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Interview with Steven Isserlis Opera Juliette in London Czech Cellist Miloš Sádlo and Bohuslav Martinů Special Issue – Mart

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Interview with Steven Isserlis Opera Juliette in London Czech Cellist Miloš Sádlo and Bohuslav Martinů Special Issue – Mart THE BOHUSLAV MARTINŮ FOUNDATION THE BOHUSLAV MARTINŮ INSTITUTE THE INTERNATIONAL MARTINŮ CIRCLE INTERVIEW WITH STEVEN ISSERLIS OPERA JULIETTE IN LONDON SEPTEMBER—DECEMBER 2012 VOL.XII NO.3 CZECH CELLIST MILOŠ SÁDLO AND BOHUSLAV MARTINŮ SPECIAL ISSUE – MARTINŮ CALENDAR 2013! EVENTS / NEWS NEW CDs DAVID OISTRAKH 100th Birthday Edition: contents Violin Concertos & Chamber Music CD 20 CD set 3 highlights CD 11: Martinů: Sonata for Violin and Piano, H. 303 OPERAS / BALLET / CONCERTS David Oistrakh (Violin), Frida Bauer (Piano) Recorded 1964 4 IMC founding members Brilliant Classics 9056, 2011 OLDŘICH FRANTIŠEK KORTE ALEŠ BŘEZINA 5 incircle news MARTINŮ 6 reviews La revue de cuisine, H. 161 (Complete Ballet) Concerto for Harpsichord JULIETTE AT THE ENGLISH and Small Orchestra, H. 246 NATIONAL OPERA Chamber Music No. 1, H. 376 PATRICK LAMBERT Les rondes, H. 200 MAREK PECHAČ Holst-Sinfonietta 9 research Robert Hill (Harpsichord), MILOŠ SÁDLO AND BOHUSLAV MARTINŮ Klaus Simon (Conductor, Piano) MAREK PECHAČ Recorded 2009 Naxos 8.572485, 2012 11 special series LIST OF MARTINŮ’S WORKS XI ISRAELI CHAMBER PROJECT 12 interview Opus 1 WITH JIŘÍ BĚLOHLÁVEK PETR VEBER, LUBOŠ STEHLÍK Saint-Saëns, Martinů, Porat, Debussy, Bartók review Martinů: Chamber Music No. 1, H. 376 Tibi Cziger (Clarinet), Itamar Zorman (Violin), RECITAL BY MAXIM RYSANOV Shmuel Katz (Viola), Michael Korman (Cello), & ASHLEY WASS Assaff Weisman (Piano) MARK TODD Azica Records, 2012 14 reviews A PROVOCATIVELY POETIC THEATRE BEHIND THE GATE LUCIE DERCSÉNYIOVÁ BOHUSLAV MARTINŮ DAYS 2010 16 interview Trio No. 2, H. 327 WITH RADIM VIZVÁRY Orbis Trio LUCIE JIRGLOVÁ Recorded 2011 Epic of Gilgamesh, H. 351 18 interview Cantata for Soloists, Speaker, WITH STEVEN ISSERLIS Mixed Chorus and Orchestra LUCIE HARASIM BERNÁ Historical recording, recorded 1959 Marylin Horne (Soprano), Otto Wiener (Bass), 19 news Murray Dickie (Tenor), Walter Berry (Bass), Ernst Meister (Speaker) Philharmonia Hungarica, Wiener Singakademie, Paul Sacher (Conductor) Bohuslav Martinů Foundation, 2012, PROMO NBM 15 28 January 2013 > New Stage of National Theatre, Prague highlights OPERA 2013 — 11th FESTIVAL OF MUSIC THEATRE / 3 January – 3 February 2013, Prague Theatre Behind the Gate, H. 251 Radim Vizváry (Director and Choreography), Valentina Shuklina (Conductor) NOS (INDEPENDENT OPERA STUDIO – Students of Prague Academy of Musical Arts) www.festival-opera.cz 17 & 22 April 2013 > National Theatre Prague Plays of Mary, H. 236 Musical preparation: Jiří Bělohlávek / Conductor: Jiří Bělohlávek, David Švec / Stage director: Jiří Heřman Sets: Pavel Svoboda / Costumes: Alexandra Grusková / Chorus master: Pavel Vaněk, Lukáš Vasilek Choreography: Jan Kodet / Dramaturgy: Ondřej Hučín / Chorus master of the Kühn's Children's Choir: Jiří Chvála OPERAS Lights: Daniel Tesař www.narodni-divadlo.cz . 6 March & 11 March 2013 > Staatsoper, Wien, Austria Double Concerto for Two String Orchestras, Piano and Timpani, H. 271 Ballet Title: Before Nightfall Nils Christe (Choreographer) Wiener Staatsballett, Markus Lehtinen (Conductor) Thomas Rupert (Stage setting), Annegien Sneep (Costumes) BALLET . 10 & 11 January 2013 > Culture House, Ostrava, CZ Symphony No.4, H. 305 Janáček Philharmonic Orchestra, Stanislav Vavřínek (Conductor) 23 February 2013 > Rudolfinum, Dvořák Hall, Prague, CZ HOMAGE TO RUDOLF FIRKUŠNÝ — Fantasy and Toccata, H. 281 Jiří Kollert (Piano) 27 April 2013 CONCERTS > Royal Festival Hall, London, UK Double Concerto for Two String Orchestras, Piano and Timpani, H. 271 Vladimir Jurowski (Conductor), London Philharmonic Orchestra . martinůrevue32012 | 3 OLDŘICHFRANTIŠEK for all perceptive readers (and a trans lator’s founding nightmare). I cannot resist taking the opportunity members to quote at least two short examples of his singular style. Both of them are from the analysis of the / ALEŠ BŘEZINA first movement of the Concerto for Oboe and Small Orchestra in Korte’s extensive unpublished essay OLDŘICH FRANTIŠEK KORTE is a man of (16 pages). immense paradoxes. Infinitely kind-hearted and The soloist, by the time fully warmed up, has at the same time uncompromisingly critical. He was become so enamoured of his instrument that over jailed by the Nazis and, twice, by the Communists KORTE the twenty-two-bar area of the next strophe (95–116) (the first time for attempting to leave the republic he revels in playing for playing’s sake and the sheer to go to study composition with Bohuslav Martinů), joy of technique, as though only now discovered in yet he has never grown embittered. Perhaps the the form of entirely simple figurative passages of hardest struggle he has waged (besides the struggle predominantly triplet semiquaver motion (for the sake with himself and with his stubborn osessiveness of whose smooth execution the composer allowed that in hindsight, according to his own