as especially troublesome techniques. The music I have said, plenty of his piano pieces con tain comes across as rather exotic and difficult to learn

x some form of motoric propulsion, with some for pianists, when they don’t possess sufficient figurations often present. When you only ap proach experience with it, that’s until they have accepted it mechanically, Martinů’s music is deprived of the fact that the performer has to think across some thing. When you sit down to the Piano the bar line and work with impulses in a premedi - Sonata, it is almost ungraspable – and find ing its tated way. Martinů’s is the type of music that all

& dušan martinček characters is more difficult than learning the piece of a sudden can become markedly simpler if you y by heart. You have to explore the com position, portion it out differently in your mind. If I asked both rationally and emotionally. Then you may be you, for instance, to quickly repeat the letters, u, k, inspired as to how to play this or that passage. b, u, k, b…, your tongue would tangle itself up, but if you say buk, buk, buk, it is easy. I would liken How do you learn Martinů pieces by heart? one of the aspects of the difficulty in Martinů’s

photos petra hajská photos In Martinů’s case, it is of great importance to learn music to this. his pieces comprehensively, especially his piano a different position since they don’t just enjoy the concertos, the fourth and the fifth in par ticular, as music. To be more precise – so as to be better able And how did you personally seek the path to it? they are more akin to symphonies with solo piano. to enjoy it one day, the interpreter first has to get Was it a long journey, was it love at first sight? You should connect yourself to the entire organ - to know it thoroughly, and that is why I carry out In some respects, it might have been love at first ism, perceive the piano’s connection to the orches - the analysis. But I really do my best to take into sight. When I first heard Incantation, for example, tral part. This connection evokes in you some account the emotional-intuitive aspect equally. which was when I was still at the conservatory, emotion, which will help you to remem ber it bet - I was flabbergasted by what a splendid piece it ter. I think that, among other things, Martinů was I remember that when I was attending the con - was. In that case, I can say that I was taken in also quite a playful person; many of his com po si - servatory, the teachers would keep high lighting immediately, at first hearing. But it depends on tions contain a specific type of musical humour, the “musical-historical milestones” relating which of the Martinů compositions you actually even though they are not humorous as such. to particular Martinů compositions, such as: encounter. Martinů’s music is really diverse, and “By the time he wrote this, Martinů knew that that is an advantage, as well as, as some foreign As you say, his music should be perceived in he would not be able to return to his native researchers have pointed out, a disadvantage. As all its complexity, that is how Martinů himself country.” Do you deem the biographical data to far as the piano works are concerned, many will wanted it to be approached. He didn’t see any be at all instructive or significant for grasping hum the Three Czech Dances, but they constitute sense in analysing his music either. But what a Martinů work, or can we just con sider them a relatively early work. When you take the Fantasy about the performer? Analysis is necessary for to be something teachers and conductors and Toccata, the Sonata, the concertos, the Etudes him/her to understand the entirety, is it not? customarily incorporate into their lessons? and Polkas, they are totally different worlds, albeit When I had time, I analysed Concerto for Piano There is a certain type of composer who reflects concordant in some respect. In my case, it was No.4 (Incantation) inside-out, from all possible what he is currently experiencing in his music, and love at first sight, which then slumbered for a while angles. When analysis is mentioned, it is rational there are composers whose music does not show and awoke fully sometime towards the end of my analysis that crosses people’s minds. That means such a clear connection to biographical events. studies at the Academy of Performing Arts. “I will strip it down part by part, and mark every - For my part, I always try to take the biographical thing in detail”, that is, working in a sort of spread - aspect into account, thinking that it may elucidate Do you have any special Martinů project sheet manner. I had in mind rather a kind of intu - something. But very seldom does it happen that in store in the near future? itive analysis. I let the music act on me, I can even after I have read the composer’s biography I find I will be performing Incantation at the Festival write down a few characters that may occur to something totally different to that which I had Le Printemps des Arts in Monte Carlo. This season, me when listening to it. When it comes to Incan - felt when I let the music act upon me. In the I have recorded Piano Concerto No.5 for the 3-CD tation, I carried out both the intuitive and the ra - overwhelming majority of cases, the biography set of the complete Martinů piano concertos, tional analyses, then I went on to juxtapose them either confirms or only extends that which I had which has been released by Radioservis. The and found out that they conformed to each other already thought of the music. A typical Martinů mezzo-soprano Markéta Cukrová and I are now in many aspects. What I think Martinů strove to example in this respect is the Fantasy and Toccata, recording a large portion of Martinů’s vocal say is that when someone listens to his music, which he wrote at a highly turbulent period in compositions for Czech Radio, including the Songs he/she should listen to its course, simply get his life, after he had emigrated to America, left on One Page, the Songs on Two Pages, the New connected to the code, let oneself be carried by Europe, feared the war… At the time, he was very Chap-book, and other miscellaneous songs. the music and therefore refrain from analysing it unbalanced, and it is palpable in the piece. From in the moment. But I think that performers is in my viewpoint, it is Martinů’s most controversial Thank you very much.

