THE BOHUSLAV MARTINŮ FOUNDATION THE BOHUSLAV MARTINŮ INSTITUTE THE INTERNATIONAL MARTINŮ CIRCLE

CLOSING OF MARTINŮ REVISITED ’ HUMOUR IN MARTINŮ S MUSIC JANUARY—APRIL 2011 VOL.XI NO.1 HISTORIC LPs AUTOGRAPHS IN THE MÉDIATHÈQUE MUSICALE MAHLER NEW PUBLICATIONS & CDs NEW CD

MARTINŮ. THE 6 SYMPHONIES contents Recorded Live 3 highlights / events BBC Symphony Orchestra, Jiří Bělohlávek (Conductor) 4 incircle news Onyx Classics, ONYX4061 3CD (due for release in June 2011) 6 news International Martinů Circle Founding Members Closing Concert of the Martinů PEEPH●●LE Revisited Project 8 Martinů Revisited 2009–2010 INTO THE BOHUSLAV MARTINŲ CENTER IN POLIČKA ALEŠ BŘEZINA

10 Historic Recordings for the Library of the Bohuslav Martinů Foundation ZOJA SEYČKOVÁ

11 special series List of Martinů’s Works XI 12 festivals Martinů as a Source of Inspiration CHRISTINE FIVIAN & CECILE PIERBURG

14 research Humour in Martinů’s Music from the 1920s EVA VELICKÁ MARTINŮ OWNED a Kopecký & Co. that he kept at his music school in today’s Masary kova Street in Polička and on which he wrote a number of compositions. We do not know exactly 17 research when and from whom he bought the instrument, yet from 1919 he endeavoured to sell it. New Martinů Autographs in Paris When in 1932 the piano was bought by his friend, the Polička-based builder Bohuslav Šmíd, ALEŠ BŘEZINA Martinů expressed his gratitude by writing several minor piano pieces for his children bearing the dedication “To Božánek and Sonička Šmíd“. Martinů was delighted that the piano was in good hands, as is evident from the letter he wrote to Šmíd in Paris on 16 May 1932: 18 events / news “You understand that I parted with it with regret, since it is a friend that collaborated with me on my things, and it cost me a lot of effort to acquire it – I had to write a good few notes to pay for it. 19 New CDs / New Publications And it is connected with plenty of memories, hopes, disillusionments, as well as successes. But when I saw it there abandoned, I decided to sell it, and I would have been glad if it had remained in Polička as a remembrance. Perhaps it will be a nice memory for those who remain here after us…” After the war, the piano was used during music lessons at the schools in Polička and Perálec, and since 1970 it has been part of the museum collections. Lucie Jirglová events highlights ()

FESTIVAL 25 April 2011 > National Theatre, , CZ www.narodni-divadlo.cz The Miracles of Mary, H. 236 Orchestra, Chorus & Ballet of the National Theatre , Prague Philharmonic Choir, Kühn’s Children Choir, David Švec (Conductor)

29 April 2011 / Italian premiere 27 July 2011 of the 1st version 30 April, 3, 4, 5, 8 May 2011 ASPEN MUSIC FESTIVAL & SCHOOL > Teatro Massimo, ASPEN / COLORADO / USA Palermo, Italy 30 June–21 August 2011 www.teatromassimo.it The Greek Passion, H. 372/I THE FRESCOES Damiano Michieletto (Director) 10, 11, 13 May 2011 OF PIERO DELLA FRANCESCA / H. 352 > Reduta Theatre, Brno, CZ www.ndbrno.cz Aspen Concert Orchestra , H. 341 Tomáš Netopil (Conductor) Orchestra of the National Theatre Brno Pamela Howard (Director/Scenographer) Jakub Klecker (Conductor) www.aspenmusicfestival.com Tereza Merklová (Soprano)

28 May 2011 > The Estates Theatre, Prague, CZ The Marriage, H. 341 OPERA Jiří Štrunc (Conductor) Josef Novák (Director) Students of J. K. Tyl Theatre Orchestra in Pilsen

29 April 2011 28 June 2011 – premiere > La Fabrika, Prague, CZ TEATRO MASSIMO / PALERMO / ITALY www.lafabrika.cz The Marriage, H. 341 Italian premiere of the 1st version Orchestra of the National Theatre Brno Pamela Howard (Director/Scenographer) Additional performances: Jakub Klecker (Conductor) 30 April, 3, 4, 5, 8 May 2011 Tereza Merklová () THE GREEK PASSION / H. 372/I (BALLET) Damiano Michieletto (Director) 29 April 2011 / premiere www.teatromassimo.it > Stadttheater Bern, Bern, Switzerland Ballet on music by Bohuslav Martinů Cathy Marston (Choreography) Ballett – das Ballett des Stadttheaters Bern Camerata Bern Premiere: 3, 4, 8, 12, 13 May 2011 17 & 19 June 2011

martinůrevue12011 | 3 INTERNATIONAL incirclenews MARTINŲ CIRCLE NEWS ) NEW BIOGRAPHY ) “SYMPHONIC FANTAISIES” A NEW BIOGRAPHY of Martinů by F. James Rybka his family and to Frank, together with observations A PAINTING BY MD is due to appear shortly. The book, entitled by members of the Rybka family who all knew the Bohuslav Martinů: The Compulsion to Compose, composer. ALI MOHAMED ISMAEL is being published by the American firm Scarecrow Evidence is produced in support of the author's Press, and runs to some 430 pages with 31 photo - belief that Martinů was afflicted with Asperger's graphs. The author is the son of Frank Rybka who syndrome. Mr Rybka, who is a member of the became a close friend of the composer following the Martinů Circle, provides a welcome insight into the latter's arrival in the United States. It breaks new years following the composer's arrival in America ground in that it draws on letters sent by Martinů to in 1941. Gregory Terian

) SECOND MOVEMENT OPERA

FOLLOWING SUCCESSFUL appearances in Prague definitely be going ahead in 2012 arises from a com - and Brno last October with their production of mission celebrating the forthcoming Olympic Games The Knife's Tears, H. 169, Second Movement in . Zatopek will be a 12 minute mini cham - Opera are hopeful of mounting a full production ber opera, the work of the young composer Emily of The Three Wishes, H. 175 in 2012, subject to the Howard, inspired by the legendary Czech athlete necessary funding being raised. This follows their Emil Zátopek. Some may recall that he was one of successful preview of the work at the Riverside the heroic figures of the 1948 London Olympics. The Studios in London last September. We wish them new opera will be broadcast on BBC Radio 3 and well with this ambitious project. will tour the UK, and is also due to be performed Another Second Movement production which will in the . Gregory Terian

) UNPUBLISHED SONGS

THE MUCH ANTICIPATED CD collection of unpub - for the Circle in that it went ahead with the help lished early songs by Martinů, as performed by the of financial contributions from some individual IN FEBRUARY 2009, within the Martinů Revisited mezzo-soprano Jana Wallingerová accompanied IMC members (see Patrice Chevy's article in Revue project, a premiere of Martinů’s “Symphonic by Giorgio Koukl, is due to be released by Naxos no. 2/2010). Translations of the songs have been Fantaisies” (Symphony No. 6, H. 343) took place in May 2011. This recording is of particular interest provided by Karel Janovický. Gregory Terian in the Swedish town Norrköping. The Norrköping Symphony Orchestra was conducted by Alan Buribayev, a promising young conductor from Kazakhstan. The result was magnificent. Among those present at the festive concert were Czech ) AWARD Minister of Culture Václav Riedlbauch, Czech Am - bas sador to Sweden Jan Kára, and Ali Mohamed ON 17 OCTOBER 2010 the Czech Philharmonic Patron Magdalena Kožená taking the title role. Ismael, an Iraqi artist living in Sweden. Influenced Orchestra was awarded the Echo Prize by the The recording is derived from the inaugural concert by the depth of this Martinů work, Ismael created German Phonographic Academy for their recording performances of the Martinů Revisited anniversary an emotionally appealing painting entitled on the label of Three Fragments from celebrations, given at the Rudolfinum on 11–12 “Symphonic Fantaisies” after the premiere in the Opera Juliette, H. 253 A. The orchestra was December 2008 with financial support from the Norrköping. In Autumn 2009 the painting became conducted by Sir with our Martinů Foundation. Gregory Terian a part of the exhibition “Fenomén Martinů” at the Czech Museum of Music in the Czech capital. The advent of this work once again proves how powerful and internationally comprehensible ) the music of Bohuslav Martinů is. CONCERTS BY OUR MEMBERS Martina Fialková INDIAN SUMMER in Levoča Festival 2011, In Modo Camerale (Czech Republic): www.lblfestival.eu Jana Brožková (), Ludmila Peterková (), Saturday 1 October 2011, 7.00 pm – Péchy Castle Jaroslav Kubita (), in Hermanovce (just outside Levoča), Slovakia Guest: Carlo Jans, Luxembourg (Flute)

Martinů: Four Madrigals for Oboe, Clarinet and Bassoon, H. 266 (nos. 2+3)