words, has for a small, strategic slowing down of the tempo). often worsened his karma) was that with his father, At a later junction, he describes his analytical whom he loved and admired deeply. Of all his method, whose starting premise is “a type of artistic activities (writing books, intensive creative (possibly subjective) view that would above all and performance work for theatre, film and, above not take issue with the composer’s intentions but all, Laterna magika), he has devoted the least time would strive optimally to approximate the form and effort to the one that has gained him the great - and character of the composition within the bounds est and most enduring fame: composing concert of the given treatise.” music. Oldřich F. Korte often, and with pleasure, Yet that which in this movement compels continual says that there are too many bad or average works absorption and a deep response on the part of the out there, that it is better that he only write a few audience is the immensely powerful and concentrated yet be particular about them. And this he has truly emotional charge, the inner content of the com po si - succeeded in – virtually all of his compositions rank tion, its human message (should we still be so bold as among the very finest written in Europe in the to apply a notion that has been profaned so many second half of the 20th century. He is proud of all times). Yes, at that moment, we find ourselves on the the works of his that have been published, but he slippery and precarious ground of utmost subjec - has done practically nothing to get them performed. tivism, artificial structures, exegetic mystifications Instead, he has tried to help other artists. The time and verbal cliché. And even if we do our best to talk it has taken him to complete pieces is simply aston - about the matter truthfully and in a novel manner, ishing – the Concerto grosso for trumpets, flutes, now and then we audaciously identify our own piano and strings, for instance, originated between feelings about the composition with the assumed 1954 and 1985 – yet not one of them shows a seam, feelings and intentions of the composer, which we discontinuity, interruption, a suggestion of change do not actually know. We can especially never be in style and creative concentration. He considers cautious enough when it comes to our approach to the highest value to be friendship, the spiritual life the works of Bohuslav Martinů, who had dealt with and continuous intellectual development. following several more hours of inspiring conver - this issue in particular and tortured himself over it I vividly recall the first time we met. It was in sation on the front seats of his car. My neck was throughout his life. the summer of 1990, at a conference marking the strained for a whole week, yet it was well worth it. That premise and all the mentioned risks notwith - centenary of Bohuslav Martinů’s birth. Oldřich read We didn’t start seeing each other regularly until standing, I would still like to attempt a personal form an enthusiastic letter Bohuslav Martinů had written 1995, when, upon the initiative of Viktor Kalabis of “sensation-based” interpretation or description, to Miloš Šafránek, in which the composer lauds and the Board of Trustees of the Bohuslav Martinů which, under repeated strong impression, I do not Korte’s peerless analysis of his works. Martinů Foundation, of which Oldřich was a member, want to avoid in principle. I believe that it is possible writes that to date no one has made so accurate an I established the Bohuslav Martinů Institute. to talk about personal impressions and reflections analysis of his music and its sources. Korte deeply The main topic of our conversations was always, a given piece of music evokes in us, without having regretted that owing to the closed borders the naturally, our beloved composer and seeking ways to absolutise the validity of our description, and greatest dream of his life couldn’t come true – to go to raise awareness of his music in a lucid manner without feeling entitled to convey the ideas, impres - and study composition with Martinů in the USA. and among as many people as possible. The most sions and reflections the composer felt when writing Resigned to remaining behind the Iron Curtain, tangible result of these frenzied debates was the the composition. he passionately and fully devoted himself to cham - release of the 4-CD set Martinů – Selected Master - At the present time, it saddens me to say, Oldřich pi oning the music of Bohuslav Martinů, who at the pieces in 2001, for which we together had the F. Korte (b. 1926) is not in the best of health. time was considered by the official critics a traitor, unenviable task of selecting from among Martinů’s His works, however, are still being performed by renegade and capitalist lackey. Korte’s polemics gargantuan œuvre 20 seminal compositions leading Czech orchestras. The world-famous pianist against the regime’s intellectually far less mature spanning all the genres of his creation in the best Garrick Ohlsson added the Sonata for Piano critics of Martinů are legendary and would warrant available recordings.
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