The Bohuslav Martinů Foundation ° The Bohuslav Martinů Institute BOHUSLAVMARTINU The International Martinů Circle

MAY—AUGUST 2008 / VOL.VIII / NO.2

stival Fe gton eamin ny in L mpho fth Sy ů’s Fi zech Martin The C a tinů & hestr B.Mar ic Orc rmon d hilha visite P nů Re rt III Marti rks Pa ů’s Wo artin TS ist ofM EVEN L EWS & N Ds New C ts– Conten VOL. VIII / NO.2 MAY— AUGUST 2008

e WelcomE i Historical Recordings — INTERNATIONAL MARTINŮ CIRCLE MARTINŮ’S FIFTH SYMPHONY — NEWS • PATRICK LAMBERT r Martinů RevisiteD o Reviews INTRODUCTORY WORD MARTINŮ AT THE LEAMINGTON • ALEŠ BŘEZINA CZECH MUSIC FESTIVAL • GRAHAM MELVILLE-MASON

a Reviews : BOHUSLAV MARTINŮ, WERKVERZEICHNIS UND BIOGRAFIE • IVANA RENTSCH s SpeciaL Series LIST OF MARTINŮ’S WORKS III WORKS FOR LARGE ORCHESTRA t Martinů RevisiteD — UPCOMING HIGHLIGHTS — MARTINŮ’S BALLET IN ROSTOCK f ResearcH • GÜNTHER THIELE BOHUSLAV MARTINŮ & THE CZECH PHILHARMONIC y News / AutographS ORCHESTRA – PART I • KAREL ŠPELINA — PRECIOUS GIFT — MINI-INTERVIEW • JANA HONZÍKOVÁ j News u Reviews IVANA RENTSCH: l Events ANKLÄNGE AN DIE AVANTGARDE • EVA VELICKÁ CARL DAHLHAUS ON MARTINŮ ; News • JUSTIN KRAWITZ — NEW CDs

y Bohuslav Martinů in Prague, 1905–1906 © PBM me– b ] Welco

THE BOHUSLAV MARTINŮ INCIRCLE NEWS THE INTERNATIONAL NEWSLETTER is published by the MARTINŮ CIRCLE Bohuslav Martinů Foundation in collaboration We hope you will enjoy our latest Newsletter.The majority of our members with the Bohuslav Martinů Institute in Prague have now paid their subscriptions for 2008.We would ask those members Members receive the illustrated Bohuslav EDITORS who have not yet made their 2008 payments to do so immediately to Martinů Newsletter published three times ensure that they continue to receive the Newsletter and next CD. a year plus a special limited edition CD Zoja Seyčková They should contact the appropriate board members shown below: Lucie Berná containing world premieres, historic archive Patrice Chevy (France), [email protected], +33675620321, 11 Résidence performances and recordings from the TRANSLATION FOCH, 923 80 Garches, France annual Martinů Festival not obtainable Hilda Hearne commercially. Gert Floor (Netherlands), [email protected], +31725095262, The IMC is supported by the Bohuslav PHOTOGRAPHS Gortersweg 6, 1871 CC Schoor, Netherlands Martinů Foundation. The Bohuslav Martinů Foundation’s and Institute’s Geoff Piper (Luxembourg, Belgium), [email protected], +352-474269, 24, rue des archive, collections of the Municipal Museum – Cerisiers, Luxembourg, L – 1322 Luxembourg Bohuslav Martinů Memorial in Polička Membership & subscription Robert Simon (USA), [email protected], mobile number 216-973-7716 information GRAPHIC DESIGN home number +1-1-608-554-4216, 2531 Jackson Ave.Apt 1E, Evanston, IL 60201,USA Yearly subscription: David E. Cígler Jaroslav Šonský (Scandinavia), [email protected], +4611318475, 20 Euros / 25 USD / £14 UK PRINTING Knopgatan 6, 603 85 Norrköping, Sweden Subscription for corporate members: 100 Euros BOOM TISK, spol. s r.o. Gregory Terian (UK), [email protected], +441625523326, 18 Broadway, Wilmslow, SK9 1NB UK, Great Britain includes 10 copies the each Newsletters PRICE PLUS 3 copies o the non-commercial CD Mari Tokuda (Japan), [email protected] CZK 50 recording from the Bohuslav Martinů The Bohuslav Martinů Newsletter Those wishing to pay in Czech currency or by cash should contact me Days Festival in Prague is published three times a year. at [email protected] Single copies of the Newsletter: COVER PHOTO The next Newsletter, due to be published in November, will include a special part with 50 CZK / 2 Euro / 3 USD + postage From ballet Who is the Most Powerful in theWorld? comprehensive details of events taking place in the Czech Republic and internationally For further details and for single copies production Volkstheater Rostock © Dorit Gätjen as part of the MARTINŮ REVISITED festivities. of the Newsletter contact: Jana Honzíková EDITORIAL OFFICE > A MEETING OF THE BOARD OF DIRECTORS WILL TAKE PLACE e-mail: [email protected] The Bohuslav Martinů Institute AT 10 AM ON 13 DECEMBER 2008 AT THE BOHUSLAV MARTINŮ The International Martinů Bořanovická 14 FOUNDATION HALL, BOŘANOVICKÁ 14, PRAGUE 8-KOBYLISY. < Circle (IMC), o. s. 182 00 Praha 8-Kobylisy, Czech Republic Bořanovická 14, Praha 8-Kobylisy tel.: +420 257 320 076 Jana Honzíková, Secretary, International Martinů Circle tel.: +420 257 320 076, fax: +420 257 323 761 e-mail: [email protected] +420 284 691 529 www.martinu.cz LUCIE BERNÁ: BOHUSLAV MARTINŮ. THE IMC CORDIALLY ISSN 1214-6234 A VIEW OF HIS LIFE & MUSIC WELCOMES NEW MEMBERS (alphabetical order) IN OCTOBER 2008 the Bohuslav Martinů Institute will be issuing a new publication • The Arthur Friedheim Library, on the life and works of Martinů.The limited edition 35-page volume will be exclusively Bozena Jedrzejczak Brown, Baltimore, in English, printed in full colour with an array of illustrations. Special thanks to Geoffrey USA Piper (MusicEnterprise, Luxembourg) for his generous sponsorship of this publication. • Emile Pierre Barbier, France Price 7 EUR/150 CZK (+postage); MEMBERS OF THE INTERNATIONAL • Walter Coussement, France MARTINŮ CIRCLE CAN PURCHASE THE MONOGRAPH FOR • Jan Dewilde, Hogeschool Antwerpen, A DISCOUNTED PRICE of 5 EUR/100 CZK (+postage). Bibliothecaris Departement dramatische Orders are accepted per e-mail at [email protected] or telefonically kunst, muziek & dans, Netherlands at +420 257 320 076. (See also page 20.) • Don Friswell, Great Britain • Luc Grethen, Luxembourg THE PREVIOUS ISSUE ERRATA • Genevieve Chaduteau, Mouvement Janáček, France ON PAGE 19 of our previous issue we stated • Geoffrey Chew, Great Britain that Mrs Doubravová was the widow • Jiří Kopecký, Czech Republic MUNICIPAL MUSEUM — of the composer Jaroslav Doubrava, from • Mannes College The New School for BOHUSLAV MARTINŮ whose probate estate we have received Music, New York, USA (Ed Scarcelle, MEMORIAL IN POLIČKA an autograph of Sonata for violin dedicated Librarian) OFFERS short-term exhibitions to Bohuslav Martinů and a CD with chamber dedicated to the life and work of compositions by Jaroslav Doubrava. We B. Martinů, a guided tour to Martinů’s apologise for the misunderstanding and > WE EXPRESS SPECIAL THANKS birthplace in the St. James church would like to rectify our error: Prof Jarmila to Justin Krawitz, IMC member, tower and for registered researchers Doubravová, musicologist and aesthetician, (University of Wisconsin-Madison), archive materials concerning Martinů. and her sister, Prof Anna Králová, are daughters of Jaroslav Doubrava.Their mother’s who participated in the editing, Further information available at name was also Jarmila Doubravová, née Vonásková, and this year 25 years have passed creation and translation of many www.muzeum.policka.net since her death.We once again apologise for our error and extend our thanks to of the texts in this issue. and www.policka-mesto.cz both of Jaroslav Doubrava’s daughters for their gifts, which are valuable additions to the stock of the Bohuslav Martinů Institute’s library.

BOHUSLAVMARTINŮNEWSLETTER2)2008 e ů — artin — M ited—— Revis Martinu˚Revisited

ALEŠ BŘEZINA UPCOMING IN 2009 THE CULTURAL WORLD HIGHLIGHTS will commemorate the 50th anniversary of Bohuslav Martinů’s death (28 August SURVEY OF THE MOST IMPORTANT EVENTS (12/2008–12/2010) 1959). In anticipation of this anniversary Important announcement: as of June 2008 the year, many organisers in the Czech role of international coordinator will be taken Republic and abroad are preparing music up by Lucie Berná of the Bohuslav Martinů productions at which the composer’s Institute (contact: [email protected]) works will be performed. Considerable attention will also be devoted to the Bohuslav Martinů Revisited 2009 artistic and cultural-political context of (8. 12. 2008–8. 12. 2010) Martinů’s œuvre. Under the auspices of the Minister of Foreign Affairs of the Czech Republic Mr. Karel Schwarzenberg Owing to the concerted efforts of the Honorary Board: Gabriela Beňačková, Bohuslav Martinů Foundation and Prof. Zuzana Růžičková, Josef Suk Institute, interest in Bohuslav Martinů’s Media partners: Czech Television and work has been growing. However, for Czech Radio the time being, the compositions of this outstanding Czech composer are not BELGIUM played as frequently as they deserve to be. Especially abroad, performances of • Czech Philharmonic Orchestra Martinů’s works are only sporadic and Symphony No.1, H. 289 therefore do not present the concert- Petr Polívka, ([email protected]) goer with the opportunity to form a representative impression of the BRASIL composer’s output. Some parts of his œuvre – primarily the stage pieces – SÃO PAOLO are far less known than they should be, • São Paolo State Symphony Orchestra considering their significance both in the Les Fresques de Piero della Francesca, H. 352 context of Bohuslav Martinů’s work and 2009 in the context of European music history. www.osesp.art.br The 50th anniversary of the composer’s death is a perfect opportunity for the CZECH REPUBLIC coordinated promotion of Martinů and his globally important legacy. BRNO • National House, Brno All major Czech orchestras and opera Juliette, H. 253 27 March 2009 – premiere companies are planning to programme Tomáš Hanus ([email protected]) at least one work by Bohuslav Martinů during the jubilee 2009/10 season. Some • Moravian Autumn Festival will even make Martinů the main theme various concerts 21/9-mid-October 2009 of the season, as is the case of the Czech Ales Březina ([email protected]) Philharmonic Orchestra.The Prague Spring International Music Festival will Bohuslav Martinů,Vieux Moulin, France, 1937 © PBM OLOMOUC dedicate its 2009 and, partially, 2010 • International Dvořák Festival editions to Bohuslav Martinů’s œuvre of the Czech Republic.The project will as rendered by Magdalena Kožená, Steve The Greek Passion, H. 372 II and its European and global contexts.The take place under the auspices of the Davislim, Sir Charles Mackerras and the (concert performance) National Museum will host an extensive Minister of Foreign Affairs, Karel Czech Philharmonic Orchestra, will have 11 May 2009 Jaroslav Kyzlink ([email protected]) exhibition about the composer’s life and Schwarzenberg. Chief media partners, its world premiere. High points of the work.The National Theatres in Prague and alongside music and general interest project’s Czech component will be the OSTRAVA Brno are preparing productions of some magazines, are Czech Television and Czech two editions of the Prague Spring Festival, • Janáček May Festival of Martinů’s most significant stage works. Radio.The project’s initiator and guarantor the musical-educative project Chap-Book, Trio No. 3 in C major, H. 332; is the Director of the Bohuslav Martinů an exhibition at the Czech Museum of Toccata e due Canzoni, H. 311; Significant events are also under prepara- Institute, Aleš Březina; the foreign Music, new productions of Martinů’s Kytice, H. 260; Incantations (Piano tion abroad, above all in Switzerland, coordinator is Lucie Berná (until June at the National Theatres in Prague Concerto No. 4), H. 358; The Opening of the Springs, H. 354; Mount of Three Lights, France, Hungary, England and the USA. 2008 Martin Bonhard); and the Czech part and Brno, and a number of festivals H. 349; Brigand Songs, H. 361 The project “Martinů Revisited” has of the project is being coordinated by throughout the Czech Republic.The May 2009 acquired a broad social importance owing Lenka Dohnalová at the Arts Institute – concluding concert, to be performed by Petr Vronský ([email protected]) to its coincidence with to the Czech Theatre Institute. the Czech Philharmonic Orchestra, will Republic’s presidency of the Council of take place in December 2010, again within POLIČKA the European Union in 2009. In light of The members of the honorary committee the context of the Bohuslav Martinů • Bohuslav Martinů Center,Tylův dům this, the Bohuslav Martinů Foundation are Gabriela Beňačková, Zuzana Růžičková Days. For the latest information, visit Gala opening of the Bohuslav Martinů n Center (Martinů Quartet, Karel Košárek) and Institute have managed to gain the and Josef Suk.The project will be launched www.martinu.cz 4 April 2009 cooperation not only of the Ministry of in December 2008 with the Bohuslav Alena Báčová ([email protected]) Culture, but also the Ministry of Foreign Martinů Days festival, at which Three Affairs and the Office of the Government Fragments from Juliette, H. 253A, r BOHUSLAVMARTINŮNEWSLETTER2)2008 ů — artin — D D M ited—— E 2008/ E 2010 Revis C C