4 | martinůrevue12011 he ie yearinPrague. three timesa published The MartinůRevue is Martinů Foundation Prague. financial supportoftheBohuslav Martinů InstituteinPraguewiththe collaborationwiththeBohuslav in InternationalMartinůCircle the by published Martinů Newsletter)is MK ČRE18911 ISSN 1803-8514 © ZdeněkChrapek Petr Altrichter and Tabea Zimmermann Cover Printing Graphic Design MartinůCenterinPolička Bohuslav the collectionsof Institute’sarchive, and The BohuslavMartinůFoundation’s Photographs Hilda Hearne Translation www.martinu.cz e-mail: [email protected] Czech Republic Praha8-Kobylisy, Bořanovická 14,18200 IČ: 22688846 International MartinůCircle, o.s. Publisher’s Office Justin Krawitz(withspecialthanks) Bohuslav MartinůInstitute Zoja Seyčková&LucieHarasim, Editors MARTINŮ REVUE

www.cbmpolicka.cz tel.: +420461723857 Polička Tylova 114,57201 Bohuslav MartinůCenter andstudyroom. audio-visualhall an and furniture.Thecentrealsocontains classroom, completewithperiodpainting reproductionofMartinů’s comprises a child. Consequently, theprojectalso a as council school,whichMartinůattended in thehistoricalbuildingofformer Bohuslav Martinů’slifeandworkislocated poser’s lifeandwork.Themoderndisplayof actively conceivedexhibition onthecom - IN POLIČKA THE BOHUSLAV MARTINŮ CENTER THE PREVIOUS ISSUE BOOM TISK,spol.sr.o. b offers aninteresting,inter - David E.Cígler (formerly Bohuslav [2011 SUBSCRIPTIONPAYMENTS) [INCIRCLE BOARDMEETING) [MARTINŮ REVISITEDCONCLUDED) ) contact [email protected]. tinue todoso.Those wishingtopayinCzechcurrency orbycashshould Members whopaytheirsubscriptions viatheDvořákSocietyshouldcon- > > > > > > > > below. listofourinternationalcontactsisshown through theirusualchannels.A memberstoforwardtheir2011subscriptionpayments WE WOULD REQUEST MEETING THE 2011BOARD course tomakegoodthoseshortcomings. Martinů recordedrepertoire.However, Iunderstandthatinitiativesarealreadyon Strangler, H.317 ings ofthepastoralopera chestra attheBarbicanlastseasonandnowpreservedonOnyx label (seepage2). SymphonyOr- of symphoniesascompellinglyperformedbyJiříBělohlávekandtheBBC thevariousevents.Thelatesttosurfaceiscompleteset recordings derived from toreachusintheshapeof and theresidualbenefitsofMartinůRevisited continue declineofinterestinthecomposer, buthismusiccontinuestobeperformedwidely a can inLondon. sion ofthefulloperawithJiříBělohlávekdirectingaconcertperformanceatBarbi- the conductorSirCharlesMackerras andalso inBritishpremiereofFrench ver- thefirstperformanceof title roleboth in Kožená forhersuperbparticipationintwoofthemajorevents,whenshetook events whichtheydevisedtomarktheseanniversaries;alsoourPatron Magdalena gratitude totheBohuslavMartinůFoundation andInstituteforthesplendidseriesof WITH THEENDING to this event. We hopetoholdthenext to thisevent. We Bořanovická, Kobylisy, Prague8.MembersoftheCzechMartinů Society willbeinvited smallconcertintheHallofBohuslavMartinůFoundation in and willbefollowedbya a.m. 7.30 p.m.,EliahuInbal–conductor). Themeetingwillbeginon15Octoberat10 theoccasionofCzechPhilharmonic'sMartinůprogramme (on14Octoberat on coincide withthePragueSpringFestival. 37 Denkendorf,Germany 73770 Knopgatan 6,60385Norrköping,Sweden 3055 WEastwoodAve #3,Chicago,IL60625,USA Gortersweg 6,1871CCSchoorl,Netherlands L–1322Luxembourg +352-474269, 24,ruedesCerisiers,Luxembourg, 1Résidence FOCH,92380Garches,France 11 Croft,Storrington,RH204BEGreatBritain Warren 3 Petra Richter (Germany) Jaroslav Šonský(Sweden) Robert Simon(USA) Gert Floor(Netherlands) Geoff Piper(Belgium,Luxembourg andAustria) Mari Tokuda (Japan) Patrice Chevy(France) Phillip C.Boswell(GreatBritain) ] Sadly, oneprojectwhichfailedtomaterialisewouldhavebroughtusfirstrecord- With thecompletionofanniversarycelebrationsonemighthaveanticipated INCIRCLE (1948). Theywouldhavefilledtwoofthemajorremaininggapsin of the Martinů Revisited festivities we mustexpress profound festivities we of theMartinůRevisited NEWS , [email protected],mobilenumber216-973-7716 [email protected] 8 3 9 9,+139990793 359 395,+81 393 339 , [email protected],+81 hv.arc@rnef,+33675620321, , [email protected], What MenLiveBy, H.336 [email protected],Furtstraße 46, , , [email protected],+31725095262, , [email protected], +4611318475, fteICwilltakeplaceinPragueon of theIMC , [email protected], ❚ General Meeting he rget rmJlet,H 5 A 253 Three Fragments fromJuliette,H. d (1952) andtheballetscore , [email protected], in Prague Jana Honzíková,secretary Gregory Terian, Chairman May 2012 15 October , with The to > > INFORMATION MEMBERSHIP &SUBSCRIPTION InstituteinPrague. Martinů slav MartinůFoundation andBohuslav obtainable commercially. from theannualMartinůFestival not performances andarchivalrecordings containing worldpremieres,historic speciallimitededitionCD yearplusa a Martinů Revue Members receivetheillustrated GENERAL INFORMATION > PraguePhilharmonia,CZ CORPORATE PARTNER NEW > MartinŘíha,Rokycany, CZ > Dr. Clemens Harasim,JosephHaydn (in alphabeticalorder) WELCOMES NEWMEMBERS PAYMENT.YOUR THAT WECANIDENTIFY SO VIABANK TRANSFER PAY YOU YOUR NAMEWHEN ADD PLEASE DEAR MEMBERS, > > 8 0 Praha8-Kobylisy, CZ 182 00 Bořanovická 1779/14 The InternationalMartinůCircle, o.s. e-mail: tel.: +420 Honzíková Jana of theMartinůRevue contact: For furtherdetailsandforsinglecopies photo zdeněk charpek www.pkf.cz Institute, Köln, Germany edition CD 3copiesofthespeciallimited PLUS includes 10copiesofeachRevue MEMBERS: 25 EUR/30USD18GBP 80 CZK/3EUR4USD+postage 10 EUR/250CZK yearsofage: under 25 SUBSCRIPTION FOR CORPORATE YEARLY SUBSCRIPTION: SINGLE COPIESOFTHEREVUE: SPECIAL RATE formusicstudents The IMCissupportedbytheBohu International MartinůCirclePatron [email protected] 284 691529,731419873 100 EUR published threetimes martinů Magdalena Kožená – revue 1 2011 | - 5 imc board FOUNDINGMEMBERS

AN EARLIER MEETING OF THE BOARD of the International Martinů Circle endorsed the Chairman’s proposal to create a new category of Founding Members, reserved for those who knew the composer during his lifetime and for musicians and others who have done much to promote his music over the intervening years. The response has been gratifying as will be seen from the list of distinguished person ages listed below who have accepted our invitation. We would like to extend a sincere welcome to all concerned and record our EF appreciation of their continuing support for the cause of Bohuslav Martinů.

(In alphabetical order) JIŘÍ BĚLOHLÁVEK VERONIQUE In a distinguished career span- FIRKUSNY -CALLEGARI Belgian musicologist whose name ning some 40 years, Jiří Bělohlá - Daughter of , will be know to all Martinů en thu - vek has performed and recorded the eminent Czech pianist who si asts for the comprehensive cata - more works by Martinů than any was a close personal friend of logue of the composer’s works conductor, past or present. He has Bohuslav Martinů and promoted which bears his name. Apart from been Principal Conductor of the the composers music throughout Martinů, he is the author of bio - BBC Symphony Orches tra since his long career. He gave the world gra phies of Honegger, Messaien 2006. He is due to take over as premieres of the Piano Concertos and Magnard. He recently cele - Music Di rec tor of the Czech Philharmonic Orchestra Nos. 2, 3 and 4. brated his 80th birthday. in 2012, ensuring a continuing high profile for the music of the composer which he loves. He cele brated his 65thbirthday in February. JEAN FONDA CHRISTOPHER FOURNIER HOGWOOD MAURICE BOURGUE French pianist, son of Pierre British conductor, musicologist, Celebrated French oboist who has Fournier, friend and collaborator member of the Editorial Board of given many performances of Mar- of Martinů, who was one of the the Critical Complete Bohuslav tinů's concerto for the instru ment, leading soloists of his time as well Martinů Edition. Has frequently most recently at the 2010 Prague as teacher at the École Normale performed works by Martinů both Spring. As Director of the Sándor de Musique in Paris. Accompanied in the UK and abroad and edited Végh Chamber Music Academy he his father in a notable recording and subsequently recorded the produced many memorable and of the Martinů Sonata No. 1 which was full score of innovative programmes for the dedicated to the cellist. for the first time. Martinů Festivals in Prague 1996–2002.

