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

SEPTEMBER—DECEMBER 2008 / VOL.VIII / NO.3

rtinů Ma d visite Re as n Polk rgotte ast Fo the P s from h Voice e Czec ů & Th tra / II Martin rches B. onic O harm ions Phil blicat ew pu S N EVENT EWS & N Ds New C ≠ spec◊al ◊ssue ģ ts– Conten √ International project to mark the 50th anniversary of the composer’s death Martinů Revisited Highlights …e 11 December 2008—10 December 2010 Martinů Revisited …r “It’s suffocating me, I shall explode! —The Martinů Phenomenon – That’s the way music exhibition theme should affect its listeners.” —Luxembourg and Martinů Revisited Arthur Honegger after the premiere of Martinů’s Double Concerto in Basel International Martinů Circle …t Research …y —Voices from the Past GREGORY TERIAN Interview …i SELECTED FESTIVALS, CONCERTS & EVENTS —with Christopher Hampson JUSTIN KRAWITZ OPENING CONCERT / 11 and 12 December 2008 – Magdalena Kožená, Steve Davislim, Sir , Czech Philharmonic Orchestra News …a Three Fragments from Juliette, H. 253A (world premiere) —30 years had passed since INTERNATIONAL FESTIVALS / Spring 2009–2010 / the death of Charlotte Martinů Moravian Autumn 2009 / Internationale Musikfesttage B. Martinů Basel 2008–2009 / —Ančerl conducts Martinů in Bohuslav Martinů Days Prague 2008–2010 —A Celebration of the Chamber Music CONCERTS / Czech Philharmonic Orchestra, Prague Symphony Orchestra, of Bohuslav Martinů Prague Philharmonia, Philharmonic Orchestra, Ostrava Philharmonic Orchestra, Berliner Philharmoniker,Vienna Philharmonic Orchestra, New York Philharmonic, Special Series …s BBC Symphony Orchestra, London Philharmonic Orchestra —List of Martinů’s Works IV and many others during the 2008/9/10 seasons Research … / New productions of at the National Theatre in Prague, f National Theatre in Brno, Garsington Opera in Oxford —Bohuslav Martinů & The Czech Philharmonic Orchestra – Part 2 ŠPALÍČEK / a dance/educational project with over 100 children from Prague KAREL ŠPELINA primary and secondary schools and the students of the Dance Conservatory Duncan Centre News …h POLIČKA / opening of the Bohuslav Martinů Center, 4 April 2009 —Martin Turnovský celebrated his 80th birthday EXHIBITION at the Czech Museum of Music in Prague:“Martinů Phenomenon” (13 May 2009–26 October 2009) —Bohuslav Martinů Institute Corner AND MANY MORE Research …j Join the martinůrevisited celebrations! —Forgotten Polkas JANA HONZÍKOVÁ UNDER THE AUSPICES of the Minister of Foreign Affairs, Karel Schwarzenberg SUPPORTED by the Ministry of Culture of the Czech Republic and The Bohuslav Martinů Foundation … Some of the projects have been selected for the official cultural programme of the Czech Presidency Events l of the Council of the European Union. News …; PATRONS / Gabriela Beňačková, Zuzana Růžičková, Josef Suk —New publications PARTNERS / City of Prague, Czech Centres MEDIA PARTNERS / Czech Radio, Czech Music Quarterly, Harmonie, Hudební rozhledy, —New CDs The Bohuslav Martinů Newsletter LINKS / www.martinu.cz / www.czechmusic.org CONTACTS / [email protected], [email protected]

All artists and events are subject to change ∑ lights— High

IN 2009 THE CULTURAL WORLD will commemorate the 50th anniversary of Bohuslav Martinů’s death HOW YO U C A N (28 August 1959). In anticipation of this anniversary year, many organisers in the Czech Republic and abroad PARTICIPATE are preparing music productions at which the composer’s works will be performed. Considerable attention AT THE MARTINŮ will also be devoted to the artistic and cultural-political context of Martinů’s œuvre. REVISTED PROJECT

PLEASE send us information about MARTINŮ REVISITED UPCOMING HIGHLIGHTS the programme of the concert you are organising to be able to promote it on our websites and in the music journals. Please download the logo of the project in the “Martinů Revisited” opening concert— section (www.martinu.cz). Concert programmes and other docu- mentation we would like to collect in our CZECH PHILHARMONIC ORCHESTRA archive. Please send these materials on Sir Charles Mackerras [email protected] or on the address: The Bohuslav Martinů Institute Three Fragments from Juliette H. 253 A Bořanovická 14 (world premiere) 182 00 Praha 8 Czech Republic 11 & 12 December 2008 www.martinu.cz Magdalena Kožená, e-mail: [email protected] Steve Davislim & others MARTINŮ REVISITED www.ceskafilharmonie.cz DIARY 2009

We are preparing a Martinů Revisited 2009 Diary which will include details about events concerning Martinů (concerts, National Theatre Brno exhibitions, operas, ballets) in the opera performance— year 2009 and significant events Juliette H. 253 of Martinů’s life. (premiere) It will also contain: — short Martinů biography 27 March 2009 — selected texts written by the composer www.ndbrno.cz — photos of the composer — list of Martinů’s works with the information about the publisher Languages of the diary: English & Czech Date of issue: December 2008/January 2009 Number of copies: 1.000 pcs Publisher: The Bohuslav Martinů Foundation Editor: Lucie Berná,The Bohuslav Martinů Institute, Prague Orders and further information: exhibition— [email protected]

POLIČKA Opening of the > DEAR IMC MEMBERS, this issue Bohuslav Martinů Center of the newsletter is considered as Martinů Revisited special issue, 4 April 2009 therefore the usual content order slightly differs from the previous www.muzeum.policka.net issues. Please, the information for members you will find on page 5. Thank you for your understanding. Yours Editors–

