Bohuslav Martinů

Vol. IV, No. 1, January – April 2004

Bohuslav Martinů Festival 2003 Bohuslav in Italy A Snapshot from 1954

Dvořák Was Like Mozart Martinů on Dvořák First The Critical Edition Gets Underway issue 2004 Correspondence of Bohuslav Martinů in the Music His- tory Department of the Moravian Museum in Brno Martinů EVENTS / Martinů NEWS

The International Bohuslav Martinů Society The Bohuslav Martinů Institute Contents

WELCOME Gerd Lippold ...... 3

THE IBMS MEMBERSHIP INFO Jindra Jilečková ...... 3 THE BOHUSLAV MARTINŮ FESTIVAL 2003 Reviews ...... 4 - 7 MARTINŮ EVENTS 2004 ...... 8 A COMEDY ON THE BRIDGE FOR MODERN TIMES A Review of an Opera Patrick Lambert ...... 9 BOHUSLAV MARTINŮ’S PLACES OF RESIDENCE IN PRAGUE ...... 10 - 11 BOHUSLAV IN ITALY A snapshot from 1954 Gregory Terian ...... 12 A NEW INTERPRETATION OF MARTINŮ Review of a CD Luboš Stehlík Review on a Book Vlasta Reittererová ...... 13 DVOŘÁK WAS LIKE MOZART Martinů on Dvořák ...... 14 THE CRITICAL EDITION GETS UNDERWAY The First Meeting of the New Editorial Board Lucie Berná ...... 15 CORRESPONDENCE OF BOHUSLAV MARTINŮ IN THE MUSIC HISTORY DEPARTMENT OF THE MORAVIAN MUSEUM IN BRNO Kateřina Maýrová ...... 16 - 18 MARTINŮ NEWS ...... 19 MUSIC BY BOHUSLAV MARTINŮ ON CDs ...... 20

Bohuslav Martinů, Polička 1895 © PBM

2 Welcome Dear readers, We are now beginning what is already the fourth year of our Bohuslav Martinů Newsletter, which provides information about events all over the world associated with the composer we all love. Over the course of the previous years a structure for the Newsletter has crys- tallized in which you can regularly follow ‚Events‘ and ‚News‘, reviews of major festival Dear events, and historical and scholarly-popular studies, or peruse beautiful and unique photographs of people and places connected with Martinů. Just as we devoted special attention last year to Charlotte Martinů, this year, too, we have some surprises in store for members you. You will be able to follow several regular columns: on Martinů‘s places of residence in various parts of the globe (pp. 10-11), his correspondence, and his relations to other of the IBMS, Czech composers (for the Year of Czech Music - 2004). I hope our Newsletter will please you and that this year again it will offer you everything you expect from it. dear friends, Sandra Bergmannová, Editor

I suppose it is a bit late to wish you This can only be achieved through a happy and successful New Year, but a substantial increase in the number let me at least express the hope that of members, a task which the Board you have started it without problems cannot achieve on its own. I should and that this state of affairs will not therefore like to make a strong plea to change in the coming months. ‘There all of you; please help us to meet this is a kind of magic in every beginning life-or-death challenge to the IBMS! which protects us and helps us to live’. Over and over again, I have come These lines are from a poem by Her- across considerable ignorance, even mann Hesse. Do they not express what on the part of people with wide musi- IBMS Membership Info: all of us feel at the beginning of a new cal interests, when I have mentioned Membership dues for 2004: year; a certain fear of the unknown, the name Martinů or reported on the 20 Euro (12 Euro students or seniors) – includes yearly subscription of the but hope at the same time? doings of the IBMS, but that this igno- BM Newsletter + 1 CD from the Martinů Festival 2002 Composers live in their own world. rance turned into enthusiasm as soon • There are numerous examples of com- as the people heard Martinů‘s music. 100 Euro (Societies, Companies) – includes yearly subscription of the posers withdrawing into them-selves Perhaps you can win new friends for BM Newsletter (10 copies of each issue) + 2 CDs from the BMF 2002 in periods of increased creativity and Martinů in this way and bring more • Martinů was no exception. Charlotte members for the IBMS. For information concerning membership or dues payment, Martinů told me that Martinů was I hope you will believe me when please contact the IBMS Office in Prague (Jindra Jilečková), difficult to talk to and even became I say that I find it most painful to pay Náměstí Kinských 3, 150 00 Praha 5, Czech Republic, E-mail: positively cool towards her when he so much attention to economic aspects [email protected]; or any of the members of the Board: was working on a major piece and that in the first Newsletter of the year, he only “surfaced” when the work was but my goal remains to give the IBMS finished. a clear profile with the emphasis on Board of Directors 2004 On the other hand, composers worthwhile projects. There is no short- are a part of reality. They are obliged age of ideas or concrete plans; it is Contact List to earn their living like the rest of us unfortunately a matter of the capital and to see that ‘the books balance.’ required... Lippold Gerd As far as I am aware; we know little of I regret that I also think it nec- Auf den Schmaläckern 23, D-21769 Lamstedt, Germany Martinů‘s response to this challenge in essary to mention another prob- Tel./Fax: +49 - 4773695 detail. He occasionally noted down his lem. We know that the current IBMS [email protected] weekly earnings in a small notebook; statutes are urgently in need of a these came mostly from royalties for thorough revision. For example, Albrechtsen Preben Piper Geoff the performance of his works. As a it has never been possible to hold Nordfeldvej 19, Vallensbaek Strand MusicEntreprise, 24 Rue des Cerisiers composer, he never became rich but he a General Assembly with a quorum DK-2665, Denmark L 1322, Luxembourg did at least, as far as I am aware, spend attendance since the creation of the Tel.: +45 - 43538508, [email protected] Tel.: +352–474269, Fax : +352–223585 the last few years of his life without Society. The future structure of the [email protected] financial worries. But there were also IBMS was a central point at the Board Březina Aleš phases in his life when he was on the meeting last December. The meeting The Bohuslav Martinů Institute Slayton Ralph Nám. Kinských 3, 150 00 Praha 5 Univerzita Hr. Králové, V. Nejedlého 573 fringe of poverty, and not only during found that the most favourable solu- Czech Republic 500 03 Hradec Králové, Czech Republic his studies. After he arrived in the tion might well be to wind up the IBMS Tel.: + 420 - 257313104, [email protected] [email protected] USA, it was Charlotte who had to earn in its present form and immediately re- their living as a seamstress. So money fund it with new statutes - such at least Coussement Gauthier Sonsky Jaroslav played a by no means unimportant part was the proposal from the founder of La Carombelle, 832 Route de Modene Sonsky Concert, Knopgatan 6 in Martinů’s life. the IBMS and Honorary Vice-President, F 84330 Caromb, France 603 85 Norrköping, Sweden Perhaps the fact that I am putting Karel van Eycken. The legal seat of the [email protected] Tel.: +46-11-318475, Fax: +46-11-319681 the subject MONEY so much to the fore new IBMS - currently Brussels - would [email protected] will make you suspicious. However, I do probably then be Prague. The current Chevy Patrice have a concrete reason for this. The IBMS Chairman will do his best to give 11 Residence Foch Stompel Józef Prof. new year has not begun without wor- you the draft new statutes in the next F 92380 Garches, France 1. Szpaków Str., 40-540 Katowice, Poland Tel./Fax: +48-032-2514-540 ries for the IBMS. Quite the reverse; the Newsletter for your cognisance and ap- IBMS has serious economic problems. proval if appropriate. However, in order Černá Olga Pod Akáty 150/88, 159 00 Praha 5 Terian Gregory It cannot finance its activities from for us to take the necessary steps for Czech Republic 18 Broadway, Wilmslow, Cheshire SK9 1NB members’ subscriptions alone (for this procedure, we need the agreement Tel./Fax: + 420 – 257940435 England, [email protected] your information, there are 161 mem- of members now. An urgent request bers); it still depends on support from to all of you, therefore: please tell the Mabary Judith Tokuda Mari the Martinů Foundation. However, IBMS office in Prague without delay, 923 Woodlawn St., Scranton Nerima-Ku Hazawa 1-10-13 the financial reserves of the Martinů by fax, e-mail or letter, if you agree to Pennsylvania 18509, USA 176-0003, Tokyo, Japan Foundation are not unlimited. the approach outlined above. [email protected] [email protected] On the long run, the aim of the Gerd Lippold, Chairman IBMS must be to stand on its own feet. Schott Music International - Mainz has become a member of IBMS

Bohuslav Martinů Newsletter 2004 - First issue 3 Festival TheThe BohuslavBohuslav MartinůMartinů Prague 5th to 12th December 2003

Teodor Brcko 5th December Prize-Winners The ninth year of the only festival in our country that is devoted to a Czech composer of the twentieth century opened with a con- cert featuring prize-winners in the Martinů Competition. By playing Martinů’s first and third sonatas, violinists Daniela Oerterová and Marie Fuxová came unwillingly into merciless confrontation with the mature interpretation of Hana Kotková (on the concert of 10th December, see page 7), with whom they cannot compete for the time being. Nevertheless they showed plenty of musicality and enthusiasm for the music, which is very difficult to perform. The prize-winners from the cello competition cut a sharper profile. The older of them, Teodor Brcko from Slovakia (in a ‘national competition’ that the organizers appealingly interpret as being open to both Czechs and Slovaks), showed an effective, almost flawless virtuosity in the Variations on a Theme of Rossini, while the domestic Tomáš Jam- ník, an eighteen-year student at the Jan Neruda Gymnasium in Prague, impressed the audience with his ability at his age to comprehend the sense of such a compli- cated piece as Martinů’s First Cello Sonata. Undoubtedly it will be interesting to fol- low the further fates of all four talented musicians. Luboš Stehlík

th

99 AnnualAnnual Tomáš Jamník

4 Festival FestivalFestival 20032003 inin PraguePrague

6th December The Day of Good Deeds The completion of the operatic frag- ment Le jour de bonté (The Day of Good Deeds) staged in České Budějovice in the spring and presented as part of the Martinů Festival (in the Estates Theater) by Milan Kaňák is a possible solution which worked well in this case. It avoids attempts to finish composing the music by continuing beyond the place where Martinů stopped with recorded music already heard before in the opera, corresponding to the roun- ding of the plot; at the end, like a period at the end of a sentence, we also hear an appropriate chorale-style excerpt from Hry o Marii (The Plays of Mary). It was not until the 1990s that a copy of the manuscript of this unfinished and never-performed opera was acquired. Milan Kaňák took over the task from the deceased Václav Nosek, and with his col- laborators - in a way suited precisely to scenes he lets the singers overact, but this 7th December the capabilities of the operatic ensemble kind of hyperbole is appropriate enough of the South Bohemian Theater - made in this genre. The sets were designed A Tribute to it into a merry, comic, accessible, and by the Frenchmen 
 
  gratifying piece, a comedy about two   ) 