[NEWS) CLOSING CONCERT AND OFFICIAL CONCLUSION OF THE MARTINŮ REVISITED PROJECT b 1

10 DECEMBER 2010, RUDOLFINUM, PRAGUE

9 & 10 December 2010 > Rudolfinum, Prague, CZ www.ceskafilharmonie.cz Rhapsody-Concerto for and Orchestra H. 337 Czech Philharmonic Orchestra Tabea Zimmermann (Viola) Tabea Zimmermann playing the Rhapsody-Concerto, conducted by Petr Altrichter Petr Altrichter (Conductor) photo zdeněk chrapek

6 | martinůrevue12011 MAX KELLERHALS SIR CHARLES MACKERRAS ZUZANA RŮŽIČKOVÁ The parish priest at Liestal in the [1925–2010] World famous con - Distinguished Czech harpsichord 1950s who became a close friend ductor and propagator of Czech player and pianist, teacher at the and confidant of Martinů during music who gave many perform - Music Academy in Prague, widow his final years. He officiated at the ances of works by Martinů. of Czech composer Viktor Kalabis composer's funeral service. Among the high points, he di - who was the former Chairman of rected the world premiere record - the B. Martinů Foundation. Has OLDŘICH FRANTIŠEK KORTE ing of The Greek Passion and more performed the Martinů Harpsi - Czech composer, member of the recently gave the world premiere chord Concerto throughout her B. Martinů Foundation Board. An of Three Fragments from Juliette with Magdalena career having recorded it in 1967 with the admirer and staunch advocate of Kožená taking the title role. conductor Kurt Sanderling and 20 years later the music of Martinů in Czecho - with Václav Neumann. slovakia at a time when the au - BLANCHE HONEGGER thori ties were antipathetic. He MOYSE F. JAMES RYBKA established a close rapport with [1909–2011] Swiss-born violinist, Son of Frank Rybka, Martinů’s the composer and they con tinued who knew Martinů in Paris in closest friend from his years in to correspond until the latter’s the 1930s. Together with Marcel America to whom he dedicated death. Moyse, she gave the world pre- the Cello Sonata No. 2. Author of miere of the Concerto for Flute, a forthcoming biography of the BRIAN LARGE and Orchestra which Mar - composer. Pre-eminent British television tinů composed for them in 1936. director specializing in opera and In her later years she took up conducting, classical music broadcasts and specialising in perform ances of the choral music Eminent Czech violinist and author of a Martinů biography. by Bach which were highly regarded. violist, grandson of Czech com- He also produced a much poser Josef Suk and great-grand - admired documentary film about GERALDINE MUCHA son of Antonín Dvořák. Promoted the com poser’s life for BBC Scottish composer, wife of Czech the concertos and sonatas of Mar - Television in the 1970s. writer Jiří Mucha who was a close tinů throughout his long career. personal friend of Martinů. He Gave premieres of the Violin Con - JEAN LEDUC provided the composer with the certo No. 1 in several countries Co-director of the Alphonse text for the which she including the USA where he performed the work Leduc publishing house in Paris later translated into English for with the Chicago Symphony under Solti. which produced many of the the published edition of the work; composer's early works dating also translated the Nový Špalíček IVAN ŠTRAUS from the 1920s and 1930s. and other song texts. Czech violinist, teacher at the Prague Academy of music, Chair - EMIL LEICHNER GENNADY man of the B. Martinů Foundation Czech pianist, son of Emil Leichner, ROZHDESTVENSKY Board. Devoted advocate of Mar - the founding member of the Czech Veteran Russian conductor who tinů who gave many perform ances Nonet, professor at the Prague espoused the music of Martinů of his music during the course of Academy of music, member of the in the time of the Soviet Union. his performing career. B. Martinů Foundation Board. Per - He has since ventured into some formed piano works and chamber of the lesser known œuvres such music by the composer through - as The Rock, The Strangler and out his career and recorded the the Concerto for Violin, Piano and first complete set of the Martinů piano concertos. Orchestra.

≠ LE JOUR DE BONTÉ, H. 194

ON SUNDAY 14 November 2010 a presenta tion was held at the Leicester Square Theatre in London, organised by Czech Music Direct, to introduce the world premiere of the record ing by Arco Diva of Martinů’s incomplete opera Le Jour de Bonté, H. 194. This recording was made at a produc tion in Plzeň, con ducted by Milan Kaňák. The extracts from the CD showed it was full of fun, with the imagination and surprises that those familiar with other Martinů operas will recog nise. They were preceded by an excellent per formance of the Three Madrigals (Duo No. 1) for Violin & Viola, H. 313 by Galina Solodchin and John Underwood of the Delmé Quartet, and followed by a panel discussion chaired by Lawrence Lewis (Czech Music Direct) with Graham Melville Mason, Jiří Štilec (director, Czech label Arco Diva), Martin Anderson (Inter national Record Review Magazine) and John Underwood. This discussion covered a number of topics relating to Martinů’s music and his reception at different times and places. Mark Todd Petr Altrichter with his wife, Aleš Březina and Tabea Zimmermann after the concert photo zdeněk chrapek

martinůrevue12011 | 7 ≠ MARTINŮ a year) and the inner transformation of the ALEŠ BŘEZINA, the initiator children who participated; the second com - of the project, contemplates prises a recording of one of the two perform - ances given at the Congress Centre in Prague. the past two Martinů years. Enormous interest was shown in the extensive Bohuslav Martinů exhibition at the Czech “I can wait and I’m sure I will live to see Museum of Music, as well as its itinerant part, the end of it.” So wrote Bohuslav Martinů which was displayed at a number of Czech on 24 December 1924 in The ‘Half-time’ Case, or Centres around the world. The Czech audience Tragedy of a broken triad, in which he responded had more opportunity than usual to see to the wave of criticism that bore down on him productions of Martinů operas at the National following the premiere of his first significant Theatres in Prague and Brno and to attend orchestral piece. Time has proved him right. The Martinů performances at music festivals Martinů Revisited project, which after several through out the country. In addition, Martinů years of preparation marked the Martinů was particularly well-represented in the concert anniversaries 2009 and 2010, confirmed that series of Czech orchestras, who in several cases today Martinů is one of the most internationally performed, recorded and renowned composers of the 20th century. The project’s opening concert presented the world premiere of Three Fragments from Juliette, H. 253 A performed by Magdalena Kožená, Steve Davislim and the Czech Philhar - monic Orchestra conducted by Sir Charles Mackerras. As fate would have it, this, sadly, would be Sir Charles’s farewell to the Czech Philharmonic. Fortunately, however, the excep - tional concert was recorded and released by Supraphon on a CD which received a number of prestigious accolades, including a Gramo phone Opening concert – Magdalena Kožená Award and the Echo Klassik prize. Of the dozens and Sir Charles Mackerras photo zdeněk chrapek of other new recordings, among the most impor tant were the set of violin concertos even dedicated one of the jubilee seasons to performances of Symphony No. 4, H. 305 performed by Bohuslav Matoušek, Christopher Martinů works. The gala concert that was given under the baton of Alan Gilbert (the Berlin and Hogwood and the Czech Philharmonic Orches - on the anniver sary of the composer’s death at New York Philharmonics) and performances tra (Hyperion), and the complete piano works the St James Church in Polička by the Pardubice of Violin Concerto No. 2, H. 293 by Frank Peter as performed by Giorgio Koukl (Naxos). Chamber Philharmonic Orchestra was broadcast Zimmermann with a number of orchestras Among the high-points of the project’s Czech live by Czech Radio to all countries within the around the world. component were the two editions of the Prague EBU transfer system. There was also a tremendous profusion of Spring International Music Festival and the edu - One of the most significant events that took stagings of Bohuslav Martinů operas. On the cational project Špalíček, which saw choreo - place abroad was the cycle of Martinů sym - international scene, these included productions grapher Eva Blažíčková working with students phonies performed by the BBC Orchestra under of The Greek Passion, H. 372 in Zürich (initiated of the Duncan Centre Dance Conservatoire. Jiří Bělohlávek. Their concert version of the by Robert Kolinsky, Director of the Bohuslav The co-ordinator of the Špalíček project was opera Juliette ou la clé de songes, H. 253 was Martinů Festival in Basel), and , Lenka Dohnalová (Arts and Theatre Institute, voted the best British opera production of H. 346 in England (Garsington), France (Paris), IU-DÚ), who took care of organisa tional 2009. Perhaps the greatest outcome of the the Netherlands and elsewhere. matters. The film-maker Olga Sommerová two an niver sary seasons was the fact that A true milestone in Martinů research was the created two documentaries about the project Martinů’s works were continuously performed opening of the new Bohuslav Martinů Center for Czech Television: the first captures the in many European countries and the USA – in Polička in 2009. In the very same year, three lengthy training phase (which lasted more than the most significant events included repeated international musicological conferences took