martinůrevue32016 | 11 than during the strictly-led lessons.) How very jakub hrůša on jiří bělohlávek honoured I felt when once, after a class, he dispassionately told me: “You will be contacted / part 2 by the Prague Philharmonia, you will do a con cert portrait for children.” I think that was when I was in my I now know, customary around the world. When third year of the program. it comes to the majority of such distinguished Jiří did not even hesitate to discuss with us MY STUDIES AT THE ACADEMY conductors, they only spend a few hours teach - some of his artistic and human dilemmas. At one OF PERFORMING ARTS IN PRAGUE ing at master classes, and undergraduates are of the seminars, he asked our opinion of what Jiří Bělohlávek was a strict teacher, yet he paid trained by professors, who are more educators is of greater significance when evaluating an personal attention to every one of his students. than performing artists. I recall how illuminat - orches tra player: astable and consistently high, He required discipline, all his lessons had a form, ing it was to supplement our more or less though not quite venerable, creative stan dard, or with constant references to practical perform - theoretical knowledge gained at school with talent, owing to which a solo performed by such ance. Only today am I fully able to appreciate attending the rehearsals led by Jiří. He never a musician turns into an overwhelming, unforget - just how much of his precious time spent in forbade anyone to observe any aspect of his table experience? Who is more dispen sable for Prague he devoted to us. He always placed own work. His entirely justified self-confidence the ensemble? Such questions may seem to be simple, yet the answer is tricky indeed. Impres - sive, and heart-warming too was (and is) to see how sheer bliss would wash over Jiří with some repertoire pieces, while others (including the most celebrated ones) left him utterly cold. Moreover, Jiří is a master of the apposite, laconic photo morris media photo comment, whereas he, I think, really dislikes long speeches. “Well, it must be performed now and then,” that is his style of expressing that which goes against his grain. The classes with him were also lessons in emphatic diplomacy. The mentioned trips abroad were for us, who had not previously had the opportunity to travel beyond the borders of our country, akin to being thrown in the deep end. Although it was probably more the case that we processed the experience within than manifested it with out, it is always an amazing, positive shock for a young person ven - Jakub Hrůša, Concert for Children with the PKF – Prague Philharmonia, 2014 ture beyond the known (including the language!). Jiří’s support of our activities with student en - emphasis on the conducting gesture’s func - naturally allowed him to make himself poten - sembles was relent less. In my case, this con - tional comprehensibility, clarity and – yes! – its tially vulnerable, when some of his students cerned the Brno Youth Symphony (whose artistic aesthetic aspect, which, he claimed, should could disclose his possible shortcomings, director, Tomáš Krejčí, was also once a student never outweigh the approach to the profession against which, as a teacher, he himself fought of Jiří’s) and later on primarily with the Prague as a comprehensive whole. Perhaps it was there when setting the conducting ideal. And, indeed, Students Orchestra (led by Prof. Mirko Škampa). and then, at the Liechtenstein Palace, during there were a few who would occasionally make And Jiří was there in the auditorium when we the conducting lessons, at which Jiří addressed use of this opportunity. played at an international festival of young and regarded us not as mere beginners (which Jiří also took his students abroad, where he orchestras at the Konzerthaus in Berlin. For me we truly were) but earnest artists, when some - spent more time than at home. There too we personally, though, all that culminated in Jiří’s thing like my life credo started to form: strive could observe his everyday work. I recall my vehement nod, when I boldly presented my wish for balance, equilibrium. While the other teach - stays in Leipzig and Vienna, the preparations for to grad uate with Josef Suk’s gigantic Asrael. ers were often single-sided, either too personal opera productions in Helsinki and Geneva. When I would like to imagine how I would have or too dogmatic, too benevolent or too aloof, he was in Prague, he passionately built up the responded if I had been in his position, whether Jiří was able to highlight all the aspects of the emerging phenomenon titled the Prague Phil - I would have provided as great a support to requirements placed on the conductor, including harmonia. Sometimes he even rejoiced at the a student as he did. Not even with a wink of the the officially totally omitted psychological success of this “child” of his at the lessons. eye did he indi cate that the task may prove to be factor. More and more have I grown aware of When he remembered a packed concert hall, his a tough nut to crack for a 23-year-old greenhorn. how unique an opportunity it was to constantly face suddenly lit up like the sun, and he broke In many respects, the spring of 2004 played work with such a charismatic figure, a sincere into a wide smile: “To the very rafters!” (With a decisive role in my life. I experienced certain teacher, who at the same time was enduring a similar zest, he used to treat us all at the squalls of a personal nature, great waves of the heat of his demanding career. This is not, as school café, where we were told even more a revived need for spirituality, and I peeped,