BOHUSLAVMARTINŮNEWSLETTER3)2008 e — rtinů— THE MARTINŮ MARTINŮ REVISITED a d — BY MOUVEMENT M isite — Rev PHENOMENON – JANÁČEK EXHIBITION THEME PATRICE CHEVY IN JANUARY 1985 ‘Mouvement Janáček’ WHEN & WHERE was created by Guy Erismann to pro- mote, not only Janáček, but all Czech 11 May 2009 / 6 pm / gala opening and Slovak music in France.As Janáček is now deservedly recognized in France, Assembly Hall, Czech Museum of Music – National Museum, (as evidenced in the repertoire of the Karmelitská 2, Prague 1 Paris Opera House and elsewhere) Guy wanted to achieve the same recognition 13 May 2009–26 October2009 for Martinů, to whom he devoted one Exhibition rooms and Assembly Hall, Czech Museum of Music of his most heartfelt biographies. 14 January 2009–28 February 2009 Faithful to the wishes of Guy which were the itinerant version of the exhibition “THE MARTINŮ PHENOMENON” Museum of Music – National Museum – expressed very strongly in the last will be on display in the exhibition hall of the Czech Centre in Brussels Assembly Hall months of his life, Gauthier Coussement, President of the Mouvement, and KATEŘINA MAÝROVÁ genre for documenting the development and original costumes from selected the Committee, including Geneviève of his overall creative artistic profile. Czech opera productions representing Chaduteau-Ricou, Kašpar Páleníček and Another reason is the fact that the the following leading opera houses: Patrice Chevy – well known by the IMC THE EXHIBITION at the Czech Museum collections of the National Museum the National Theatre in Prague, State – are preparing the next ‘Cahier’ No 57. of Music in Prague presenting the life and (Czech Museum of Music,Theatre Opera Prague, National Theatre in Brno, This will be published at the end of work of Bohuslav Martinů will follow two Department of the National Museum), Moravian-Silesian National Theatre November 2008 with the support of lines:The first will capture his complicated Brno museums (Theatre Department Ostrava, J. K.Tyl Theatre in Plzeň, South the Czech Centre in Paris and its new personal and musical life through original of the Moravian-Silesian Museum, Brno Bohemia Theatre České Budějovice director Martin Bonhard. period materials, including real autographs City Museum) and the Bohuslav Martinů and Moravian Theatre Olomouc. The subject of this ‘Cahier’ No 57 will of works, literary records, period music Memorial in Polička comprise materials Foreign theatre stages will include, be “What happened in France for Martinů prints, the composer’s personal and official directly suggesting themselves for the for example,Theater Bregenz (Austria), since the 1990 centennial celebration?” correspondence, his own literary records selection of a display of Martinů’s ballet Opéra National de Paris – Palais Garnier This issue will include a large selection and diaries, caricatures, period photo- and opera works, and, with regard to the (France), Oper Köln am Rhein and of previously published contributions graphs, posters and print documentation historical-artistic significance of the DasVolkstheater Rostock (Germany) on Martinů in the ‘Cahiers’ emphasizing of significant premieres of Martinů works. preserved exhibits and their visual and and Thessaloniki Theatre (Greece). major papers by Guy Erismann and The exhibition’s second line will primarily aesthetic attractiveness, enable the other authors. focus on presentation of his musico- exhibition visitors to orientate to the The Martinů Foundation offers its dramatic works, including ballets, operas, development of modern Czech opera set full support in promoting of the music radio and television operas, stage and design (designs by, in alphabetical order, The exhibition’s author: of Martinů by Mouvement Janáček, film music. In exhibition terms it is an Květoslav Bubeník, Daniel Dvořák, Zbyněk PhDr. Kateřina Maýrová, National Museum – by means of all the resources at their attractive theme, making it possible to Kolář, František Muzika,Vladimír Nývlt, Czech Museum of Music disposal.This ‘Cahier’ will also include give visitors a comprehensive overview Otakar Schindler, Josef Svoboda, Karel The exhibition’s co-author: Aleš Březina’s view about Martinů of one of the most important areas of Svolinský, Oldřich Šimáček,Vojtěch Štolfa, Mgr.Taťána Součková, National Museum – Revisited programme. the composer’s creative legacy by means František Tröster and others). Bedřich Smetana Museum Further ahead, there are also Geoff of visually interesting original materials The exhibition will not limit itself to The exhibition’s commissioner: Piper’s initiatives in the Benelux area. such as original set and costume designs, displaying selected items relating to PhDr. Jana Vojtěšková, CSc., National Museum prop mock-ups, photographs of leading Bohuslav Martinů’s life and oeuvre which – Czech Museum of Music ‘Cahier’ No 57 will include a list of performers and dancers, television, radio are available in the territory of the Czech the main articles published so far in and video recordings of significant musico- Republic and Slovakia. It will also present the Bohuslav Martinů Newsletter, with dramatic performances, etc. interesting set and costume designs from abstracts in French, and a full translation The two-line approach logically arises foreign opera productions up to the of the article by Eva Velická about the from the fact that throughout his life present day. discovery of the String Trio No.1, Martinů constantly devoted to stage The musical-theatrological part will be H.136. works.Accordingly, the possibility suggests mostly made up of original domestic and Contributions will also include a sum- itself to make use of this representative foreign artistic exhibits, including props marized discography (the missing recordings as well as recommended choices). This will certainly be a special double LUXEMBOURG & MARTINŮ REVISITED ‘Cahier’, and two further Martinů issues are planned in 2009. Gauthier GEOFF PIPER, member of the IMC, who A Luxembourg choir will perform Czech artists include: has initiated numerous meetings and runs a small voluntary society in Luxem- Otvírání studánek / The Opening of the • In Modo Camerale contacts in France, hoping to make bourg whose main activity is placing Czech Springs, H. 354 in Ostrava and Hukvaldy • Zemlinsky Quartet the anniversary the beginning of a musicians in that country (MusicEnterprise), in collaboration with the Ostrava • Eva Garajová, mezzo-soprano love story between Martinů’s music has put together amost entirely single- University choir. • Smetana Trio and France, and finally a deserved handed a programme of eleven concerts, The original idea behind the overall • Kaprálová Quartet recognition. with two more still to be decided, project was not only to combine works • Kateřina Chroboková, organ spanning the two years 2009 and 2010. by Martinů and Luxembourg composers • Czech National Symphony Orchestra In addition, the Czech Embassy in Luxem- but also Czech and Luxembourg bourg will host the Martinů exhibition musicians; this has proved unrealistic but from mid-May to mid-June 2009 and the most of the programmes involve, wholly well-known Luxembourg artist of Czech or partly, Czech artists; in addition, Anyone who would like further origin, Ota Nalezínek, will have an exhibi- symphonic, chamber, piano solo, vocal information is invited to contact tion devoted to Martinů and Czech music music are all represented; only opera Geoff Piper on [email protected] throughout the month of May 2009. is excluded. Author is a member of the IMC r BOHUSLAVMARTINŮNEWSLETTER3)2008 me– b ] Welco

THE BOHUSLAV MARTINŮ THE INTERNATIONAL MARTINŮ CIRCLE NEWS NEWSLETTER is published by the IMC Members receive the illustrated Bohuslav Martinů Foundation in collaboration Bohuslav Martinů Newsletter published three WITH THE MARTINŮ REVISITED festivities about to commence, 2009 presents a unique with the Bohuslav Martinů Institute in Prague times a year plus a special limited edition opportunity to consolidate the membership of the International Martinů Circle. CD containing world premieres, historic EDITORS We presently have some 150 regular subscribers about half of whom come from or via the archive performances and recordings from Dvořák Society of Great Britain which provides invaluable assistance and acts as our collecting Zoja Seyčková the annual Martinů Festival not obtainable agent in the UK.We anticipate a matching level of support in the United States where Justin Lucie Berná commercially. Krawitz and Robert Simon are actively engaged in expanding the membership from a low The IMC is supported by the Bohuslav TRANSLATION base. Martinů Foundation and Bohuslav Martinů Hilda Hearne In Europe we are also hoping for a substantial increase in membership numbers.The past Institute in Prague. year has seen encouraging progress in France, the Netherlands and Belgium/Luxembourg. PHOTOGRAPHS We also continue to enjoy support from a solid nucleus of members in Japan and from The Bohuslav Martinů Foundation’s and Institute’s individuals across the globe. MEMBERSHIP & SUBSCRIPTION archive, collections of the Municipal Museum – We are presently looking for a regional representative in Germany.The qualities required are INFORMATION Bohuslav Martinů Memorial in Polička extreme levels of enthusiasm, initiative and perseverance! Our Secretary Jana Honzíková is Yearly subscription: GRAPHIC DESIGN able to give assistance and is to be commended for dealing with the many difficulties which 20 Euros / 25 USD / £14 UK have arisen over the formal establishment of the Martinů Circle. Not least, we must David E. Cígler acknowledge the continuing and essential support of the Bohuslav Martinů Foundation and Subscription for corporate PRINTING the Bohuslav Martinů Institute. members: 100 Euros includes 10 copies the each Newsletters BOOM TISK, spol. s r.o. During the course of the coming year a permanent Board will come into being. Details of the process leading to its establishment will appear in the next Newsletter. In the meantime PLUS 3 copies o the non-commercial CD PRICE I would ask all our members to use their best efforts towards growing our membership recording from the Bohuslav Martinů Days Festival in Prague CZK 50 numbers. One of the most effective ways of enlisting new supporters is through personal The Bohuslav Martinů Newsletter contacts at Martinů events. Single copies of the Newsletter: is published three times a year. May I take this opportunity of wishing you well in 2009. It promises to be a memorable and 50 CZK / 2 Euro / 3 USD + postage rewarding year for Martinů devotees. COVER PHOTO Gregory Terian, interim Chairman For further details and for single copies Bohuslav Martinů in Vermont, USA, 1950 © PBM of the Newsletter contact: 2009 SUBSCRIPTION Jana Honzíková EDITORIAL OFFICE e-mail: [email protected] The International Martinů The Bohuslav Martinů Institute DEAR MEMBERS, SUBSCRIPTIONS FOR 2009 will be due for payment commencing in Society (IMC), o. s. Bořanovická 14 January. It will help us a lot if you can make your payments promptly by sending them to 182 00 Praha 8-Kobylisy, Czech Republic Bořanovická 1779/14 the regional contact who previously collected your subscriptions. Those wishing to tel.: +420 257 320 076 182 00 Praha 8-Kobylisy make their payments here in Prague can do so by giving the amount by cash to me. e-mail: [email protected] Tel.: +420 257 320 076, I prefer receiving the payments made only from Czech Republic, because every pay- www.martinu.cz +420 284 691 529 ments from abroad is charged by 100 CZK at least. Those wishing to pay in Czech ISSN 1214-6234 currency or by cash should contact me at [email protected] In the meantime I wish you krásné a klidné Vánoce a šťastný nový rok 2009! THE IMC CORDIALLY Jana Honzíková, Secretary WELCOMES THE FOLLOWING NEW MEMBERS REGIONAL CONTACT FOR SUBSCRIPTION PAYMENTS (alphabetical order) • Raffi Armenian, Montreal, Canada Patrice Chevy (France), [email protected], +33675620321, • Gerald Bishop, UK 11 Résidence FOCH, 923 80 Garches, France • Jesse Bryson, USA Gert Floor (Netherlands), [email protected], +31725095262, • Children’s Orchestra Society, NY,USA Gortersweg 6, 1871 CC Schoor, Netherlands • Soňa Jelínková, Montreal, Canada Geoff Piper (Luxembourg, Belgium, Germany,Austria), [email protected], • Lawrence J. Lemer, USA +352-474269, 24, rue des Cerisiers, Luxembourg, L – 1322 Luxembourg • G. Schirmer Music Publisher, New York, USA Robert Simon (USA), [email protected], mobile number 216-973-7716 • Northwestern University Music Library,