8 | martinůrevue12011 REVISITED 2009/2010

y Educational project Špalíček y Opera Mirandolina in Garsington, England y The Bohuslav Martinů Center photo mirek pásek photo johan perrson in Polička photo petr procházka

place, in Prague, Dresden and Vienna, with their foreign activities; and, primarily, Lucie Berná, Martinů Complete Critical Edition, which aims proceedings being published in Austria, Germany who took over this part of the agenda, including to meet musicians’ increased interest in the and Switzerland. Other publications of signifi - publication and promotional activities, in June composer’s œuvre. We would like to commemo - cance were the Martinů Revisited diaries and 2008 and who throughout the project proved rate the 100th anniversary of Martinů’s death the Czech Philharmonic calendars. to be a truly wonderful manager. I would like to in 2059 with the final volume of his extensive Dozens of individuals and institutions partici - emphasise that the Martinů Revisited project legacy. pated in the widely conceived project. First could be realised by such a lean working team Aleš Březina, Initiator and foremost, I would like to extend my thanks only because of the enormous engagement and Artistic Director to the Minister of Foreign Affairs of the Czech shown by all those named. of the Martinů Revisited Republic, Mr Karel Schwarzenberg, under whose In realising this project the Bohuslav Martinů project auspices the project was executed, as well as Institute was stretched to its limits, but it to our patrons Gabriela Beňačková, Zuzana stood the test – Martinů Revisited achieved its Růžičková and Josef Suk, to the Bohuslav Mar - goals. Now the Institute can fully focus on its tinů Foundation, the Ministry of Culture of the main task for the next decade – The Bohuslav Czech Republic, the Ministry of Foreign Affairs, the Office of the Government and the Prague City Council for their financial support. The MINISTRY OF FOREIGN AFFAIRS OF THE CZECH REPUBLIC project was fortunate indeed to have such Prague, 14 February 2011 exceptional partners as Czech Television, Czech Dear Mr. Březina, Radio, the Czech Centres and the magazines Please allow me on behalf of the Minister of Foreign Affairs of the Czech Republic, Mr. Karel Harmonie and Hudební rozhledy. I would like to Schwarzenberg, to reply to your letter of December 2010 containing the publication about take this opportunity to thank the directors and the “Martinů Revisited” project, of which Minister Schwarzenberg assumed the auspices. artistic directors of orchestras, theatres and fes - Minister Schwarzenberg highly appreciates your long-term endeavour to promote and present tivals who, owing in no small part to the great the work of Bohuslav Martinů to wide audiences both at home and abroad. The “Martinů Revisited” project was a significant and extremely successful part of the Czech Republic’s cultural assistance provided by Mr Václav Riedlbauch, presentation within the Czech Republic’s Presidency of the Council of the European Union in 2009. were able to come together and successfully Please accept our thanks for the beautiful publication, which sums up and lucidly presents your co-ordinate their activities. I would also like to remarkable project. express my personal gratitude to all the pro - I wish you continued success in promoting Bohuslav Martinů’s œuvre, as well as success in your ject’s co-ordi nators: Lenka Dohnalová, who was own artistic work. in charge of the Czech section and the Špalíček Kind regards project; Martin Bonhard, who two years prior Bořek Lizec, Ph.D. to the project’s launch prepared with me all the Deputy Director of the Public Diplomacy Department

martinůrevue12011 | 9 HISTORIC RECORDINGS FOR THE LIBRARY OF THE BOHUSLAV MARTINŮ FOUNDATION news / ZOJA SEYČKOVÁ

AT THE END OF 2010, several interesting his - toric gramophone records were purchased for the library. The first of these albums features the Five b Madrigal Stanzas for Violin and Piano, H. 297. The composition is performed by the pianist Viola Luther Hagopian and the violinist Ernest THE PRIZE-WINNERS Michaelian, who was a member of the San Francisco Symphony Orchestra from 1938. OF THE 2010 BOHUSLAV The record was released by Music Library MARTINŮ FOUNDATION Record ings (San Francisco) with the catalogue COMPETITION number 7068. The date of issue is not stated on the album. According to www.worldcat.org 26–28 NOVEMBER 2010 it was probably published in 1959. CATEGORIES: The newly acquired Mercury recording PIANO TRIO AND STRING QUARTET (MG 10040) of the Sinfonietta Giocosa, H. 282 (Germaine Leroux: piano; Jaroslav Krombholc: conductor) was also released in the 1950s. PIANO TRIO The recording is the property of the Supraphon 1st prize > PUELLA TRIO label and was released by the Bohuslav Martinů Roman Patočka, Markéta Vrbková, Foundation on the CD entitled Bohuslav Martinů Terezie Fialová Days 2007. 2nd prize > ORBIS TRIO In 1959 Columbia Masterworks New York Petra Vilánková, Petr Malíšek, Stanislav Gallin released the recording of the First Piano 3rd prize > BÖHMIA TRIO Quartet, H. 287, featuring Alexander Schneider Jakub Junek, Ivan Vokáč, Veronika Böhmová (violin), Milton Katims (viola), Frank Miller (cello) and Mieczyslaw Horszowski (piano). STRING QUARTET The Albeneri Trio frequently performed Mar - 1st prize > QUARTETTO DI GIOIA tinů compositions. The ensemble, comprising Kristina Czajkowská, Václav Zajíc, Artur Balsam (piano), Giorgio Ciompi (violin), and Klára Hegnerová, David Hrubý Benar Heifetz (cello), gave the New York pre - 2nd prize > MUCHOVO KVARTETO miere of the Trio No. 1 (Cinq piéces bréves), H. 193 Juraj Tomka, Andrej Matis, Veronika Prokešová, in November 1947. The Martinů Foundation’s Pavol Mucha library newly owns a gramophone record, released in 1962, featuring the Albeneri Trio’s Special award for the best interpretation rendition of the Trio No. 2, H. 327. The stereo of Bohuslav Martinů’s work: recording was released by The Music Guild. The QUARTETTO DI GIOIA, ORBIS TRIO Albeneri Trio could also be heard performing the Trio No. 2 live on 30 October 1961 at New York’s Award of the Prague Spring International Carnegie Recital Hall. Music Festival – Concert performance within Another interesting recording acquired by the 2011 Prague Spring festival: the library is that of the Sonata No. 1 for Cello PUELLA TRIO, QUARTETTO DI GIOIA and Piano, H. 277. The stereo album, released in the 1970s by the Swiss label VDE (3019), Another album released in the 1970s, this Concert performance within the Czech features the cellist Guy Fallot and the pianist time by Golden Crest Records within the Recital Chamber Music Society cycle in the Emmanuelle Lamasse. Series, is entitled Antonin Kubalek/Pianist. It 2011–2012 season: In 1975, Martinů’s complete cello sonatas includes selections from Etudes and Polkas III, PUELLA TRIO, QUARTETTO DI GIOIA were released by the label Da Camera Magna H. 308, as well as Janáček’s In the Mist and under the title “Martinů Cellosonaten”. The Hindemith’s Suite for Piano. record ing features cellist Philippe Muller You can listen to the recordings at the Bohu - accompanied by Ralf Gothoni on the piano. slav Martinů Institute by prior appointment. ❚

10 | martinůrevue12011 — LIST OF MARTINŮ’S WORKS XI Special s— CATEGORY/ Serie | CHAMBER MUSIC SUBCATEGORY/ | DUOS FOR OTHER INSTRUMENTS