, who underscored Madame Charlotte silly village ‘bumpkins’ who set out for colors, motion and entertainment, Paris to ‘commit’ good deeds and have Frenchness, and perhaps almost a revue- One of the festival’s smaller-scale con- more than one adventure there. In the like style. Daniel Klán and Svatopluk certs, belonged to a prize-winner from the end, however, they along with the audi- Sem as the two befuddled companions, previous year’s Bohuslav Martinů Foundation ence learn that their trip to the capital Kateřina Hájovská in the role of the Competition, pianist Miron Šmidák. It was was only a dream they had when they fell alluring and coquettish cowgirl, Peter dedicated to the twenty-fifth anniversary asleep after drinking too much. The whole Poldauf as the drunken mayor, and many, of the death of Charlotte Martinů, the com- village laughs at them. The stage director many other striking characters - all these poser’s widow, to whom Czech musicians are Josef Průdek had quite a good time with in this guest performance were singers highly indebted for the bequest of rights it. He renders the plot, written by Georges who perhaps would not be too convinc- to his works. The twenty-three-year-old Ribemont-Dessaignes based on a story ing in world-famous bel canto opera but Šmidák, studying with Emil Leichner at by Ilja Erenburg, in a way that is lyrical, are capable of achieving apt, abbreviated the Academy of Performing Arts, played sprightly, grotesque, delightful, and characterization with pleasure. Martinů’s First Piano Concerto. He had a slightly naive and simple. In the bizarre Petr Veber good command of his part and successfully warded off the danger of it sounding too difficult: this is syncopated music with a relatively-complicated texture, broad under the hands. In the first move-ment it sounds robust, in the second as though pathetic, and in the third dance-like with a sugges- tion of humorous quotation. The soloist showed that he has mastered the part, written densely and full of figuration, runs, staccatos, and complicated chords, more than sufficiently; his strength held out even in the challenging cadenzas. However, conductor Douglas Bostock had a difficult position with the Chamber Philharmonic of Pardubice because of very disadvanta- geous acoustics - the Martinů Hall, after all, is woefully small for an orchestra, and so in Martinů’s Tre ricercari and in Roussel’s Petite suite and excerpts from his Le festin de l’araignée (The Spider’s Feast) there was too much sound and not enough comfort- able ensemble; although the impression was positive, the effect - intentionally or not - was merely monotonously pithy. Petr Veber Miron Šmidák

Bohuslav Martinů Newsletter 2004 - First issue 5 Festival TheThe BohuslavBohuslav MartinůMartinů Continuation from the previows page

8th December Alfréd Radok’s Otvírání studánek (The Opening of the Springs)

In the first part of the completely in demand internationally, could take sold-out performance on the stage of abroad. With his collaborators Miloš Laterna Magika audience could view Forman and cameraman Jaroslav Kučera Vladislav Vančura’s 1934 film Marijka he created the scenario for a staged elderly men and women wizened from commission was bothered by Martinů, nevěrnice (Unfaithful Marijka) based on rendition of Martinů’s Otvírání studánek, hard work in Otvírání studánek, and by the wizened faces, by the thatched a novel by Ivan Olbracht - a film known a cantata from 1955 to a text by Miloslav about the rolling landscape of Vysočina roofs, etc. The production cost Radok today perhaps only from professional Bureš. This was one of the few works by (the Bohemian-Moravian Highlands) his position and his health. The film that literature - for which music was provided Martinů that was being performed at that through which passes the Pilgrim - as was part of the presentation was ordered (very richly) by B. Martinů. The music time in Czechoslovakia: in some strange an observer and at the same time one of to be destroyed. However, it was stored accompanying this partly naturalistic way it was suitable to the communist them. The interpenetration and mutual away and - when the ice broke - in 1966 it and partly idealized story from Sub- regime, and in a completely understand- complementation in this double story was possible to resurrect the production. -Carpathian Ruthenia does not deny its able way it enchanted Czech performers with double time is more than compel- Laterna Magika performed it for a full composer, either in dramatic and lyrical and audiences. ling. A Czech listener who knows the work (a mere!) two years, until the invasion by symphonic passages or in the stylization Today multimedia presentations are from memory does not even notice that the occupying Soviet armies. Now, more of local folklore, often raw. The creators nothing new, but around 1960 they must some passages (not sung, only recited) than forty years after the origin of the of the film were obviously fascinated by have seemed like a revelation. Radok’s are left out. In the unique recording that production, thanks to work almost wor- the life of the people (even using non- approach is quite extraordinary not only is the basis for the production everyone thy of Sisyphus and mainly to enthusiasm actors from the site of the filming in the in its presentation of the work itself must be impressed above all by the highly (with major financial expenditures), it main roles) and enchanted by the natural but above all in its penetration into its artistic per-formance of Ladislav Mráz in has been possible to restore the original beauty that surrounds them. However, in essence, its underscoring of the work’s the famous closing song of the Pilgrim: old copy of the film, strongly affected places the film seems too long. And the multi-layered character and not only of such a grasp of the content of the sung by time, as well as the choreography and fact that it was not successful with audi- that obvious, optimistic folkish style. On text, with such perfect intonation and stage synchronization of the original ences in its time is not least the result of a simple, ‘live’ stage is played out the story maximally compre-hensible phrasing production. For a single performance using Ruthenian and local Jewish dialect, of a bride and a groom, their betrothal, (not to mention the wonderful color of as part of the Martinů Festival. All this which is and must always have been in- their wedding, and the birth of their his voice) will perhaps not be found in work and its result have been recorded comprehensible to Czech audiences. child - all the way through their depar- any other recording! And there are many by Czech Television, to be sure - but isn’t The second part of the evening at ture from this world. The dancers (Pavel excellent ones. that too little? There are legends that are Laterna Magika brought that about Knolle, Stanislava Sebíňová, and the It remains to add a few words of expla- better to leave as legends, because some- which most of the audience (including corps) realized precisely the stage and nation which are quite fundamental. In times coming close to them can spoil me) was curious: a reconstruction of the choreographic form of the production 1960 no audience saw Radok’s Otvírání their magic. In Alfréd Radok’s Otvírání legendary 1960 production of Otvírání that was impressed on it already in 1960 studánek. It was seen only by a ministeri- studánek, however, there is no danger studánek (The Opening of the Springs) (and again today) with undying energy al-party-ideological commis-sion, as it is of anything of the sort: perhaps only the by the creator of Laterna Magika, stage by another legend of Czech culture, liv- called by Oldřich F. Korte - initiator of the danger of realizing that word and image director Alfréd Radok. After Laterna ing for many years in Australia and now resurrection of the production, in which can become not only a deed but (unlike Magika’s success at the Expo 58 world’s ninety years old, the choreographer he shared originally as musical director, some more recent cases with far more fair, as artistic head of the ensemble Mrs. Zora Šemberová. And on the screen pianist, and in general a person who ‘effective’ means) also an idea. Radok was called upon to create a new behind them takes place a mystery play oversaw the musical and sound quality Jana Vašatová program which the company, suddenly about the life of children and of the of the recordings and performances. The

6 Festival FestivalFestival 20032003 inin PraguePrague

10th December dium supported to the hilt by an honest preparatory phase. This impresses the Piano and Violin players, which was easily discernable in their mutual contact. Already the Recital first two parts of Martinů’s orchestral Inventions, so amazingly detailed and Excellently prepared in terms of program- delicate, in whose immensely difficult ming, but a little unbalanced in performance piano part Jaroslav Šaroun was radiant, quality: thus we could characterize in one sounded with exemplary plasticity under sentence the final two evenings of the festi- Mácal’s baton. Only toward the end of the val. Whereas the festival’s final concert, con- first movement the woodwinds seemed ducted by Zdeněk Mácal as part of the regu- to be too timid in their music-making lar sub-scription series of the Czech Philhar- with the piano. Then the Poco Allegro monic, showed all the traits of that top-level of the Inventions was electrifying, and performance quality one can expect from a inci-dentally I have never heard such showcase orchestra and its guest soloists, a convincingly-shaped accelerando. Má- we were unpleasantly surprised by the very cal and the orchestra also deserve appro- uneven quality of the recital evening in the bation for the way they met the challeng- Martinů Hall. Not often do we encounter in ing task of performing the two suites from Hana Kotková Ravel’s ballet Daphnis et Chloé. I would say that this time the expected precision in playing was enhanced by some sort of especially strong involvement on the part of the players that seemed to be present continuously, beginning already with the flute in the opening bars of the nocturnal part of the first suite. Meanwhile some passages were revealed in timbres never heard before, for instance the moment in the opening section of the second suite where under delicate flute figuration Zdeněk Mácal we hear a drawn-out melodic line in the cellos and basses; Mácal also brought off convincingly the intense build in the bac- chanal at the end of the second suite. Chosen as the concertato number piano recitals such compositional rarities of the program for the closing festival as Martinů’s early three-part cycle Motýli concert was Martinů’s Le Duo concer- a rajky (Butterflies and Birds of Paradise). tant for two violins and orchestra. This Thanks to pianist Pavel Kašpar (a native of is a work from the 1930s enchanted by Ostrava working in Munich), we had such the poetics of the concerto grosso that an opportunity that evening, but what we offers, instead of an intense dialog, got- as also in the case of Martinů’s famous modern imitative play, and demands Fantasie e Toccata - was a woefully super- from the soloists that they be ‘tuned to ficial rendition. If we overlook the pianist’s the same wavelength’. As far as I know, strangely monotonous dynamic level and the soloists of the evening - the Ameri- illogical vacillations in tempo (including can violinist of Korean origin Jennifer student-type accelerandos in the most Koh and Bohuslav Matoušek - had never difficult passages), I was taken aback in Jennifer Koh and before appeared together. Thus I was all Kašpar’s performance especially by the fact Bohuslav Matoušek the more surprised that they performed that he had not sufficiently mastered the that evening like a concert duo with years music technically. Even some very crucial ond movement her style retained a refined 11th, 12th December of experience playing together. I don’t passages (the second part of the Fantasy chamber-music style. In Martinů’s Third have in mind so much the tone (that and beginning of the Toccata) sounded very Violin Sonata I was repeatedly amazed Closing of Matoušek was recognizably more unsure as rendered by this guest pianist. by the precision of the two partners’ carrying, while Koh’s was more supple) (Might he have underestimated the impor- ensemb-le playing (especially in the first concert as rhythmic discipline and wonderfully tance of his Prague appearance?). Another move-ment, where the performers face unified phrasing. In the first movement surprise of the evening was that instead of several extremely sensitive places). In the If I had to characterize the conducting the soloists, aided by the precise play- the work listed in the program booklet, Jeux Adagio, which has a very distinctive com- performance of Zdeněk Mácal in the final ing of the orchestra, did not miss a (Games, H. 205, originally Four Pieces), positional style with delightful polytonal concert of the festival in the Dvořák Hall single detail in this regard, just as in the which has never been published, we heard shifts, the violinist’s melancholy, serious as succinctly as possible, I would draw closing Allegro. Only the Adagio in my Jeux, H. 206 without any notification! tone was especially impressive, all the attention above all to the unfailing judgement would benefit from support- By contrast, violinist Hana Kotková with more so in that she did not lose it even in surety with which all the pieces on the ing the lyrical singing of the solos with her pianist partner Václava Černohorská high registers. The middle section of the program (Martinů’s Inventions and Le recognizably more chiseled counterpoint delivered a polished performance in their scherzo lacked a little of the expected duo concertant, and both suites from in the woodwinds. half recital that evening. Ms. Kotková sharpness in the duo’s rendition, but the Ravel’s ballet Daphnis et Chloé) were Miloš Pokora revealed the virtuosic charge of Martinů’s closing section of this movement again shaped. Mácal truly comes to the po- First Violin Sonata, enchanted by jazz, shone under the violinist’s hands, as did with her splendid tone in a strikingly dis- the closing section of the finale, rendered Reprinted from the Czech musical magazines Harmonie (2004/1) creet manner, without a trace of forcing. with wonderful plasticity. Even in the prickling pizzicato of the sec- Miloš Pokora and Hudební rozhledy (2004/2) with their kind permission.