THE PREVIOUS ISSUE home number +1-1-608-554-4216, 2531 Jackson Ave.Apt 1E, Evanston, IL 60201,USA USA Jaroslav Šonský (Scandinavia), [email protected], +4611318475, • Petra Richter, Germany Knopgatan 6, 603 85 Norrköping, Sweden • Michele Zukovsky, USA MUNICIPAL MUSEUM — Gregory Terian (UK), [email protected], +441625523326, 18 Broadway, SK9 1NB UK, Wilmslow, Great Britain BOHUSLAV MARTINŮ > A MEETING OF THE BOARD MEMORIAL IN POLIČKA Mari Tokuda (Japan), [email protected] OF DIRECTORS WILL OFFERS short-term exhibitions TAKE PLACE AT 10AM dedicated to the life and work of B. Martinů, a guided tour to Martinů’s NEW CD — BOHUSLAV MARTINŮ DAYS 2007 ON 13 DECEMBER 2008 birthplace in the St. James church ATTHE BOHUSLAV tower and for registered researchers MARTINŮ FOUNDATION THE NON-COMMERCIAL CD will be sent with the next issue of Bohuslav Martinů archive materials concerning Martinů. HALL, BOŘANOVICKÁ 14, Further information available at Newsletter to members of the International Martinů Circle who have subscribed PRAGUE 8-KOBYLISY. < www.muzeum.policka.net for 2009.The CD will contain rare historical recordings (Sinfonietta Giocosa, and www.policka-mesto.cz New Špalíček) and performances taken from the recitals at the Martinů Days Festival 2007. Details in the next issue.

BOHUSLAVMARTINŮNEWSLETTER3)2008 t rch– Resea VOICESFROMTHEPAST

GREGORY TERIAN celebrated a traditional Czech Christmas Eve at Mucha’s apartment where they all listened to the transmission linking them BY JUNE 1940, with much of Europe to their homeland. under German occupation, there was a rapid expansion of broadcasting to the At this time Martinů was engaged in com- occupied countries by the newly estab- pleting his Field Mass, H. 279 a cantata lished BBC Overseas Service based in for , chorus and orchestra Bush House, London.The music content (without strings). Mucha contributed the was an important element in the sched- text. It appears that the composer had ules. Its emotive power made a potent Kraus in mind as the soloist for the work instrument in arousing resistance to the as is mentioned in Mucha’s memoir Podivné occupying forces. In the case of Czecho- lásky (Strange Loves) published in 1988. slovakia, the performances were mostly Destined for performance by the Czech contributed by Czech artists who had Army Band led by Vilém Tauský, it was escaped to Britain.Their efforts are now dedicated to the Czechoslovak volunteers all but forgotten and little has survived serving on the French front line. Any in the way of recordings from that period. prospect of a first performance was soon to be overtaken by events. So that it was with considerable interest that I heard from Zoja Seyčková in 2005 In June 1940, with the advancing German that Janis Susskind had donated a set armies closing in on Paris, Kraus and his of BBC 78rpm records to the Martinů wife were obliged to flee again.With other Institute in Prague.They featured a per- members of the Czech refugee community formance by her late husband Walter they set off on 10 June in a lorry heading Susskind of Martinů’s piano work south, the day before the Martinůs made Esquisses de danses, H. 220. Although their own last minute escape.They eventu- the date of the performance was not ally reached Bayonne, hoping to find their known, it would have been amongst the way to England. Instead they found that earliest recordings of a work by Martinů the only vessel available was bound to have surfaced. for Casablanca. It was to be the first in a tortuous series of sea journeys spread WALTER SUSSKIND over the next four months which took Born in Prague in 1913, Susskind had them from Casablanca to Tangier and back, studied composition with Suk and Hába, then to Lisbon where they were interned, piano with Hoffmeister and conducting © Courtesy of Janice Susskind and finally to Gibraltar where they with Szell. During the mid-1930s he Walter Susskind practising at the piano at his London home in 1940 obtained a passage to Liverpool.They conducted opera performances at the arrived on 25 October. German Theatre in Prague where Szell preserved some such recordings and has specially for the occasion.The script for was the music director. But it was in his details of others which have not survived. the programme was written by Mucha, From Liverpool they travelled to London parallel career as a pianist that he achieved However, my searches for the Susskind who later married Kaprálová. Martinů also arriving at 2am the following morning international recognition both as a solo performance drew a blank. It later took part.The programme was recorded with a heavy raid in progress.They spent performer and as a member of the Czech transpired that one side of the 78 set prior to transmission. Flush with the fees four days at the Norwood Refugee camp Trio. He was performing in Holland at contained a folk song arrangement of received for the broadcast, the group before moving into rented accommo- the time of the German occupation Už mou milou (She is mine) sung by Otakar of and the artist Julian Kraus accompanied by Susskind. Trevelyan was instrumental in securing his entry to Britain. He quickly re-established OTAKAR KRAUS his career and the Czech Trio successfully Following an acclaimed Brno debut as transplanted itself in London. In 1943 con- Amonsaro in in 1935, Kraus became ducting became Susskind’s prime activity principal baritone at Opera

when he was appointed music director of from 1936. His career reflected the © Courtesy of Charles Kraus the Karl Rosa Opera Company. turbulent times which were to follow. Leaving Czechoslovakia after the German Susskind set up home in St John’s Wood occupation, he reached Paris via Italy in and was later joined by his younger November 1939 having sent ahead his brother who escaped on one of the last wife Marie.They joined the Czech refugee Kindertransports to reach England. community which, among others, included Miraculously their mother, who remained Martinů and his wife Charlotte, the young in Prague, survived years in the Terezin and composer Vítězslava Kaprálová, the pianist Belsen camps to join her sons in London Rudolf Firkušný and the writer Jiří Mucha. at the end of the war. They made a home at the studio of the artist Rudolf Kundera. With the details shown on the 78 record label (London Transcription Service BBC Kraus participated in a Christmas Eve By the mid 1930s Kraus had already established a reputation in Czech musical circles. 10PH 11891), I set about trying to broadcast to occupied Czechoslovakia This postcard was sent to him from London at 26 November 1935 during the Czech Phil- establish the origins of the discs.The transmitted by French Radio. Kaprálová harmonic tour of Britain and is signed by Václav Talich, Jarmila Novotná & Jan Masaryk British Library Sound Archive has composed an orchestral Prelude de Noël y BOHUSLAVMARTINŮNEWSLETTER3)2008 rch– Resea

Orchestra in Amsterdam conducted by Rafael Kubelík.