12 | martinůrevue32016 perhaps for the very first time, into the true my relationship with Jiří Bělohlávek. When (with Today, I feel great delight in seeing him put - depths of the beauty of music. And, of course, a heavy and light heart alike) I interrupted my ting across – in an earnest and, so typical of I whipped up my ambitions to the utmost level. studies at the Academy of Performing Arts, and him, modest way – one of his major wishes: I probably finally felt that which is appropriate subsequently terminated them for good, I felt helping the Czech Philharmonic to become when graduating from an academy of arts. At greatly honoured when, as a colleague, I could a top-notch orchestra. When it comes to his that juncture, the person’s entire future is at address Jiří by his first name, which I continued attendance to any institution that has en - stake. to use in our ensuing, ample correspondence. trusted him with conducting, he has always Amidst all this, Jiří was always indispensable And it was by means of this continuous written shown a venerable traditionalism. His success - to all of us – in the most subtle way possible. contact, emails pertaining to every topic under ful leadership of the Prague Symphony Orches - We would never hear him saying something like: the sun, that we established and developed our tra, the Prague Philharmonia, the BBC Sym - “This is the way I do it, so you will do it that close friendship, confirmed at our frequently phony Orchestra, as well as his second tenure way too”, or: “This is the right, the only possible, planned, though seldom materialised, encoun - with the Czech Philharmonic stand testament way”. He repeatedly stressed that we should ters, either purely personal or utterly profes - to this. Another trait he has dis played has been be able to reason according to the principle sional – after all, the two facets simply had to a high-principled stance at moments when “I must know why I feel it this way”. Not to blend together. I particularly recall our critical- the negotiations about his contract were con - copy anything, ever. We received – particularly musical sessions with the amazing Ivan ducted in a manner different to that agreed as regards the initial formation of the conduct - ing gesture – plenty of instructional help. (Hence, the relatively clearly discernible “Jiří School”.) Yet no smoothing of the path. I could say that Jiří navigated us on our journey and occasionally helped us by giving invaluable

advice in the sometimes difficult identification zdeněk chrapek photo of obstacles and their overcoming. He was our attendant and guide, but he taught us the most by himself setting an example.

AT THE BEGINNING OF MY CAREER Following the graduation, we remained in scholastic contact for another year, when I had begun studying for a doctorate. Even though – viewed retrospectively – I did not progress too much in this matter, thanks to Jiří I managed to gain experience abroad, this time on my own. During my postgraduate studies at the Jiří Bělohlávek and Jaroslava Pěchočová, Bohuslav Martinů Days 2007 Universität der Künste in Berlin, I realised what a fabulous training we had received back at Moravec, who, I dare guess, had played in the or in a way that threatened artistic integrity. home in Prague. And I am not sure whether life of the young Jiří Bělohlávek a role similarly Being firm in his approach and his open-minded such a favourable constellation will ever appear essential to that which Jiří had played in mine… consistency are definitely qualities that truly again. But I would also like to say how quickly In my emails, I always gushed forth my impres - impress me. In addition to his joie de vivre, Jiří came to understand that I would hardly sions from my conducting work, which just sense of (laconic) humour, human reliability and become a sedentary musicologist, and how he a few months previously I had so longed for diligence, I personally treasure yet another two never rigidly forced me to take on purely musi - and done my best to launch, while Jiří repeated beautiful features: his gentle, inwardly lived cological assignments, for which I am really wisely measured recognition of my efforts, passion, and his love of nature. If I happen to grateful now. ceaselessly encouraging the best that one pause in astonishment and intoxication at the Finally, a very strange phase emerged: over - can squeeze out (even though it sometimes sheer beauty of a healthy tree or a flower in night, a student turned into a chief conductor. resulted in a lower degree of diligence, and even bloom, if I take immense pleasure in strolling The change really was this abrupt: at the tender an easing up). With a certain chill, I now per - through a forest or an open landscape, I am age of 24, I assumed the post of artistic direc - ceive how wisely Jiří was also able to back down enjoying the gifts for which, in my otherwise tor of the Bohuslav Martinů Philharmonic from some questions when necessary, bearing quite determined musical (and other) life, Orchestra in Zlín. There is no doubt that I will in mind that by presenting this or that specific a personal compart ment has been opened by always recall this tenure as one of the most opinion he would inadvertently be depriving my none other than Jiří Bělohlávek. ❚ wonderful in my life. This is not the right occa - life of the gradual attainment of true independ - sion to describe it in detail, as my text would ence. I remember how he remained relatively Glyndebourne, 23 May 2016 suffer in both quantity and stylistic terms (that aloof in many respects of my personal decision- Jakub Hrůša is president of International is: simply dissolve into emotion), but I would like making, one such example pertaining to the Martinů Circle to highlight that this time made an impact on Prague Philharmonia.

martinůrevue32016 | 13 bohuslav martinů and research in an amazing juxtaposition: the

As so often in his life, it was by sheer coincidence that he finally stabilized his ideas on the subject. / M. Šafránek1