IN THIS ISSUE of the Revue we continue with our publishing of the complete list of DIVERTIMENTO EASY ETUDES SONATA FOR VIOLA Bohuslav Martinů’s works. We began with FOR TWO RECORDERS H. 365 FOR TWO H. 191 AND PIANO H. 355 the operas and have since considered the ballets, incidental music and film music, works Durata: 5'05'' Durata: 19' Durata: 9'30'' for large orchestra, symphonies, works for Place of composition: Rome Place of composition: Paris Place of composition: New York chamber orchestra, suites and abstracts of Date of composition: 1957 Date of composition: 1930 Date of composition: 1955 the incidental works, piano concertos, violin Performing forces: fl fl Performing forces: vl vl Performing forces: vla pf and cello concertos, concertos for other solo Archive: Paul Sacher Stiftung, Basel Archive: manuscript missing, draft: Alphonse Dedication: Lillian Fuchs instruments and orchestra – double, triple Publisher: Max Eschig, Paris 1966 (M. E. 7636) Leduc Performers of premiere: Lillian Fuchs (vla), and quadruple concertos and started the Copyright: Max Eschig, Paris Publisher: Alphonse Leduc, Paris 1932 Artur Balsam (pf) chamber music category with duos for violin (A. L. 18007 and 18008) Premiere: New York, 12. 3. 1956 and piano, cello and piano. Copyright: Alphonse Leduc, Paris Archive: The Bohuslav Martinů Center The next subcategory are the Duos for in Polička Other Instruments (listed in alphabetical DUO FOR VIOLIN Publisher: Associated Music Publishers, order). The basic data on the works listed AND VIOLA No. 2 H. 331 NewYork 1958 (95735) here have been taken from the online PIECE FOR TWO Copyright: Associated Music Publishers, catalogue of Martinů’s œuvre at Durata: 14' VIOLONCELLOS H. 377 NewYork http://katalog.martinu.cz/martinu/catlist.php Place of composition: New York Date of composition: 1950 Durata: 1' Performing forces: vl vla Place of composition: Schönenberg-Pratteln Commentary/ Dedication: Rosalie Leventritt Date of composition: 1959 SONATINA FOR CLARINET “Archive” – gives the information as to Performers of premiere: Joseph Fuchs (vl), Performing forces: vlc vlc (in B flat) AND PIANO H. 356 where the autograph score is deposited. Lillian Fuchs (vla) Dedication: Trauti Mohr-Bally Date of composition: Day / Month / Year Premiere: New York, 5. 2. 1951 Archive: formerly by Trauti Mohr-Bally, Durata: 10' Premiere: Day / Month / Year Archive: Max Eschig, Paris presently autograph missing Place of composition: New York Only accessible information is stated. If data Publisher: Max Eschig, Paris 1964 (M. E. 7255) Publisher: Bärenreiter, Kassel 1960 (B. A. 3741) Date of composition: 1956 on the publisher are missing, the work has Copyright: Max Eschig, Paris Copyright: Bärenreiter, Kassel Performing forces: cl(B) pf yet to be published and is available as Archive: The Bohuslav Martinů Center material that can be lent. in Polička Publisher: Alphonse Leduc, Paris 1957 DUO FOR VIOLIN SCHERZO FOR FLUTE (A.L.21698) AND VIOLONCELLO No. 2 AND PIANO H. 174 A Copyright: Alphonse Leduc, Paris IN D MAJOR H. 371 Durata: 2'30'' Durata: 10' Place of composition: Paris Place of composition: Schönenberg-Pratteln Date of composition: 1929 SONATINA FOR Date of composition: 1958 Performing forces: fl pf (C or B flat) AND PIANO H. 357 Performing forces: vl vlc Archive: The Bohuslav Martinů Center Dedication: Trauti Mohr-Bally in Polička Durata: 7' Performers of premiere: Hansheinz Publisher: Panton, Prague 1966 (P 404) Place of composition: New York Schneeberger (vl), Dieter Stähelin (vlc) Copyright: Panton International, Mainz Date of composition: 1956 Premiere: Basel, 4. 3. 1962 Performing forces: tr (C or B) pf Archive: The Bohuslav Martinů Center in Archive: The Bohuslav Martinů Center Polička (Deposit of the Bohuslav Martinů in Polička Foundation Prague) SONATA FOR FLUTE Publisher: Alphonse Leduc, Paris 1957 Publisher: Max Eschig, Paris 1964 (M. E. 7187) AND PIANO H. 306 (A.L.21699) Copyright: Max Eschig, Paris Copyright: Alphonse Leduc, Paris Durata: 18' Place of composition: Cape Cod, South DUO FOR VIOLIN Orleans, Massachusetts (USA) AND VIOLONCELLO No. 1 H. 157 Date of composition: 1945 THREE MADRIGALS (DUO No. 1) Performing forces: fl pf FOR VIOLIN AND VIOLA H. 313 Durata: 11'30'' Dedication: Georges Laurent Place of composition: Paris Performers of premiere: Lois Schaefer (fl), Durata: 15'30'' Date of composition: 1927 Dolores Rodriguez (pf) Place of composition: New York Performing forces: vl vlc Premiere: New York, 18.12.1949 Date of composition: 1947 Dedication: Stanislav Novák, Maurits Frank Archive: manuscript missing, blueprint at Performing forces: vl vla Performers of premiere: Stanislav Novák (vl), Médiathèque Musicale Mahler Dedication: Josef Fuchs, Lilian Fuchs Maurits Frank (vlc) Publisher: Associated Music Publishers, Performers of premiere: Josef Fuchs (vl), Premiere: Paris, 17. 3. 1927 NewYork 1951 Lilian Fuchs (vla) Archive: National Library of the Czech Copyright: Associated Music Publishers, Premiere: New York, 22.12.1947 Republic, Prague NewYork Archive: Library of Congress, Publisher: La Sirene musicale, Paris 1928 Washington, D.C. (S. M. 144) Publisher: Boosey & Hawkes, Copyright: Max Eschig, Paris London–NewYork 1949 (B&H 16506) Copyright: Boosey & Hawkes, London–NewYork

> LIST OF MARTINŮ’S WORKS X > Category CHAMBER MUSIC > Subcategory DUOS FOR OTHER INSTRUMENTS 2011 | 11 ✂ martinůrevue1 MARTINŮ AS A SOURCE festivals 16TH MARTINŮ FESTTAGE, 2010 / 17 NOVEMBER–1 DECEMBER 2010

in Italy. Martinů’s Les Fresques de Piero della The centrepiece of the Martinů Festtage 2010 was once again Francesca, H. 352, inspired the famous director the music – as always, the festival presented an artistically and television personality Arthur Spirk to create a video production, which was screened for free demanding programme featuring internationally renowned at the Café Mitte in the centre of Basel. The soloists, and it served up numerous unexpected surprises. composer’s music also inspired the jazz pianist Kenny Drew Jr. and the vibraphonist Thomas Dobler to create their “Martinů Suite” project. / CHRISTINE FIVIAN & CECILE PIERBURG (…). I am still in the process of discovery (…), Commissioned by the festival’s management, since I haven’t managed to decipher Martinů as the project was premiered at the Bird’s Eye jazz THE MARTINŮ FESTTAGE 2010 opened with quickly as I have the music of other composers. club. a concert given by the ensemble Camerata Bern under the artistic direction of Kolja Blacher. The entire evening at the Hans Huber-Saal at the Stadtcasino Basel was dedicated to the concerto grosso. Works by Gideon Klein, Arcangelo Corelli, George Frederic Handel and Bohuslav Martinů were performed. Undoubtedly, the highlight of the evening was Martinů’s Con- certo da Camera for Violin and String Orchestra with Piano and Percussion, H. 285, which was premiered at the same venue by Paul Sacher in 1942. In this work, the Baroque form of the concerto grosso is revived in Neo -Classi cal style. The audience was spellbound by the entrancing rhythm and intensity of the per form ance. Kolja Blacher also appeared as a soloist, while Robert Kolinsky, Artistic Director of the Martinů Festtage, performed the piano part. y Kolja Blacher and the Camerata Bern “TOCCATA”: TITLE AS PROGRAMME The titles of the compositions within another With Martinů, an intellectual approach was FOUR SAXOPHONES RECOUNTING of the festival’s concerts also afforded the necessary (…) But I hope that one day I will A programme designation of the whole evening. have the skeleton key to his music.” The biggest surprise was the festival’s Audiences at the Hans Huber-Saal heard the concluding concert – the traditional family young German pianist Martin Stadtfeld playing SURPRISING INTERPRETATIONS concert at the Museum Tinguely. After receiving toccatas by Bach, Schumann, Prokofiev and OF MARTINŮ WORKS a special invitation from the festival’s Martinů. Besides the Piano Sonata, H. 350, Martinů was continually inspired by artistic management, clair-obscur, the innovative Martinů wrote another extensive piano work ensembles of his day and, conversely, Martinů’s saxophone quartet from Berlin, arranged the of great significance – Fantasy and Toccata, music continues to provide inspiration for ballet Who Is the Most Powerful in the World? H. 281. Martin Stadtfeld, whose interest in the various new modern artistic ensembles. One H. 133, originally written for large orchestra. versatile Czech composer has been increasing such example is the Concerto for Piano No. 4 The celebrated Austrian narrator Wolfram of late, included this extremely demanding work “Incantations”, H. 358, which was interpreted Berger guided the audience through the story in his programme. Stadtfeld explored the as a contemporary dance performance by of a little mouse lady whose parents want to Toccata upon the suggestion of Robert Kolinsky. the company ResExtensa, featuring the dancer marry her off to the most powerful man in the In an interview for the Swiss magazine Musik and choreographer Elisa Barucchieri at world, while her suitor, a little mouse prince, und Theater, he said: “Martinů is a brand-new the Kunsthalle Basel. By means of dance, overcomes numerous obstacles of wind and composer for me. As soon as I became aware ResExtensa revealed the remarkable musical weather. The story is forcibly depicted in of the Toccata, I got hold of the score and soon power of this piano concerto, which the individual musical tableaux, which in places are realised that I would definitely want to play it ensemble is scheduled to perform at festivals reminiscent of Richard Strauss’s music. The

12 | martinůrevue12011 OF INSPIRATION

Martin Stadtfeld in the "Hans Huber-Saal“ Pianist Kenny Drew Jr. in the Bird's Eye Jazz Club Vibraphonist Thomas Dobler in the Bird's Eye Jazz Club