Bohuslav Martinů Newsletter 2004 - First issue 7 Events

4 May 2004, 12 00 a.m. Jiří Chvála – Choirmaster Royal Pump Rooms, Leamington, UK Janáček Czech Nursery Rhymes, H. 209 Martinů EVENTS Martinů Quartet, String Quartet May International 10 June 2004, 7 30 p.m. 11 May 2004, 7 00 p.m. Music Festival Moravský Krumlov (21 May – 11 June 2004) St. John’s, Smith Square, London Škampa Quartet UK, The Philharmonia Orchestra String Quartet No. 5, H. 268 Bohuslav Matoušek – Violin, Lada 11 June 2004, 7 30 p.m. We give only a2004 selection from Martinů’s works. Valešová – Piano, David Cohen – Cello Brno, Besední dům Sonata No. 3 for Violin Prague Chamber Philharmonia and Piano, H. 303 rator, prof. Břetislav Novotný, Otakar www.jm.box.cz Michel Swierczewski – Conductor OPERAS Dubský - Conductors 25 May 2004, 7 30 p.m. Jiří Bárta – Cello Opening of the Wells, H. 354 Ostrava, CZ 13 and 15 February Besední House, Brno, CZ 10 June 2004, 7 30 p.m. Toccata e due canzoni, H. 311 00 7 and 31 March 2004 25 March 2004, 7 p.m. Antonín Kubálek’s Bonus Concert Janáček Conservatory Ostrava 13 June 2004, 7 30 p.m. SF Concert Hall, Bratislava, Slovakia A. Kubálek – Piano Bohuslav Matoušek - Violin Hustopeče, Evangelistic Church http://www.filharm.sk Etudes and Polkas, Book II, H. 308 Petr Adamec - Piano Igor Ardašev – Piano Slovak Philharmonic Orchestra 9 June 2004, 7 45 p.m. Intermezzo, H. 261 The Fifth Day of the Fifth David Porcelijn - Conductor „Spring Symphony“ Moon, H. 318 Theater am Goetheplatz/Musical- Symphony No. 6. “Fantaisies Stadthaus Winterthur, Winterthur, Kuhmo Chamber 30 theater am Richtweg, Bremen, GER. symphoniques”, H. 343 13 June 2004, 7 p.m. Switzerland, Musikkollegium Music Festival Jihlava, Horácké Theatre www.bremertheater.com 30 31 March 2004, 7 p.m. Winterthur Orchestra, En Shao – (11 – 25 July 2004) Jana Boušková – Harp Greek Passion, H. 372 I Philharmonia Hall, České Budějo- Conductor, Chlo+ Hanslip - Violin The original version www.kuhmofestival.fi Alexander Besa – Viola vice, CZ, South Bohemian Chamber Sinfonietta “La Jolla”, H. 328 Jiří Bárta – Cello 27 April 2004 premiere Philharmonic Orchestra 10 June 2004, 7 30 p.m. Kuhmo, Finland Jan Talich – Violin Additional performances: O. Dubský - Conductor „Music among Paintings“ 13 July 2004, 6 00 p.m. Karel Košárek – Piano 30 April and 2 May Opening of the Wells, H. 354 Lichtenštejn Palace Gallery HAMU Kuhmo Arts Centre Chamber Music No. 1, H. 376 Manhattan School of Music, NY 45 Orlando Trio 31 March 2004, 7 p.m. Prague, CZ, Czech Nonet 30 www.msmnyc.edu Daniel Blumenthal - Piano 14 June 2004, 7 p.m. Stadthaus Winterthur Quartet for Clarinet, French Horn, Slavkov u Brna, Culture House Neal Goren - Conductor Winterthur, Switzerland Cello and Side-Drum, H. 139 Variations on a Slovak Mirandolina, H. 346 Folksong, H. 378 Pavel Šporcl – Violin Peter Hirsch – Conductor 30 17 June 2004, 7 p.m. Piano Quartet, H. 287 Petr Jiříkovský – Piano 10 September 2004 Adrienne Soos, Ivo Haag - Pianos Karlovy Vary, Grand Hotel Pupp Czech Rhapsody, H. 307 Thessaloniki, Greece Concerto for Two Pianos and String 00 Concert Hall, CZ 14 July 2004, 6 p.m. 30 The Greek Passion, H. 372 Orchestra, H. 292 Kuhmo Arts Centre, Wanderer Trio 15 June 2004, 7 p.m. Karlovy Vary Symphony Orchestra Náměšť nad Oslavou, Library 00 Piano Trio No. 2, H. 327 15 September 2004 2 April 2004, 7 p.m. Jiří Stárek – Conductor Karel Košárek – Piano Chamber Opera HF JAMU, Brno, CZ SF Concert Hall, Bratislava, Slovakia Jiří Bárta – Cello 16 July 2004, 3 00 p.m. Film en miniature, H. 148 Horror in Czech Opera – Slovak Philharmonic Orchestra Concerto for Cello Kuhmo Arts Centre 30 – Comparative evening Tomáš Hanus - Conductor and Orchestra No. 1, H. 196 Christoph Richter – Cello 19 June 2004, 7 p.m. Znojmo, Znojemská Beseda The Spectre’s Bride, H. 214 Moyzes Quartet 5 September 2004, 4 00 p.m. Daniel Blumenthal – Piano String Quartet with Orchestra, H. 207 Sonata No. 2 for Cello Ludmila Peterková – Clarinet 16 September, 2004 Chateau Jánský Vrch, CZ Irina Kondratěnko – Piano 00 and Piano, H. 286 www.royalopera.org 4 April 2004, 5 p.m. Kubín Quartet plays Czech music Irena Houkalová - Soprano Royal Opera Covent Garden „Duo“ Stadthaus Winterthur Kubín Quartet 19 July 2004, 3 00 p.m. Sonatina for Clarinet London, UK Winterthur, Switzerland String Quartet No. 7, H. 314 Kuhmo Arts Centre and Piano, H. 356 Bettina Boller - Violin David Pountney - Director, Charles Mikael Helasvuo – Flute 30 Mackerras - Conductor, Stefanos Imke Frank - Cello Wihan Quartet on Tour Konstantin Bogino - Piano 22 June 2004, 7 p.m. Rájec – Jestřebí, Chateau Lazaridis - Scene, Marie-Jeanne Duo for Violin and Cello No. 1, H. 157 11 March 2004 Southampton, UK Sonata for Flute and Piano, H. 306 Jiří Bárta – Violoncello Lecca - Costumes, David Cunning- 00 30 5 – 6 April 2004, 7 p.m. 21 March 2004, 6 p.m. 20 July 2004, 3 00 p.m. ham - Lights, reconstructed by Aleš Jan Čech – Piano Suk Hall, Music House, Pardubice, CZ Conway Hall, London, UK Kuhmo Arts Centre Březina in 1998, Covent Garden 30 Sonata No. 3 for Cello Pardubice Musical Spring 23 March 2004, 8 p.m. Mirel Iancovici – Cello premiere Easter 2000. In 2001 this and Piano, H. 340 – Tribute to Czech Music Pittville Pump Room, Cheltenham, UK Raija Kerppo - Piano production received the Laurence 30 Chamber Philharmonia Pardubice 25 March 2004, Bedford, UK Sonata No. 3 for Cello 25 June 2004, 7 p.m. Olivier Award for the best produc- Marian Lapšanský - Piano String Quartet No. 2 and Piano, H. 340 Moravský Krumlov tion for a year. Martin Turnovský - Conductor Monika Knoblochová – Harpsichord 00 The Greek Passion H. 372 I Serenade Škampa Quartet on Tour 23 July 2004, 3 p.m. Sonata for Harpsichord, H. 368 The original version Kuhmo Arts Centre 7 March 2004, Bruges Concerto for Harpsichord (reopening of a production from 6 April 2004, 7 30 p.m. Asko Heiskanen – Clarinet 19 March 2004, 7 30 p.m. Royal Pump and Small Orchestra, H. 246 1999, Bregenz Festival - world Rudolfinum, Dvořák Hall, Prague, CZ Martin Kuuskmann – Bassoon Rooms, Leamington Spa, UK 30 premiere) Czech Chamber Orchestra Pasi Pirinen – Trumpet 26 June 2004, 7 p.m. 22 March 2004, 7 45 p.m. Ondřej Kukal – Conductor Wolfgang Schröder – Violin Luton Music Club, UK Jana Vlachová – Violin Christoph Richter – Cello 11 May 2004, Wigmore Hall, UK CONCERTS Mikael Ericsson – Cello Juhani Lagerspetz - Piano 13 June 2004, 5 00 p.m. Štiřín, CZ Partita (Suite No. 1) La revue de cuisine, H. 161 String Quartet No. 7 2 March 2004, 7 30 p.m. for String Orchestra, H. 212 Martinů Fest Polička Mikulov, Chateau Rudolfinum, Dvořák Hall, Prague, CZ 15 April 2004, 7 30 p.m. Homage to Czech Music and Its FESTIVALS (9 – 23 May 2004) Chamber Philharmonia Pardubice „Music among Paintings“ Jan Talich – Conductor Creators, South Bohemian Chamber Lichtenštejn Palace Gallery HAMU The Prague Spring Other information Philharmonic Orchestra are unkonown Vladislav Borovka - Oboe Prague, CZ, Ensemble Martinů (12 May 2004 – 3 June 2004) Concerto for Oboe www.music-cb.cz String Quartet No. 7, H. 314 Stanislav Vavřínek – Conductor and Small Orchestra, H. 353 Promenades, H. 274 www.festival.cz Monika Knoblochová – Harpsichord Adagio, H. 33, Trio for Flute, Concentus Moraviae 2 July 2004, 7 30 p.m. part of the “Czech Dreams” Inter- Concerto for Harpsichord and Small Cello and Piano, H. 300 Rájec – Jestřebí, Chateau Orchestra, H. 246 national Music Festival Šárka Čurdová – Flute 30 00 22 April 2004, 7 p.m. (3 June – 3 July 2004), CZ Alice Rajnohová – Piano 13 March 2004, 5 p.m. St. Agnes Monastery, Prague “Duets and Nonets” www.concentus-moraviae.cz Sonata for Flute Kocián Quartet and Piano, H. 306 Stadthaus Winterthur, Nonet H. 374 String Quartet No. 5, H. 268 6 June 2004, 7 30 p.m. 30 30 Slavkov u Brna, Chateau 3 July 2004, 7 p.m. 17 – 18 March 2004, 7 p.m. 24 April 2004, 5 00 p.m. Prague, CZ Alexander Besa – Viola Kyjov, Assumption Church Stadthaus Winterthur 20 May 2004, 10 30 p.m. Petra Besa – Piano Škampa Quartet Winterthur, Switzerland “Nocturno II”, Dvořák Hall Sonata for Viola and Piano, H. 355 Iva Bittová – Violin Piotr Majchrzak, Beata Checko - Rudolfinum, Garrick Ohlsson - Piano Easy etudes for 30 Violin, Chie Tanaka - Viola, Emanuel Piano Sonata, H. 350 7 June 2004, 7 p.m. Two Violins, H. 191 Rütsche – Cello Velké Meziříčí, Jupiter club 28 May 2004, 8 00 p.m. Songs on One and String Quartet No. 5, H. 268 Barbora Sejáková – Piano Concert Hall O. Jeremiáše, České Rudolfinum, Czech Philharmonic Two Pages, H. 294, H. 302 Sonata for Piano, H. 350 Budějovice, CZ, South Bohemian 2 May 2004, 7 30 p.m. Orchestra New Špalíček, H. 288 Chamber Philharmonic Orchestra Royal Pump Rooms, Leamington, UK Christopher Hogwood – Conductor 9 June 2004, 7 30 p.m. Jan Mikušek – Cembalo, Hana Volko- Bohuslav Matoušek – Violin Bohuslav Matoušek – Violin Bystřice nad Pernštejnem Events prepared by vá - Piano, Vratislav Kříž – Baritone, Lada Valešová – Piano Concerto for Violin Culture House Jindra Jilečková DPS Jitřenka - Choir, Jan Kačer - Nar- Intermezzo, H. 261 and Orchestra No. 2, H. 293 Kühn Children’s Choir and Zoja Seyčková