PRAGUE FRANCE GREAT BRITAIN ZÜRICH • Opera • Bohuslav Martinů Days 2008 AIX-EN-PROVENCE • London The Greek Passion, H. 372 Dvořák Hall, Rudolfinum • Grand Théàtre de Provence/Cooperation BBC Symphony Orchestra 9 November 2009 Czech Philharmonic Orchestra National Theatre Prague/Prague Philharmonia (Jiří Bělohlávek - conductor) [email protected] Magdalena Kožená, Sir Charles Mackerras Plays of Mary, H. 236 Juliette, H. 253 Trois fragments de l’opera Juliette, H.358A Dec. 2009 27 March 2009 USA (1939) – WORLD PREMIERE Dominique Bluzet/Markéta Fajmonová [email protected] 11 and 12 December 2008 ([email protected])/Martin Bonhard NEW YORK OXFORD • Czech Museum of Music New York Philharmonic NICE • Garsington Opera exhibition „Fenomén Martinů“ Symphony No. 4, H. 305 • Opéra de Nice , H. 346 11 May 2009 30 April 2009, 1, 2, 5 May 2009 Juliette, H. 253 Summer 2009 Kateřina Maýrová ([email protected]) nyphil.org January 2009 Anthony Whitworth-Jones • National Theatre Opera Paul-Emile Fourny ([email protected]) Plays of Mary, H. 236 29 October 2009 (premiere) GERMANY SWITZERLAND Jana Horčičková ([email protected]) DRESDEN BASEL • Singakademie Dresden, Lukaskirche • Internationale Musikfesttage B. Martinů 2009 • Prague Philharmonia, Bambini di Praga, The Epic of Gilgamesh, H. 351 various concerts Duncan Center Prague 2 May 2009 [email protected] Špalíček, H. 214 Jörn Peter Hiekel ([email protected]) 15 and 16 June 2009 • Chamber Orchestra Basel Lenka Dohnalová ROSTOCK The Epic of Gilgamesh, H. 351 ([email protected]) • Volkstheater 1 May 2009 Hans Georg Hofman • Prague Spring International Music Festival Who is the Most Powerful in the World?, ([email protected]) various concerts including Martinů’s works H. 133 5/2009; 5/2010 2009 Antonín Matzner ([email protected]) [email protected]

MARTINU˚ ’S BALLET IN ROSTOCK GÜNTER THIELE

AFTER LAST YEARS resounding success

of Martinů’s operatic masterpiece “Les Photos: Dorit Gätjen trois souhaits” (Three Wishes, H. 175), in Rostock – I was lucky enough to attend both the first and last night of this pro- duction and do not hesitate to call it my most rewarding experience at the opera last season – ”Volkstheater Rostock’s” follow-up of this still comparatively seldom performed opera is the German premiere of another rarity; Martinů’s ballet Who is the Most Powerful in the World?, H. 133. During the opening night I realised that although Martinů’s music has been used by a number of choreographers, this was only the second time I attended Ewelina Kukschkina and Sergej Martinovic Alexey Dukhovskiy, Fumiko Okusawa, Maria-Elisabeth Walther & Galina Weber a ballet for which the original music had been composed by Martinů for the Rostock conducted by Christian Hammer, other hand was performed by itself, and Volkstheater Rostock occasion. Compared with the Czech proved to be most delightful. In conjunction an extra musical sensation at the end of www. volkstheater-rostock.de premiere of The Strangler, Ballet for with Wladimir Fedianin’s choreography the ballet was the eerie silence in the Three Dancers, H. 317 in Brno 1990, and the inspired dancing of both the adult audience during the attack that the a production I remember with decidedly troupe and Fedianin’s young pupils, the mouse prince and his friends launched Music director: Christian Hammer mixed feelings, I am sure I will treasure this result of the opening night was a most on the wall with spades and picks in order Choreography & inscenation: performance for a long time. enjoyable hour for children of all ages. to prove that the mice were the most Wladimir Fedianin The plot is based on a fairy tale about Whereas the mouse community was more powerful in the world after all. Another Stage setting: Falk von Wangelin a mouse king who is only prepared to or less predictably presented, I guess maybe more gratifying thought was that Premiere: 22. 3. 2008, Großes Haus accept the most powerful in the world nobody was really surprised at their a lot of children and some of their elders as suitor for his lovely daughter.The score appearance, the portrayal of the consecu- will get the opportunity to be aquatinted is a transitional work from 1922 and by tive suitors, the mighty sun, the powerful with really good and functional music Next performances: no means comparable with Les trois cloud, and the overwhelming wind, was once modern and still up to date thanks 3 October 2008, 3,00 pm, Großes Haus souhaits. But the manner the music was at the same time surprising and very to this fine production. n 12 October 2008, 3,00 pm, Großes Haus performed by Nordeutsche Philharmonie imaginative.The stubborn wall on the 2009: see the www. volkstheater-rostock.de

BOHUSLAVMARTINŮNEWSLETTER2)2008 t News— Precious gift A SET OF TWELVE BOHUSLAV MARTINŮ AUTOGRAPHS

AT THE BEGINNING of June 2008 the Bohuslav Martinů Foundation received a precious gift – a set of twelve Bohuslav Martinů auto- graphs.They have been donated by the eminent Czech lawyer Mrs Soňa Hendrychová. Her mother, Mrs Zdenka Maxová, was one of Bohuslav Martinů’s closest friends before his departure for Paris. Martinů dedicated to Mrs Maxová a number of compositions, especially songs and piano pieces, which years ago Mrs Hendrychová made available for research purposes in the form of photocopies. Now the composer’s autographs and period transcripts have been provided as a gift to the Bohuslav Martinů Foundation. The donated autographs include, for example, three polkas from the cycle Six Polkas, H. 101 (the designation does not come from Martinů himself but from Harry Halbreich, the author of the catalogue of Bohuslav Martinů’s works), Harlequin and Colombine Sings from the cycle Puppets II, H. 116.The autographs will be made available to researchers and other interested parties in digitised form. n

Mrs Soňa Hendrychová

Bohuslav Martinů completely won me over from the very first hearing A MINI-INTERVIEW WITH THE YOUNGEST MARTINŮ RESEARCHER JANA HONZÍKOVÁ I also won a prize for interpretation with I like all his compositions.Yet maybe I have the small composition. I recall that when established a special relationship with I had only been practising it for a few days the mentioned Variations on a Slovak JAN NEČASKÝ is 15 years old.This Professor Škampa was dancing during my Folk Song. It is perhaps not the most year he completed his basic educa- playing, perhaps so that I wouldn’t play it in demanding piece in technical terms, but tion and next year will begin studying such a ham-handed manner. Three years I assume that its beauty and difficulty rests at the Jan Neruda Gymnasium in ago I played Variations on a Slovak Folk in its execution and understanding. Prague. For eight years he has been Song, H. 378. And now, for the holidays, studying the cello at the Prague alongside Brahms and Dvořák, I also got How do your classmates and peers Music School. He was previously Martinů’s Sonata No. 2., H. 286. view this music? Is it common that they a pupil of Professor Vychytil; at the listen to such music? present time he is studying with What is it about Martinů’s music that Professor Martin Škampa. most captivates you? When it comes to my former classmates, very few listened to this type of music, Last year you visited the Bohuslav That’s a difficult question. I don’t think it although I must say that they were quite Martinů Institute for the first time, is possible to express some feelings and intrigued by Bohuslav Martinů’s music. for study purposes.You had to write impressions from music in words. Bohuslav As regards genres like rock, I listen to an essay on a theme of your choosing. Jan Nečaský Martinů’s music completely won me over older bands, especially Pink Floyd, Led You decided to write about Bohuslav from the very first hearing, but I don’t Zeppelin,The Doors. I like jazz. But Martinů.When and how did you get to a lesson. I thought it would be etudes know why. I don’t know why I like it. I admit that it is not likely that my class- into Martinů’s music? again. But when I opened it and saw mates would come home and put on, Bohuslav Martinů’s Pastoral No. 2 from What is your favourite Martinů for instance, Bach or Beethoven. n I was about 12 years old at the time. One Pastorals for cello and piano, H.190, composition? day, Mr Škampa brought some sheet music I almost hit the ceiling. Such was my joy. y BOHUSLAVMARTINŮNEWSLETTER2)2008 s IVANA RENTSCH: eview — Anklänge an die Avantgarde R Martinu˚’s Opern des Zwischenkriegszeit

EVA VELICKÁ is set into a wider Dada context and the songes (1936–37)”.The issue in this section author deals in depth with textual symbol- is the problem of how to apply Surrealism ism, especially the symbolism of Ribemont- to theatre, the theatre space as well as IVANA RENTSCH’S book, originally the -Dessaignes’s texts and subsequently with music. Here too the author deals with author’s doctoral thesis, is a work com- the manner of Martinů’s transposing of generally valid principles of opera in prehensive in the best sense of the word. these symbols into the music.The opera juxtaposition with Surrealism and Martinů’s It comprises copious information from is also set in the context of film and jazz, setting itself. For instance, the author numerous literary works, an extensive and is very surprisingly also designated as analyses the central encounter between annotation apparatus, a host of quotes “Zeitoper”. the lovers Michel and Juliette in Act II and in the original languages, a number of When it comes to the opera The Plays of the “surrealistic” circumstances and signs analyses, as well as several new constructs, Mary, H. 236 (1933–34), Rentsch, in con- of their “love duet” and explains what and as such serves to significantly forward nection with the economic crisis, outlines “surrealistic love” is. Using music examples, Martinů research.The book’s centre of the composer’s transition to a new type of Rentsch shows the logic Martinů pursues gravity is an analysis and study of the opera, which he linked with the moral duty and also highlights intertextual references period context of Martinů’s three interwar and necessity of seeking genuine theatre. (Stravinsky The Rite of Spring, Debussy operas, representing a typical paradox of The author explains the term “mystery” Pelléas et Mellisande). However, the author “avant-garde classicism”. In the prologue, and other common designations of this points out that by no means did Martinů however, the author, seeking the reasons opera. In a relatively interesting manner, aim at creating and defining a surrealistic for Martinů’s departure for France, also she puts forward the thesis that in this musical language. deals with the wider context, delving right “folk theatre” too Martinů aimed more This text about Ivana Rentsch’s book is down to the National Revival or “fights at an avant-garde conception than a true not a review in the absolute sense of the over Dvořák”.The book’s strength is its views. She is interested in general in the historical reconstruction. Also interesting word, it rather serves as a recommen- dexterity of argumentation and the author’s reasons for Martinů’s departure for France here again is the reference to Brecht and dation, since the book is replete with language skills. Non-Czech specialist and his new position in the French music his epic theatre going with its politico- interesting ideas that provide plenty of literature often fails to reflect the Czech world. Rentsch formulates her theses didactic direction as far as “Lehrstück”.The food for thought.Through her thorough research owing to unfamiliarity with the and evaluations on the basis of thorough author deals more closely with the second work with numerous sources and analysis, language. However, this definitely cannot probes into the artistic and social context part from The Plays of Mary – Mariken of Ivana Rentsch has established a sound be said of Rentsch, since the author herself and on the basis of specific analyses of Nimègue – and the differences between basis for her sometimes more, sometimes has made German translations of numerous librettos and music fragments from the the French and the Czech versions.Thus, less surprising yet always spirited theses. Czech quotes from both academic and operas. Hence, I highly recommend reading the opera possibly assumes both a Czech The book is a contribution to the debate artistic texts. Besides a few minor imper- the book with a score in hand and also and global context (Czech poetism and on “the theatre Martinů” and his impend- fections in Czech diacritics, everything is after a little bit of listening to the three the influence of “Bekenntnisoper”). ing jubilee (2009) at the highest scholastic written correctly, which is frequently not operas in question, otherwise some verbal A nice touch is the book’s frequent poetic level. n the case of foreign publications (that is, descriptions of the musical course of titles introducing individual chapters or if they quote from the Czech at all).The certain passages of the operas can be subchapters.They are often extremely Ivana Rentsch: Anklänge an die Avantgarde, author refutes various commonly held rather tedious. apposite, a case in point being the title of Archiv für Musikwissenschaft, Beiheft 61, designations of Martinů and his work, and The opera Les trois souhaits ou les the last extensive chapter “Dream as Franz Steiner Verlag, Stuttgart 2007, 289 pp. at many junctures suggests new possible vicissitudes de la vie, H. 175 (1928–29) Opera Reform – Juliette, ou La clé des ISBN 978-3-515-08960-9