PROGRAM OF THE 16TH MARTINŮ FESTTAGE, 2010 17 November—1 December 2010 photos benno hunziker photos OPENING CONCERT – CONCERTO GROSSO > Wednesday, 17 November / 8 p.m., Stadtcasino, Hans Huber-Saal Partita, H. 212 Concerto da Camera for Violin and String Orchestra with Piano and Percussion, H. 285 Camerata Bern – Conductor: Kolja Blacher (Violin) Matthias Würsch (Percussion) Robert Kolinsky (Piano)

MARTINŮ PERFORMING ARTS PROJECT > Saturday, 20 November / 9.00 p.m., Kunsthalle Basel INCANTATION (Piano Concerto No. 4, H. 358) Dance company ResExtensa Elisa Barucchieri (Direction and Choreography) y Saxophone quartet “clair-obscur” playing the arrangement of the ballet Who Is the Most Powerful in the World, Austrian narrator Wolfram Berger on the far left PIANO RECITAL – TOCCATA > Sunday, 21 November, 7 p.m., Stadtcasino Basel, Hans Huber-Saal performance was accompanied by illustrations composer the acknowledgement he so richly Fantasie et Toccata, H. 281 created by the painter Meriel Price. The four- deserves. As in previous years, the festival Martin Stadtfeld (Piano) saxophone arrangement of the ballet has concerts were broadcast by the Swiss radio VIDEO already been recorded in the studio and is now station DRS, as well as Deutschland Radio > Friday, 26 November, being prepared for release with an illustrated Kultur. The opening concert with Camerata Unternehmen Mitte, Safe / Theater room LES FRESQUES children’s book. Bern, the jazz performance featuring Kenny Video enactment by Arthur Spirk for Martinů's Drew Jr. and Thomas Dobler, as well as the orchestra work REBRANDING CREATES A SOLID BASIS Family Concert, were thus made available to Les Fresques de Piero della Francesca, H. 352 FOR THE FUTURE a wide audience. Following the great success JAZZ This year the “Internationale Musikfesttage of the 2009 festival commemorating the > Sunday, 28 November, 5 p.m., Bird’s Eye Jazz Club Martinů Suite Bohuslav Martinů”, which was established by 50th an niversary of the composer’s death, Kenny Drew Jr. (Piano) Robert Kolinsky sixteen years ago, received the 2010 programme appeared to be less & Thomas Dobler (Vibraphone)

a thorough make-over, with a new logo and ambitious. Yet, at the same time, it served as FAMILY CONCERT website. Today the festival is called MARTINŮ the starting point for future programme > Wednesday, 1 December, 6 p.m., FESTTAGE. The aim of Robert Kolinsky and his highlights, which will culminate in 2015 within Museum Tinguely team has always been to present to a wide the celebrations of the 125th anniversary of Bohuslav Martinů's fairytale ballet Who is the Most Powerful in the World?, H. 133 audience Bohuslav Martinů’s extensive and Martinů’s birth. Wolfram Berger (Narrator) variegated oeuvre, conferring upon the www.martinu.ch and Clair-obscur Saxophone Quartet

martinůrevue12011 | 13 IN MARTINŮ’S research HUMOUR

Bohuslav Martinů, unlike a number of his contemporaries, such as Stravinsky, Satie, Hindemith, and Shostakovich, is not generally considered a composer whose work is noted for humour in particular. The compositional techniques commonly associated with humour in 20th-century music (collage, persiflage and parody) are not the primary substance of Martinů’s musical language. On the other hand, we are sufficiently aware of Martinů’s sense of humour and his affinity to the aforementioned composers, which may raise the question of whether humour appears in his music too.

/ EVA VELICKÁ But is it possible, on the basis of these facts, (quotes) into a new musical contexts, to claim that Martinů was a “humorist” in music and harmonic, atonal or collage-like recastings. IS BOHUSLAV MARTINŮ too? Some of his compositions are described in On the other hand, Martinů applies a number of A “HUMOROUS” COMPOSER? the literature as burlesque, music-hall and slap - other elements that can “give rise to” humour When deliberating about humour in music, we stick. In his commentaries, Harry Halbreich uses and comicality in music (with it being virtually are always confronted with the question of the word “heiter” (cheerful) relatively often, yet impossible to determine precise borders what constitutes humour and how it can mani - musical comicality and humour as such are between comicality, humour, wit and parody). fest itself. As the starting point for understand - mentioned very rarely. Martinů’s typical means We will demonstrate some of these “humorous ing Bohuslav Martinů’s musical humour, let us of musical expression (which he deliberately and elements” using examples from several first of all recall the non-musical sources that wittingly cultivated in the 1920s) are usually compositions. (With regard to the current are unambiguously humorous and document concerned with elements in the harmonic status of research, which has partially dealt the composer’s sense of humour. In addition frame work, and thus basically exclude certain with this issue in the operas, we will focus on to hundreds of letters, these sources include types of 20th-century “humoristic methods,” instrumental works.) a collection of original caricatures and drawings, such as transposing of borrowed themes which show the composer contemplating the people and things around him and commenting Procession of > on them in a highly humorous manner. the Cats on > Many photographs also capture Martinů Solstice Night, > smiling or laughing. bars 1–6 >

Bohuslav Martinů’s caricature “Laughing Martinů, Novák” Piano composition The ‘Kytara’ Club Ceremonial March © bohuslav martinů center in polička © bohuslav martinů center in polička

14 | martinůrevue12011 MUSIC FROM THE 1920s © bohuslav martinů center in polička © bohuslav

EXAMPLE NO. 1 – PIANO MUSIC The “humour” in another composition for contains another type of musical comicality, “Cheerfully or sadly, however you wish.” piano, The ‘Kytara’ Club Ceremonial March, which lies in the use of surprising dynamic New and characteristic of Martinů’s music from H. 125bis is partially qualified by visual effects which are carried here to the maximum the 1920s is its reflection of dance music of the contact with the score’s illustrations and is absurdity (ffffffffff). period. Imitation of dances (or marches) is thus related to the aforementioned period gener ally considered amanifestation of humour of Martinů’s drawn caricatures. Humour is These issues are broached in the form of in music. Martinů created several works with manifested here in additional drawings and the piano cycle, such as in Martinů’s Film en dance elements: the first time-concentrated whimsical decorations in the score, as well miniature, H. 148 which was written in 1925 in occurrences of dance rhythms – in the litera - as in comical inscriptions and instructions on Polička and Paris. The six short movements for ture sometimes erroneously identified as jazz – how to perform the com position – for example piano – Tango, Scherzo, Lullaby–Berceuse, Waltz, can be found in 1920 in several small-scale “Cheerfully or sadly, however you wish. A la Chanson and Carillon – can be defined as char - pieces for piano. In Martinů’s music, dance ’Kytara’ club.” This type of subtle irony, which ac ter istically modern pieces, blending together rhythms are often accompanied by a layer of in essence does not affect the musical style, dance moments and influences from the Czech little allusions and “witticisms”. We see the was characteristic of Martinů in later years and French environments. In Film en miniature

Victory March of the R.U.R. Sports Club in Polička, the finale © bohuslav martinů foundation, prague Piano composition Film en miniature – Tango, bars 17–19

interaction of humour of various types, such too and its traces can also be found in his Martinů makes use of subtle suggestions in as humour in the pictographic sphere (added numerous letters. his pursuit of humour. In Tango, as in the case drawings, comical descriptions, etc.), and of the later ballet La revue de cuisine, H. 161 comicality in the music itself. A nice example of the application of several the tango is presented by means of stylisation The minor piano composition Procession of humorous techniques is the recently discovered of the habanera rhythm. The tonal tango is the Cats on Solstice Night, H. 122 serves as an piano piece Victory March of the R.U.R. Sports “spiced” with gentle exaggeration, such as example of the application of the classical tech - Club in Polička, H. 129bis dating from 1921. parallel chord progressions, through which he nique of “imitation,” which can be construed as In addition to the humorous drawing on could parody the popular stylisations of the a certain manifestation of humour. (Halbreich the title page and performance instructions South American dance in Europe in the 1910s describes the composition as “humorous, replete (including an indication for the pianist to and 1920s. with dry irony and in the typical ‘cat step’.”) exclaim “Nazdar!” in the end), the composition

martinůrevue12011 | 15 > HUMOUR IN MARTINŮ’S MUSIC FROM THE 1920s research

Who Is the Most Powerful in the World? – Serenade. Tempo di Menuet

y Ballet La revue de cuisine – Prologue, bar 71 < Ballet La revue de cuisine – Prologue, bars 38–40