8 Opera Review

Photo: Laurence Burns ity, humour and modest-sized orchestra bridge to inspect the damage, reveals a © GSMD made it particularly well suited to student pair of baby-blue angel’s wings sprouting performances and it was produced in the from his back - and it transpires that all the A late 50s by both Morley College in London other characters are similarly endo-wed! and the Royal Academy of Music. That they are no longer in the land of the Czech productions, taking as their cue living brings home the realisation that all the deliberately naive toy-soldier march talk of victory is hollow and the jocular Comedy that opens the piece, have tended to con- solution to the schoolmaster’s riddle offe- centrate on creating an unreal, toy-shop red by the officer, that the metaphorical on the atmosphere - the 1975 Prague National stag cannot escape, is no joke at all. They Theatre production had the bridge itself do say that comedy is the best way of con- constructed from gigantic, brightly colo- veying a serious message. This ingenious Bridge ured children’s wooden blocks. Perhaps and thought-provoking final twist to the tale this was a ploy to deflect attention, at on the part of the director Stephen Medcalf for Modern Times the time of the Cold War, from the central would surely have earned the approval of the philosophical message represented by composer. Well done Guildhall! the schoolmaster’s riddle: how shall Despite the context of this review, a stag escape from a game reserve com- it would be unfair not to mention the pletely surrounded by a high impenetrable second part of the evening - an equally wall? The answer, as the military officer effective production of Berlioz’s two act tells us at the end, is simple: there is no comedy Béatrice and Bénédict, which escape! was presumably chosen to celebrate the In the wake of the Iraq conflict and its composer’s bicentenary, but which in fact elusive solution, Guildhall chose to mount provided a not inappropriate companion a production that was stark and pared to piece to the Martinů, demonstrating the bone - no back drop, just a sombre Franco-Czech cross-fertilisation of an humpback bridge centre stage, the only earlier era. Just as a Frenchman, Albert touches of colour coming from the barrier Roussel, numbered among Martinů’s bars at each end, banded red and white. teachers, so did a Czech, Antonín Rejcha, Likewise, no colourful period costumes, number among Berlioz’s (though the but everyday working clothes and army self-confident Frenchman was far less uniforms. In this environment, the hilari- generous in acknowledging the beneficial ous goings on acquired the mantle of black influence). Additionally, both operas draw comedy, pointing up the absurdity of the on earlier plays - Béatrice and Bénédict is characters’ predicament - their passes based on Shakespeare’s Much Ado About A review of the production From left to right: during a cease-fire allow only one way Nothing - and in both war impinges on Julie Pasturaud as Eva of Martinů’s comedy by the journeys, thus trapping them on the bridge the characters’ lives. Perhaps to underline Elisabeth Poirel as Popelka between hostile camps. All this was sung this, the productions made clever use of Guildhall School of Music Balcarras Crafoord as Sykoš and acted with great flair by the students, the same bridge, rotating it according to John Lofthouse as Bedroň and Drama, London in with Elisabeth Poirel in good voice for requirements in the Berlioz. Some of the the beguiling Popel-ka, ef- roles were played by singers already heard a double bill with Berlioz’s fective slapstick from Julie in Martinů’s piece - Giles Underwood sang Béatrice et Bénédict Pasturaud as Eva, excel-lent Claudia, a completely transformed John portrayals of Bedroň by John Lofthouse in bright ginger wig played (November 2003) Lofthouse and Sykoš by Giles brilliantly the role of the temperamental Underwood (the latter with and vain musician Somarone (surely exceptionally clear dic-tion) a caricature of Berlioz himself) and Julie Patrick Lambert or Balcarras Crafoord (at Pasturaud became Ursule, companion the photo) and - stealing to Héro. The latter role was sung by It is some time since I last saw one of the scene much of the time Claire Booth, who was to my mind indis- Guildhall’s opera productions, though I well remember their success with Julietta in March 1987. There is some- thing especially attractive about student performances, a sense of enthusiasm and commitment that is highly infectious. So therefore I arrived with great expectations for a rewarding evening and I was not disappointed. putably the star of the Martinů’s witty one-acter began life as evening, even eclipsing a radio opera, written typically in double- Anna Wall’s Béatrice. quick time in Paris in 1935, in response to Throughout, she sang © PBM a commission from Czech Radio, and the from the heart with composer himself attended the premiere Comedy on the Bridge received its first - Benjamin Segal as the bemused, head- the most beautiful phrasing and a phe- broadcast in March 1937, conducted by stage productions during the immediate in-the-clouds schoolmaster. The small or- nomenal range of timbre, her acting and Otakar Jeremiáš. Klicpera’s distinctly post-war years in several Czech provin- chestra under Clive Timms coped well with body-language always convincing. The whimsical comedy about five characters cial centres (it was Brno’s first post-war Martinů’s highly transparent scoring and remai-ning singers, notably José Aparicio stranded on a bridge in no-man’s land with Martinů opera) but it was not until its there was some very confident trumpet as Bénédict, Javier Borda as Don Pedro opposing sentries posted at each end pro- staging in an English translation in New playing. During the recommencement of and Jérémie Lesage as Léonato acquitted vided an ideal libretto for radio. Exploiting York at the Mannes School of Music in May hostilities the special effects department themselves with honour, and, to my untu- the acoustic possibilities of the medium, it 1951 that it began to be performed inter- came into its own, providing such exce- tored ears, the French diction was for the was possible to suggest the two ends of the nationally. After the New York premiere, edingly powerful explosions, with smoke most part convincing. Altogether a very bridge through the use of spatial perspec- the composer himself characterised the in profusion, and such blinding flashes enjoyable evening that whets the appetite tive, with the two sentries (spoken roles) piece as “Czech, folkish, simple, informal that I had to protect my eyes and ears. for further Guildhall productions. Dare one placed at contrasted distances from the and it seems to say something to people”. My first reaction was that this theatrical suggest more Martinů? I dream of Claire microphone. And, of course, with the later Taken up by the publisher Boosey & Hawkes, Armageddon was way over the top, but its Booth as Ariadne! advent of stereo radio such positionings at whose request the composer devised justification became clear after the officer The editors thanks could be made clearer still by a left-right a delightful Little Suite, it soon became enters to off-stage shouts from both sides Patrick Lambert, a member of the IBMS, separation. Martinů’s best-known opera. Its brev- declaring victory, and, leaning over the for such a nice review.

Bohuslav Martinů Newsletter 2004 - First issue 9 Photo Gallery

Martinů’sMartinů’s PlPlaa ResidencResidencee Martinů in Prague, Atelier Elite Salais Generali iinn 1906

Bohuslav Martinů came to Prague for the first time in 1906, when he took examinations for admittance to the conser- vatory there, and for the last time in 1938 on his way back to France at the end of his very last sojourn in the Czech lands. © PBM He began studying violin at the conservatory in the autumn of 1906 and remained through the second year, which however he had to repeat in the 1908-09 school year. At the beginning of his studies he probably lived in the area of Petřín or in the direction of Smíchov, because in one letter he mentions that his first class (or lesson) was held on Konviktská street and that he had to walk from where he lived across the Franz I Bridge (now the Bridge of the Legions), which took him almost an hour. Start- ing in the autumn of 1909, when he transferred to the organ department, he lived at the address Na Kampě 512 (today 11) in Prague 1, in the home of Mrs. Přibanová. There is now a memorial plaque and a bust of the composer on the building. In the autumn of 1910 Martinů lived with Stanislav Novák, again on the Kampa island, in the home of Mr. Papež at the address Hroznová 8, Prague 1. The two young musicians lived on the ground floor and disturbed neighbors with their frequent four-hands playing of Mahler symphonies. From the autumn of 1911 until 11 April 1912 Martinů lived in the Šetelík House at the address Podskalská 1994/II in Prague 5. During that time he failed the state examination and devoted himself to self-instruction. In 1913 and 1914 he also spent a relatively long time in Prague, continuing in his self-instruction, but the addresses where he lived have not yet been Martinů in front of Umělecká beseda, Prague 1933 determined. © NM - ČMH

10 Photo Gallery

[Editor’s note: Unfortunately there the painter Jan Zrzavý in the building of the are no more pictures of Martinů in ex- Umělecká beseda (Arts Society) at Na Magistrále teriors of Prague in the archives - the 15 in Bubeneč, Prague 6. He also stayed there only photo is the one from 1933] in the summer of 1933 for fourteen days with Charlotte, and then in the same year on the oc- Photographs of Prague are from 1930s casion of the premiere of Špalíček at the National Theater on 19 September, again with Charlotte. Several times Martinů also stayed on Old Town Square with his friend Stanislav Novák, concertmaster of the Czech Philharmonic, and his wife Fanynka. This was the case when he and Charlotte attended the premiere of Juliette on 16 March 1938. During his very last sojourn in aacesces ofof Prague Martinů lodged with the theat- rical stage director Jindřich Honzl at Pod Bruskou 3/147 in Prague 1. ee prepared by Jenovéfa Kučerová nnPrague Prague Prague 1925 © PBM

In the years around the First World War Martinů remained for the most part in Polička. He moved to Prague again in 1920, when in the spring he lived at Žižkova (now Italská) 20 in Prague 2. In the fall of the same year, when he became a member of the Czech Philharmonic, he moved to a different address on the same street: to No. 10. In the autumn of 1922, when he became a pupil of Josef Suk in

Martinů in Atelier Vaněk, Prague around 1920 © PBM

The year 1915 was full of frequent moves within Prague 1. His addresses were as follows: Martinů in 8 February to 8 April at Na Kampě 13/510 in the Josef Sudek Atelier, home of Mrs. Mašková, Prague 1938 16 April to 27 May at Prokopská 2/293 in the home © NBM of Mr. Josef Pokorný, the Master School, he lived at Myslíkova 2 October to 1 December at Konviktská 17/ 998 in 25 in Prague 2. the home of Mr. Urban, and After 1922 Martinů was in Prague only from 2 December at Opatovická 24/157 in the home occasionally (for concerts, premieres of of Mr. Josef Benák. his works, rehearsals of the Czech Phil- harmonic, Sokol meetings, etc.), because On 18 January 1916 he moved to the address starting in the fall of 1923 he worked in Liliová 1/216, where he lived in the home of Paris and elsewhere abroad. During his Mrs. Vilma Hladíková. The from 8 April to 4 June occasional visits to Prague he usually he lived at Opatovická 20/160 in the home of Mrs. Martinů with his friend stayed with friends. Barbora Žižková. Stanislav Novák in Prague 1912 In September 1931 he lodged with © PBM

Bohuslav Martinů Newsletter 2004 - First issue 11 History Gregory Terian

His travels led him to Arezzo where he searched out the Church of San Francesco where the celebrated frescoes cre- ated by Piero della Francesca depicting the Legend of the Holy Cross are to be found. The existence of the frescoes which date from 1452 had been brought to the attention of the composer by his artist friend Rudolf Kundera. After his return to Nice and the completion of “Miran- dolina”, Martinů turned to the inspiration of the frescoes. BohuslavBohuslav Between February and April 1955 he composed an orches- tral work in three movements Les Fresques de Piero della Francesca. He dedicated it to Rafael Kubelík who gave the world premiere with the Vienna Philharmo-nic Orchestra at the 1956 Salzburg Festival (Published in 1999, Orfeo, CD inin No. C 521 991 B; programme extract courtesy of Cleveland Orchestra archives) and subse-quently performed it with dif- ferent orchestras throughout Western Europe. The American ItalyItaly premiere took place the following year with George Széll conducting the Cleveland Orchestra. For the programme (a snapshot from 1954) notes on that occasion the composer contributed the following narrative: “If a composer tries to represent a picture in his music, In the Spring of 1954 Martinů embarked on an exploratory journey through the sunlit countryside of Umbria and Tuscany. At that time he was working on the opera “Mirandolina” and his encounter with italianite influences is surely reflected in the animated and cheerful score which resulted.