to the premiere of Martinů’s opera The the 1968 review of Halbreich’s catalogue. Carl Dahlhaus on Martinu˚ Greek Passion, H. 372/II (2nd version), The fundamental shift in attitude is which received its first performance on perceptible by mere comparison of the JUSTIN KRAWITZ pp.154–155, we find a review of the first 9 June 1961 at the Zürcher Stadttheater. last two sentences of the earlier text with edition of Harry Halbreich’s catalogue This earlier review reveals a decidedly dis- the first two sentences of the later one. of Martinů’s works.The article, which paraging view of the opera and of Martinů’s The 1961 review ends:“The public’s THE LIBRARY of the Bohuslav Martinů originally appeared under the title “Ein work in general. Dahlhaus criticises applause was enthusiastic. It appeared as Institute recently acquired the newly Tschechischer Klassiker. Der Komponist Martinů’s musical symbolism, his tonal though the audience was grateful for an prepared edition of the collected writings Bohuslav Martinů,” was drawn from the language, and his handling of formal opera which was modern by virtue of its of Carl Dahlhaus, issued earlier this year Frankfurter Allgemeine Zeitung of 20 Decem- considerations. He goes so far as to use date of composition, but in which a normal by the German publishing house Laaber- ber 1968. In it, Dahlhaus bemoans the fact the epithets “grob und banal” (coarse and triad was nevertheless possible” (X: 369); Verlag. Dahlhaus was one of the most that, still at the end of the 1960s, Martinů banal) (p. 386). Dahlhaus also shows while the 1968 review begins,“Composers prolific and influential music historians of was all but unknown in Germany. He dissatisfaction with the adaptation of whose works belong to the realm of New the last century and his work has been applauds Halbreich’s aim to win German Kazantzakis’s novel, from which the Music, but whose works are tonal and seminal in shaping modern musicological recognition for the Czech master and libretto derives. Dahlhaus goes on to give innocuous, have a hard time with us.The discourse.The new edition, edited by the makes particular mention of the opera a survey of the production’s staging and avant-garde treats them as relics of the prominent Swiss musicologist Hermann Juliette, H. 253, the Sixth Symphony, a brief overview of the lead singers.The past – dead and condemned to obscurity – Danuser, is entitled Carl Dahlhaus: Gesam- H. 343 and the Double Concerto for kindest words are reserved for the con- and the public, which clings unwaveringly melte Schriften in 10 Bänden. It comprises Two String Orchestras, Piano and ductor, Paul Sacher, who Dahlhaus asserts to tradition, wrongly suspects them of 10 volumes and a supplemental volume in Timpani, H. 271 as works which might to have saved the production. In the brief being difficult to understand” (IX: 154) which the contents of the collection are leave a lasting impression on the concert- closing paragraph Dahlhaus notes the [translated by the author].The new edition thoroughly indexed. going public. enthusiastic reception by the audience, but of Dahlhaus’s collected writings has made It is indeed apt that among the writings of In volume 10 of the Gesammelte Schriften, undermines even this in a rather biting readily available important sources that such a key figure of 20th-century musi- pp. 367-369, we find a second review fashion. shed light on Martinů reception in the cology we find references also to Bohuslav relating to Martinů, this time drawn from It is enlightening to contemplate the shift decade following the composer’s death. n Martinů.Two items relate specifically to the Stuttgarter Zeitung of 12 June 1961. in Dahlhaus’s reception of Martinů between Martinů, both of them reviews. In volume 9, Here Dahlhaus the critic devotes himself the 1961 review of The Greek Passion and

BOHUSLAVMARTINŮNEWSLETTER2)2008 u cal— stori Hi ings— ecord MaRTINŮ’S fifTh SympHony R LIVE RECORDING OF THE AMERICAN PREMIERE

PATRICK LAMBERT

THE AMERICAN PREMIERE of Martinů’s Symphony No. 5, H. 310 in January 1948 with the Swiss conductor Ernest Ansermet directing Toscanini’s NBC Symphony Orchestra in New York marked a high point in the composer’s career.

Having spent the long war years in the USA as a refugee from German-occupied Europe, Martinů composed his Fifth Sym- phony in the early Spring of 1946 in joyful anticipation of returning to his homeland. Sadly, unforeseen circumstances were to frustrate his plans: the first of these, in July that year, was a near-fatal accident in which the composer fractured his skull and the second was the communist take- Jan Masaryk, over of Czechoslovakia in February 1948, the Czech foreign minister (1940–1948) followed by renewed persecution of his mentor Václav Talich and the tragic death, Ansermet’s admiration for Martinů’s music in suspicious circumstances, of his friend dated back to 1930, when he conducted Jan Masaryk, the Czech foreign minister. Allegro symphonique (La Rhapsodie), H. 171 in Prague.Thereafter, he liked to In November 1946, while recuperating include Martinů’s works in his concerts from his accident, Martinů wrote to his with the Suisse Romande Orchestra, for first biographer Miloš Šafránek:“I think instance the Serenade, H. 199 (dedicated I shall give the Fifth Symphony to the Phil- to Albert Roussel) in 1933 and, five years harmonic in Prague as a world premiere. later, the world premiere of Duo Con- I hope to get there for the Festival”. In the certant for Two Violins and Orchestra, end, the composer’s state of health pre- H. 264. In the autumn of 1940, when vented his appearance there and he was Martinů and his wife were refugees shel- represented by his French wife Charlotte. tering in the South of France, Ansermet The Symphony, duly premiered by the was one of the Swiss admirers who Czech Philharmonic under its chief con- assisted the couple financially by initiating ductor Rafael Kubelík in the final concert an appeal in the Geneva music journal of the Prague Spring Festival (28 May Dissonances in aid of “a foreign composer, Bohuslav Martinů in the 1940s, USA © PBM 1947), was received somewhat coolly and whose name cannot be revealed for one young communist critic (Ivan Jirko), obvious reasons, but who can be justly evidently searching for ‘socialist realism’, regarded as one of the most important in complained that the music, while sounding contemporary music and whose works typically Czech, was nevertheless remote have been applauded at concerts of the from reality,“a mere symbol, lacking real, Suisse Romande and in other cities.” full-blooded, sap-filled life”. Martinů himself, in an interview in the New York After the war, Ansermet lost no time in Times (7 Jan 1951), regarded his Fifth as catching up with Martinů’s American works, “a well-organised, organic, orderly work. giving the European premiere of the Sym- There are few places in it with which I am phony No. 1, H. 289 (Geneva, 28 February not satisfied.The work had a singular 1945), performing the Symphony No. 2, experience in Prague. I think the Govern- H. 295 in Brussels the following year, and ment there knows for certain that I am the Symphony No. 3, H. 299 for the BBC a ‘formalist’. I was a very great friend of Jan in London (25 October 1947). Now he had Masaryk. It may have been for political been invited by Toscanini to conduct the reasons that my symphony in Prague had American premiere of the Fifth.Thanking very bad reviews in the press.” Ansermet for the greetings conveyed to him by Charlotte, Martinů wrote:“We are Among the old friends Charlotte met up looking forward to seeing you in New York. with at the Festival was Ansermet, whose I am very impatient to hear my symphony. concert with the Czech Philharmonic had I had no luck catching the broadcast [of the included the Prague premieres of Frank Prague premiere], but I had excellent re- Martin’s Petite Symphonie Concertante and ports from friends who heard it in Europe.” Stravinsky’s Symphony in Three Movements. “Ansermet was one of the first pioneers As this live recording testifies, the perform- of modern compositions”, she recalled. ance given in the presence of the composer “Bohuš, who had met him through Conrad by the highly skilled NBC Symphony Beck, had a high opinion of him.” Programme of the concert at which the symphony was first performed in USA Orchestra on 24th January 1948, proved an i BOHUSLAVMARTINŮNEWSLETTER2)2008 ical— istor s H ding — Recor

enthusiastic that witnesses said they had never before seen him so enthusiastic about a new piece.” According to Charlotte,Toscanini had attended the rehearsals and had remarked to her husband that modern music “often looks better on paper than it sounds”.The new symphony was clearly an exception!

Ansermet, in the years after the composer’s Conductor Ernest Ansermet Facsimile of the Symphony No. 5, H. 310 death, remained faithful to Martinů’s music, as is documented by live recordings with outstanding event.Virgil Thomson,music a radiant climax in the sunshine filled a month of Ansermet’s performance, the his Swiss orchestra from the 1960s of critic of the New York Herald Tribune, Larghetto movement and intense feeling in communists would seize power, condemn- the Symphony No.4, H.305, Frescoes who had hailed Martinů’s First Symphony the meditative Lento introduction to the ing the composer to permanent exile. of Piero della Francesca, H. 352 and “a beaut”, declared unreservedly that the Finale, breaking through to Beethovenian Parables, H. 367 (Cascavelle VEL 2007). Fifth “shows this living master at his highest jubilation – a vision perhaps of a promised In a letter written shortly after the coup, In his programme note for the Fourth,he point, for the present, of originality and land where all will be sweetness and light. Martinů was able to report to Talich the described Martinů as “ perhaps, the most freedom. Martinů is clearly, as of today, At several points the distant bells of Mar- very positive treatment his music was authentic symphonist of his generation” a symphonist.” Ansermet successfully tinů’s native Polička seem to be beckoning receiving in the USA:“I have recently had and when he was later asked by a jour- achieved great clarity of texture and him home, but such optimistic life-affirma- a sensational success here with the Fifth nalist to name the most undervalued a powerful rhythmic drive in the cleanly tive tones take on an almost unbearable Symphony, and I have become better symphonist, he unhesitatingly replied: articulated, almost Stravinsky-like ostinati; poignancy with the realisation that, within acquainted with Toscanini who was so “the Czech composer, Martinů”. n

MARTINŮ AT THE LEAMINGTON CZECH MUSIC FESTIVAL Reviews— May 2–6, 2008 GRAHAM MELVILLE-MASON

FOR THE FOURTH – and what, sadly, may be the last – Czech Music Festival before the retirement of the Leamington Music Director, Richard Phillips, the 2009 Martinů commemoration was anticipated in the programme organized, as in the past, in association with the British Dvořák Society for Czech and Slovak Music. In programmes which included works by Smetana, Suk, Novák, Foerster, Haas, Pavel Novák, Musil, Eben,Wiedermann, Klička, Karel Janovický and Rejcha, the main composer representation fell, perhaps y The Leamington audiences had the rare opportunity of hearing Jaroslav Tůma’s transcription of Martinů’s Harpsichord Sonata not unsurprisingly, to Janáček, Dvořák in a recital which he gave at All Saints Church on May 5th and Martinů. >y The Martinů Quartet with Martin Kasík performed Martinů’s Piano Quintet No. 2 on May 5th Photos: Jack Wilkinson In a series of concerts over five days which, without exception, proved to be of the a welcome chance to enjoy the excellent known for both the attention to inter- On the final day, the third appearance highest standard from first note to last, pianism and musicianship of Martin Kasík. pretative detail and aesthetic pleasure.The of the Martinů Quartet opened with delivering general appreciative audience He was followed by a concert of the performance of the Sextet was no excep- a valuable opportunity to hear the String pleasure, the works of Bohuslav Martinů Škampa Quartet, which has built up a loyal tion, with the two “visitors” integrating so Trio No.2, H.238 in which the violin part again made their special impact and won following here over the past eighteen years naturally into the Quartet. Jaroslav Tůma was taken not by the Quartet’s leader but new friends for the composer.The Festival and it was a pleasure to hear these players brought a rich recital of Czech organ by its second violin, Irena Harajnová, who opened with a concert by the Schubert in Martinů’s String Quartet No. 5, H. 268 music to a packed All Saints Church – rare produced playing of rare distinction which Ensemble which included a scintilating of 1938, to which was brought a deep for organ recitals in Britain. Although added greatly to the conviction of the sig- performance of the Piano Quartet, understanding of this strong work. Martinů’s Vigilia, H. 382 was programmed, nificance of this work in Martinů’s output. H. 287 in which the British pianist William On the middle day of the Festival the high- it was Jaroslav Tůma’s own successful The concluding concert was given by the Howard demonstrated his natural affinity light was the programme of the Martinů transcription of the Harpsichord Sonata, Guarneri Trio Prague, where, central to for Czech piano writing and the music of String Quartet, joined by Radim Sedmidub- H. 368 which carried greatest interest for its programme, came a delightful account Martinů in particular.The second day ský and Lukáš Polák of the Škampa Quartet connoisseurs of Martinů’s music.The of Martinů’s Bergerettes, H. 275 and so opened with a piano recital from Martin to give a rare treat in performing Martinů’s Martinů Quartet returned for its second rounding off, in a thoroughly convincing Kasík which he concluded with the Three String Sextet, H. 224. The Martinů concert, this time joined by Martin Kasík manner the Martinů contribution to this Czech Dances, H.154 of 1926. Not only Quartet is always a welcome visitor to in a most attractive and energetically excellent long-weekend feast of Czech was this a rare opportunity for a British Leamington and its performances of the committed performance of Martinů’s music and musicians which provided its audience to hear this work but it was also music of its eponymous champion are well Piano Quintet No. 2, H. 298 of 1944. own prelude to Martinů 2009. n