/ ANNE VAN MALDEREN

IN SPRING 1930, Leopold Stokowski and the Chicago Symphony Orchestra performed the Concerto for String Quartet and Orchestra (1929) by the Swiss composer Conrad Beck, who was a friend of Paul Sacher.2 The concert was attended by American patron Elizabeth Sprague Coolidge, whose father was the founder of the Chicago Symphony Orchestra. From the outset, she was seduced by this score, with its quite original instrumentation in which the Pro Arte Quartet3 played a kind of concertino. The work was awarded the Coolidge Prize. Elizabeth Coolidge, who would be the work’s dedicatee, y Photo of the Hungarian-born conductor was really impressed by the performance, and Georges Sébastian (1903–1989) decided to contact a composer able to write private archives philippe lamury, brussels a similar work for her favorite quartet, the Belgian Pro Arte Quartet. y Concert Program given at Prat's Hall (Marseille) by the Pro Arte Quartet and l'Orchestre du Théâtre Gaston Verhuyck, the impresario of the des Nations. Conducted by Georges Sébastian. March 20, 1932 private archives philippe lamury, brussels Pro Arte, approached Béla Bartók, who was another friend of Paul Sacher. Verhuyck’s letter composer undertook to give an answer by the probably not found time enough to respond to of 14 October 1930 reads: month of June 1931: the message of the Belgian impresario. Another explanation is that we never received the com - Dear Master, I think I have called your atten tion May I ask you if you have thought about the poser’s letter.7 to the interest in a work for string quartet and composition of a work for string quartet and The previous letter is dated 24 June 1931. At orchestra. I am convinced that the Pro Arte orchestra? In your letter dated 11 November, that time, Martinů was putting the final touches Quartet could perform a work by you for all the you kindly indicated that I would receive some on the score of his Concerto for String Quartet orchestra societies in the world in less than news about this around June. The Pro Arte and Orchestra, H 207, for an ensem ble equal to three years. Moreover, from the musical point Quartet has been engaged by the Brussels the one in Conrad Beck’s piece. The work seems of view, the problems raised by the composition Philharmonic Society, which is pressing us for to be the result of an informal meet ing between of such a work seem exciting to resolve. I would details of the work to be performed. They have the composer and the mem bers of the Pro Arte be very happy to know that my idea is attrac tive asked that we program Conrad Beck’s quartet Quartet in the French capital, where the quartet enough to induce you to undertake this work. (with orchestra) if we are not able to make had played. The event – repeatedly reported by If so, I would take immediate actions to ensure another interesting proposal shortly. I would be Miloš Šafránek8 – should have taken place in the the performance of the work as soon as it is very happy if, at this moment, your work could very first months of the year 1931. However, it ready. My efforts will focus especially on Ameri - be already advanced enough to allow you to appears that the list of the Pro Arte’s concerts can orchestras because I am already preparing confirm that the work will be ready for next reveals no perform ance in Paris be tween the 1931–1932 tour, which will be a big season.5 1 January and 30 June 1931. enterprise.4 At the time, Béla Bartók was more concerned It is likely that the Pro Arte had approached A second letter from the impresario to Béla about concerts in Ukraine and the Soviet Union Martinů, who was then part of what has been Bartók (dated 24 June 1931) reveals the exis - (January 1931). It’s also the period when his called l’Ecole de Paris.9 L’Ecole included also tence of an intermediate message in which the greatest masterpieces emerged.6 Bartók had Conrad Beck and Alexandre Tansman, who were

14 | martinůrevue32016 the pro arte quartet concerto for string quartet and orchestra / H 207

Madison WI (May 1939). The Pro Arte Quartet. From left to right: Alphonse Onnou, Laurent Halleux, Robert Maas and Germain Prevost gaston verhuyck collection, mus. ms. 467. (reproduction service of the royal library of belgium)

both close to the Pro Arte Quartet.10 The Martinů’s Quartet No.2, H 150, were pro - Marseille.15 Following the concert, the reviews group’s inspiration was neoclassical, with grammed by the Pro Arte: in Copenhagen were not favorable to Martinů. The following a clear return to the old forms. Martinů had (16 Feb ruary), Brussels (21 March) and Reims is a quote of Léon-Camille Maître in Artistica a predilection for the concerto grosso as (25 March). magazine dated 5 April 1932: established by Arcangelo Corelli. The world premiere of the Concerto for But our hypothesis is the following: the String Quartet and Orchestra, H 207, was to We know the high reputation earned by the meet ing between Martinů and the Pro Arte had be held in Marseille on 20 March 1932. Georges ‘Pro Arte’ string quartet in the musical world. probably taken place at the end of a private Sébastian13 conducted the Pro Arte Quartet We have contributed to another triumph of this audition – customary for the Pro Arte – held and l’Orchestre du Theatre des Nations (an remarkable group. If it were not for the fact at the home of a Parisian patron, Pangalos11, orchestra of 85 musicians). The concert was that we couldn’t really judge the piece they pro - who resided boulevard de Clichy (nearby Darius given in the Prat’s Hall (Prat being the name of grammed. Fortunately, the ‘bis’ were delicious Milhaud's apartment). This seems to be con - a well-known family producing the appetizer pages of Haydn which generated enthusiastic firmed by Prevost’s diary in the Archives of the called Noilly Prat). bravos. Indeed, one of my friends suggested: University of Wisconsin-Madison and also by Robert Maas14, in correspondence with his ‘This is Haydn’s revenge.’ Why not? B.Mar- Madeleine Milhaud’s testimony to us during wife, Julia Gaillard, explains that Germain tinů’s work, which combined the string quartet an interview in Paris.12 Prevost (violist of the Pro Arte Quartet) often as soloist with a large orchestra, was therefore One should also know that between February mentions the challenge involved in presenting handicapped, since the author focussed on and March 1931, three performances of the works of the ‘avant-garde’ to the public of opposition effects between the two (or more