EXAMPLE NO. 2 – BALLET MUSIC basic compound time. The solo part is deliber - another plan of purely musical humour which is “I think it will be great fun.” ately assigned to the viola, which tries, not not a musical description of the libretto. Let us In the 1920s Martinů similarly used dance totally assuredly (as is traditionally said about have a look at the ballet’s first few bars. The music and connected it with the phenomenon the in the orchestra) to sing its cantilena prologue starts with a fanfare and continues of humour and burlesque in the realm of ballet up to an attempt at a high “C”. In the score this with suggestions of fugatos, which caricature music. The ballet Who Is the Most Powerful note bears the instruction: “High »C« must be polyphonic techniques, yet never develop fully, in the World?, H. 133 is generally understood as expressed in a comical exalted manner”. since they have no chance amid the “dance” the work in which Martinů abandons old com - of cooking utensils. po sitional techniques and finds his own unique Here we encounter a multi-layered humour, style: “Yet I had in mind a short, uncomplicated encompassing imitation, illustration, ridicule, The real theme, made up of three motifs, is then and cheerful ballet, one in which I could apply reflection on tradition, play on expectation, indicated in bar 38 in the cello and after wards purely dance forms.” Martinů again combines instrumentation jokes, etc. In his own com - its parts persistently return. In the pseudo- dance music with humour and joviality, desig - ments, Martinů did not leave us many guide- fugatos these motifs are taken up by the other nating the work as a burlesque: “I wasn’t too posts, but a letter to his friend Stanislav Novák instruments, until in bar 71 all these attempts shy to use various musical remi nis cences, which supports the understanding that by the term are “laughed at” (imitation of human laughter) are at the same time a cari cature; distortion… musical “fun” he could have primarily meant in octave runs in the clarinet and bassoon. This the entire subject is conceived not as a fairy instrumentation “fun.” In this letter he men - brief example clearly demon strates Martinů’s tale, but rather as a burlesque.” tions the scheduled premiere in Brno: “I think subtle play with musical tradition. The part entitled Serenade. Tempo di Menuet it will be great fun, especially in the orchestra. contains humorous paradoxes already in the It will certainly sound very good, there are CONCLUSION very descriptions of the scenes. Within the first plenty of ideas there.” Bohuslav Martinů applied the techniques com - few bars, we find out that it is morning and the When it comes to the ballets dating from monly associated with humour in 20th-century mouse-daughter runs out in her morning attire. 1925–1927, the composer himself would later music very sparingly. The selected musical The image of the morning warm-up exercise on come to hold La revue de cuisine, H. 161 examples, however, document that he used is interrupted by the Serenade – originally an in high esteem. In this piece, one of his most them absolutely wittingly, always when he evening music! This “morning serenade” is ac - pop ular, Martinů again applies allusions to aimed to attain a humorous effect and make com panied by the stage instruction: “Amouse- dance, specifically the tango and the Charleston. the listener laugh. Although in the 1920s spe - singer with a lute appears on the wall and sings. The libretto (completed with verses by Jan cific technical methods (variable rhythms, The mouse-singer plays the lute and makes the Löwenbach) begins with text which humorously displacement of accents, dynamic contrasts, usual comical love-sick poses.” Martinů con - describes the ballet’s individual characters with harmonic thickening, tone painting, imitation) tinues to develop the serenade’s humorous human properties. Yet the music in no way became part of Martinů’s musical language, conception in the musical realm. The lute is takes up these descriptions. Against the back - they did not always serve to express humour parodied by the strings, which establish the drop of mostly dance forms, Martinů creates or comicality. ❚

16 | martinůrevue12011 NEW MARTINŮ AUTOGRAPHS research IN PARIS THE MÉDIATHÈQUE MUSICALE MAHLER, a rela tively new private library in Paris, was founded by the renowned Mahler scholar Henry-Louis de La Grange in 1986. Despite its name, it does not confine itself exclusively to ’s œuvre, but is rather a docu - mentary library focus ing on 20th-century composers and performers in general. The institution’s collections have been constantly expanding and it is there fore worth keeping an eye on its website. Last year these web pages reported about the acquisition of the papers of the famous French flautist René le Roy. Le Roy’s name is synonymous with Martinů’s frequently Martinů & René le Roy performed Sonata for Flute and Piano, H. 306 in Ridgefield, USA, September 1944 (1945), which he first played in public in New York on 6 May 1950, less than half a year after its premiere. The composition was written in the idyllic surroundings of Cape Cod, South Orleans (Mass.), shortly after the end of World War II. In its cheerful mood and distinct melo - diousness one can hear evocations of the bird- song of the local whippoorwill. During a study stay at the Médiathèque Musicale Mahler, it became clear that the abovementioned papers © médiathèque musicale mahler musicale © médiathèque contain immensely valuable sources, namely the blueprint of the score (the title page and 33 pages of sheet music) with numerous auto - graph insertions by both the composer and the two performers, and the blueprint of the piece’s solo part (11 pages). The blueprint of the score bears the inscription “Sonata / for flute and piano. / B. Martinu / June 1945 – South Orleans. Mass. U.S.A.” on the title page and served the pianist as the piano part. In the top right cor - ner, it contains the signature “René Le Roy.” The most significant of the composer’s inser - tions is the 7 new bars of the piano part in the Vieux Moulin, any Martinů scholar would be left in Ridgefield at the Three Chimneys estate and 2nd movement (bars 45–52). The solo part, speechless: the composer’s wife informs the bearing the inscription “visite chez Martinů over leaf on the 1st page, also contains infor ma - flautist that she “could not send the wind quin - sept. 1944”. tion about the durata of individual movements tet, but hope that a friend who is just leaving for We extend our heartfelt thanks to the cura - and the com position’s total duration as per - Prague will find it there.” It is without question tor, Mrs Alena Parthonnaud, and the Director formed by René Le Roy: “6.30 / 6. / 5 / 17.30.” the lost Woodwind Quintet, H. 187, dating from of the Médiathèque Musicale Mahler, Mr Alain In addition to these valuable sources, the 1930, which for decades has been considered Galliari, for making these invaluable materials collection also includes two interesting letters the “Most Wanted” among lost Martinů works. accessible. by Charlotte Martinů. When reading the first of René Le Roy’s collection is accompanied by Aleš Březina them, dated 12 December 1961 and written in a set of 12 small-format photographs taken www.mediathequemahler.org