Lush Toscan countryside as seen from nearby Church of San Francesco in Arezzo

his work is often considered to be merely descrip- tive and somehow outside of the range of pure music. But it depends, of course, on how the descriptive elements are used. The first movement takes as its subject the group of wives with the Queen of Sheba from one of Piero della Francesca’s frescoes. The source of the second movement is the de- piction of the Dream of Constantine and in this movement comes the only really descriptive moment, when the viola raises its voice like the military call of a trumpet. The third and last movement takes no particular fresco as its subject but is a kind of general view of the frescoes, calling attention to the two battle scenes and the many fascinating details. I have very often visited the Church of San Francesco at Arezzo, where I have admired Piero della Francesca’s work, and I have tried to express in music the kind of solemn, frozen silence, and the opaque, coloured atmosphere which contain a strange, peaceful, and moving poetry.” Amid the historical data relating to the frescoes visitors entering the Church of San Francesco will find a commentary in which they are said to express “serenity, severity, mathematical perfection, time resolved in space, a present which incorporates the centuries, the harmonious solemnity of existence”. Those who have seen Piero della Francesca’s frescoes and heard Martinů’s musical evocation five centuries later may conclude that the composer distilled the essence of their spirit.

Martinů at the time of composing Mirandolina and Les Fresques, Nice 1954-1955 © PBM

12 Reviews

it is very interesting in some ways, it is is perfectly prepared, and does what A New Interpretation of Martinů after all obsolete not only in technical every ensemble should do - realizes the recording quality but in some aspects conductor’s vision precisely. In both of the con-ception of the scores. The works the orchestra’s performance is new idea of a complete recording, with fabulous (in the Third Symphony maybe Bohuslav Martinů performing materials revised by Sandra a hair more so), and Bělohávek himself Bergmannová, Aleš Březina, and Sharon has pushed the quality of performance Choa, is thus coming at the right time of these difficult scores again a conside- Symphony No. 3, Symphony No. 4 to yield a showcase interpretation in rable distance forward. In this recording Czech Philharmonic, Jiří Bělohlávek. the early twenty-first century - given the conductor capitalizes on his life-long Production: Petr Vít. today’s situation in the recording world experience as an artist and a human Text: English, German, French, Czech. probably the last for a long time. I only being, and it is amazing that such an Recorded: 8-11 September 2003. hope the project will be brought to suc- artist was head of our premiere orchestra Released: 2003. TT: 63:00. DDD. cessful completion. only, to its detriment, for a short while. 1 CD Supraphon SU 3631-2 031. The choice of the third and fourth We’re lucky at least to have the gift of symphonies is understandable. Martinů recordings. considered his Third Symphony, from A minor note in conclusion: this first Luboš Stehlík 1944, to be his first true symphony and installment in the set of symphonies has Supraphon and the Bohuslav Martinů the Czech Philharmonic, now we have the was justifiably proud of it, and with his a very fine cover, visually balanced and Foundation have joined forces and begun beginning of the complete symphonies. Fourth Symphony from 1945 he scored closed, not pathetic, and the recording recording, within a short time, already Martinů certainly fully deserves such great successes thanks to its positive team has met its task with complete a third set of works by Martinů. After attention, but nevertheless I think other charge, radiance, and communicative- professionalism. the complete works for violin and piano Czech composers (both living and dead ness. with Matoušek and Adamec, which won except for Dvořák) can only envy him I notice again and again what a ben- Reprinted from the Czech music a MIDEM Classic Award, and the works as colleagues. A complete recording of efi-cial effect conductor Jiří Bělohlávek magazine Harmonie (2004/1) for violin and orchestra currently in the symphonies was made many years has on the Czech Philharmonic. The with their kind permission progress with Matoušek, Hogwood, and ago by Václav Neumann, and although orchestra plays with concentration, Charlotte Martinů: Můj život s Bohuslavem Martinů (My Life With Bohuslav Martinů). Ludmila Sadílková, Aleš Březina - editors Editio Bärenreiter Praha, ISBN 80-86385-22-1, 226 pp.

she eliminated them. The Czech editions nary seamstress living alongside a genius, instance his artistic evaluation of Václav from 1971 and 1978 added chapter titles fully devoted to him and tolerant of him Talich is missing, as well as the fact that invented by the editors; these were but not reaching beyond the boundary of it was Kubelík who conducted Martinů’s not the only changes they made in the his art. Thus in the simple language of the Fifth Symphony in the 1947 Prague Spring original text. new translation (including replacement Festival. Other changes included shifting The memoirs of Charlotte Martinů of the former appellation ‘tatíček’ with some paragraphs to different locations. have three layers. The first consists of ‘Papínek’, which corresponds better in These different layers of the text could the original text, dictated to her friend sound to the original ‘Petit-P+re’) it is have been treated in various ways. I even Anna Maria Wurmová, who also made not at all surprising how little Charlotte think that the original chapter titles - Vlasta Reittererová the first translation into Czech. The Martinů actually says about music or - although Charlotte eliminated them - second comprises the author’s own cuts, about art in general. As the editors tell - capture the given phases of the com- This slim book of Charlotte Martinů’s corrections, and addenda, and the third us, ‘that was really not her world.’ How- poser’s life well enough that they could memoirs was published by Editio Bären- is the censured text of the first and sec- ever, she did understand it enough that be used as headings, differentiated reiter for the twenty-fifth anniver-sary ond Czech editions. In the new edition she managed to care for her husband’s graphically from the author’s revised text of the author’s death. The woman who prepared by Ludmila Sadílková and Aleš works. And it is thanks to her and her by font, use of parentheses, etc., instead spent more than thirty years at the side of Březina, which can be called a critical magnanimity that the creative bequest of of the repeated footnote which must be Bohuslav Martinů and in the end was laid edition, the first two layers can be distin- Bohuslav Martinů is concentrated in one signaled directly after the first word, even to rest alongside him in Czech soil at her guished thanks to footnotes, and a fourth place with provisions made for research after a preposition. Likewise a separate own wish deserves credit for much of what has been added, namely commen-tary and editing. biographical addendum could have been Czech music is proud of today. There were and explanations by the editors. In their The curious reader can make his or created after the actual text; this would times when the name of Martinů was that notes, using quotations from Martinů’s own comparison with the earlier Su- reduce the number of footnotes, which of a renegade, when his music sounded letters, they have also formed a sort of praphon edition. It will probably be no are printed in (probably not only for me) foreign to Czech ears, and his country was ‘commentary by Bohuš’ on the memories surprise that in the 1970s mentions of very small type. The original edition had not much inclined to acknowledge him. of his wife. The third layer is eliminated, such people as American Secretary of explanations by Iša Popelka after the From this source we do not learn how because this new edition is based on State Foster Dulles, Jan Masaryk’s friend text, but also placed there such funda- Martinů viewed the political develop- the original typescript with manuscript Marcia Davenport, and Masaryk’s sisters, mental information as identification and ments in Czechoslovakia after the war or addenda and a typescript copy thereof a quotation from a letter of Martinů to dating of compositions. The present edi- how and when he finally decided (or was that Charlotte made, both now depos- Jan Novák, and other passages were cut. tors decided to use footnotes and adhere forced to decide) not to return to the ited at the Bohuslav Martinů Memorial in (Incidentally, there is no biographical to this consistently. The text can actually Czech lands. Likewise we find out nothing Polička. And a new translation has been profile provided for Foster Dulles. The be read in several different ways. One about his creative process: his works are made by Catherine Ébert-Zeminová, statement by Martinů’s doctor with refer- can read only the narrative of Charlotte mentioned only as though incidentally. whose text clearly captures Charlotte’s ence to Dulles’s fate would have a special Martinů, or the whole three-layered text In the original version the author endeav- personality more authentically than point: Dulles died of cancer on 24 May with commentary and notes, or the com- ored to bring each part of her narrative Wurmová’s, which in places is somewhat 1959, three months before Martinů.) In mentary alone. There are always enough into association with Martinů’s works over-stylized; Charlotte Martinů made no the censured edition mentions of Rafael reasons to return to this book. at least via her chapter titles, but later pretence of being anything but an ordi- Kubelík were narrowed to a minimum; for

Bohuslav Martinů Newsletter 2004 - First issue 13 Year of Czech Music

The year 2004 has been proclaimed sincere and simple [prostý]. His joke seems a ‚Year of Czech Music‘, and we have to contain the old faith and wisdom of our fathers. His sayings and stories arouse decided in us not so much laughter as rather joy, to devote a small series to this a special kind of joy, which we feel in the project. We shall offer you several presence of something that is beautiful and writings by Martinů demonstrating simple, something that is firmly rooted in the earth and will not break with the first his views on famous Czech compos- gust of a windstorm. I myself cannot resist ers. We have chosen telling one anecdote, which contains this a letter about A. Dvořák (2004 - kind of simple wisdom of observation and experience. Dvořák once said: ‘A pencil is Centenary of his death) written an original and important invention, to be to the Svaz československých sure, but a more important invention is the skladatelů (Union of Czechoslovak eraser.’ How often I have thought of this Composers) published in the Czech statement during my work, and I think it should be on every desk like a motto. musical magazine Hudební rozhledy Dvořák was like Mozart. He never in 1954 and reprinted learned: he knew. But what he wasn’t aware in the book Bohuslav Martinů. of was precisely his simplicity [prostota], Domov hudba a svět, 1966. tranquility [klid], and non-sentimentality. And that is exactly what makes him simple and beautiful. I have always sensed from his music that his artistic creed coincides in some ways with my own. Dvořák observed nature and people around himself and his relation to both was simple and human, as

In March 1955 Martinů wrote to the magazine Hudební Rozhledy a very nice let- ter, in which he thanks for publishing of his text on Dvořák. was his relation to music. His internal joy passed into music like a rendering of thanks for something beautiful that has been given to us. Many changes have occurred Dvořák in our lives since his death. The world has changed and the eyes of the youngest do not see that which our eyes saw during our was like youth. Our angle of view has changed under I am really very glad you thought of me the pressure of life. Many new and also old and that you’re giving me an opportunity to unsolved problems have risen up before us join in your commemoration of the fiftieth and also in us. Music has changed. But the anniversary of the death of Antonín Dvořák. Mozart joy that is contained in Dvořák’s work has You are right that I have always had warm Martinů on Dvořák not changed, because he loved music and feelings for Dvořák. He was one of those who loved people. And music should always be showed me the path that an artist and com- joyful relation to life it is he. His humor was of us know his life, but almost everyone joyful even when it is tragic. Happy the man poser needs, perhaps because he expressed healthy, as his music is healthy - whether knows some story from his life. However, who leaves such a legacy. his nation and his Czechness so sincerely and merry or sad, it is always affirmative. The I don’t want to return to telling jokes. I I think it will seem to you that I am because in this relationship of his there was result is always positive - in every note, in only wish to add my own observations repeating myself, but it is always a plea- something that I myself wanted to express. every measure, and in every piece. I would to that. Notice people who tell you some sure to return to words like healthiness, I don’t know whether Dvořák was the way say that he ‘worked with his hands’, i.e. joke or anecdote about Dvořák. You always tranquility, love, and simplicity. Perhaps it they describe him. I did not know him, but with all his soul and body. You sense in his sense some sort of sympathy: you sense seems to you that I’m making little mention I shall give you my own idea, my image [of music the physical contact of someone who that what is involved here is not only the of his music, but everything I’m describing Dvořák] as an artist and a human being. is standing firmly on the ground. funny conclusion, often also naive, but is actually his music. Every composer has to find his notes himself, If I may digress a little, I should like rather something that goes deep even in Lay the mimosa I’m enclosing on but the influence of a creator like Dvořák is to describe one detail which perhaps has the form of a joke. You sense that what is Dvořák’s grave as a remembrance from a constant treasure for one’s whole life. My no great importance but is nevertheless involved for the narrator is not so much France. image of Dvořák is enveloped in a sort of characteristic of Dvořák. I mean his obser- provoking laughter as rather a sort of love, With cordial greetings, your rare kindness, humanity, and healthiness. vations, preserved for us in his assessments though perhaps unconscious, and a heart- B. Martinů If anybody has expressed a healthy and of things. Dvořák lives in anecdotes. Few warming sympathy for a person who was