BOHUSLAVMARTINŮNEWSLETTER2)2008 o s— HARRY HALBREICH: Review BOHUSLAV MARTINU˚ . WERKVERZEICHNIS UND BIOGRAFIE

IVANA RENTSCH

ONE CAN ONLY AGREE with Harry Halbreich when considering his succinct reasoning behind the revised second edition of his 1968 monograph on Martinů: “Much has happened in the interim which justifies this revision – and not only regard- ing Martinů.” The effects of the political events of 1989 are just as relevant to a re- evaluation of Bohuslav Martinů’s work as are the remarkable developments in music-aesthetic thought. Indeed, in 1968 Halbreich had to contend with the sharp criticism which would inevitably be directed at a German-language book about a composer who by no means conformed to the ideas of a Theodor W. Adorno or to the ideals of Darmstadt serialism. It was in response to the poor state of public knowledge that the monograph was con- ceived and, as such, Halbreich sought to The book also contains musical analysis assemble in the single volume as much information as possible about Martinů’s life section.The catalogue of works of 1968 is which elucidates the music-aesthetic con- usefulness, and the fact that Halbreich in no and work.Accordingly, the author viewed arranged identically, facilitating a direct text, or commentary in which, indeed, way tried to propagate his personal opin- his book of 1968 as a practical answer to comparison of the two editions. Data on the quality of individual compositions is ions as universal truths, one is happy to “the calls for help of performing artists, each composition are given in an exem- evaluated. By this method, employed already concede to the author’s occasionally over- concert agencies, compilers of program- plary manner, and include date and place in the first edition, Halbreich strived to eccentric descriptions of works.The con- mes and musicologists from around the of origin, dedicatee, and first performances help an overwhelmingly uninformed public spicuously few Martinů quotations and the world” (1968, p. 10).Today the need for (with the names of the most important to familiarize itself with Martinů’s œuvre complete absence of footnotes signal the the volume’s particular three-fold format performers). Also listed in detail are as quickly as possible.The commentaries, deliberate subjectivity of the given evalua- of biography, musical analysis and anno- indications of the scoring and approximate then, constitute an extremely practical tions. In this context, then, we can under- tated catalogue of works is, to be sure, no duration, as well as information regarding answer to the abovementioned “calls stand the numerous “masterpieces”, the longer so urgently necessary – the collec- autographs, facsimiles and details of all for help” of the 1960s.To be sure, it is exponential usage of the adjective “delight- tion of literature on Martinů has grown, as known editions, replete with details of a remarkable achievement that Halbreich ful” (“köstlich”, for example p. 323, 354), has general familiarity with composer.The copyright. Additionally, a synopsis is openly acknowledged the qualitative differ- and the odd translation of “concierge” as triple format, though, does make the publi- provided in the case of stage-works.This ences among Martinů’s works – that he “house-guard” (“Hausbewacherin”, p. 150) cation attractive to a wider audience. And is an exceptionally helpful feature when did not shy away from this despite the as thoroughly personal expressions of the so it is that, as before, the revised edition considering the many still unknown com- opposition he could expect to encounter. author. Halbreich doubtless accepted that of Halbreich’s monograph also strives to positions in this genre. Halbreich’s ability The author retained this type of judgement this would not be to everyone’s taste. be a “handbook” – this time conceived to meaningfully summarise the most in the new version: he concedes to the In contrast to the spontaneous, short (and explicitly with the on-going complete confusing of plots in just a few sentences uneven quality of the stage-works and film therefore seldom substantiated) commen- critical edition of Martinů’s works in mind: can be seen in the remarkable synopsis music, which he describes as “sehr ungleich- tary in the catalogue of works, Halbreich it is intended to “accompany and com- of The Soldier and the Dancer, H. 162 wertig” (p. 140), and sees in the 5th Sym- proceeds most carefully in the introductory plement” the complete edition (p. 9). (p. 144).Thanks to the outstanding index phony, H. 310 “some signs of unmistak- biographical and analytical chapters. The The usefulness of Halbreich’s handbook as in the appendix the user should experience able exhaustion” (p. 244). In a similar decision to retain these pages from the a companion-piece to the new complete no difficulties in searching for any particular fashion he allocates to the Concerto for 1968 edition, in an updated form, can only edition lies foremost in the exceptional work, despite Martinů’s enormous output: Violin, Piano and Orchestra, H. 342 the be welcomed.The description of Martinů’s quality of the catalogue of works which the around 400 compositions can be found rank of a “good average-Martinů” (“guten life offers a compelling supplement to the constitutes the most important part of listed according to their Halbreich cata- Durchschnitts-Martinů”, p. 327), while the respective biographies of Miloš Šafránek the publication. By way of meticulous and logue number, in addition to being listed Etudes rythmiques, H. 201, H. 202 turn and Jaroslav Mihule. Indeed, Halbreich’s painstaking work, the already remarkable alphabetically according to title. Also in out to be “work for bread” (“Brotarbeit”, musicological reflections constitute a mile- catalogue of the old edition has been the appendix is a listing of digitized sources p. 335). On the other hand we have the stone in Martinů research. All things brought up to date.This is no mean feat, at the Bohuslav Martinů Institute and “masterpieces”, be it Les Paraboles, considered, he has produced a veritable considering the sheer number of Martinů’s a table of publishers, which is of great H. 367 or the 6th Symphony, H. 343 “handbook” that might satisfy the most works and the fact that the sources are practical value because of the interna- (p. 246, 265).The epithet “masterpiece” various needs of practically and theoreti- scattered around the world.Thanks to tionally dispersed rights to Martinů’s com- (“Meisterwerk”) is inevitably accompanied cally oriented users alike. Since the Halbreich’s close collaboration with the positions. Halbreich’s decision to forego by overtones of the genius cult and apolo- demands of these two types of users often Bohuslav Martinů Institute (to whose staff a complete list of literature, and to limit gia, which could be avoided by use of the stand in opposition to one another, one the edition is dedicated) and with the himself rather to a select bibliography, is more neutral “major work” or “chief work” must concede that the compilation of such Bohuslav Martinů Memorial in Polička, understandable on the grounds that the (“Hauptwerk”).As such, the characteri- a multi-purpose handbook is an idealistic there can be no doubt that the entries are sheer size of a complete list would have sation of the Sinfonietta la Jolla, H. 328 endeavour indeed. Halbreich’s Martinů up to date.The compositions which have been beyond the practical bounds of the as “enchanting little masterpiece” strikes monograph is certainly proof that it is still resurfaced only in the last three decades handbook. one as positively quirky, at least from worth-while to take on the challenge. have necessitated revisions to the old A particular characteristic of the catalogue a musicological standpoint. But what the Translated from the German catalogue, as have the innumerable pieces of works is the mingling of objective data musicologists might find irritating may yet by Justin Krawitz of new information pertaining to already with subjective commentary. As such, provide musicians or artistic directors Harry Halbreich: Bohuslav Martinů. known works.As before, the catalogue is a great many entries are given with com- with the fastest possible orientation – Werkverzeichnis und Biografie sub-divided according to genre, with com- mentary which is either limited to infor- this being one of the professed goals of , 448 pp • ISBN 3-7957-0565-7 positions listed chronologically within each mation about a work’s origin, commentary Halbreich’s book. Because of this practical (ED 20005) • www.schott-music.com a BOHUSLAVMARTINŮNEWSLETTER2)2008 — LIST OF MARTINŮ’S WORKS III Special s— CATEGORY/ Serie | ORCHESTRAL MUSIC SUBCATEGORY/ | WORKS FOR LARGE ORCHESTRA

IN THIS ISSUE of the Newsletter we Performer(s) of premiere: Louisville Orchestra, continue with our publishing of the complete SUBCATEGORY / COMPOSITION R.Whitney (cond. ) list of Bohuslav Martinů’s works.We began WORKS FOR LARGE ORCHESTRA FOR LARGE ORCHESTRA Premiere: 4. 2. 1959, Louiseville, Kentucky with the operas and have since considered — Skladba pro velký orchestr (USA) the ballets, incidental music and film music; — Komposition für grosses Orchester Archive: New York, Library of Peer Music the next subcategory are the works for large ANDANTE FOR ORCHESTRA Publishing, USA orchestra (listed in alphabetical order). (SKETCH) Halbreich number: 90 Facsimile: Washington, Library of Congress, The basic data on the works listed here Place of composition: Polička, Czech Republic USA; Prague, Bohuslav Martinů Institute have been taken from the online catalogue Halbreich number: 61 Date of composition: 1914 Publisher: Southern Music Publishing, of Martinů’s œuvre at www.martinu.cz, which Place of composition: Polička Performing forces: 2322-4000-tamt. -cel. -pf. -ar. NewYork,561-55, 1962 is continuously updated as issues from the Date of composition: 1912 -archi Copyright: Southern Music Publishing latest research are documented by the staff Archive: Autograph missing (mentioned only Archive: Incomplete (title-page and beginning of the Bohuslav Martinů Institute. in the monograph of Šafránek) missing); Polička, Bohuslav Martinů In the next issue you will find a list of all Memorial, Czech Republic FESTIVE OVERTURE Martinů’s symphonies and works for chamber Facsimile: Prague, Bohuslav Martinů Institute FOR THE SOKOL FESTIVAL ANGEL OF DEATH, orchestra. Publisher: Český hudební fond, Prague, 1967 — Slavnostní ouvertura k Sokolskému sletu ONE-MOVEMENT SYMPHONIC POEM Copyright: free — Festliche Ouvertüre zum Sokolfest FOR LARGE ORCHESTRA AFTER THE NOVEL BY K. PRZERWA-TETMAJER Halbreich number: 211 Abbreviations/ — Anděl smrti, jednovětá symfonická báseň DEATH OF TINTAGILES Place of composition: Paris ar. harp pro velký orchestr dle románu MUSIC (PRELUDE) TO THE PUPPET PLAY Date of composition: 1931 archi string section K. Przerwa-Tetmajera BY M. MAETERLINCK Performing forces: large orchestra batt. battery — Der Todesengel,Symphonische — Smrt Tintaligova. Hudba (předehra) Performer(s) of premiere: Czech Philharmonic, cel. celesta Dichtung nach dem Roman k loutkovému dramatu Maurice F.Stupka (cond. ) cl. clarinet von K. Przerwa-Tetmajer cmp. chime-bells Maeterlincka Premiere: 3. 7. 1932, Prague, Czechoslovakia — Der Tod des Tintagiles. Musik (Vorspiel) Archive: Autograph missing cond. conductor Halbreich number: 17 zu Maurice Maeterlincks gleichnamigem Copyright: free cor. ing. English horn Place of composition: Polička Puppenspiel fg. Date of composition: 1910 picc. piccolo Performing forces: 3332-4431-timp. -batt. -ar. - Halbreich number: 15 THE FRESCOES pf. piano archi (vl. I, II, III) Place of composition: Prague OF PIERO DELLA FRANCESCA tamt. tamtam Archive: Polička, Bohuslav Martinů Memorial, Date of composition: 1910 — Fresky Piera della Francesca timp. timpani Czech Republic Performing forces: 3332-4431-Pk. -Schl. (Gr.Tr., — Les Fresques de Piero della Francesca tr. Sketch held by the Moravian Municipal Beck.,TTam)-Hf. -Str. trbn. trombone Museum in Brno, Czech Republic Archive: Polička, Bohuslav Martinů Memorial, Halbreich number: 352 vl. violin Facsimile: Polička, Bohuslav Martinů Memorial, Czech Republic Durata: 18’30” xlf. xylophone Czech Republic Sketch held by the Moravian Municipal Place of composition: Nice (France) Copyright: free Museum in Brno, Czech Republic Date of composition: 1955 Facsimile: Prague, Bohuslav Martinů Institute, Performing forces: 4333-4331-timp. -batt. -ar. - Commentary/ LA BAGARRE Czech Republic archi “Archive” – gives the information as to Copyright: free Dedication: Rafael Kubelík where the autograph orchestral score — Vřava — Das Getümmel Performer(s) of premiere: Wiener is deposited. Philharmoniker, R. Kubelík (cond. ) Premiere: Day / Month / Year Halbreich number: 155 A DREAM OF THE PAST Premiere: 26. 8. 1956, Salzburg,Austria Only accessible information is stated. — Sen o minulosti Archive: Basel, Paul Sacher Foundation, If data on the publisher are missing, the work Durata: 9’ Place of composition: Paris (France) — Traum von der Vergangenheit Switzerland; Sketch held in Prague at the has yet to be published and is available as National Museum – Czech Museum of material that can be lent. Date of composition: 1926 Performing forces: 3332-4331-timp. -batt. -pf. - Halbreich number: 124 Music archi Durata: 12’ Publisher: Universal Edition,Wien, U. E. Performer(s) of premiere: Boston Symphony Place of composition: Prague 12484/12521 LW, 1956 Orchestra, S. Koussevitzky (cond. ) Date of composition: 1920 Copyright: Universal Edition Premiere: 18. 11. 1927, Boston, USA Performing forces: 33(+cor. ing. )22-4231-timp. Archive: Prague, National Museum – Czech -ar. -archi Museum of Music, Czech Republic Archive: Polička, Bohuslav Martinů Memorial, HALF-TIME Publisher: Alphonse Leduc, Paris A. L. 20749, Czech Republic RONDO FOR LARGE ORCHESTRA 1930 Facsimile: Prague, Bohuslav Martinů Institute — Poločas. Rondo pro velký orchestr Copyright: Alphonse Leduc Publisher: Český hudební fond, Prague, 1967 — Halbzeit. Rondo für Orchester Copyright: Panton International Mainz Halbreich number: 142 Ballade: Villa on the Sea Durata: 9’30” — Balada: vila na moři ESTAMPES Place of composition: Polička — Ballade: Villa am Meer — Rytiny Date of composition: 1924 — Kupferstiche Performing forces: 3222-4431-timp. -batt. -pf. - Halbreich number: 97 archi Place of composition: Polička Halbreich number: 369 Performer(s) of premiere: Czech Philharmonic, Date of composition: c. 1915 Durata: 16’40” V.Talich (cond. ) Performing forces: 2332-4031-timp. -grand Place of composition: Schönenberg-Pratteln Premiere: 7. 12. 1924, Prague, Czechoslovakia cassa-pf. -archi Date of composition: 1958 Archive: Autograph missing Archive: Polička, Bohuslav Martinů Memorial, Performing forces: 2222-4230-timp. -batt. -ar. - Publisher: Český hudební fond, Prague, ČHF Czech Republic pf. -archi 412, 1959 Facsimile: Bohuslav Martinů Institute, Prague Dedication: To Robert Whitney and the Copyright: Panton International Mainz Publisher: Český hudební fond, Prague Louisville Orchestra Copyright: Bärenreiter