Walter Susskind’s career also flourished. In late 1945 he conducted the first recording to be made by the newly formed Philharmonia Orchestra. Ginette Neveu was the soloist in the Sibelius Violin Concerto and the EMI recording has since Susskind conducting the London Symphony Orchestra in the BBC Maida Vale Studios The text of the reverse side of photo achieved legendary status. In 1946 he was on 22 July 1942 in a performance of Martinů’s Tre Ricercari, H. 267 for broadcast „Susskind conducting…“ appointed conductor of the Scottish transmission to Europe Orchestra, taking this post in preference © Courtesy of Janice Susskind to an offer from his near neighbour dation.This was at the height of the blitz the Carl Rosa Opera Company. He later to become director of on London and most nights were spent took part in many concerts for Allied the . He later became in air raid shelters. Kraus applied to join forces and for workers in war factories. music director of the Toronto Symphony the Free Czech Army but was rejected Orchestra and the Aspen Music Festival. on medical grounds.There was no work RECORDING TREASURES He took over the St Louis Symphony but he had relatives in London who gave I had previously spoken to Otakar’s son Orchestra in 1968 where, among other support. His fortunes were to change in Charles about a song Dopis which works, he recorded Smetana’s Má Vlast and the New Year when he was engaged by Kaprálová had composed for Otakar the Dvořák’s Piano Concerto with Rudolf shortly before her death in June 1940 Firkušný. Following the death of his former and which he had performed in Paris on conducting mentor in 1970, Susskind per- 3 May (the manuscript had been handed fomed Szell’s transcription of Smetana’s to Jiří Mucha after Otakar’s death and String Quartet No.1 From my Life with the was reproduced in his book but has since . disappeared). Susskind and Kraus both died in 1980. I approached Charles again to see if he could help with the date of the folk song 78rpm disc from Bohuslav Martinů POSTSCRIPT recording. It transpired that he possessed Institute Library When preparing this article, Janis Susskind a large collection of similar 78s, inherited kindly provided some photographs from from his father. It proved to be a veritable posed the songs in 1942 and dedicated the wartime years which led to further treasure trove of some 35 items sung by them to his friend Jan Masaryk, Foreign discoveries.Two photographs were Otakar, most with piano accompaniments Minister of the Free Czech Government captioned as showing Susskind conducting provided by Susskind, others with small based in London. Masaryk was a fluent the London Symphony Orchestra and instrumental ensembles in arrangements English speaker who often participated in a related press clipping identified the by Susskind.The majority were of Czech programmes on the BBC Home Service occasion as a performance of music by folk songs but the collection also included as well as broadcasting to his homeland. Martinů broadcast to Europe. Enquiries songs by Janáček, Novák and Martinů. He was also an accomplished pianist directed to the BBC archives at Caver- and music lover and knew both Kraus sham identified the performance as having The latter was represented by the cycle and Susskind.Their broadcast of the taken place on 22 July 1942 at the BBC of eight Nový Špalíček, H.288 songs set Nový Špalíček would have been among Maida Vale Studios and the work per- to Moravian folk poetry. Martinů com- the earliest performances of the work. formed as Tre Ricercari, H. 267.They Otakar (Otto) Kraus circa 1938 were also able to establish that Susskind’s Charles was able to confirm that the 78s performance of Esquisses de dances was were all taken from BBC broadcasts to recorded on 29 September 1942 by the Czechoslovakia between 1942–45. I was London Transcription Service for later able to hear a tape made from the original transmission to Europe.There was a 78s.The quality is surprisingly good and regular slot at 9.45 am each day reserved after more than sixty years a piece of for such music programmes. history came vividly to life.The depth of emotion conveyed by these wartime Best of all, after further searches it was performances is striking, delivered by the also possible to identify the broadcast of artists with a compelling warmth. the Martinů Nový Špalíček songs as having taken place on 27 January 1943. It was POSTWAR listed as a first performance, broadcast After the war Kraus’s career went from live on the BBC Overseas Service Blue strength to strength. He joined the English Network. Opera Group in 1946, moving to Covent Garden in 1951. He took part in the (With special thanks to Rachel Bowles at premieres of Stravinsky’s Rakes Progress, Caversham for her efforts in unearthing this Britten’s Rape of Lucretia and Tippett’s archive material) Midsummer Marriage and he sang at the © The Author . In 1956 Martinů’s The reverse side of the postcard original intention was fulfilled when Kraus was the soloist in a performance of the Field Mass with the Concertgebouw

BOHUSLAVMARTINŮNEWSLETTER3)2008 u view— Inter Christopher …with Hampson

JUSTIN KRAWITZ energy of the audience, the energy of the dancers. It was quite electric. One should not forget that this audience had come to World-renowned choreographer see a ballet, not to hear a concert. I, Christopher Hampson has however, came at it from the other side, a penchant for the work of Bohuslav wanting to present a concert performance, Martinů. He has created a ballet to visualized.That’s what I want the audience Martinů’s Sinfonietta Giocosa, H. 282 to experience and I think the American and has plans to return to the audience was receptive to this.The English composer in the near future.We audiences on the other hand were quite managed to catch up with Hampson stubborn in approaching it as a ballet and while he was in Prague presenting I think there was actually a sense of disap- a series of international ballet pointment.The English audiences enjoyed it masterclasses. in a much more muted, cerebral way. I can’t presume to speak for the two-thousand Mr Hampson, in 2005 you created people, but the energy in the auditorium a ballet to Bohuslav Martinů’s was more that of contemplation.They Sinfonietta Giocosa. How exactly seemed more interested in discerning who did this project originate?