14 Critical Edition THE CRITICAL EDITION GETS UNDERWAY Lucie Berná The New Meeting of the New Editorial Board 5-6 December 2003 The opening of the ninth annual Board Members: Bohuslav Martinů Festival was linked with another important step toward M. A. Aleš BŘEZINA - Chairman realization of the Complete Critical M. A. Sandra BERGMANNOVÁ Edition of the Works of Bohuslav Dr. Dietrich BERKE Martinů: the first official meeting of Dr. Klaus DÖGE the new editorial board was held on Prof. PhDr. Jarmila GABRIELOVÁ, CSc. Friday and Saturday, 5-6 December Christopher HOGWOOD 2003. On Friday the board members Dr. Alan HOUTCHENS met at the Bohuslav Martinů Insti- PhDr. Kateřina MAÝROVÁ tute, then on Saturday there was Dr. Daniela PHILIPPI a session in Zdenka Podhajská Hall Prof. Dr. Giselher SCHUBERT that was open to the public. Aleš Dr. Paul WINGFIELD Březina had worked out the definitive MgA. M.A. PhD. Vít ZOUHAR composition of the editorial board early in 2003, and by April the special- expert consultant for the ists addressed, having many years of complete Martinů edition: editorial experience, had confirmed The new Editorial Board JUDr. Jan MATĚJČEK 6 December 2003 their membership. The December meeting of the an invitation to make a guest presen- edition should satisfy the demands of Presentations board followed after a workshop held tation. He acquainted the audience a scholarly historical-critical edition. on 6 December 2003 on 16-17 May 2003. At that time with the genesis of his first book The suitability of the edition for use presentations were given on projects (Bohuslav Martinů. Werkverzeichnis, in performance will be assessed by Dr. Klaus Döge, München: underway at the Institute: digitali- Dokumentation und Biographie, selected performing artists before ‘Wenn man heute nochmals mit zation of documents pertaining to Atlantis Verlag 1968) and described actual publication. einer historisch-kritischen Martinů, revision of Halbreich’s cata- its new revised version. (More in the The next steps will be discussion Gesamtausgabe Wagners log of Martinů’s compositions, and next issue of the Newsletter.) of Aleš Březina’s draft of editorial beginnen würde’ searching for sources for his works. One result of the two-day gather- principles, planning of the contents Ann-Katrin Heimer of Schott Musik ing was final determination of how of the first five volumes, and gath- Dr. Jan Matějček, Toronto: International in Mainz reported on Martinů’s output will be divided into ering of source materials for those ‘Die veränderte Welt der various collected edition projects. volumes. All those participating works. The coordinator and organizer verlegerischen Tätigkeit’ Above all, however, there was discus- agreed on the character and focus of editorial work will be the Martinů sion of the organizational background of the edition: consideration will be Institute. The next meeting of the Harry Halbreich, Brussels: for the Martinů edition, the division of given to the needs of performance editorial board is tentatively planned ‚Vier Jahrzehnte mit dem Katalog Martinů’s output into volumes, and practice, and at the same time the for May 2004. der Werke Martinů‘s. Anmerkungen the format of the volumes. zur revidierten zweiten Fassung‘ Remaining on the main agenda Zdenka Podhajská Hall, 6 December 2003 for the two-day meeting in Decem- Dr. Daniela Philippi, Mainz: ber was the question of dividing Gattungen und Besetzungstypen - Martinů’s output into volumes (with zur Rubrizierung im Rahmen the goal of reaching a final decision), der Martinů-GA and presentation of a draft of edito- rial principles prepared by the chair Dr. Dietrich Berke, Zierenberg: of the board, Aleš Březina. Presenta- ‚Martinů-Quellen tions were also given on Saturday im Bärenreiter-Verlag‘ morning and afternoon by board members Klaus Döge, Jan Matějček, Mgr. Aleš Březina, Prague-Basel: Daniela Philippi, and Dietrich Berke. ‘Editionsrichtlinien der Martinů-GA’ Harry Halbreich, who divided his stay in Prague between attendance at (for further information, concerts of the Martinů Festival and please contact: work on final proofs for his revised [email protected]) catalog of Martinů’s works, accepted

Bohuslav Martinů Newsletter 2004 - First issue Research Correspondence of Bohuslav Martinů in the Music History Department

Kateřina Maýrová of the Moravian

Despite its relatively short history, the Oddělení dějin hudby (Music History Department) of the Moravské zemské muzeum (Moravian Museum) in Brno holds a highly respected place among specialized archives thanks to the modern conception of its acquisitions program and administration. Museum The Brno music museum owes its foundation to the initiative of PhDr. Vladimír Helfert (1886-1945), a music historian with a far-sighted conception of the tasks of modern musicology in his time. In 1919 he Important and immensely in- teresting as a source of facts is in Brno began systematically building a musical archive within the regional museum, and in 1948 this archive was renamed the Ústav dějin hudby (Institute of Music History). Martinů’s correspondence with by the Brno composer, pedago- Soon the music collections were swelled by materials acquired from 150 Moravian churches, monasteries, the Czech composer, music cri- gue, and musicologist PhDr. and stately homes. Then after the Velvet Revolution of 1989 many of these materials were returned to tic, organizer of Brno musical Zdeněk Zouhar (born 1927), their original owners. In addition to a valuable collection of early manuscripts of musical tablatures, the events, and long-time director who was also Martinů’s friend, core of the museum’s musical holdings consists of music manuscripts and prints from the eighteenth and of the Brno State Conservatory so here I shall only refer to the nineteenth centuries plus of course materials from the estates of Moravian composers of the twentieth Prof. Jan Kunc (1883-1976). His most important professional century and archives of the most varied musical associations. written contact with Martinů is issues discussed. Above all it is Undoubtedly many of the most precious musical materials are found in the separately-administered documented in a total of twenty necessary to mention the efforts ‘Janáček Archive’, containing fundamental sources for research on Leoš Janáček (1854-1928) and docu- letters and one picture postcard over the course of several years menting performances of his works in the Czech lands as well as abroad. In 2004, the Year of Czech Music, from Martinů covering the period by Prof. Kunc, who became head we are commemorating the 150th anniversary of the birth of this great figure in Czech modern music, from 31 January 1928 to 14 Au- of the Brno State Conservatory whose compositional output, especially his operas, has earned him a permanent place in the treasury gust 1935 and eight typescript in 1923, to recruit Martinů as of European and world art. copies of Kunc’s answers dated a professor of composition. The Over the course of time this museum has also assembled a significant quantity of written, non-musical from 5 January 1929 to 19 Au- first document revealing the archival materials pertaining to Bohuslav Martinů, including very valuable and interesting correspon- gust 1935. The content of this composer’s reaction to this at- dence between him and composers, performers, theatrical artists, teachers, and critics associated correspondence has already been tractive offer is a letter from Paris with musical life in Brno. aptly described and characterized dated 15 December 1928:

Martinů with V. Kaprálová and her father, Tři Studně, Czech- oslovak Republic 1938