> LIST OF MARTINŮ’S WORKS III > Category ORCHESTRAL MUSIC > Subcategory WORKS FOR LARGE ORCHESTRA BOHUSLAVMARTINŮNEWSLETTER2)2008 u s INTERMEZZO MEMORIAL TO LIDICE THE PARABLES SINFONIA CONCERTANTE NO. 1 — Památník Lidicím — Paraboly IN G, FOR TWO ORCHESTRAS Halbreich number: 330 — Gedenkstück für Lidice — Die Parabeln Durata: 9’ — Les Paraboles Halbreich number: 219 Place of composition: New York Halbreich number: 296 Durata: 20’ Date of composition: 1950 Durata: 9’ Halbreich number: 367 Place of composition: Paris (France) Performing forces: 2222-4230-timp. -batt. -pf. - Place of composition: Darien, Conn. (USA) Durata: 21’ Date of composition: 1932 archi Date of composition: 1943 Place of composition: 1st and 2nd mov.– Rome, Performing forces: 1. orch. : 0301-2000-archi Dedication: To the Louisville Orchestra and its Performing forces: 3332-4231-timp. -batt. -ar. - 3rd mov. – Schönenberg-Pratteln 2. orch: 2021-2231-timp. -archi conductor, Robert Whitney pf. -archi Date of composition: 1958 Archive: Mainz,Archive of Schott Publishers, Performer(s) of premiere: Louisville Orchestra, Dedication: To the memory of the innocent Performing forces: 3334-4331-timp. -batt. -ar. - Germany R.Whitney (cond. ) victims of Lidice archi Facsimile: Washington, Library of Congress, Premiere: 29. 12. 1950, Louiseville, Kentucky Performer(s) of premiere: New York Dedication: Charles Munch USA (USA) Philharmonic Orchestra,A. Rodzinski Performer(s) of premiere: Boston Symphony Publisher: B. Schott Söhne, Mainz, 37966, 1953 Archive: New York, Library of Peer Music (cond. ) Orchestra, Ch. Munch (cond. ) Copyright: Schott Publishing, USA Premiere: 28. 10. 1943, New York, USA Premiere: 13. 2. 1959, Boston, USA Facsimile: Prague, Bohuslav Martinů Institute Archive: Polička, Bohuslav Martinů Memorial, Archive: Kassel, in the holdings of Bärenreiter Publisher: Southern Music Publishing, New Czech Republic publishers, Germany York, 905-60, 1965 Facsimile: Prague, Bohuslav Martinů Institute; Facsimile: Washington, Library of Congress, THUNDERBOLT P-47 Copyright: Southern Music Publishing Prague,Archive of the Czech Philharmonic USA Publisher: Melantrich, Prague, M. 276, 1949 Publisher: Bärenreiter, Kassel, B.A. 3840, 1959 Halbreich number: 309 Copyright: Editio Bärenreiter, Prague Copyright: Bärenreiter Durata: 9’ Place of composition: Cape Cod, South Orleans INVENTIONS (Mass. ), (USA) — Invence PRELUDE IN THE FORM Date of composition: 1945 MILITARY MARCH — Inventions OF A SCHERZO Performing forces: 3333-4331-timp. -batt. -archi — Vojenský pochod Dedication: National Symphony Orchestra — Militärmarsch Halbreich number: 234 Halbreich number: 181 A of Washington (D. C. ) Durata: 12’30” [Orchestration of the piano piece of the Performer(s) of premiere: National Symphony Halbreich number: 280 Place of composition: Paris (France) same name (no. 2 of the Eight Preludes, Orchestra, Hans Kindler (cond. ) Place of composition: Paris Date of composition: 1934 H. 181)] Premiere: 19. 12. 1945,Washington D. C. , USA Date of composition: 1940 Performing forces: 2222-4220-timp. -batt. -pf. - Date of composition: orchestrated 1930 Archive: Polička, Bohuslav Martinů Memorial, Dedication: To the Czechoslovak Division archi Archive: The performing parts are held by Czech Republic in France Performer(s) of premiere: O. Piccardi (cond. ) Leduc Publishers in Paris. It is unclear Facsimile: Prague, Bohuslav Martinů Institute; Archive: Authograph missing Premiere: 8. 9. 1934,Venice, Italy whether these are autograph parts Paris, Max Eschig, France Copyright: free Archive: Polička, Bohuslav Martinů Memorial, Copyright: Alphonse Leduc Publisher: Max Eschig, Paris, M. E. 7788, 1990 Czech Republic Copyright: Max Eschig Facsimile: Prague, Bohuslav Martinů Institute Publisher: Melantrich, Prague, 1949 NOCTURNE LA RHAPSODIE Copyright: Editio Bärenreiter, Prague (ROSE OF THE NIGHT) (ALLEGRO SYMPHONIQUE), — Nokturno (Růže noci) POUR GRAND ORCHESTRE VANISHING MIDNIGHT — Nokturne (Die Rosen in der Nacht) — Míjející půlnoc Halbreich number: 171 — Schwindende Mitternacht JAZZ Halbreich number: 96 Durata: 9’30” — Le Jazz Place of composition: Polička Place of composition: Paris (France) Halbreich number: 131 Date of composition: 1915 Date of composition: 1928 Durata: 41’ Halbreich number: 168 Archive: (Title page only) Brno, Moravian Performing forces: 3332-4441-2 timp. -batt. -pf. Place of composition: Prague Durata: 5’ Museum, Czech Republic -archi Date of composition: 1922 Place of composition: Paris (France) Copyright: free Dedication: “Pour Darney” [for Darney] Performing forces: 3333-4331-2timp. -batt. -2ar. Date of composition: 1928 Performer(s) of premiere: Boston Symphony -archi Performing forces: orch: 1020-3 sax. (2 A, 1 T)- Orchestra, S. Koussevitzky (cond. ) Performer(s) of premiere: Czech Philharmonic, 0220-timp. -batt. -banjo-pf. -archi Premiere: 14. 12. 1928, Boston, USA V.Talich (cond. ) NOCTURNE NO. 1 Premiere: 1962, Czechoslovak radio broadcast Archive: Polička, Bohuslav Martinů Memorial, Premiere: 18. 02. 1923, Prague IN F SHARP MINOR in Brno Czech Republic Archive: Prague, National Museum – Czech Archive: Archive of Czech Radio Prague, Facsimile: Prague, Bohuslav Martinů Institute Museum of Music, Czech Republic Halbreich number: 91 Czech Republic Publisher: Bärenreiter, Kassel, B.A. 4315, 1961 Facsimile: Prague, Bohuslav Martinů Institute; Durata: 6’20” Publisher: Český hudební fond, Prague, 1980 Copyright: Bärenreiter Sketches held by the Moravian Museum Place of composition: Polička Copyright: Panton International Praha in Brno, Czech Republic Date of composition: 1915 Copyright: Panton International Praha Performing forces: 2222-4030-ar. -pf. -archi THE ROCK Archive: Polička, Bohuslav Martinů Memorial, — Skála Czech Republic LITTLE DANCE SUITE — Der Felsen Facsimile: Prague, Bohuslav Martinů Institute — Malá taneční svita WORKMEN OF THE SEA Copyright: Editio Bärenreiter, Prague — Kleine Tanzsuite Halbreich number: 363 SKETCH OF A SYMPHONIC POEM Durata: 13’ AFTER THE NOVEL BY VICTOR HUGO Halbreich number: 123 Place of composition: Rome — Dělníci moře. Skica symfonické básně Durata: 36’ OVERTURE Date of composition: 1957 podle románu Victora Huga Place of composition: Polička Performing forces: 3333-4331-timp. -batt. -ar. - — Die Arbeiter des Meeres. Skizze einer Date of composition: 1919 Halbreich number: 345 archi symphonischen Dichtung nach dem Performing forces: 3322-4431-timp. -batt. -ar. - Durata: 8’ Dedication: “To George Szell and the gleichnamigen Roman von Victor Hugo archi (trbn., tb. jen ve 4. větě/only in Place of composition: Nice (France) Cleveland Orchestra” 4th movement) Date of composition: 1953 Performer(s) of premiere: Cleveland Orchestra, Halbreich number: 11 Premiere: 1963, Czechoslovak Radio in Brno Performing forces: 2222-4200-timp. -archi G. Szell (cond. ) Place of composition: Polička Archive: Polička, Bohuslav Martinů Memorial, Dedication: “Composed and dedicated to Premiere: 17. 4. 1958, Cleveland, USA Date of composition: 1910 Czech Republic Parent Association of the High School of Archive:Vienna, in the holdings of Universal Performing forces: large orchestra Facsimile: Prague, Bohuslav Martinů Institute Music and Art in New York” (for the Edition,Austria Archive: Brno, Moravian Museum, Czech Copyright: free opening of the Mannes College of Music) A fragmentary autograph of a version which Republic Archive: Paris, Bibliothèque nationale de deviates significantly from the final version Copyright: free France, Depositum Max Eschig is held in Basel by the Paul Sacher Facsimile: Polička, Bohuslav Martinů Memorial, Foundation, Switzerland Czech Republic; Prague, Bohuslav Martinů Facsimile: Prague, Bohuslav Martinů Institute Institute Publisher: Universal Edition, U. E. 12798 LW, Publisher: Max Eschig, Paris, M. E. 7689, 1965 1960 Copyright: Max Eschig Copyright: Universal Edition d BOHUSLAVMARTINŮNEWSLETTER2)2008 > LIST OF MARTINŮ’S WORKS III > Category ORCHESTRAL MUSIC > Subcategory WORKS FOR LARGE ORCHESTRA BOHUSLAV MARTINŮ rch– THE CZECH Resea & PHILHARMONIC ORCHESTRA PART I