My version of Sinfonietta Giocosa came about in response to a commission from the Atlanta Ballet in the US.The company wanted a short work for one of their triple bills.While I was thinking about the project the dates got moved, so I landed up taking on other commissions and the last one I took on was Giselle here at the National Theatre in Prague. I was here for three months, buying up CDs – especially from Supraphon - and I started to listen to Martinů. I knew some of his music from when I was about 13 or 14, when I had listened to the Serenades and some the was a principal, who was a soloist. But there small chamber works, and had come aren’t any in my version of the Sinfonietta across Sinfonietta Giocosa. I recognised Giocosa – it’s a very egalitarian work. it because I’d seen a ballet to it in London, Interestingly, the American ballet history is and I remember really liking that formal, more familiar with this type of work, from quasi-Baroque sound. Balanchine and with Stravinsky, so they’re used to seeing concert music visualized. So it was really the neo-classical In the UK, our history is one of ballet that qualities which attracted you communicates narrative, or emotional to the work? themes, and while such elements are part of the Sinfonietta Giocosa, I think it’s Yes,I like to describe the music as kind a work which lends itself much more to an of like Bach that’s sitting on the edge – Christopher Hampson American audience than to a British one. that just won’t sit where you want it to. The neo-classical style does lend itself chair forward and you not quite knowing very clear rhythmic structure. I find that in Martinů did, indeed, compose specifi- well to being choreographed because when you’re going to fall off. my choreographic work I do tend towards cally for ballet, but for your first foray it has a formality which is particularly works with a clear rhythmic structure into his music you chose a work not appropriate to ballet.Another feature of Some of Martinů’s later music is quite because I wish to play on the rhythmic originally intended for ballet.What Martinů’s music for which I feel a special striking from a visual point of view: deviations with dance and if a work is too is your opinion of Martinů’s balletic affinity is his use of rhythmic play.With it’s often written completely without rhythmically complex then there’s just no works? Do you prefer to choreograph Sinfonietta Giocosa for example, I first barlines, often with no regular meter room for my voice. works that were not originally became acquainted with the work through as such, but rather with shifting intended for dance? a recording. I listened to it over and over meters.Would you contemplate You originally created the Sinfonietta again and was really taken with the build- choreographing such a work? Giocosa for the Atlanta Ballet I do prefer to work with music that hasn’t up in the first movement – layer upon and it was subsequently taken been written specifically for dance. I would layer of the same theme, but always Yes,absolutely. It’s about what into the repertoire of the English describe Martinů’s ballet scores as very beginning just half a beat later, or just on he’s communicating rather than how National Ballet. Did you find there much ‘of the time’. Most of them stem from the off-beat. So it was a surprise when it’s communicated notationally. I think was a difference in the response such a specific time in theatre – not just I found the score and discovered that the initially I would have been more likely to of audiences in the US to that in ballet.They exemplify a very particular whole movement is written in common go for the rhythmically clearer works, but of audiences in the UK? avant-garde attitude, in which it was all time! It’s so simple and yet the whole now I have such a passion for his music about an author, composer and artist thing is written completely on the off-beat. that with Martinů I feel as if I could I did, actually. It surprised me as there was coming together to produce a work. And One of my dancers described the effect choreograph to pretty much anything quite a stark difference. In the US the it was usually a mess! [laughter] I recently of the music as akin to sitting on the edge he’s written.That said, I must admit that audience was very enthusiastic straight reconstructed a piece called Trapeze to of your chair with someone tipping the what drew me in initially was, indeed, the away. It was a major hit.You could feel the music by Prokofiev and the photographs i BOHUSLAVMARTINŮNEWSLETTER3)2008 view— Inter

project, but I realised that ballet had not been represented. It seems that the ballet world had not stepped up to the chal- lenge.This is a shame since Martinů is one of the few Czech composers who has written specifically for ballet and who, even with his concert music, has inspired so many people to create ballets. So I see an opportunity to celebrate what he has inspired within my art form. Obviously I have my own personal interest in Martinů and how he inspires me, but he has also inspired other choreographers – and great choreographers: Glen Tetley with his ballet Sphinx to Martinů’s Double Concerto for Two String Orchestras,

Photos Stephen A’Court Photos Stephen Piano and Timpani (H.271), Kenneth MacMillan with his ballet Anastasia to Christopher Hampson excerpts from Martinů’s Sixth Symphony (H. 343), the Bubeníček brothers have created works to his music… And there’s still a wealth of Martinů’s music that can be used.The anniversary years present a great opportunity to look back on who he’s inspired, but also forward: it’s an opportunity to remind choreographers and theatre directors of the wealth of music which lives on. So that’s the reasoning behind my contemplating an evening of Martinů within the framework of Martinů Revisited. Ballet performance of Sinfonietta Giocosa, H. 282 We’ll be holding thumbs for you I was working with were just crazy! But What are the challenges involved Revisited project.What are your here in Prague. Christopher I don’t think the productions were ever in choreographing such a long work, ideas for this project? Hampson, thank you very much! meant to work in the same way we aside from the sheer physical perceive theatrical productions to work stamina required? I am contemplating the possibility of an A pleasure! n now. It’s a different way of looking at evening of ballet to the music of Martinů. theatre. I think Martinů’s ballets belong to The challenge would be to sustain visually There is an incredible array of concerts that era. I’d be interested to look at his the journey which Martinů takes us on in planned as part of the Martinů Revisited work now and try to translate it in terms the work. For me the work is all about of how we today view ballet and theatre. conflict: conflict and resolution.There is What makes it difficult to create some- massive conflict evident from the very thing to Martinů’s ballet music is the fact beginning – the conflict of the timpani News AUTOGRAPH / that we are not privy to the dialogues that against the full string sound, the metrical — transpired between the composer and conflicts.The opening of the work is so CORRESPONDENCE the choreographers with whom he must moving! One feels at once in a very dark THE BOHUSLAV MARTINŮ Foundation have worked. I don’t know whether the and antagonistic place.The second has acquired from the Schmolt auction choreographer dictated the libretto, movement has an incredible tenderness to house a precious letter written in Martinů’s whether Martinů did, or if it was a collabo- it, which is all the more striking after the hand to the cellist Pierre Fournier.The rative effort. So if I were to reconstruct blackness of the opening.And then the letter contains information about the third Martinů’s ballets, I think I’d approach incredible resolution at the end, almost revision of Concerto for Violoncello them as I would any of his other works: like a love theme… The massive switches and Orchestra No.1,H.196 II. It is writ- as a concert score. I’d contemplate my of emotion would be a challenge to ten in French and is dated 19 June 1955. contemporary response to the work: portray and it would be a particular In the letter,Martinů confirms having what does the work say to me today? challenge to draw these from a group of received the 1939 version of the concerto’s What the work said to the original men. But when I listen to the work I really score and expresses his disappointment audience is probably irrelevant to us now. do see only men. Right at the end there is at the manner he made the composition’s a little femininity, some tenderness. But orchestration at the time. He promises to Which of Martinů’s works would you when I listen to the Third Symphony rewrite the score “for peace of conscience” like to approach next? I see war. since he likes the concerto very much and would like the work to assume the I really want to choreograph the Third 2009 and 2010 are big anniversary appropriate final form.The dedication to Symphony, H. 299. In its entirety. I’m years for Martinů.You recently Pierre Fournier will remain intact. Since mad about the work. I envision it as visited the Bohuslav Martinů Martinů wanted to make changes in the a ballet exclusively for male dancers. Institute at its new home in Kobylisy solo part too, he asks Fournier to convey It would need a large company – maybe and discussed the possibility of his opinion at their planned meeting in 25–30 dancers. incorporating ballet into Martinů September 1955. n

BOHUSLAVMARTINŮNEWSLETTER3)2008 o ON 23 NOVEMBER, ews— 30 YEARS HAD PASSED N SINCE THE DEATH OF CHARLOTTE MARTINŮ

home. She fell in love with her husband’s CHARLOTTE LÉONIE VICTORINE native country: already in 1959 – the year of his death – she began visiting it very MARTINU˚-QUENNEHEN 1894–1978 often and furthering the dissemination of his musical legacy. In 1975 she was IVAN ŠTRAUS - a world full of interesting and famous awarded honorary citizenship in the city of people but also a world of wandering and Polička, and two years later she founded of modest means, a world at the side of the Společnost Bohuslava Martinů (Bohu- CHARLOTTE Quennehen came from a man with no regular income. And she, slav Martinů Society) of which she became a relatively poor French family. Born on the wife of a famous composer, worked an honorary member. 21 July 1894 in Ochancourt, from the age hard in tailor shops as a matter of course Charlotte Martinů died on 23 November of five she grew up in the village of Vieux- until 1953. She took care of the household 1978 in Villiers le Bel,France, and accord- -Moulin about eighty kilometers northeast until the end of her life, and she was Charlotte Martinů ing to her wish to be buried with her of Paris. She was trained as a ladies’ tailor a support for her husband in difficult husband in the cemetery in Polička she and soon found employment in Paris as times.Through all this she gave him the enced her husband’s greatest successes as rests there with the Martinů family by the a seamstress. It was there on 10 Novem- most valuable gift a composer can receive a composer at his side, but also fear during Church of St. Michael.A year after her ber 1926 that she made the acquaintance – the possibility to compose undisturbed their flight from the Gestapo to America death her husband’s remains were brought of the composer Bohuslav Martinů, which in a calm environment. in 1941, and disappointment at post-war there from his original grave in Schönen- radically changed her life. She began to get After her marriage with Martinů on political developments in Czechoslovakia berg, Switzerland. to know the enchanting world of an artist 21 March 1931 in Paris, Charlotte experi- which prevented him from returning Translated by David Beveridge