martinůrevue32016 | 15 precisely effects of alternation). On top of this, you like them or not, have the virtue of being a fine tuning of sounds was needed, because the components of a design that can be readily quartet of soloists was not equipped to deploy appreciated and even admired.17 forces equal to the tutti of the orches tra. The The same concert was scheduled five days problem is not only there. I devoted myself to later (15 October 1932) in Cardiff at St David's this question for quite some time last year. I had Hall with the same performers. anticipated an alternative approach, perhaps On 3 December 1932, the Belgian premiere more meticulous, but, in any case, moved by was given in Brussels at the Palais des Beaux- another spirit. B.Martinů did not face the diffi - Arts. The Pro Arte Quartet and the Orchestre culty, rather he circumvented it. This resulted Symphonique de Paris were conducted by in an opus with less character, not very well Arthur Prevost, the brother of the violist balanced in depth, disappointing my expec - Germain Prevost. tations, especially for his elegance in avoiding The American premiere took place two weeks tackling the question head-on… I mention only later in Boston on 22 December 1932 (Boston the aggressive writing where the dissonance is Symphony Orchestra, Serge Koussevitzky18). The used ‘in series’ and so loses its intensity, instead concertino comprised members of the orchestra: leaving only an unpleasant feeling that seems Richard Burgin (violin), Robert Gundersen (violin), to go on indefinitely with no other purpose than Jean Le Franc (viola) and Jean Benedetti (cello). itself. We know ‘how it is made’. The process is The year 1932 was marked by five perform - accessible to everybody. OK, but there is ‘the ances of the Concerto. The work would be way of doing’, isn’t it […]? So, one wonders what played again only in 1936. In the archives of could be the purpose or the scope of such a work the Elizabeth Coolidge Foundation19, we found (recog nizing interesting but very ephemeral an evidence of performance of the Concerto – passages). I can’t answer. I should use the pen by the Pro Arte Quartet – in New Brunswick of a snob.16 Program of the two concerts given by the Pro Arte (Canada) on 14 March 1936. Quartet and the New York Philharmonic Orchestra A Mozart symphony and some orchestral On 8 and 9 April 1936, Carnegie Hall in New (Hans Lange, conductor) at Carnegie Hall (New York) pieces of Wagner – in the same program – York hosted the Pro Arte Quartet and the New on April 8 and 9, 1936 were not able to counterbalance Martinů’s York Symphony Orchestra conducted by Hans private archives thérèse maas, brussels 'modernism'. Lange (1884–1960) for a New York premiere. The public was far more receptive to the In the New York Herald Tribune dated 10 April, won dering whether the combination of string Concerto when given in London (Queen’s Hall, we read the following: quartet and orchestra is an effective medium Cour tauld-Sargent Concerts) on 10 Octo ber for the solo group.20 Martinů’s Concerto was introduced to the 1932 by the Pro Arte and the London Symphony country in December 1932 by the Boston On 12 November 1937, the Concerto was Orches tra conducted by Malcolm Sargent. Sym phony Orchestra. Its form, with the broadcast on Radio Tour Eiffel. On the same This is prob ably why this last perform ance juxtaposition and contrast of a small solo day, the work was performed in the hall of the was long con sid ered the world premiere of the ensemble with the orchestra, suggests the Paris Conservatory. Both concerts were per - work before the rediscovery of the concert in classic concerto grosso and the work is cast in formed by the Pro Arte Quartet and the Belgian Marseille. Gary O’Shea, the critic of the Musical the traditional three movements of this form. National Orchestra conducted by Franz André. Times, wrote: In a first hearing, its gave an impression of In May 1938, the Pro Arte Quartet celebrated The new work by the Czech composer, Martinů, mastery of form and certain amount of inven - its twenty-fifth anniversary. The week-long bore no other title but ‘String Quartet with tiveness along with certain characteristics which festivities at the Palais des Beaux Arts in Orchestra’. It suggests a Concerto Grosso with can be found in other ably rough works of the Brussels were grandiose.21 On 5 May 1938, the string quartet as concertino. The three last fifteen years. Such characteristics include the Pro Arte performs the Concerto again with move ments are in character, and their depend- rhythmic vigour and iterative contrasts in the the Belgium National Orchestra conducted by ence upon definite schemes of rhythm adds to two rapid movements, a muscular initial theme Franz André. A work very similar to the Concerto the resem blance. In other respects, the music in the first part and busy briskness in the last, was pro grammed during the same concert: is very much of the twentieth century, with its with up-to-date while not ultra-left dissonant Ballade for String Quartet and Orchestra of the almost arith metically calculated dissonances, harmonies and little concession to sentiment; Belgian composer Marcel Poot.22 The Pro Arte- its many cross-threads and involutions of except in the slow movement, where a medita - Coolidge festivities were broadcast live and in texture, its entire occupation with its own tive introduction for the solo group gave the full on Belgian National Radio (I.N.R.), the B.B.C. surface, and its acrid flavor. The first and excellent Belgian visitors their best oppor tu nity (London) and the N.B.C. (Washington). third movements are of the garrulous kind to display their praise worthy collec tive quality A final performance of Concerto by the that say a lot but amount to little. The second of tone. The broadly melodious close also pro - Pro Arte Quartet was programmed in Chicago move ment, however, makes a much stronger vided some of the most ingratiating meas ures (Orches tra Hall, Chicago Symphony Orchestra impres sion bysticking to a defi nite idea and of a work which, for a modern novelty, was very with Frederick Stock) on 28 March 1939, once expanding it consistently. Its details, whether cordially received, although leaving one listener again alongside Marcel Poot’s Ballade.