The Czech Philharmonic in the year 1921, Bohuslav Martinů is second in the third row (the group of second violins) © PBM KAREL ŠPELINA Martinů participated in the celebrated AT THE VERY BEGINNING it must premiere of Josef Suk’s The Ripening, be stated that this topic, extremely conducted by Talich on 30 October 1918. interesting and certainly extensive, He experienced an unforgettable atmo- requires a certain form of statistics, sphere, augmented by the declaration more numerical data than would seem of an independent Czechoslovak state. necessary. Especially in the first years Naturally, he already had it in mind that his connecting the composer and the Czech cantata would be performed by the Czech Philharmonic Orchestra, it is intriguing Philharmonic Orchestra. It is surprising and probably little known to today’s that this composition, for the most part generation. positively received by critics (L.Vycpálek, V.Novák,V.Štěpán, etc.), was only played The history of friendship and cooperation by the Czech Philharmonic twice. As between the composer and the Czech a matter of interest, I quote from the Philharmonic Orchestra began officially only negative review, by Zdeněk Nejedlý, (for the public at least) on 12 January who designated the cantata a “disorderly 1919.This was, however, preceded by composition with grand gestures but small a number of years of solid friendship and means…” In the same year, the Czech close collaboration between Bohuslav Academy of Sciences and Arts awarded Martinů and the violinist Stanislav Novák, the cantata the second annual prize (with who from 1913 was a member and from Bohuslav Martinů and Stanislav Novák, c. 1920, Kozlov, Bohemia © PBM K. B. Jirák having received the first prize 1917 concert master of the Czech for his Symphony in C minor). Philharmonic Orchestra.The two met Martinů to start working on a cantata. organ, and Ludvík Čelanský, the chief of back in 1906 at the Prague Conservatory, I quote from his letter to Stanislav Novák: the orchestra at the time, conducted the Nevertheless, Bohuslav Martinů was where they were both studying in the “I have something in my head, but I worry chorus Pražský Hlahol and the Czech physically a member of the Czech violin department (Novák with Prof. Jan that it might seem bombastic, it is a Czech Philharmonic itself. Martinů dedicated the Philharmonic Orchestra and the cantata’s Mařák, and Martinů with Prof. Štěpán rhapsody, for large orchestra with baritone cantata to Alois Jirásek, still under the spell performance launched the era of Suchý, a year later with Prof. Jindřich solo and chorus, with Saint Wenceslas at the of his festive speech “Vow of the Czech premiering his new pieces. At the time, Bastař).Although the young Bohuslav was end, a beautiful chorale… I am too calm nation” given in the spring of 1918.The he had another forceful personality on not keen on his violin studies, he remained for a symphony, I just have to make some writer cordially thanked him and wished his side:Václav Talich. In February 1923 in contact with the Conservatory since he Czech work now…” And here we get to success to the composition. Talich premiered Martinů’s symphonic had begun feeling a strong interest in and the date I mentioned at the beginning: poem Blue Hour, H. 131 (2nd part of had discovered a talent for composing. on 12 January 1919 Czech Rhapsody In those years, Martinů already collabo- the cycle Vanishing Midnight) and, for Baritone, Mixed Chorus, Orchestra rated with the Czech Philharmonic as a dramaturge, he arranged for the The end of World War I and the new and Organ, H. 118, was premiered at Orchestra as a standby violinist.After premiere of a part from the cycle of songs situation that emerged were a great the Smetana Hall.The performance’s Václav Talich assumed the post of principal Magic Nights, H. 119 (April 1924, Pavla inspiration for the young composer, who taking place was greatly contributed to by conductor, he was engaged as a regular Osuská soprano, Catherine Alphonse had already presented several chamber Stanislav Novák, who played a large role in member of the group of second violins conductor).Working in an orchestra led and orchestral pieces. Strong patriotic the season’s dramaturgy. Egon Fuchs sang (1920–1923). In this case too, the concert the young Martinů to close contact with feelings and desires amid the new era led the solo, Bedřich Wiedermann played the master Stanislav Novák had the main say. music by French composers he took

BOHUSLAVMARTINŮNEWSLETTER2)2008 f rch— BOHUSLAV MARTINŮ Resea & THE CZECH PHILHARMONIC ORCHESTRA

a great liking to (H. Berlioz, C. Franck, Naturally, six years of totalitarianism and P.Dukas,V.d’Indy, C. Debussy and, above horrific war affected the dramaturgy of all all,A. Roussel), but he also got to know orchestras. Shortly after the end of the the work of contemporary Czech com- war, the Czech Philharmonic Orchestra posers intimately (he was primarily fond of performed the first Martinů composition. Suk and Janáček). He studied for two years Kubelík conducted Symphony No. 2, with Josef Suk and when he had finished H. 295 (2x, February 1946) and two week working for the orchestra he left for Paris later premiered , H. 279. to study with A. Roussel in order to fully Following the war, there was a desire for pieces that could not be played at that time, and, in addition, Martinů had worked diligently. In 1946 alone, the Czech Philharmonic Orchestra performed his works at 19 concerts (17x, R. Kubelík). Besides Symphony No. 2 (2x) and Field Mass (2x), also played were Memorial to Lidice, H. 296 (5x), Symphony No. 1, H. 289 (2x, Charles Munch at the Prague Spring festival), Symphony No. 4, H. 305 (6x), and Concerto for Violoncello and Orchestra No. 1 with the celebrated Pierre Fournier.The latter two compo- sitions were performed during the Czech Philharmonic Orchestra’s landmark first post-war tour of Paris (within the UNESCO month), Geneva and Zurich. Kubelík, and Martinů too, celebrated a real triumph. In 1947 Martinů works were

Conductor Václav Talich Autograph of Blue Hour, H. 131, title page © PBM

devote to composing.There, Martinů made Philharmonic Orchestra’s tour of Czecho- including chamber and dramatic (operas the acquaintance of other great com- slovakia in September 1931.The orchestra and ballets). posers, including the members of the was divided into two smaller orchestras, famous “”, as well as Stravinsky, one conducted by František Stupka, the At the start of the 1935/36 season, in Hindemith, Prokofiev and Bartók. During other by Talich. As a result, two concerts addition to being principal conductor his séjour in Paris, he created the break- were performed every day at the same of the Czech Philharmonic Orchestra, through composition Half-Time, H. 142 time in two different cities: a total of Václav Talich assumed the post of artistic premiered in December 1924 by the 19 concerts from 8–18 September. On director of the National Theatre Opera. Czech Philharmonic Orchestra under the 19 September the two groups united into Consequently, Martinů was afforded new baton of Talich and repeated the following a single orchestra, which performed the opportunities to assert himself in theatre year at a concert within the 2nd Inter- remaining three concerts under the baton too.The Czech Philharmonic was ever national Festival of Orchestral Music in of Nikolai Malko. During this tour,Talich more frequently conducted by the brilliant Prague. performed Martinů’s Serenade for Rafael Kubelík, who, naturally, presented Chamber Orchestra, H. 199 (12x). In the Martinů compositions not only in Prague Performed in another premiere was following year, Festive Overture for the but also on both domestic and foreign Concerto for Piano and Chamber Sokol Festival, H. 211 was premiered tours. Concerto for Piano No. 2 served Orchestra No.1,H.149 (November 1926, under the baton of Stupka (July 1932) and to establish a close friendship between Jan Heřman, Robert Manzer). Further- Partita for String Orchestra, H. 212 Firkušný and Kubelík which was to last Conductor Rafael Kubelík more, in April 1928 Talich included in the conducted by Talich (December).Talich throughout their lives. In 1937 and 1938 repertoire the overture to the opera repeatedly performed La Bagarre (4x in alone, this concerto was performed played at 9 concerts.They included Sin- The Soldier and the Dancer, H. 162 1933, 4x in 1935, once in London and three times. In the late1930s, even in the fonietta giocosa, H. 282 (2x, J. Kromb- A and in December of the same year once in Paris within the Czech Philhar- first months of the Protektorat Böhmen holc, G. Leroux), Double Concerto for La Bagarre, H. 155 shortly after its monic Orchestra’s significant tours; both und Mähren, the Czech Philharmonic Two String Orchestras, Piano and successful premiere in the USA. Another of the performances were enthusiastically Orchestra performed Martinů’s Serenade Timpani, H. 271 (P.Sacher), the premiere composition, Rhapsody, H. 171 originally received by the critics).Talich and the for Chamber Orchestra, H. 199 (Jan- of Symphony No. 5, H. 310, dedicated called La Symphonie,or Symphonie militaire; Prague Quartet gave the Czechoslovak uary 1939, under the baton of Kubelík), to the Czech Philharmonic Orchestra was conducted by Talich in Prague premiere to Concerto for String Inventions, H. 234 (March 1939, con- (Kubelík, May 1947, Prague Spring), and (March 1930) after it had been premiered Quartet and Orchestra, H. 207 (March ducted by Talich), and Tre ricercari, Symphony No. 4, H. 305 (5x in Poland, in Boston (like La Bagarre) by Serge Kous- 1934), shortly after its world premiere H. 267 (October 1939, under the baton Kubelík). sevitzky at the end of 1928. in Brussels and a successful performance of Talich).There was a direct radio in Boston, again under the baton of transmission of Concerto for Violoncello In March 1948 Václav Neumann stood In the 1930s Talich presented the overture Koussevitzky. In November 1935 Talich and Orchestra No. 1,H.196 (July 1939), in for the indisposed Kubelík to perform to The Soldier and the Dancer (5x, and Rudolf Firkušný premiered Concerto featuring K. Šejna and B. Heran. Martinů Martinů’s Symphony No. 4 at an extra- May 1930) within a tour of Bohemia, and for Piano and Orchestra No. 2, H. 237. was by then in exile and shortly after- ordinary concert. Kubelík returned to the included La Bagarre in the programme By that time, Martinů was undoubtedly wards also had to leave France, his home lectern to conduct Symphony No. 4 (2x), of a tour of Yugoslavia, Italy and Hungary a world-famous and successful composer, at the time, in haste. in August left to appear at the Edinburgh (9x, May 1931). Remarkable was the Czech his work comprising significant pieces, Festival, and did not come back. g BOHUSLAVMARTINŮNEWSLETTER2)2008 rch— Resea

Autograph of Symphony No. 4, H. 305 (beginning of 1st and 3rd movement) © PBM Conductor Karel Ančerl

He remained in exile in protest against After a long interval, in 1955 Martinů in Czech premiere, conducted by Ančerl monic Orchestra played The Frescoes the new totalitarian communist regime. returned to the programme of the Czech (another 3 repeats in Prague), who of Piero della Francesca, H. 352 for The newly appointed principal conductor Philharmonic Orchestra, symbolically subsequently presented the composition the first time (2x,Ančerl).This superb of the Czech Philharmonic Orchestra, with Symphony No. 5, dedicated to the during a tour of Yugoslavia and Hungary piece, dedicated to Rafael Kubelík, was Václav Neumann, retained the dramaturgic orchestra (2x, conducted by Karel Ančerl) and, half a year later, Symphony No. 5 premiered in Salzburg in March 1956 by status for another year and within six and, subsequently, the cantata Bouquet of (3x) in Germany. During 1956 Martinů Wiener Philharmoniker under the baton concerts in 1949 performed Symphony Flowers, H. 260, performed by the Czech pieces were heard at a total of 10 con- of Kubelík to great acclaim from both No. 4 (2x) and, with I.Večtomov, pre- Philharmonic Orchestra for the first certs. In 1957 Martinů works were only the public and the orchestra. Prague had miered Concertino for Violoncello and time (2x, again under the baton of Ančerl). played four times: Symphony No. 6 (2x, to wait another three years for it to be Small Orchestra, H. 143, and also played In February 1956, a year after its Boston Ančerl) and Double Concerto (2x, Šejna). performed. n Symphony No. 3, H. 299, and Double premiere, Fantaises Symphoniques, Throughout 1958 Martinů was not per- Concerto for Two String Orchestras, Symphony No. 6, H. 343 was performed formed at all. In 1959 the Czech Philhar- > To be continued in the next issue Piano and Timpani. The season’s drama- turgy had been planned more than a year earlier. MR PATRICK KAST from the News/ Autographs For the next five years, the door to per- autographs archive of the German — forming Martinů’s compositions was fully publishing house Bärenreiter closed. Another (this time communist) in Kassel has discovered another totalitarian regime, which started with significant source for the edition the “victorious February 1948”, was just of the opera Mirandolina, H. 346. as uncompromising as the Nazi one It concerns a List of Corrections had been. I recall that students at music written in Martinů’s hand and intended schools were exposed to pressure on for the opera’s publisher (it was the part of some teachers.When they published in 1959). It was drawn up wanted to play Martinů pieces they on special Circle Blue Print paper, were threatened with not being able to on which a host of copies of various graduate. Martinů was branded with the Martinů autographs have been then derogatory term “cosmopolitan” preserved.To date, one sheet has been and, as an émigré, designated absolutely found in the archive, comprising the undesirable.An attempt to engage him mentioned corrections for Act I. for the post of Professor of Composition A copy of the List of Corrections at the Academy of Performing Arts failed has been deposited at the Bohuslav due to totally unsuitable conditions con- Martinů Institute in Prague. Many nected with this task.And certainly not thanks to our associate from only due to these conditions, as later on Bärenreiter. n was witnessed by Kubelík, Firkušný, etc.