ANCˇERL CONDUCTS MARTINU˚ IN LONDON Simpson. Rejecting the prevailing opinion of certain colleagues of his in the BBC, he PATRICK LAMBERT Ančerl and had become more than tour of eleven English towns and cities found merit in symphonies by a composer curious to hear the remaining works in (21 February–8 March).The other works who upheld the virtues of tonality. Some the cycle. Of course, I had no idea how in the broadcast were Beethoven’s Egmont years later, at the start of my BBC career, IN THE PREVIOUS ISSUE,on p. 17, was truly unique my amateur recording of the Overture and Dvořák’s great D minor I well remember attending a recording published information about historical 2nd Symphony would become. As Karel Symphony (both of which I unfortunately in St. John’s Smith Square of Martinů’s recording of Symphony No. 2, H. 295 Špelina has confirmed to me, it is the only failed to record) and Vaughan Williams’ 5th Symphony for which Robert Simpson by the Czech Philharmonic conducted by occasion Ančerl conducted the Czech Tallis Fantasia, which Ančerl and his was also the producer. Karel Ančerl, a CD copy of which has been Philharmonic in this Symphony and indeed orchestra had taken into their repertoire My amateur recording of the 2nd Sym- forwarded to the Martinů Institute by this was the first time the orchestra had solely for the tour. After first presenting phony, now transferred to CD, though by Mark Todd. Going through my collection of played the work since introducing it to the Fantasia in Prague (18th February), no means technically perfect, is certainly open-reel tapes, hoarded since my student Czech audiences under the baton of they included it in five of their public good enough to enable one to hear a very days, I discovered this recording, made off- Rafael Kubelík in 1946. I am grateful to concerts (Leeds, Huddersfield, London, fine interpretation, greatly enhanced by air when I was eighteen. It testifies to my Mark Todd for searching out details about Nottingham, Hastings). Interestingly, they the wonderful flute playing of Géza Novák enthusiasm for Martinů’s music at a rather the broadcast from BBC Written Archives. also included Martinů’s 6th Symphony and František Čech.What a pity that the early stage in my musical education. I had It turns out that this was a special (Leeds, 24th February; Ipswich, 4 March) political climate in the 1950s and 60s was by then acquired Supraphon recordings recording – a studio concert without but not No. 2, which must have been not sufficiently benign for Ančerl and his of the 5th and 6th Symphonies by the audience – made in the BBC Maida Vale prepared specially for their BBC recording orchestra to make commercial recordings wonderful Czech Philharmonic under Studios during the orchestra’s 1962 at the request of the producer Robert of all six Martinů symphonies! n

A CELEBRATION OF THE CHAMBER MUSIC OF BOHUSLAV MARTINU˚ AT THE ROYAL COLLEGE OF MUSIC IN LONDON

GREGORY TERIAN with his music. From that point of view to eight year olds from the music class alone the Martinů Day was a resounding of a local primary school sat engrossed success.The event was devised by Janet throughout.The impact made by a vibrant THE ROYAL COLLEGE OF MUSIC Hilton, Head of Woodwind at the College, performance of the Revue de Cuisine, in London is this year celebrating its herself a staunch advocate of the com- H.161 will surely remain with them for 125th anniversary. One of the many events poser’s music. Nine complete works years to come. marking the occasion took place on were performed and a total of 37 young The standard of performance attained 7 October with a unique and imaginative musicians took part in the performances throughout the day was admirable.The day’s programme devoted entirely to the which were delivered with obvious enthu- evening concert ended with a nicely paced music of Bohuslav Martinů. It featured siasm and enjoyment. and executed performance of the Nonet lunchtime and evening recitals in an early A good sized audience filled the Inner directed by Janet Hilton herself. It sent commemoration of the 50th anniversary Parry Room including some members of the audience on its way uplifted at the of the composer’s death. the International Martinů Circle.With its end of a memorable day. If Martinů’s rich and varied legacy of heavy wood panelling, the Room forms Not content to rest on her laurels, Janet chamber music works is to retain its place part of the original College building and is already planning another all-Martinů in the repertoire over the next 50 years, produces a particularly fine acoustic. Posi- Isobel Clarke and Danielle Jalowiecka celebration during the course of the it is essential that the new generation of tioned in close proximity to the musicians who performed the rarely heard Summer Term 2009.It will be keenly Divertimento for two recorders young musicians should become engaged at the lunchtime concert, a group of seven anticipated. n a BOHUSLAVMARTINŮNEWSLETTER3)2008 — LIST OF MARTINŮ’S WORKS IV Special s— CATEGORY/ Serie | ORCHESTRAL MUSIC SUBCATEGORY/ | SYMPHONIES AND WORKS FOR CHAMBER ORCHESTRA