16 | martinůrevue32016 4 Letter from Gaston Verhuyck to Béla Bartók, 14 October 1930 (Gaston Verhuyck Collection, MUS. MS. 467/I., Royal Library of Belgium). All translations of original documents into English are made by the author unless otherwise noted. 5 Letter from Gaston Verhuyck to Béla Bartók, 24 June 1931 (Gaston Verhuyck Collection, MUS. MS. 467/I., Royal Library of Belgium). 6 Beginning 1931, Bartók completed the composition of his Second Concerto for piano and orchestra and was focusing on a commission from Paul Sacher (Music for Strings, Percussion and Celesta). 7 According to Yves Lenoir (a Belgian specialist of Bartók and the author’s PhD supervisor), letters that are not included in the Gaston Verhuyck Collection, if they exist, can only be found in the Bartók Archives in Budapest. 8 Šafránek, The Man and His Music, 42. 9 The members of l’Ecole de Paris were meeting together at Café du Dôme on boulevard Montparnasse. 10 L’Ecole de Paris included the following members: Conrad Beck (3 performances), Alfredo Casella (23 perform - ances), Bohuslav Martinů (29 performances), Vittorio Rieti (39 performances), Alexandre Tansman (4 perform - ances) and Alexandre Tcherepnine (1 performance). 11 Germain Prevost mentions auditions of the Pro Arte Concert program given by the Pro Arte organized at the residence of Pangalos on 29 January Quartet and the Chicago Symphony Orchestra and 8 April 1931. (Prevost’s Diary, University of (Frederick Stock, conductor) at Orchestra Hall Wisconsin-Madison Division of Archives: Pro Arte Quartet, in Chicago on March 28, 1939 1926–1947.) private archives paul coninx, namur 12 Private conversation with Madeleine Milhaud (Paris), 4 February 2000. Darius Milhaud and Mr. Pangalos lived both Boulevard de Clichy (at number 10 and number 62 Miloš Šafránek also mentions a performance BIBLIOGRAPHY respectively). in Vienna and another in Los Angeles with Pierre — Šafránek, Miloš. Bohuslav Martinů – The Man and His 13 The Hungarian form of his name is Győrgy Sebestyén. 14 Cellist of the Pro Arte Quartet. Monteux.23 The work was finally played in New Music. London, Dennis Dobson Ltd., 1946. — Simon, Robert. Bohuslav Martinů: A Research and 15 The same problem occurred before with Beethoven’s York in 1942 at Carnegie Hall, with the WQXR Information Guide. New York and London: Routledge Grande Fugue op. 130. This score was probably too Quartet and the National Orchestral Association Music Biographies, 2014. ‘modern’ for the audience in Marseille. “The two concerts, under Léon Barzin. This performance allowed — Van Malderen, Anne. ‘Le Quatuor Pro Arte (1912–1949).’ here in Cannes, worked well. But little audience. This is not a city to give Beethoven’s quartets. This is not the kind of for the Concerto to be compared with a later Revue de la Société liégeoise de Musicologie [Online], No.19, 2002, URL: http://popups.ulg.ac.be/1371- music appreciated by the public. It will probably be better work: the Double Concerto, H 271 (1938). 6735/index.php?id=477. in Marseille. However, I express serious doubts.” (Letter of 5 January 1939 from Robert Maas to Julia Gaillard, More recently, on 26 November 2010, the — Van Malderen, Anne. ‘Elizabeth Sprague Coolidge private archives of Thérèse Maas) Concerto was scheduled as part of the festivi - (1864–1953). L'histoire d'une fortune personnelle 16 Léon-Camille Maître, ‘Feuilleton Musical’, in Artistica, ties of the fiftieth anniversary of the Orchestre au service de la musique de chamber.’ Revue belge de Musicologie, Brussels, vol.58 (2004): 233–250. 5 April 1932, p. 1. Philharmonique de Liège (Belgium). The per form - — Van Malderen, Anne. ‘From Dolhain-Limbourg to the 17 Review taken again in the program of the Chicago ance was conducted by Pierre Bartholomée and University of Wisconsin-Madison. Birth and Centenary concert of 28 March 1939 (Orchestra Hall, Chicago the Ardente Quartet assumed the solo parts. of a Quartet.’ In Voces Intimae. The String Quartet Symphony Orchestra, Frederick Stock). Private Archives of Thérèse Maas (Brussels). For Martinů, a Concerto for Quartet and Or - encounters Art and Literature, ed. D. Huybrechts, F. Huybrechts and M. Sladden. Tournai: 18 Martinů had close ties with Serge Koussevitzky. The chestra was undoubtedly a tempting challenge. Wapica/Proquartetto, 2013: 65–74. con ductor was to play arole in the first performance It is probably why he quickly responded to the — Van Malderen, Anne. Historique et réception des diverses of several works of the composer: La Bagarre, H 155, request of the Pro Arte and its manager. The formations Pro Arte (1912–1947). Apport au répertoire de in November 1927 and the Concerto da Camera, H 285, in 1941. formula was an original and interesting field of la musique contemporaine, PhD Thesis. Belgium: UCL, 2012. URL: http://hdl.handle.net/2078.1/114941 19 Library of Congress, Coolidge Foundation (Washington experimentation. Bartók was perhaps not ready D.C.), Files ’Pro Arte Concerts’. for this challenge mixing classical form and 20 [Not identified] ‘Philharmonic Plays Purcell’s Music of 1680’, in The New York Herald Tribune, 10 April, 1936, p.1. modern language. Marseille’s first performance 1 Miloš Šafránek, Bohuslav Martinů – The Man and His Music Gaston Verhuyck Collection, Mus. Ms. 467. C. VII. was long ignored. Despite the mixed feelings (London, Dennis Dobson Ltd., 1946), 42. 21 May 1938 is also the anniversary of the construction 2 Kurt von Fischer and Fritz Muggler, “Conrad Beck” in The in the reviews that followed, we want to put of Henry Lebœuf’s Hall (Grande Salle Henry Lebœuf). New Grove Dictionary of Music and Musicians, ed. Stanley things in their right place and highlight the Bohuslav Martinů’s and Marcel Poot’s works were played Sadie and John Tyrell (London: Macmillan, 2002), II: 332. world premiere, which belongs to Marseille. ❚ at the occasion of a posthumous homage to the Belgian 3 Founded in 1913, the Pro Arte Quartet immigrated to patron. the United States in May 1940 where it was appointed 22 Marcel Poot (1901–1980) was part of Les Synthétistes, quartet in residence at the University of Wisconsin- (26 September 2016) the Belgian equivalent of the Les Six. Their inspiration Madison. Following the departure of its founders, the was partly neoclassical. Belgian musicians were succeeded by Americans. In 23 Šafránek, The Man and His Music, 43 March 2013, the University of Wisconsin celebrated the centenary of the quartet.