BOHUSLAVMARTINŮNEWSLETTER2)2008 h MUSIC EDITORS IN PRAGUE News— RECEIVE TRAINING FROM A TEAM OF INTERNATIONAL EXPERTS

JUSTIN KRAWITZ Martinů’s music.Thereafter, Dr. Appel expounded on the topics of philology, REPORT ON MUSIC-EDITING-SKILLS ON FRIDAY 20 June, 2008 the Bohuslav the description and evaluation of sources, Martinů Institute welcomed the renowned and on the technique of collation which PILOT COURSES German musicologist and music editor, is essential to the process of music Dr. Bernhard Appel, to collaborate on a editing.While much of the discussion was IN COOPERATION with the project’s The courses were prepared and run by partner, Editio Bärenreiter Praha, pilot musicologists of the Bohuslav Martinů educational courses focused on further Institute and external specialist lecturers. education of music-editing experts took The courses took places at two levels – place in May and June 2008 at the Bohu- beginners and advanced. slav Martinů Institute.

Dr. Bernhard Appel in lecture © Pavel Pešout

two-day seminar for music editors. Local necessarily highly theoretical, he brought collaborators in Prague included Aleš to the topics an admirable clarity and Březina (director of the Bohuslav Martinů practicality. Having laid the theoretical Institute), Eva Velická (musicologist and groundwork, Dr. Appel proceeded on the manager of the project), Sandra Bergman- second day with detailed discussions on nová and Lucie Berná (musicologists at the the constitution of a musical text.The Lesson in musical type-setting software © Petr Procházka Martinů Institute).The seminar was the afternoon was devoted to the discussion second in a series of two courses devel- of specific editorial problems which Invitations to the editing courses were The project is co-financed by the Euro- oped to cultivate advanced skills in music have been encountered in the works of sent to music libraries, universities with pean Social Fund, the state budget of editing, with particular reference to the Martinů. Březina,Velická and Bergmannová music departments, as well as pedagogues the Czech Republic and the budget of production of critical editions.This pair contributed concrete examples from their at primary music schools.The courses met the City of Prague.The project has been of courses represents the culmination of own editorial work.The day closed with with great interest. supported within the framework of the a two-year project entitled “Professional- some purely pragmatic (and, indeed, The courses focused on types of musical JPD 3 programme (Single Programming ization in music materials editing through invaluable) advice from Dr. Appel, drawn editions, rudiments of computer noto- Document for Objective 3) Measure 3.2 the further education of music experts” – from his years of experience collaborating graphy (the Finale 2008 program), effective Development of Further Education. n a project initiated by the Bohuslav Martinů on critical editions. gaining of information from the internet Institute and co-sponsored by the City and specificities of editing work. Every of Prague and the European Social Fund. The seminar was truly enlightening for participant received a publication titled all present – students, pedagogues and Music Editor’s Handbook, which was drawn The seminar began with a lecture by professional music editors alike. n up during the course of the project. Aleš Březina on the typical sources for

CZECH MUSICOLOGISTS manual offers a profusion of colour PRODUCE A NEW MANUAL reproductions of original manuscripts, giving the potential user a clearer idea of FOR MUSIC EDITORS the issues pertaining to a given source. Of particular interest to Martinů scholar- JUSTIN KRAWITZ at the institute: Eva Velická, Sandra ship is the chapter “Examples of Editorial Bergmannová and Lucie Berná.The Problems in the Works of Bohuslav problematics of music editing, particu- Martinů” (pp. 73–112). Here the authors THE YEAR 2008 saw the publication of larly the issues pertaining to complete draw on their experience preparing the a new methodological manual entitled critical editions, have never before been forthcoming Complete Critical Edition of Rukověť hudebního editora (“Music addressed sufficiently systematically in the Works of B. Martinů, with particular Editor’s Handbook”) – yet another the Czech context.The manual corrects reference to the Nocturne in Fis minor, achievement of the Bohuslav Martinů this situation, providing an accessible H. 91, Marionettes III H. 92, the Institute’s two-year project “Profes- and practically oriented guide to the Concerto Grosso, H. 263, the Concerto sionalization in music materials editing world of music editing, intended for an for Oboe and Chamber Orchestra, through further education of music audience of musicologists and performers H. 353 and the Piano Concerto No. 4 experts”.The Czech-language publication alike. Copious musical examples form “Incantations”, H. 358. n was prepared by a team of musicologists an integral part of the text. Indeed, the j BOHUSLAVMARTINŮNEWSLETTER2)2008 MARTINŮ’S UPRIGHT PIANO Memoirs of Zdeněk Čapek News— PREPARED BY JANA HONZÍKOVÁ

IN 1956 MY GOOD FRIEND Dr. H. Lexa, Project lawyer and professor at New York SANDRA BERGMANNOVÁ’S — University, and himself an excellent pianist INTERNSHIP AT BÄRENREITER told me that B. Martinů was returning to Europe and selling the upright and OWING TO financial support for the JPD German colleagues, who have vast experi- I should buy it. I agreed and after a brief “Professionalisation in music materials ence of working with critical and practical meeting, attended also by Martinů’s wife, editing through further education of music editions, during her internship in Kassel we came to terms and I arranged for experts” project, Sandra Srnková Berg- Sandra gained valuable knowledge and transportation. mannová from the Martinů Institute took experience she brought to bear when So the upright found a new home and up an internship at Bärenreiter-Verlag in preparing pilot courses in Prague in May has been well taken care of. And in turn Kassel.The main objective of her study stay and June 2008.At the end of her stay, contributed its own good deeds: It made was familiarisation with all departments Sandra received a certificate documenting it possible for us to have chamber music of the music publishing house and the her participation in the internship at afternoons, some times in the house, production process all sheet music passes Bärenreiter-Verlag. n sometimes in the garden, which were through and, above all, gaining experience enjoyed by the players, guests and even in training and editing activities through the neighbors. work on several specific compositions in But, for us most important, our son Peter the Complete Editions department under who until then had refused classical music, the guidance of Dr. Annette Thein. became and remains a convinced convert Thanks to the cooperation with her – the chamber music had done it! The upright’s other good deed: When our cousin suffering form a serious illness ` needed finger and music therapy, it was LABEQUES IN NEW YORK loaned to her. The upright is now permanently located in Peter’s house for everybody’s continu- ing enjoyment.

Z. Čapek, a US citizen, now lives in New York. In 1948 he graduated from Česke vysoké učení technické, Prague. In 1949 Z. Čapek escaped from the ČSR. For about one year been a Licensed Professional Engineer, he lived in Frankfurt am Main.With another University of the State of New York. He is Czech emigre, he designed and costructed a member of SVU (Společnost pro vědy a small automobile destined for the Europan a umění). market. Signed a contract with the Ethiopian Recently published book by Jindřich Beránek Government, where he worked as Engineer, „Naše škola jde do života“ offers more details for almost three years. Since 1961, he has about Czech exultant including Z. Čapek. n KATIA AND MARIELLE LABÈQUE gave a scintillating account of Martinů’s Concerto for Two and Orchestra, H. 292 last November (November 2, 2007), aided and abetted by the New York Philharmonic, in brilliant form under the conductor Semyon Bychkov. The NY Times (Two Mismatched Parts Are Made Into aWhole by Bernard Holland) described the playing of the Labeques as heroic but posed the question as to whether it was worth the trouble of taking on this difficult and demanding work. The audience clearly thought so and gave the sisters a rousing ovation for their efforts. Hopefully their performance of the concerto will be heard in Europe in 2009. n

HISTORICAL RECORDINGS

MARK TODD HAS DONATED TO US a copy of a unique historical recording of Symphony No. 2, H. 295 by the Czech Philharmonic Orchestra conducted by Karel Ančerl. It was recorded at the BBC Maida Vale Studios on Friday 2March1962. Broadcast: BBC Third Programme, Saturday 21 April 1962; Session Producer: Robert Simpson; Announcer: Patricia Hughes.

OUR LIBRARY HAS BEEN extended Jack Maxin play Sonata No. 2 for Cello by the purchase of the CD “Leonard Rose: and Piano, H. 286 by Bohuslav Martinů. Live in Recital 1953–1960” on which The piece was recorded in 1960 and the the cellist Leonard Rose and the pianist recording is from The Frick Collection. n