IN THIS ISSUE of the Newsletter we con- Facsimile: Bohuslav Martinů Institute, Prague tinue with our publishing of the complete SUBCATEGORY / Publisher: Boosey & Hawkes, London–New SUBCATEGORY / list of Bohuslav Martinů’s works.We began SYMPHONIES Yo r k , B & H 19427, 1949 WORKS FOR CHAMBER with the operas and have since considered Copyright: Boosey & Hawkes ORCHESTRA the ballets, incidental music and film music and works for large orchestra.The next SYMPHONY No. 1 subcategory are the symphonies and works SYMPHONY No. 4 BOROVÁ (CZECH DANCE NO. 1) for chamber orchestra (listed in alphabetical Halbreich number: 289 FOR SMALL ORCHESTRA order).The basic data on the works listed Durata: 34’ Halbreich number: 305 —BOROVÁ (ČESKÝ TANEC Č.1) here have been taken from the online cata- Place of composition: 1st mov. – Jamaica, Durata: 31’30” PRO MALÝ ORCHESTR logue of Martinů’s œuvre at www.martinu.cz, NewYork (USA) Place of composition: 1st, 2nd, 3rd mov. – —BOROVÁ (TSCHECHISCHER TANZ which is continuously updated as issues from 2rd mov. – Mah-Kee-Nac Lake, NewYork (USA) Nr. 1) FÜR KLEINES ORCHESTER the latest research are documented by the Massachusetts (USA) 4th mov. – Cape Cod, Massachusetts (USA) staff of the Bohuslav Martinů Institute. 3nd mov. – Middlebury,Vermont (USA) Date of composition: 1.4.–14. 6. 1945 Halbreich number: 195 A In the next issue you will find a list of 4th mov. – Manomet, Massachusetts (USA) Performing forces: 4432-4331-timp.-batt.-pf.- Place of composition: Paris, Polička Martinů’s suites and abstracts of the stage Date of composition: May 1942–1.9.1942 archi Date of composition: 1931 music. Performing forces: 3333-4331-timp.-batt.-ar.- Dedication: “To Helen and Bill Ziegler” Performing forces: 0b-cl-tr-pf.-archi pf.-archi Performer(s) of premiere: The Philadelphia Archive: Manuscript missing Dedication: “In memory of Mrs. Nathalie Orchestra, Eugene Ormandy (cond.) Copyright: Alphonse Leduc, Paris Abbreviations/ Koussevitzky” Premiere: 30. 11. 1945, Philadelphia, USA Note: Orchestral sound of first from Borova ar. harp Performer(s) of premiere: Boston Symphony Archive: Harry Halbreich, Belgium (7 czech dances) H.195 archi string section Orchestra, S. Koussewitzky (cond.) Facsimile: Bohuslav Martinů Institute, Prague; batt. battery Premiere: 13. 11. 1942, Boston, Massachusetts, Bohuslav Martinů Center, Polička; National cel. celesta USA Museum – Czech Museum of Music, Prague CONCERTO GROSSO cl. clarinet Archive: Washington, DC, Library of Congress, Publisher: Boosey & Hawkes, London–New FOR CHAMBER ORCHESTRA cmp. chime-bells USA Yo r k , B & H 16616, 1950 —CONCERTO GROSSO cond. conductor Facsimile: Bohuslav Martinů Institute, Prague Copyright: Boosey & Hawkes PRO KOMORNÍ ORCHESTR cor.ing. English horn Publisher: Boosey & Hawkes, London–New —CONCERTO GROSSO fg. bassoon York , B & H 9062, 1947 FÜR KAMMERORCHESTER ob. oboe Copyright: Boosey & Hawkes SYMPHONY No. 5 picc. piccolo Halbreich number: 263 pf. piano Halbreich number: 310 Durata: 16’ tamt. tamtam SYMPHONY No. 2 Durata: 30’ Place of composition: Paris (France) timp. timpani Place of composition: New York (USA) Date of composition: 1937 tr. trumpet Halbreich number: 295 Date of composition: February 1946–13.5.1946 Performing forces: 1330-2000-2 pf.-archi trbn. trombone Durata: 23’ Performing forces: 3333-4331-timp.-batt.-pf.- Dedication: Munch Charles vl. violin Place of composition: Darien, Connecticut archi Performer(s) of premiere: Boston Symphony vla viola (USA) Dedication: Dedicated to the Czech Orchestra, S. Koussevitzky (cond.) xlf. xylophone Date of composition: 29. 5.–24. 7. 1943 Philharmonic Premiere: 14. 11. 1941, Boston, Massachusetts, Performing forces: 2222 3332-4331-timp.-batt.- Performer(s) of premiere: Czech Philharmonic, USA ar.-pf.-archi Rafael Kubelík (cond.) Archive: Basel, Paul Sacher Foundation, Dedication: “To my Countrymen-Workers Premiere: 28. 5. 1947, Prague, Czechoslovakia Switzerland Commentary/ of Cleveland” Archive: Manuscript missing Publisher: Universal Edition,Wien, U. E. 11883, “Archive” – gives the information as to Performer(s) of premiere: Cleveland Orchestra, Facsimile: Bohuslav Martinů Institute, Prague; 1948 where the autograph orchestral score E. Leinsdorf (cond.) National Museum – Czech Museum of Music, Copyright: Universal Edition is deposited. Premiere: 28. 10. 1943, Cleveland, Ohio, USA Prague Date of composition: Day / Month / Year Archive: Prague, National Museum – Czech Publisher: Boosey & Hawkes, London–New Premiere: Day / Month / Year Museum of Music, Czech Republic Yo r k , B & H 16864, 1950 DIVERTIMENTO (SERENADE No. 4) Only accessible information is stated. Facsimile: Washington, DC, Library of Copyright: Boosey & Hawkes FOR CHAMBER ORCHESTRA If data on the publisher are missing, the work Congress, USA —DIVERTIMENTO (SERENÁDA Č. 4) has yet to be published and is available as Publisher: Boosey & Hawkes, London–New PRO KOMORNÍ ORCHESTR material that can be lent. Yo r k , B & H 19354, 1947 SYMPHONY No. 6 —DIVERTIMENTO (SERENADE IV) Copyright: Boosey & Hawkes (FANTAISIES SYMPHONIQUES) FÜR KAMMERORCHESTER

Halbreich number: 343 Halbreich number: 215 SYMPHONY No. 3 Durata: 27’30” Durata: 7’30” Place of composition: New York, Paris Place of composition: Paris (France) Halbreich number: 299 Date of composition: 1951–26. 5. 1953 Date of composition: 1932 Durata: 30’30” Performing forces: 4333-4331-timp.-batt.-archi Performing forces: 2 ob.-pf.-archi Place of composition: Ridgefield, Connecticut Dedication: Dedicated to Charles Munch Solo voice 1:vl vla (USA) on the occasion of the 75th birthday Dedication: A la société d`Études Date of composition: 2. 5.–14. 6. 1944 of the Boston Symphony Orchestra Mozartiennes á Paris Performing forces: 3332-4331-timp.-batt.-ar.- Performer(s) of premiere: Boston Symphony Performer(s) of premiere: FOK pf.-archi Orchestra, Charles Munch (cond.) Premiere: 16. 10. 1947, Prague Dedication: “To Serge Koussevitzky and Premiere: 7. 1. 1955, Boston, Massachusetts, Archive: Prague, National Museum – Boston Symphony Orchestra for USA Czech Museum of Music, Czech Republic 20th Anniversary” Archive: Manuscript missing Publisher: Melantrich, Prague, M. 366, 1949 Performer(s) of premiere: Boston Symphony Facsimile: Bohuslav Martinů Institute, Prague; Copyright: Editio Bärenreiter Orchestra, S. Koussevitzky (cond.) National Museum – Czech Museum of Music, Dedication Note: A la société d`Études Premiere: 12. 10. 1945, Boston, Massachusetts, Prague Mozartiennes de Paris USA Publisher: Boosey & Hawkes, London–New Archive: London, Boosey & Hawkes, Yo r k , B & H 18243, 1957 Great Britain Copyright: Boosey & Hawkes

