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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 con cern 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.
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