BOHUSLAVMARTINŮNEWSLETTER2)2008 k 21 November / 7.00 pm 18 October 2008 15 November 2008 / 10.30 am • Music at Duffield, UK • Musik-Akademie der Stadt Basel 30 October 2008 / 7.30 pm • Martinů Hall, Prague, CZ – 6.15 pm – Introduction • Borders Music & Arts Guild, UK Sonata for Flute and Piano, H. 306 ents Sonata for Two Violins and Piano, H. 213 12 December 2008 / 8.00 pm Roman Novotný (Flute), Pavel Kašpar (Piano) v Sonatina for Two Violins and Piano, H.198 • Stour Valley Arts, UK E 20 November 2008 Chantal Juillet (Violin), Sasha Rozhdestvensky (Violin), Robert Kolinsky (Piano) www.svam.org.uk/events.htm • Museum of Podblanicko,Vlašim, CZ www.tashmina.co.uk/artists/victoria- 23 November / 5 pm Trio d moll No. 2 in D Minor for Violin, simonsen/concerts.php Cello and Piano, H. 327 Duo No. 1 for Violin and Cello, H. 157 • Schauspielhaus Czech Piano Trio Victoria Simonsen (Cello), Check to the King, jazz-ballet in 2 act, H.186 FESTIVALS Katie Stillman (Violin) 23 November 2008 Balet School of Theater Basel Richard Wherlock (Choreography) 10 Oktober 2008 / 8.00 pm • Dům u Kamenného zvonu, Prague, CZ Concertino Basel, Olga Machoňová-Pavlů INTERNATIONAL MUSIC FESTIVAL Variations on Slovak Folk Song for Cello (Conductor), Kurt Aeschbacher (Speaker) • Beethovenhalle Bonn, Germany BESANÇON-FRANCHE COMTÉ and Piano, H. 378 Concerto for Piano and Orchestera No. 4 “CZECH MELODIES”, FRANCE M. Sedlák (Violoncello), J. Pěchočová (Piano) 10–20 SEPTEMBER 2008 BOHUSLAV MARTINŮ DAYS 2008 „Incantation“, H. 358 Klavier Beethoven Orchester Bonn, 27 & 28 November 2008 / 7.30 pm www.festival-besancon.com 30 November 2008 / 7.30 pm Zdeněk Mácal (Conductor), www.czechcentres.cz/paris Igor Ardašev (Piano) • Smetana Hall, Municipal House, Prague, CZ • HAMU, Malostranské nám., Prague www.fok.cz 16 October 2008 16 September 2008 / 6.30 pm The concert of the laureates of the annual Rhapsody-Concerto for Viola competition and Orchestra, H. 337 • Měšťanská beseda Hall, Plzeň, CZ • Magic Mirror Besançon Czech Rhapsody for Violin and Orchestra, 11 & 12 December 2008 / 7.30 pm Three Madrigals for Violin and Viola, H. 313 Lecture: Pierre-Emile Barbier – Introduction – H. 307 A (arr. Jiří Teml) J.Tomášek (Viola), G. Kubátová (Violin) Czech Music Prague Symphony Orchestra,Tomáš Netopil • Dvořák Hall, Rudolfinum 16 & 18 October 2008 (Conductor), Bohuslav Matoušek (Violin,Viola) 16 September 2008 / 8.00 pm Czech Philharmonic Sir Charles Mackerras (Conductor) 5 December 2008 / 8.15 pm • Sala do Coro, São Paolo, Brazil • Salle du Parlement – Palais de Justice Besançon Antonín Dvořák: Water Goblin Kitchen Revue, H. 161 Quartet No. 3, H.183 Antonín Dvořák: The Noon Witch www.radiokamerfilharmonie.nl São Paolo State Symphony Orchestra Pražák Quartet Bohuslav Martinů: Trois fragments de l’opera www.redenburg.nl 17 September 2008 / 8.00 pm Juliette, H. 358 A (1939) – world premiere 21 October 2008 / 7.30 pm • Leidsche Rijn,Vredenburg, Magdalena Kožená – Juliette, Utrecht, Netherlands • Eglise Saint-Maurice Salins-les-Bains Steve Davislim – Michel, Michéle Lagrange, • Church of St Simon and St Jude, Prague, CZ Double Concerto for Two String Orchestras, Quartet No. 3, H.183 Alain Vernhes, Frédéric Goncalves www.fok.cz Piano andTimpani, H. 271 Pražák Quartet Two Pieces, (H. 244), Two Impromptus, Netherlands Radio Chamber Philharmonic H. 381, Sonata, H. 368 Richard Hickox (Conductor) Monika Knoblochová (Harpsichord) PRAGUE AUTUMN FESTIVAL CONCERTS 6 December 2008 / 6.00 pm 22 October 2008 / 5.30 pm www.pragueautumn.cz 23 & 24 September 2008 • Wigmore Hall, London, UK 12 September 2008 www.ceskafilharmonie.cz www.wigmore-hall.org.uk • Theater und Konzerthaus, Solingen, Germany • Suk Hall, Rudolfinum, Prague CZ Sextet for Piano, Flute, Oboe, Clarinet • Rudolfinum, Prague, CZ Concertino for Violoncello,Wind Sonata for Flute and Piano, H. 254 andTwo , H. 174 Concerto for String Quartet instruments, Piano and Percussion, H. 143 Ensemble Martinů Nash Ensemble with Orchestra, H. 207 Bergische Symphoniker, Jan Stulen (Conductor) 4 November 2008 13 December 2008 / 10.30 am MDR Sinfonieorchester 27 September 2008 Jun Märkl (Conductor) www.filharmonie-brno.cz • Martinů Hall, Prague, CZ Marionettes (selection from Piano Pieces) Sonata for Viola and Piano, H. 355 22 September 2008 / 7.30 pm INDIAN SUMMER IN LEVOČA Sonata No. 3 for Cello and Piano, H. 340 Vladimír Bukač (Viola), Jean Fountain (Piano) www.lblfestival.eu/programme.htm Petra Besa (Piano), Jan Škrdlík (Cello) • Rudolfinum, Prague, CZ • Theatre, Levoča, Slovakia 16 December 2008 / 7.30 pm Symphony No. 6 ‘Fantaises Symphoniques’, Metamorphoses – ballet and opera scenes from 9 November 2008 / 7.30 pm H. 343 Monteverdi to Martinů www.gewandhaus.de Konzerthausorchester , Lothar Zagrosek stars of the Slovak National Opera and • Barbican Centre, Silk Street, London, • Großer Saal, Gewandhaus, Leipzig, Germany (Conductor) National Ballet www.barbican.org.uk Symphony No 2, H. 295 Songs my mother taught me – programme MDR Symphony Orchestra, Stefan Solyom 7 October 2008 INTERNATIONALE MUSIKFESTTAGE to include Dvořák, Martinů, Janáček and (Conductor) B. MARTINŮ 2008, BASEL, SCHWEIZ Schulhoff • Klub Mnichovo Hradiště, CZ 19 December 9–23 NOVEMBER 2008 Magdalena Kožená (Mezzo-soprano), Sonatina for Violin and Piano, H. 262 Malcolm Martineau (Piano) www.martinu.ch I. Ženatý (Violin), K. Ženatá (Piano) • Liederhalle, Beethoven-Saal, Stuttgart, 4 November 2008 / 7.30 pm Germany 7 October 2008 9 November / 7.00 pm Concerto No. 1 for Violoncello and www.ceskafilharmonie.cz Orchestra, H. 196 III www.filharmonie-brno.cz • Elisabethenkirche • Dvořák Hall, Rudolfinum, Prague CZ Radio-Sinfonieorchester Stuttgart des SWR Sonata for Flute and Piano, H. 306 Opening concert Divertimento (Serenade IV) for Violin, Kirill Petrenko (Conductor) Clara Nováková (Flute), Bouquet of Flowers, H. 260 Viola and Small Orchestra, H. 215 Timothy Lissimore (Piano) 20 December 2008 / 7.30 pm Gerd Albrecht (Conductor), Czech Chamber Orchestra, Prague Chamber Choir, Ensemble Basilisk 7 October 2008 Andreas Sebastian Weiser (Conductor), www.fok.cz Nina Amon (Alt), Marc-Olivier Oetterli (Bass) Maria Ericsson (Violin), • Dvořák Hall, Rudolfinum, Prague, CZ „MARTINŮ-BOHEMIAN IN EXILE“ Barbora Waldmannová (Viola) 11 November / 7.00 pm Three Czech Dances, H. 154 at Royal College of Music, London, UK 6 & 7 November 2008 / 7.30 pm Jiří Kollert (Piano) • Stadtkino Basel under the Direction of Janet Hilton • Inner Parry Room, Royal College of Music, „Notre Histoire“ (French film1984) www.ceskafilharmonie.cz Prince Consort Road Autor and Director: Bertrand Blier – • Suk Hall, Rudolfinum, Prague CZ 1.05 pm / Trio for Flute, Cello and Piano, BALLETS Music: Bohuslav Martinů Frescoes of Piera della Francesca, H. 352 H. 300, Sonatina for Clarinet and Piano, Czech Philharmonic, 14 November / 9.00 pm H. 356, Divertimento for two recorders, 3 & 12 October 2008 / 3.00 pm Manfred Honeck (Conductor) H. 365, , H. 161 A • Voltahalle 6.00 pm / Sextet for Flute, Oboe, Clarinet, 12 November 2008 / 5.30 pm • Volkstheater, Großes Haus, „Interferences“ – Identity in Bohuslav Two Bassoons and Piano, H. 174, Rostock, Germany Martinů’s Life and Work Madrigals – Four pieces for Oboe, Clarinet www.ceskafilharmonie.cz Who is the Most Powerful Luis Garay (Director and Choreography) and Bassoon, H. 266, Sonata for Flute and • Suk Hall, Rudolfinum, Prague CZ in the World?, H. 133 with Dances und Music from Argentina Piano, H. 306, Quartet for Oboe,Violin, New Špalíček, H. 288 Nordeutsche Phailharmonic and Switzerland Cello and Piano, H. 315, Nonet for Wind Roman Janál (Baryton), Rostock, Christian Hammer (Conductor) Co-Produktion with the Festival Internacional Karel Košárek (Piano) Quintet,Violin,Viola, Cello and Double Prepared by Jana Honzíková de Buenos Aires Bass, H. 374 l BOHUSLAVMARTINŮNEWSLETTER2)2008 Please, help us to compile the concert calendar – inform us about events involving Martinů’s music at [email protected] NEW CDs IN THE BOHUSLAV MARTINŮ INSTITUTE’S LIBRARY News—

Bohuslav Martinů Chamber Music Bohuslav Martinů Bohuslav Martinů withViola Violin Concerto No. 2 The Complete Music • Three Madrigals (Duo No.1) for Violin Toccata & due Canzoni for Violin & Piano and Viola, H. 313 • Duo No. 2 for Violin and Viola, H. 331 Bohuslav Martinů • Violin Concerto No. 2, H. 293* • Suite Concertante (version I), H.276 • Sonata for Viola and Piano No.1, • Serenade No. 2 for Strings, H. 216 • Suite Concertante (version II), H.276 A H. 355 Complete Cello Sonatas • Toccata e due Canzoni, H. 311** • Rhapsody-Concerto, H. 337 • Chamber Music No.1 for Clarinet, Isabelle Faust – Violin* Bohuslav Matoušek – Violin,Viola Violin,Viola, Cello, Harp and Piano, • Sonata No. 1, H. 277 Cédric Tiberghien – Piano** Czech Philharmonic Orchestra H. 376 • Sonata No. 2, H. 286 The Prague Philharmonia Christopher Hogwood – Conductor Alexander Besa – Viola • Sonata No. 3, H. 340 Jiří Bělohlávek – Conductor Recorded in 2001, 2004, 2005 Bohuslav Matoušek – Violin Tilmann Wick – Cello Recorded in 2006 / Harmonia Mundi, HMC 901951, 2008 Hyperion, CDA67673, 2008 Petra Besa – Piano Pascal Devoyon – Piano Ludmila Peterková – Clarinet Recorded in 2005 Jan Talich – Violin Audite, SACD 92.523, 2006 Jiří Bárta – Cello Jana Boušková – Harp Karel Košárek – Piano Recorded in 2005-2006 Supraphon, SU 3952-2, 2008 MARTINŮ IN MADISON JUSTIN KRAWITZ CONCERTO IN APRIL THIS YEAR the University of FOR OBOE Wisconsin-Madison welcomed Aleš THE PRAGUE SPRING 2008 festival’s Březina, director of the Bohuslav Martinů competition focused on oboe, with Con- Institute, for a five-day interdisciplinary certo for Oboe and Small Orchestra, arts residency.The residency was Bohuslav Martinů H. 353, being one of the competition sponsored by the UW-Madison Arts Bohuslav Martinů Institute and the School of Music.While Duos & Trio for Strings on campus, Březina’s presentations • String Quartet No. 7 “Concerto focused primarily on the life and works of da camera”, H. 314 • Duo No. 1 for Violin and Cello, H. 157 Martinů. In his introductory lecture he Pražák Quartet • String Trio No. 2, H. 238 surveyed the existing Martinů research, • Sonata for 2 Violins and Piano, H. 213 • Three Madrigals for Violin and Viola, providing an astute consideration of the Pavel Hůla – Violin H. 313 historiographical issues with which the Jan Odstrčil – Violin • Duo No. 2 for Violin and Viola, H. 331 contemporary Martinů scholar must Boris Krajný – Piano • Duo No. 2 for Violin and Cello, H. 371 grapple. Březina’s second lecture was • String Sextet, H. 224 • Piece for Two Cellos, H. 377 devoted to the Martinů Institute and its Kocian Quartet Beethoven String Trio projects.This lecture received special • Nonet, H. 374 Recorded in 2000–2001 interest from UW-Madison’s Bolz Center Czech Nonet AMC Paris SDRM, PRD 350 033, 2007 for Arts Administration, as well as from Recorded in 1995–1997 the University of Wisconsin Press. In his AMC Paris SDRM, PRD 350 040, 2007 final lecture concerned with Martinů, Březina shared some of the insight he has gained through his experience collecting Bohuslav Martinů the oral history of the composer. Březina’s visit to Madison not only fostered further Chamber Music interest in Martinů – it served to uncover yet another source for the invaluable oral • La Revue de Cuisine, H. 161 A history. Mr. Karlos Moser, a former • Sextet, H. 174 pieces.To mark this occasion, the pub- director of opera at UW-Madison’s School • Quatre Madrigaux, H. 266 lishing house Eschig, with financial support of Music, studied with Martinů during his • Nonet, H. 374 from Prague Spring, published the com- time at Princeton University.We hope to Ensemble Villa Musica position’s piano score with the revised share Mr. Moser’s recollections of Martinů Recorded 2002, 2005 solo part. Editors: Maurice Bourgue, in a future issue of the Bohuslav Martinů MDG, 304 1439-2, 2007 Guy Porat. n Newsletter. n

BOHUSLAVMARTINŮNEWSLETTER2)2008 ; LUCIE BERNÁ: BOHUSLAV MARTINU˚ . MARTINŮ BOHUSLAVs E ∑MUSIC AVIEWOFHIS View of hi LIF A LIFE & MUSIC LucieBerná

IN OCTOBER 2008 the Bohuslav Martinů Institute will be issuing a new publication on the life and works of Martinů.The limited edition 35-page volume will be exclusively in English, printed in full colour with an array of illustrations. Special thanks to Geoffrey Piper (MusicEnterprise, Luxembourg) for his generous sponsorship of this publication.

]} > PRICE 7 EUR / 150 CZK (+postage); members of the International Martinů Circle can purchase the monograph for a discounted price of 5 EUR / 100 CZK (+postage)

> ORDERS are accepted per e-mail at [email protected] or telefonically at +420 257 320 076

BALLAD OF A MINER FROM BOHUSLAV MARTINŮ’S THREE SONGS FOR THE CABARET SOŇA ČERVENÁ, daughter of Jiří Červený, has donated to us a period sheet music copy. It concerns the setting to music of František Gellner’s poem titled Ballad of a Miner. Jiří Červený was the founder of the legendary cabaret Červená sedma (Red Seven), which originated in Prague in 1910 and existed until 1922.According to Mr Červený’s memoirs (a copy of which we have also received as a gift from Soňa Červená), in 1921 Bohuslav Martinů came over to him with the offer to write some chansons for the cabaret. Jiří Červený provided Martinů with the texts.Thus, in addition to Ballad of a Miner, the chansons Summer Ballad and Bar (from the Cycle Three Songs for the Cabaret Červená sedma, H. 129), came to life. Martinů composed all three texts within five days and they were premiered by the cabaret singer Jan Borovanský. Martinů came to listen to them at Červená sedma and was pleased with the results. In his memoirs, Jiří Červený further states that Ballad of a Miner was the greatest success since it was very evocative.The other two compositions, however, were not so well received (apparently, they were too ahead of their time). n Donation of Mrs Soňa Červená