© PBM

16 the way Kaprálová addressed him Dear Sir: when they were alone together. Dear friend, Paris, 16 February 1936 The original Czech word in this I have received your parcel (the Quartet) 1 and of course I agree My heart felt thanks for your dear letter. I’m taking a moment of with your having had a copy made of my composition. As regards case, ‘špalícek’, is used with a free time after my return to give you my impressions of the Prague the job opening, although my situation here is not wonderful different meaning as the title performance [of the opera Hry o Marii (The Plays of Mary)] and to by any means, I shall not apply for the position because I have of Martinů’s ballet known in En- tell you about things that are tied in some way to my further work. completely different plans, which although they don’t guarantee glish as The Chap-Book (written The opera made a very powerful impression on the audience in me a living, I must pursue [to] the end and struggle to bring to years before this letter), but that Prague, but I said to myself once more what a pleasure it is to work fruition. You understand that when I have risked everything I can’t is probably a coincidence. The in Brno and how flexible they are there, where everything is somehow run away from this, even if it is for a position so good as the post vocabulary of terms of endear- taken completely as a matter of course, and how hard it is to work in succeeding [Leoš] Janáček. If I have held out so long I will hold ment in English is very restricted Prague against the fixed conventions and also against the desire for out to the end, especially because my plans are going well. by comparison, perhaps because everything to be comfortable. I am writing to you about this because I thank you for your consideration [...] of the lack of vocative case and during my stay in Prague I gathered around myself several young diminutive constructions to make workers in all the fields [of art] who are also seeking a starting point Prof. Kunc repeated to Martinů was bitterly disappoin-ted by clear the speaker’s intent. in the direction I am pursuing, and because I count you, too, among several more times, both verbally the policies of France, in whose The six letters Martinů sent those who are afraid of neither exertion nor work. I am writing to and in writing, his proposal that cultivated and enlightened spirit between 1935 and 1938 to one of you again about my plans and about my views, and I assure you it he be named professor of composi- he had always believed. And in the most important musicolo-gists, is a great joy for me that you have expressed so much interest in tion at the Brno State Conserva- private life, in the end he was also music critics, and lexicogra-phers my endeavors. I felt that clearly during the time of the rehearsals tory. The definitive answer - again wounded by his female idol, who- in Brno, PhDr. Gracian Černušák in Prague and in the response in the reviews, of which hardly any negative - came in a letter Martinů se image he had previously shaped (1882-1961), are among the most touched on points that were very important or even tried to do so in wrote in Paris on 23 March 1932. so splendidly in art in the central interesting written materials in any way. It is certain that the performance in Prague, despite all the Another range of issues on female character of his operatic the Music History Department of efforts, remained to a large extent within the limits of those operatic conventions that have become a complete mannerism in the N.d. which Martinů’s correspondence masterpiece Julietta. the Moravian Museum. Starting [the National Theater], and although they showed an unusual effort with Kunc focused was the possi- As a sample of the letters Marti- already in the mid-1920s Prof. to accommodate my requests, it is no simple matter, after all, for bility of having works Martinů nů sent to Vítězslava Kaprálová Černušák followed the develop- them to throw out all their habits for me. Nevertheless the produc- had just completed performed in we may cite part of one written ment of Martinů’s compositional tion was quite new and was capable of giving a certain idea of my Czech concerts and entered in the ‘on Monday evening’ [probably talent in Lidové noviny (The Pe- intentions. I am not concerned about the work itself, nor about its most varied composers’ competi- 19 December 1938 in Paris]: ople’s News) and Listy Hudební favorable reception or condemnation. I myself might be mistaken tions. In the years between the in my interpretation of certain efforts, but I clearly sensed a failure wars Martinů lived in Paris very to grasp the very aim of this work, mainly on the part of the critics, modestly and any honor bestowed Vitulenka,* who clearly reacted to things that are completely subordinate. And on his work, if the award carried I am writing to you again because I want for you to have to think that’s why I am again informing you about the results of my stay in with it a financial prize, meant a about me and remember me a lot, and because it seems to me that Prague and about my convictions. welcome addition to the house- I’ll be sad here during the holidays, but then again I’ll remember What I am concerned about here is neither me nor my work but hold budget for him, especially that you are happy at home and that you love your little chunk of rather a change in the whole way of looking at things that is rooted after his marriage in 1931 to Char- wood,* and that you’re looking forward to seeing him, or not. And in our country, which in my opinion is incorrect, namely such lotte Quennehen (1894-1978). tell me, tell me, my little song,* do you still want to be with me? complete dependency on German interpretation of all expressions Another valuable set of letters Tell me That often, constantly. Do you want it? I should be so glad of culture. I have a western orientation, to be sure, but this is not is the personal and very intimate if some day we could have Christmas for the two of us, for the two of because I consider that a typical trait of the Czech character, which correspondence between Martinů us alone, or at most with a little crying thing. Would you like that? I am fully convinced is not compatible with and is not expressed and the composer Vítězslava You know, my fairytale,* that I’m convinced you would be happy by those opinions that prevail in our country, which are echoes Kaprálová (1915-40), his pu- with me and that I’d do everything for you to make you satisfied, of the influence of the closest culture, the German culture. And pil, who was twenty-five years smiling, and merry, and we would have a tree and presents and love. therefore I consider this struggle of mine to be very important as younger than he. They first met And I can’t shake off the hope that it will turn out as we both wish. well as long and difficult, and for that reason every instance of in Paris in the spring of 1937. After all, why would everything have developed the way it did at a help and collaboration is so welcome to me. I am fully convinced time when I knew that a change was in store for me - something that the whole outlook of our aesthetics is derivative, maintained Over the course of the ensuing tremendous and beautiful. And after all, I expected you for a long out of some sort of desire to be comfortable, and that it neither year, during Kaprálová’s study time, my dear little bug,* my little fairytale.* I knew that one day corresponds to nor expresses the Czech character. I observe care- resi-dence at the École Normale you would appear in my life and bring me strengthening and happi- fully and constantly the life and the expressions of identity of de Musique in Paris where she ness, and also of course a few of those bugs and boogeymen. our people, both in rural areas and in the cities, including those studied conducting with Char- But if I hesitate and ponder sometimes it’s not for my sake but for whom I en-counter abroad in a different environment, and I find les Munch, Martinů - a married yours, my dear girl.* I ask myself whether I have the right to ask few or none of the traits that in our country are dictated by these man by that time - succumbed you to join your life with mine when there are so many obstacles, points of view. Likewise I do not find them in myself. Probably in our to the irresistible charm of his serious and unchangeable, and so I hesitate because I wouldn’t history, both in music and in other fields, our main representatives private composition pupil and want you to be able to rebuke me for something someday after have expressed themselves differently than the way in which they are fell hopelessly in love with her. you’ve come to know life better (even better, though you’re already now interpreted. So it is clear that interpretation has gotten onto The thirty-seven letters and one experienced), when you see that your inclination toward me is not a false path and it is absolutely vital for us to be aware of this and picture postcard Martinů wrote only the fantasy of a girl. And don’t be angry, you don’t have to get work at correcting it, if not for ourselves then for those who come to Kaprálová between 11 Septem- upset right away - I know I’ve already said that many times. after us. I hope that after the vacation time I will be in Brno again, ber and 31 December 1938, plus Oh, my little flower,* my little seahorse,* my little cone,* what and that I will be able to speak with you about this more and better a single letter from 5 June 1940 confusion you’ve caused in my little head, and I have also probably than can be done in brevity in a letter. when she was slowly succum- caused several bitter times for you. [...] With cordial greetings, your B. Martinů bing to her insidious, incurable disease in a hospital in Montpel- *Translator’s note: In the Czech matice - Tempo (The Music Fund Two letters from Martinů the composer’s plan to utilize Ba- lier, provi-de unique testimony language the name of almost any Journal - Tempo), and in his from 1926 are preserved in the kala’s short-term work in the USA regarding the development of object or creature, usually put reviews he tried to provide an estate of the Czech conductor at that time to promote this ballet this amorous passion. In the into a diminutive form and in the objective, unbiased evaluation and com-poser Břetislav Bakala as well as other new ballets of his fateful year 1938, when the Nazis vocative case, can be used as a of his works. Martinů appreci- (1897-1958), as well as a postcard - Vzpoura (The Revolt) and Motýl, of Germany no longer concealed term of endearment for addressing ated Černušák’s respon-sible from 1957 with congratulations který dupal (The Butterfly that their desire to rule the world and a person for whom one feels approach in assessing his artistic and best wishes for the New Year. Stamped) - on American turf. the other powers of western Eu- affection. In this letter Martinů achievements as well as those of Both letters tell of their artist In the estate of the conductor rope facilitated the realization of makes unusually extensive use other composers. As evidence of collaboration - whereby Baka- and composer Antonín Balatka Adolf Hitler’s plans with their co- of this possibility. ‘Vitulenka’ is the open, friendly relationship la led the successful premiere (1895-1958) are found four letters wardly stance, Martinů - other- a diminutive form of the name Ví- between Martinů and this feared of Martinů’s ballet Kdo je na from Martinů from 1935 and 1936. wise always closed into himself tězslava, which Martinů uses here music critic we can present a světě nejmocnější? (Who is the In them the composer instructed - experienced a double disillu- in the vocative case (‘Vitulenko’). letter sent from Paris dated 16 Most Powerful in the World?) on Balatka, who on 23 February 1935 sionment. After the sacrifice The ‘little chunk of wood’ - in refe- February 1936, which is almost 31 January 1925 at the National conducted the world premiere in of Czechoslovakia in Munich he rence to Martinů himself - may be like a confession: Theater in Brno - and also attest to Brno of his opera Hry o Marii (The

Bohuslav Martinů Newsletter 2004 - First issue 17 Research

Plays of Mary), as to his ideas by Editio Supraphon. In it Martinů about performance of the many discusses the possibility of having choral scenes in this fourpart two parts of the ballet Špalíček work. Martinů was naturally very (The Chap-Book), namely Legenda concerned about the quality of o svaté Dorotě and Svatební košile, the performance, because he had danced by the famous Ballets been informed that the head of the Rus-ses which was performing at The Bohuslav Martinů Newsletter opera at Prague’s National Theater, that time in America. He also asks is published by The International Otakar Ostrčil, would attend, as the dancer to draw the attention Bohuslav Martinů Society in well as representatives of promi- of professional musical circles collaboration with The Bohuslav nent music publishers from Vienna there to his new opera Hry o Ma- Martinů Institute in Prague with (Universal Edition) and Mainz rii, where ballet and pantomime the financial support of The (B. Schott’s Söhne) with which he appear simultaneously with the B. Martinů Foundation in Prague was corresponding in writing at operatic component but with such the time regarding performance an impor-tant function as befits Editor: and publication of his works. He performan-ce by the Russian ballet Sandra Bergmannová also asked Balatka whether the ensemble. Associate editor: piano-vocal scores of Legenda o The last unit of Martinů’s corre- Jana Honzíková svaté Dorotě (The Legend of St. spondence consists of two letters Translation: Doro-thy) and Svatební košile from him to the operatic stage David Beveridge and Geoffrey Piper (The Wedding Shirts) from his new director, writer on music, and com- Photography: ballet Špalíček (The Chap-Book)2 poser Otakar Zítek (1892-1955). The B. Martinů Foundation’s had arrived in America, sent to the One of them, dated ‘Paris, 8 April and Institute’s archive prominent Czech dance master, 1925’ pertains to promo-tion of his Photographs also from the choreographer, and pedagogue recently-premiered ballet Kdo je collection of the Municipal Museum - B. Martinů Memorial in Polička Ivo Váňa-Psota, with whose help na světě nejmocnější? outside the Graphic design and printing: he hoped to achieve performance Czech lands. In it Martinů informs Belák Attila of this work (i.e. in the first ver- Gracian Černušák © MZM his collaborator of the successes of The Bohuslav Martinů Newsletter sion from 1931-32) by the famous his compositions on Parisian con- is printed on recycled paper Ballets Russes of Sergey Diaghilev cert stages. In the second letter, It is published three times a year (1872-1929). (He had seen the from 9 May 1929, he congratulates The Cover: Ballets Russes already at the age of Zítek on his being named director The Opening of the Springs twenty-three in the New Ger-man of the National Theater in Brno at the Bohuslav Martinů Theater in Prague.) In addi-tion, and writes about the possibility Festival 2003 he informed Balatka of his hopes of presenting his opera Les trois Seat: to have the opera Hry o Marii per- souhaits (The Three Wishes), on The International formed at the National Theater in which he was working at the time, Bohuslav Martinů Society 3 Adolphe Buyllaan 150 Ljubljana and wrote about another in Brno and in Germany. B 1050 Brussels, Belgium new work of his - the opera-ballet The Martinů correspondence in Tel. /Fax: +320-16-655057 Divadlo za bránou (The Suburban the Brno music museum, to which Office of IBMS Theater) - which Balatka premie- I have briefly drawn attention and editorial office: red at Brno’s National Theater on in this article, convincingly un- The Bohuslav Martinů Institute 20 Sept. 1936. der-scores the composer’s lively Nám. Kinských 3, 150 00 Prague 5 Another source for mapping communication with the Brno Tel.: +420-257313104 Martinů’s contacts with per- musical scene even while he was Tel.: +420-257320076 Tel./Fax: +420-257323761 for-ming artists in Brno is his living permanently abroad, and www.martinu.cz two letters to the opera singer, illustrates the important share Editorial office’s E-mail: translator, and pedagogue Mrs. that the National Theater in Brno [email protected] Věra Wasserbauerová-Střelcová had in premiering his operas and Secretary of IBMS: (1906-75), who became the first ballets from the 1920s and 1930s, Jindra Jilečková E-mail: [email protected] performer of Paskalina in the with first-class quality in terms of ISSN 1214-6234 premiere of Hry o Marii and also both performance and staging. Price for non-members of IBMS: Colombina in the premiere of In 2004, the Year of Czech Music, CZK 50, 2 $, 2 Euro Divadlo za branou. when we find Bohuslav Martinů The preceding issue: We know that Martinů had on the list of jubilee composers in written contact also with Antonín that it has been forty-five years Kolář (1886-1964), a long-time since his death, it is good to re- functionary of the prominent A copy of the letter from Martinů to Kaprálová, mind ourselves of the indisputable Czech singing association in 19 December 1938 © MZM merits of the Brno theatrical scene Brno called ‘Beseda brněnská’ in furthering Martinů’s career and and secretary of the Smetana The building of the Moravian Museum, Brno © MZM take them as a challenge for the Founda-tion, from a letter of 24 upcoming artistic generation in September 1935 attesting to the promotion of his music. addressee’s support of Martinů in 1 Martinů’s Quartet for Clarinet, French a compo-sers’ competition held Horn, Violoncello, and Side Drum, by this foundation. The success H. 139 from 1924. Municipal Museum of Kolář’s support is illustrated by 2 The Legenda o svaté Dorotě comes at the beginning of the third act in the second Bohuslav Martinů the awarding of First Prize to Hry version of this ballet. In the first version Memorial in Polička offers o Marii that year. the second scene was Svatební košile, a permanent exhibition dedicated The only letter of Martinů do- inspired by K.J. Erben’s famous ballad. to the life and work of B. Martinů, cu-menting written contact with 3 However the work was not actually a guided tour to Martinů’s bir- performed in Brno until after Martinů’s the well-known dance master, death, on 16 June 1971 at the Brno thplace in the St. James choreo-grapher, and pedagogue State Theater under the baton of the church tower and for registered Ivo Váňa--Psota (1908-52) has now-deceased Václav Nosek. This was researchers archive materials already been printed in full in the opera’s Czechoslovak premiere. concerning Martinů. Further Miloš Šafránek’s well-known book information available at The photos and the letter www.muzeum.policka.net Divadlo Bohuslav Martinů (B. Mar- printed with the kind permission and tinů’s Theater), published in 1979 of the Moravian Museum www.policka-mesto.cz