martinůrevue12011 | 17 3 May 2011 19 June 2011 > St. Matthew´s Episcopal Church, > Heilig-Kreuz-Kirche, California, USA Berlin, Germany www.cmpalisades.org/ Partita (Suite No. 1) for String NEWS Trio in F Major for Flute, Violoncello Orchestra, H. 212 and Piano, H. 300 Brandenburg Berlin Chamber events Chamber Music Palisades Orchestra THE PIANO QUINTET, H.35 Delores Stevens (Piano) Rainer Johannes Kimstedt (Conductor) Ronald Leonard (Cello) FOR THE FIRST TIME Susan Greenberg (Flute) 20 June 2011 > , London, England ON CD (OPERAS & BALLETS) 5, 6, 7, 8 May 2011 www.wigmore-hall.org.uk THE GRAFFE QUARTET (Štěpán Graffe, SEE PAGE 3 > Taper Foundation Auditorium, Sextet for Flute, Oboe, Clarinet, Lukáš Bednařík, Lukáš Cybulski, Michal Benaroya Hall, Seattle, USA 2 & Piano, H. 174 Hreňo), in co-operation with Czech www.seattlesymphony.org Soloists of the London Philharmonic Radio, is preparing the first-ever CD (CONCERTS) Toccata e Due Canzoni, H. 311 Orchestra release of Bohuslav Martinů’s Piano Seattle Symphony Orchestra Quintet, H. 35, dating from 1911. Jakub Hrůša (Conductor) 16, 17 April 2011 25, 27 August 2011 The piano part has been undertaken by > Kitchen Theatre, Ithaca, Vladimir Feltsman (Piano) > Sala São Paulo, Brazil the Japanese-American artist Michiko New York, USA, www.ccoithaca.org Madrigals for Violin Otaki. The CD will be released in April The Kitchen Revue, H. 161 15 May 2011 and Viola, H. 313 2011 on the Radio servis label and will Cayuga Chamber Orchestra > Sundin Musíc Hall, Members of the Orquestra Sinfônica also contain Vítězslav Novák’s Quintet Minnesota, USA do Estado de São Paulo and Bedřich Smetana’s Quartet No. 2. 25 April 2011 www.hamline.edu/hamline_info/ > DePaul University: Concert Hall, sundin/concerts.html (FESTIVALS) Chicago, Illinois, USA Sonata No. 2 for Cello and Piano, OPERA http://music.depaul.edu H. 286 THE MARRIAGE, H.341 Concertino for Cello, Brass, Piano INTERNATIONAL and Battery – in c, H. 143 15 May 2011 PRAGUE SPRING AT LA FABRIKA DePaul Wind Ensemble > New York, MUSIC FESTIVAL Stephen Balderston (Cello) New York, USA 12 May 2011–4 June 2011 La Fabrika, Prague, Studio 2: Cliff Colnot (Conductor) www.bronxartsensemble.org www.festival.cz Saturday, June 18, 2011 Fantasia for Theremin, Oboe, 28 May 2011 THE MUCH-LAUDED production of The 28 April 2011 String Quartet and Piano, H. 301 > The Estates Theatre Marriage, H. 341, which was first seen at > Concert Hall of the City Darryl Kubian (Theremin) The Marriage, H. 341 the Janáček National Theatre in Brno in of Ostrava Cultural Centre, (details – see OPERAS – page 3) 2009, will be given two special perform- Ostrava, CZ, www.jfo.cz 24 May 2011 ances to co-incide with the Prague Concerto for Piano and Orchestra, > Rudolfinum, Suk Hall, SWALEDALE FESTIVAL Quadriennale of Stage Design 2011. No. 2, H. 237 Prague, CZ 28 May–11 June 2011 The theme of this PQ is “Scenography Janáček Philharmonia Ostrava www.ceskafilharmonie.cz www.swaledale-festival.org.uk Expanded”. Jan Chalupecký (Conductor) Easy Etudes for two Violins H. 191 2 June 2011 Directed by Pamela Howard, The Mar- (excerpts) String Quartet No. 7, riage was performed in the historic 29 April 2011 Songs on One Page H. 294 'Concerto da camera' H. 314 Mozart Hall at the Reduta Theatre. The > University of Vermont: (arr. Eva Gina for voice, cello CITY OF LONDON FESTIVAL opera is staged in an installation of Recital Hall, Vermont, USA and two violins) 6 July 2011 1000 vintage objects representing Pod- www.uvm.edu/~music/ Ivana Frajtová (Violin) Sonata for Viola kolyosin's Bachelor Walk Up, Agafya’s Sonatina for Clarinet and Piano, H. 356 Ivana Kovalčíková (Violin) and Piano, H. 355 basement apartment in a Brownstone Atria Ensemble Eva Gina (Cello, Piano, Violin & Voice) Romie de Guise-Langlois (Clarinet) Maxim Rysanov (Viola) House, and a street in New York. It is Katya Apekisheva (Piano) sung in English as Martinů wrote it in Hyeyeon Park (Piano) 1 June 2011 1953 when he was living there as an ex- Jessica Lee (Violin) > Enmax Hall, Winspear Centre, Aspen Music Festival ile. The Gogol story that inspired Mar - Alberta, Canada 27 July 2011 29, 30 April 2011 tinů has been updated to New York www.winspearcentre.com > Aspen, Colorado, USA > St. Barnabas 1953. It was originally a commission for Sonata No. 2 for Cello www.aspenmusicfestival.com Presbyterian Church, NBC television as part of a series Opera and Piano, H. 286 The Frescoes of Piero della Richardson, Texas, USA for the Millions. William Eddins (Piano) Francesca, H. 352 Owens Art Center, SMU: Caruth The installation at La Fabrika will be Pieter Wispelwey (Cello) Aspen Concert Orchestra Auditorium, Austin, Texas, USA open to the public from the opening Tomáš Netopil (Conductor) www.chambermusicinternational.org day of PQ, running from June 16th until 2, 3, 4, 5 June 2011 Three Madrigals for Violin the closing day June 26th as part of the > Renée and Henry Segerstrom and Viola, H. 313 daily exhibition. Visitors are invited to Concert Hall, California, USA Chamber Music International walk through the installation, examine Memorial to Lidice, H. 296 Cho-Liang Lin (Violin) the objects, and imagine the world of Pacific Symphony Paul Neubauer (Viola) the people who live there. There will Carl St. Clair (Conductor) also be screenings of the DVD of the 1 May 2011 Brno production, and the original Black 19 June 2011 > Sunderman Conservatory of Music, and White NBC 1953 production. > Sala São Paulo, Brazil The program is subject to change Pennsylvania, USA The Marriage will have all the original Nonet for Wind Quintet, www.mirandaliu.instantencore.com cast and orchestra from the 2009 pro- String Trio and Double This is only a selection of Martinů’s Three Madrigals for Violin duction at the Brno National Theatre in F major, H. 374 performances all over the world. and Viola, H. 313 and will be conducted by Jakub Klecker, Orchestra de Câmara da OSESP More events can be found at Gettysburg College with lighting by Daniel Tesař. www.martinu.cz, Section ‘Bohuslav Anyango Yarbo-Davenport (Violin), Stefan Dohr (Conductor) Martinů’, Subsection ‘Calendar For further information, visit Adam Cordle (Viola) of events’. www.lafabrika.cz

18 | martinůrevue12011 NEW CDs NEW PUBLICATIONS

CONTINUITY OF CHANGE BOHUSLAV MARTINŮ IN TWENTIETH-CENTURY MUSIC HISTORY Kontinuität des Wandels Bohuslav Martinů in der Musikgeschichte des 20. Jahrhunderts Martinů Studien 3 Peter Lang AG, International Academic Publishers, Bern 2010 Bohuslav Martinů Edited by Aleš Březina and Ivana Rentsch SONGS ON MORAVIAN Contains proceedings from the Bohuslav Martinů conference FOLK POETRY in Prague in May 2009 OPENING OF THE SPRINGS 434 pages ISSN 1662-5366 Songs on One Page, H. 294 ISBN 978-3-0343-0403-0 New Špalíček, H. 288 www.peterlang.com Songs on Two Pages, H. 302 Ludmila Peřinová (Mezzo-soprano) Eva Peřinová (Piano) The Opening of the Springs, H. 354 MARTINŮ REVISITED 2009–2010 The Ostrava University Choir Music Club, EU Luxembourg Edited by Lucie Harasim Berná Jan Spisar (Conductor) Contains basic information on the Martinů Revisited project, selection of most significant opera productions, festivals, Recorded in 2010 / Czech Radio Stylton RS-5206 2 11 concerts and other events. Published by the Bohuslav Martinů Foundation in Prague, 2010 96 pages, in English ISBN 978-80-254-8803-4 Limited edition orders: [email protected] 10 EUR

SIGNIFICANT INSTITUTIONS OF CZECH COMPOSERS Bohuslav Martinů CHAMBER MUSIC THEIR HISTORY, MISSION AND PROJECTS FOR THE YEARS 2010–2014 Sonata for Flute, Violin, and Piano, H. 254 Sonata for Flute and Piano, H. 306 Edited by Lucie Harasim Berná and Zoja Seyčková vyznamn¯ e¯ Madrigal Sonata for Flute, Violin Publication originated in 2010 to mark the 15th anniversary ceskˇ e¯ skladatelske¯ and Piano, H. 291 of the establishment of the Bohuslav Martinů Institute instituce 2010 Í PRAHA POLIČKA PRAHA BRNO PRAHA PRAHA VÝROČ 15. ZALOŽENÍ in Prague. The most prominent institutions entrusted with jejich historie, poslání Trio for Flute, Cello and Piano, H. 300 INSTITUTUMARTINŮ a projekty v letech preserving the legacy of Czech classical composers give 2010–2014

Agata Igras-Sawicka (Flute) LEOŠE JANÁČKA BEDŘICHA SMETANY ANTONÍNA DVOŘÁKA BOHUSLAVA MARTINŮ BOHUSLAVA BOHUSLAVA MARTINŮ BOHUSLAVA BOHUSLAVA MARTINŮ BOHUSLAVA [{ Bartłomiej Nizioł (Violin) a summary of their history, activities and current projects. NADACE MUZEUM MUZEUM NADACE NADACE INSTITUT CENTRUM Marcin Zdunik (Cello) (Bedřich Smetana Museum, Antonín Dvořák Museum, Leoš INSTITUT BOHUSLAVA MARTINŮ 2010 Mariusz Rutkowski (Piano) Janáček Foundation, Bohuslav Martinů Foundation and Institute, Bohuslav Martinů Center) Recorded in 2010 / DUX Recording Producers DUX 0768, 2010 37 pages, in Czech and English ISBN 978-80-254-8802-7 Limited edition Orders for free: [email protected]

martinůrevue12011 | 19 SIR CHARLES MACKERRAS LIFE WITH CZECH MUSIC s

“I am a great fan of Dvořák’s “Nobody needs me to say that music, because it always Mozart and Händel are great seemed to me that apart composers, whereas they did from Mozart Dvořák is the need somebody to say that greatest composer...” Janáček is the great composer, Sir Charles Mackerras and that’s what I did. If I have achieved anything in my life, it is the propagation of Janáček.” Sir Charles Mackerras SU 4041-2 6CDSU 4042-2 4CD+ 1DVD ANTONÍN DVOŘÁK Slavonic Dances, 1st & 2nd Series, Opp 46 & 72 / Symphonic LEOŠ JANÁČEK Jealousy – The Cunning Little Vixen. Orchestral suite – Variations, Op.78 / Symphony No.6 in D major, Op.60 / Symphony No.8 in G major, Op.88 Šárka. Overture – Taras Bulba – Káťa Kabanová. Overture, interludes – – Symphony No.9 in E minor, Op.95 ‘From the New World’ – Legends, Op.59 – Schluck und Jau – Sinfonietta – Glagolitic Mass – Amarus Scherzo capriccioso, Op.66 – In Nature´s Realm – concert overture, Op.91 – BOHUSLAV MARTINŮ Juliette. Orchestral suite – Field Mass – Double Concerto – Symphonic Poems Opp 107–110 Les Fresques de Piero della Francesca BEDŘICH SMETANA Má vlast / My Country DVD / LEOŠ JANÁČEK Glagolitic Mass – Jealousy –Taras Bulba Czech Philharmonic Orchestra, Prague Symphony Orchestra Czech Philharmonic Orchestra, Prague Radio Symphony Orchestra, Prague Philharmonic Choir

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