martinůrevue32016 | 17 bohuslav martinů reviews ariane

Simona Šaturová (Soprano) away, not the life of the lead female character. Zoltán Nagy (Baritone) In Tomáš Netopil’s hands, however, it does not Baurzhan Anderzhanov (Bass) sound like a mockery, encapsulating rather Abdellah Lasri (Tenor) Martinů’s typical aloofness, which in fact adds Tijl Faveyts (Bass) an alluring flavour to the opera. The role of Theater Essen Choir Soloists Ariane is sung by Simona Šaturová with a simi - Ivo Kahánek (Piano) lar aloofness, as well as drama and elegance. Essener Philharmoniker The part requires both a coloratura and Tomáš Netopil (Conductor) a character soprano, and although it is not Text: English, German, French, Czech primarily written to impress (although it does Recorded: 2014, 2015, Alfred Krupp Saal, Essen contain a few typically coloratura passages), it Released: 2016 makes great demands in terms of phrasing and TT: 66:00. 1 CD, Supraphon SU 4205-2 thus can mercilessly expose any of the singer’s technical insufficiencies. In this respect, I must “YOU ARE THE IMAGE of my happiness and that say that I simply cannot imagine that any other happiness will kill you.” These words in Georges mann, conducting the Czech Philharmonic, with Czech or Slovak singer could have performed Neveux’s play Le Voyage de Thésée can yield soloists Celine Lindsey, Richard Novák and the role of Ariane better than Mrs. Šaturová, several levels: a love drama, a mythological Miroslav Kopp. The performance is fabulous, who delivers it effortlessly and with great premonition, a surrealistic shortcut. Similarly, romantic, the singers are splendid (with the only technical bravado. Outstanding, too, are the and in less than three-quarters of an hour, caveat being the bad French of some of them, other singers, particularly the Romanian bass- Bohuslav Martinů’s Ariane, H 370, with its play - which simply wouldn’t be tolerated today). baritone Zoltán Nagy, a pliant and sonically fulness and lack of complexity, gracefully serves Almost 30 years down the road, a new album delicious Thésée. An amusing anomaly in this up to listeners everything they could expect has come out – a live recording of a perform - performance is to be heard in a few phrases of from an opera. A mystical touch of death and ance of Ariane made by the Essener Philhar - the male ensemble where total rhythmic and a struggle for life, as well as against oneself; moniker, headed by Tomáš Netopil, who also melodic confusion bear testimony to the live a mystery of the beginning of a love affair and conducted the most recent presentation of recording… the inevitabil ity of its end; the lament of the the opera at the National Theatre in Prague, It would seem outrageous to refer to Mar - abandoned heroine – and all that wrapped in in 2010. Owing to the lack of funding, this per - tinů’s Double Concerto for Two String Or ches - a Neo-Classi cal package, at every turn clearly form ance involved only aconcert version of tras, Piano and Timpani, H 271, as a supplement revealing Martinů at the peak of his invention. the work. of any sort, yet in this case the word is appo - In the summer of 1958, amidst demanding In Netopil’s hands, Martinů’s inspired score site. Both Supraphon and Tomáš Netopil, who work on the opera The Greek Passion, Martinů, possesses drive and lightness, the vigour of initi ated the album, emphasise that the main as he himself put it, took a break by composing sharp transitions, while the expression is more intention here was to record Ariane, which the the one-act Ariane, to which he wrote the restrained than that of Neumann’s, thus being disc clearly showcases. Nonetheless, the Double libretto, based on Georges Neveux’s play. The closer to the composer’s aesthetics. The music Concerto, recorded by the Essener Philhar - composer had previously, in the 1930s, made does not hover so much in Romantic arcs, with moniker and Ivo Kahánek, is definitely worthy use of a subject of the French author in his Netopil respecting the structure of the self- of attentive listening. It may, however, happen surrealistic opera Juliette. This time, Martinů contained numbers, accentuating the dividing that you simply won’t get round to it – you may reached for Neveux’s singular treatment of the lines of the individual passages and savouring well find yourself playing Ariane over and over myth of Ariadne on Naxos. In Neveux’s drama, the contrasts that permeate the score. A prime again, abandoning it with an even heavier heart while fighting the Minotaur, Theseus realises example is that which follows Ariane’s lament, than Thésée did Ariane. that he is facing his alter ego, which has yielded the opera’s one and only aria, which forms one to love for a woman. This approach to the quarter of the piece and in which the mytho - MICHAELA VOSTŘELOVÁ ancient Greek myth intrigued Martinů and his logical heroine gracefully bids farewell to her play with the human psyche. life: “And if I have to die, I will die happy, as the RATING: Harmonie’s Choice – Amidst competition with Martinů’s greater one I loved was King Theseus.” Afterwards, Special Editor’s Choice and more significant operas, Ariane has, to date, Martinů returns to the playful motif of the been rather overlooked. In 1987, Supraphon introductory Sinfonia, taken over by the Reprinted from Harmonie music magazine, No. 10/2016, with their kind permission released a recording (which was re-released glockenspiel(!). It comes across as though in 2000), featuring an account by Václav Neu - a dance of two porcelain elephants were fading