18 News Martinů OBITUARY AUTOGRAPHS Excellent Czech cellist Miloš Sádlo died Roland Kupper alerted the BMI about of heart lapse on Tuesday 14 October two letters - autographs, which were 2003 aged 92. He was born on 13 April offered for auction by the auction 1912 in Prague as Miloslav Zátvrzský. He house Schulson autographs – they are was a pupil of Professor Karel Pravoslav Martinů’s letter to Paul Aron from 13 Sádlo, from whom he overtook his pseu- June 1943, and Martinů’s letter to News donym, and of the legendary Spanish the publisher of the Brigand Songs H. musician Pablo Casals, who stood at 361, from 13 July 1959. The second the birth of modern cello playing. He letter is quite attractive for Martinů CONTRIBUTIONS TO THE ARCHIVES began to perform as a soloist in 1929. wrote it in the hospital, shortly be- He was intensively engaged in playing fore his death. The BM Foundation did AND LIBRARY OF THE BMI chamber music, was a member of the not manage to purchase the original Prague Quartet, Czech or Suk Trio. His letters, but the library of the BMI Thanks to Miroslav Srnka we obtained copies of Martinů’s letters to the recor-dings with David Oistrach and received copies of these. Bärenreiter Publishing House in Kassel and furthermore a list of works – Dimitri Shostakovich are unique. In – autographs, that are deposited in Kassel, Germany. 1963, he was the first performer of the THANKS Thanks to our sympathiser and member of the IBMS Franz Geroldinger we disco-vered Joseph Haydn’s Concerto for received other pieces of correspondence between Martinů and Universal Cello and Orchestra in C major. Edition. He also brought us a copy of the piano score from the 1st movement to Mark Todd Martinů met Miloš Sádlo in 1955 in of the Piano Concerto No. 5 (Fantasia Concertante), manuscript of which is We received further copies of recor- deposited in the National Library in Vienna. Franz Geroldinger also visited dings from Mark Todd - the Sinfonietta the National Library in Paris, where he managed to copy a review on the La Jolla performed by the orchestra of premiere of La Revue de cuisine, published in the Le Temps journal from the Musical Arts Society of La Jolla, 8 February 2003, for us. conductor Nikolai Sokoloff, and the A so far unknown premiere of Sonata for Two Violins and Piano and the opera What Men Live By, Sonatina for Two Violins and Piano H. 336!!! Lucie Berná from performed by Willy and Margarete Martinů with Schweyda (violins) and Jan Behr the BMI found out, that the Ch. Munch, stage premiere took place on © PBM Paris 1956 1 August 1954 in Interlochen Camp, USA. One year earlier From Prof. Jaroslav Mihule, BMI a TV production had been received copies of two Martinů’s made; it was introduced in letters to Charles Munch. Both May 1953 in New York. were written in Schönenberg – on From Kathleen Perez from 22 January and 12 February 1958. the Photo Archive Interlo- In the first letter Martinů writes about chen Center for the Art we working on a symphonic opus called obtained two photos and Martinů with Parables, in the second he announces that he had already finished the programme of the season Miloš Sádlo, Parables and that he is hoping that in Interlochen Camp. Besan)on 1955 © NBM Munch will be performing them often Besan)on, at the beginning of Sep- in Boston. He is recommending him his (piano). Both recordings were publi- tember there was a festival, where Sádlo oratorio Epic of Gilgamesh, H. 351 (for shed on LPs in the USA; the first one appeared. Sádlo was an informed per- chorus, soli and orchestra, duration by Alco Records, the other one by Urania MARTINŮ MEDAL former of Martinůs cello compositions as 1 hour) that he was successful with, to Records. Unfortunately, the publishing a soloist and as a member of the Czech be performed in Berkshire. On occasion of the concert on 13 February 2004 in Boston, conducted by dates are missing on the records, but trio (1943–1954) together with Alexan- Gennady Rozhdestvensky, the Boston Symphony Orchestra (BSO) had been we know, that the Sinfonietta La Jolla der Plocek - violin, and Josef Páleníček awarded the Bohuslav Martinů Foundation Medal. The medal was presented was premiered on 13 August 1950 and - piano. He often played Martinůs Con- CZECH MUSIC the recording was presumably made by Dr. Jakub Skalník, former mayor of Polička. certo for Cello and Orchestra No. 1 and short after the premiere. Martinů contacted the Boston Symphony Orchestra in 1928 – they pre- the Sonata for Cello and Piano No. 2. 2004 miered his La Bagarre. The relationship between Martinů and the BSO Sádlo also played the Variations on a In 2004, the Czech Republic will intensified, when Martinů immigrated in the USA and the orchestra pre- Slovak Folk Song together with Josef celebrate more than sixty anni- SCORES miered many of his great works, such as Concerto grosso, Symphony No. Páleníček during the farewell to Martinů versaries of outstanding Czech 1, Symphony No. 3 and Symphony No. 6. Taking into account the Boston in Polička on 27 August 1979, a day composers (including the 45th The Dilia Agency (www.dilia.cz), gave Symphony Orchestra’s long - term care for Martinůs work, the BM Founda- before the 20th anniversary of his death, anniversary of Martinů’s death). a score and a piano score of the radio- tion decided to appreciate this with the Martinů Medal. on the occasion of bringing the remains Many concerts and performances opera The Voice of the Forest and a copy of B. Martinů to Polička. are being prepared, more than in of the opera Juliette score. other years. Information about From Prof. Emil Leichner BMI received In March, a recording of the opera RECORDINGS in the orchestration by Jiří Teml, the concerts you will find on a copy of the printed score of the Con- Mirandolina (Wexford 2003) will other with compositions for two solo www.czechmusic.org. certo for Piano and Orchestra No. 1; the be published by Supraphon. It is Christopher Hogwood and the Czech instruments with orchestra: The festival will be concluded by autograph of the piece is missing and a world premiere of the recording Philharmonic Orchestra are recording the Greek Passion performance only the piano score was published. of this opera. More details in the another two CDs for Supraphon; one Concerto da Camera for Violin in Brno on 16, 18 and 20 January From the Schott Musik International next issue. with the following recordings for solo and Orchestra, H. 285 2005 – (these are only provisional publishing house we received the Furthermore in spring, a CD with violin and orchestra (with violinist (with pianist Karel Košárek dates; the opera will be brought to Nipponari score – edition for voice and Martinů’s ballets conducted by Bohuslav Matoušek): and violinist Bohuslav Matoušek) Brno from Covent Garden Royal orchestra. Christopher Hogwood, with the Concerto No. 2 for Violin Concerto for Violin, Piano Opera in London). The Dilia Agency, who own the authorial Czech Philharmonic Orchestra, and Orchestra, H. 293 and Orchestra, H. 342 (with Karel rights for most operas by Martinů, are will be published by Supraphon. Rhapsody for Viola Košárek and Bohuslav Matoušek) planning to publish complete mate- You will find the ballets On tourne, and Orchestra, H. 377 Duo Concertante for Two Violins and CURIOSITIES rial to the opera Juliette (five sets of Amazing Flight and a revised version Czech Rhapsody for Violin, H. 307 Orchestra, H. 264 (with Regis Martinů has his own star! performing material) until the end of of the Kitchen Revue there. (originally for piano accompaniment) Pasquier and Bohuslav Matoušek). 2004. They are also going to publish performing material for The Spectre’s On tribute of Bohuslav Martinů, a Bride cantata. star discovered by L. Kohoutek on 26 October 1971 in Bergedorf, was NEWLY DIS- named (3081) Martinůboh (basic Errata denomination: 1971 UP). In the last issue of the Newslet- COVERED ter we published a notice called Another “Martinů in the Supermarket”; PIECE!!! Martinů’s quartets on the Bril- MIDEM AWARD liant Classic CDs are not played Newly discovered composition called by the Škampa Quartet, it is the Spring, from April 1921, which had for Martinů Stamic Quartet! Many thanks been written in Prague and dedicated Martinů Quartet received the MIDEM to Jürgen Sieber for correcting to Miss M. Fialová, appeared from the this mistake. unknown; neither the owner of the Award 2003 for their CD recording autograph is known, we only have a String Quartets Nos. 3 and 6, publi- copy of the autograph from Mr. Valkoun shed by Naxos. (See page 20). News prepared by An interview with the Martinů Quartet at our disposal. It is a short piece for Jindra Jilečková piano, which was premiered in 1999. will be published in the next issue of the Newsletter. and Zoja Seyčková

Bohuslav Martinů Newsletter 2004 - First issue 19 Music by Bohuslav Martinů on CDs Martinů String Quartets Nos. 3 and 6 Martinů Quartet String Quartet No. 3 H. 183 String Quartet No. 6 H. 312 Duo for Violin and Cello H. 157 Three Madrigals for Violin and Viola H. 313 Martinů Quartet: Lubomír Havlák – Violin I, Petr Maceček – Violin II, Jan Jíša – Viola, Jitka Vlašánková – Cello Text: English, French, German. TT: 63:42, Recorded 1996 DDD, 1 CD Naxos, 2002, 8.553783 (see page 19 - MIDEM AWARD) Karel Ančerl Gold Edition - Volume 24 Frescoes of Piero della Francesca H. 352 The Parables H. 367 Czech Philharmonic Orchestra, Karel Ančerl – conductor Text: English, German, French, Czech. TT: 59:59 Recorded 1959, 1961, ADD, 1 CD Supraphon, 2003, 24 SU 3684-2 011

Bohuslav Martinů Juliette Wiener Symphoniker, Dietfried Bernet – conductor Eva – Maria Westbroek, Johannes Chum, Eberhard F. Lorenz, Matteo de Monti, Richard Salter, Adalbert Waller, Susanne Reinhard, Valentina Kutzarova, Astrid Monika Hofer, Hanna Fahlbusch – Wald, Sulie Girardi, Burkhard Ulrich Text: German, English. TT: 153:10 Recorded 2002, 3 CD VMS/ Zappel Music, 2003

Martinů Bohuslav Martinů Martinů Martinů & Symphony No. 4 Festival 2001 Tre Ricercari Piano Works Kabalevsky Not for sale – Jiří Kollert – Sonatas & Variations Piano Concerto No. 4 String Quartet No. 3 H. 183 “Incantation” The Bennewitz Quartet for Cello and Piano Czech Rhapsody for Violin Symphony No. 4 H. 305 and Orchestra H. 307 Butterflies and Birds Variations on a Theme Tre Ricercari H. 267 Roman Patočka – Violin, The Berg Chamber of Paradise H. 127 of Rossini H. 290 Czech Philharmonic Orchestra Orchestra, Peter Vrábel – conductor Three Czech Dances H. 154 Cello Sonata No. 1 H. 277 Martin Turnovský – conductor Toccata e due canzoni for Chamber Trois Esquisses de Danses Variations on a Slovakian Piano Concerto No. 4 “Incantation” Orchestra H. 311 Modernes H. 160 Theme H. 378 Brno State Philharmonic, Jiří Pinkas – The Prague Philharmonia Etudes and Polkas Vol. 3 H. 308 ystein Birkeland – Cello conductor, Josef Páleníček – piano Jiří Bělohlávek – conductor Piano Sonata H. 350 H(vard Gimse – Piano Text: English, German, French. TT: 65:17 Text: English. TT: 48:56, Recorded 2001 Jiří Kollert – Piano Text: English. TT: 59:43 Recorded 1967, 1968, ADD, DDD, 1 CD Český rozhlas, Bohuslav Martinů Text: Japanese. TT: 56:44, Recorded 2003 Recorded 1999, 1CD Simax Classics, 2000 1 CD Warner Classics, 2003, 0927498222 Foundation PROMO 06, 2003 DDD, 1CD Exton, 2003, OVCL- 00112 PSC 1146