18 | martinůrevue32016 mirandolina in venice

/ DAVID CHALOUPKA

Bohuslav Martinů’s Mirandolina, H 346, (com- posed in 1953 and 1954, premiered in 1959 in Prague) was the main opera attraction in Venice this July. It was staged in the beautiful Teatro La Fenice, one of the premier opera houses in Italy. The run of five performances took

place between 1 and 14 July 2016 and was michele crosera photos:

Scalla), Amore in Gluck’s Orfeo ed Euridice, the title role in Peri’s Euridice (one of the oldest operas pre - served), and Silvia in Haydn’s L’isola disabitata. The waiter Fabrizio, whom the innkeeper finally mar - ries, was sung by the Italian tenor Leonardo Cortelazzi, who in the La Scala pro - duction of L'incorona zione di Poppea enacts Nero and who has performed a wide lyrical tenor reper toire on stages in Italy and France (Don Ottavio, Tamino, Nemorino, Fenton, etc.). The other roles in the Venice conducted by John Axelrod, a former pupil of La Voix humaine and Janáček’s The Diary of the Mirandolina were also assigned to first-rate Leonard Bernstein. One Who Disappeared, with the latter performed Italian singers, all possessing excellent acting In 2014, John Axelrod was appointed artistic as a scenic ballade. The sets for Mirandolina abilities. and music director of the Real Orquesta Sin - were designed by Italy’s Massimo Checchetto, The opera performance, above all, affords fónica de Sevilla. He has conducted numerous while the costumes were created by Carlos great opportunities for artists with skills in orchestral concerts and, as a guest conductor, Tieppo, who has regularly worked with the characterization and a comic gift. And where he has devoted his artistic powers to opera as Venice theatre over the past four years. The else if not Italy should this merry and musically well. He has prepared operatic works for the opera’s story was transferred to the present enthralling piece be staged? After all, when festival in Lucerne on several occasions. In day (with corresponding costumes) and set in composing Mirandolina to his own libretto based recent years, he has directed opera perform - a sort of modern wellness centre at a large on Carlo Goldoni’s popular comedy La Locan - ances in Italy: in Naples, Rome, Florence and hotel, providing jacuzzis, massages, sun lamps diera, Martinů bore in mind the sheer singability at the festival in Spoleto. In addition to his and other services. of the Italian language. The subsequent Czech engagement with the regular symphony reper - Amidst the simple, basically geometrical sets, translation, used at the world premiere in toire, he has specialised in 20th-century music, the majority of the male performers were clad Prague, was rather necessitated by the prac ti - giving world premieres of a number of works by in bathrobes or swimming trunks. The title role cal constraints and the contemporary customs contemporary composers (Kilar, Saariaho, Fazil was portrayed by the Italian soprano Silvia on Czech stages. The production at the Teatro Say, and others). Frigato, who in the autumn of 2015 appeared in La Fenice was, naturally, performed to the The Mirandolina production at the Teatro Prague in Marian Vespers, conducted by Václav original Italian libretto, with Italian and English La Fenice was directed by Gianmaria Aliverta, Luks. She has focused primarily on early music, surtitles. ❚ who during the previous season had staged an with the roles including Amore in Monteverdi’s The article is reprinted from the internet portal intriguing evening there comprising Poulenc’s L'incoronazione di Poppea (also at the Teatro alla www.operaplus.cz with their kind permission.

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Bärenreiter Performance material for both concertos is available on hire.