> LIST OF MARTINŮ’S WORKS IV > Category ORCHESTRAL MUSIC > Subcategory SYMPHONIES AND WORKS FOR CHAMBER ORCHESTRA BOHUSLAVMARTINŮNEWSLETTER3)2008 u s DOUBLE CONCERTO PARTITA (SUITE No. 1) SINFONIETTA LA JOLLA TRE RICERCARI FORTWO STRING ORCHESTRAS, FOR STRING ORCHESTRA FOR PIANO FOR CHAMBER ORCHESTRA PIANO ANDTIMPANI —PARTITA (SUITA Č. 1) AND CHAMBER ORCHESTRA —TRE RICERCARI —DVOJKONCERT PRO DVA SMYČCOVÉ PRO SMYČCOVÝ ORCHESTR —SINFONIETTA LA JOLLA PRO KOMORNÍ ORCHESTR ORCHESTRY,KLAVÍR A TYMPÁNY —PARTITA (SUITE I) FÜR PRO KLAVÍR A KOMORNÍ ORCHESTR —TRE RICERCARI —KONZERT FÜR ZWEI STREICHORCHESTER —SINFONIETTA LA JOLLA FÜR KAMMERORCHESTER STREICHORCHESTER, KLAVIER FÜR KLAVIER UND UND PAUKEN (DOPPELKONZERT) Halbreich number: 212 KAMMERORCHESTER Halbreich number: 267 Durata: 11’ Durata: 14’ Halbreich number: 271 Place of composition: Paris (France) Halbreich number: 328 Place of composition: Paris (France) Durata: 21’ Date of composition: 1931 Durata: 20’ Date of composition: 1938 Place of composition:Vieux Moulin – Performing forces: archi ad. lib. Place of composition: New York (USA) Performing forces: 1202-0200-2 pf.-3 vl.-3 vcl. Schönenberg – Pratteln Performer(s) of premiere: Česká filharmonie, Date of composition: 1950 Performer(s) of premiere: Orchestra del Teatro Date of composition: 1938 V.Talich (cond.) Performing forces: 2222-2100-timp.-batt.-pf.- la Fenice, N. Sanzogno (cond.) Performing forces: archi (10-10-8-8-4)-pf.-timp. Premiere: 3. 12. 1932, Prague archi Premiere: 6. 9. 1938,Venedig, Italy Dedication: Paul Sacher Archive: Mainz, Schott Musik International, Dedication: The Musical Arts Society of Archive: Manuscript missing Performer(s) of premiere: Das Basler Germany La Jolla, California Publisher: Boosey & Hawkes, London–New Kammerorchester, P.Sacher (cond.) Publisher: Schott, Mainz, Nr. 3323, 1932 Performer(s) of premiere: La Jolla Musical Arts Yo r k , B & H 16732, 1939 Premiere: 9. 2. 1940, Basel, Switzerland Copyright: Schott Musik International Society Orchestra, N. Sokoloff (cond.), Copyright: Boosey & Hawkes Archive: Basel, Paul Sacher Foundation, G. Johannesen (piano) Switzerland Premiere: 13. 8. 1957, La Jolla, High school Publisher: Boosey and Hawkes, London, Auditorium, California, USA B & H 20540, 1946 RHYTHMIC ETUDES Archive: Polička, Bohuslav Martinů Center, Copyright: Boosey and Hawkes FOR STRING ORCHESTRA Czech Republic Comment on manuscript: Draft is stored —RYTMICKÉ ETUDY Publisher: Boosey & Hawkes, New York in Paul Sacher Stiftung as well. PRO SMYČCOVÝ ORCHESTR London, B & H 17293, 1953 Dedication Note: A mon cher ami P S en —RHYTMISCHE ETÜDEN Copyright: Boosey & Hawkes souvenir de séjour calme et angoissé FÜR STREICHORCHESTER a Schönenberg entre les chevreuils et la menace de guerre Halbreich number: 202 A Durata: 5’30’’ STRING SEXTET Date of composition: 1958 (ARRANGEMENT Performing forces: archi FOR STRING ORCHESTRA) GREETING TO SOKOLS Performer(s) of premiere: Lucerne Festival —SMYČCOVÝ SEXTET AND SOKOL MEETING – Strings, R. Baumgartner (cond.) (ÚPRAVA PRO SMYČCOVÝ ORCHESTR) FESTIVE FANFARE Premiere: 00. 08. 1958, Luzern, Switzerland —STREICHSEXTET FOR WIND INSTRUMENTS Archive: Manuscript missing (FASSUNG FÜR STREICHORCHESTER) —POZDRAV SOKOLSTVU A SLETU – Copyright: Schott Musik International, Mainz SLAVNOSTNÍ FANFÁRA Comment on manuscript: Orchestral Halbreich number: 224 A PRO DECHOVÉ NÁSTROJE arrangement by R. Baumgartner 1., 2., Durata: 18’15’’ —GRUSS AN DIE SOKOL-JUGEND and 6th etude for violin and piano with Performing forces: minimum 6 vl, 4 vla, 4 vlc, UND AN DAS SOKOL-FEST – consent of B. Martinů 1 cb TUSCH FÜR BLECH Performer(s) of premiere: The Louisville Orchestra, R.Whitney (cond.) Halbreich number: 320 Premiere: 7. 1. 1951, Louisville, Kentucky, USA Place of composition: New York (USA) SERENADE Archive: Manuscript missing Date of composition: 1948 FOR CHAMBER ORCHESTRA Publisher: Associated Music Publishers, Performing forces: 9 wind instruments —SERENÁDA PRO KOMORNÍ ORCHESTR NewYork, 1948 Archive: Manuscript missing —SERENADE FÜR KAMMERORCHESTER Copyright: Associated Music Publishers Publisher: Časopis Konfontace, Zürich, 1976 Note: Arrangement by B. Martinů. Copyright: free Halbreich number: 199 Note: Only piano score published in the Durata: 12’ magazine Konfrontace. Place of composition: Paris (France) Date of composition: 1930 TOCCATA E DUE CANZONI Performing forces: 1212-2210-2 vl.-archi FOR SMALL ORCHESTRA Dedication: Roussel Albert 1869–1937 —TOCCATA E DUE CANZONI JAZZ SUITE Performer(s) of premiere: Walther Straram’s PRO MALÝ ORCHESTR FOR SMALL ORCHESTRA Orchestra,W.Straram (cond.) —TOCCATA E DUE CANZONI —JAZZOVÁ SVITA PRO MALÝ ORCHESTR Premiere: 16. 4. 1931, Paris, France FÜR KLEINES ORCHESTER —JAZZ-SUITE FÜR KLEINES ORCHESTER Archive: Manuscript missing Publisher: Schott, Mainz, Nr. 3325, 1931 Halbreich number: 311 Halbreich number: 172 Copyright: Schott Musik International Durata: 27’ Durata: 8’45’’ Place of composition: New York,Tanglewood Place of composition: Paris (France) (USA) Date of composition: 1928 Date of composition: 1946 Performing forces: 0111-0220-pf.-archi Performing forces: 1211-0100-timp.-batt.-pf.- (quartetto solo) archi Premiere: 7. 6. 1928, Baden, Germany Dedication: Paul Sacher and the Basler Archive: Polička, Bohuslav Martinů Center, Kammerorchester Czech Republic Performer(s) of premiere: Das Basler Prague, National Museum – Czech Museum Kammerorchester, P.Sacher (cond.) of Music, Czech Republic Premiere: 21.1.1947, Basel, Switzerland Publisher: Panton, Prague, P 1070, 1980 Archive: Basel, Paul Sacher Foundation, Copyright: Panton International Mainz Switzerland Comment on manuscript: 1st movement Publisher: Boosey & Hawkes, London–New in Bohuslav Martinů Center in Polička, Yo r k , B & H 17868, 1952 2nd to 4th in National museum, Copyright: Boosey & Hawkes Czech Museum of Music in Prague. Dedication Note: “Á Paul Sacher et son Kammerorchester de Bale pour la 20me anniversaire.”

d BOHUSLAVMARTINŮNEWSLETTER3)2008 > LIST OF MARTINŮ’S WORKS IV > Category ORCHESTRAL MUSIC > Subcategory SYMPHONIES AND WORKS FOR CHAMBER ORCHESTRA BOHUSLAV MARTINŮ rch– THE CZECH Resea & PHILHARMONIC KAREL ŠPELINA In 1974 only Concerto for Violin and Orchestra No. 2, H. 293 (2x, B. Bělčík) ORCHESTRA and Concerto for Violin No. 1 (J. Suk) AT THE BEGINNING of the 1960s the were played. In 1975 the Czech Philhar- situation began to resemble normality. PART II monic again went on long tours (17x), Ideological pressures either passed over within which it performed under the or significantly weakened. It should be baton of V.Neumann The Frescos:in pointed out that the Czech Philharmonic Germany (5x) and also in Great Britain Orchestra’s director (Jiří Pauer) and (6x). In this year, Concertino for Piano principal conductor (Karel Ančerl) Trio,H.232, was performed for the first undoubtedly played a crucial role in this time (2x, Suk Trio,V.Neumann), Double regard. In 1960 the Czech Philharmonic Concerto was again heard at the Prague performed at 9 concerts, Concerto for Spring festival, a great experience was Harpsichord and Small Orchestra, provided by W.Sawallisch with Symphony H. 246 (February 1960, I.Ahlgrim, No. 4 (2x) and Concerto for Flute,Violin M.Turnovský) and Concerto for Piano and Orchestra, H. 252, performed later and Orchestra No. 3, H. 316, dedicated (2x, J.Válek, B. Matoušek). It is certainly to Rudolf Firkušný (October 1960, worthy of mention that in November J. Páleníček, K.Ančerl), in addition to 1976 the Czech Philharmonic performed Symphony No. 6., H. 343 (performed a composition by Martinů (Symphony six times). In 1961 the orchestra per- No. 6) in Japan for the first time. (It is formed within 7 concerts repeats of probably not far from the truth that it was Bouquet of Flowers H. 260, Double one of the first performances of this Concerto H. 271 and Symphony No. 6, symphony at a concert in this country). as well as, in Czechoslovak premiere, I know that several years before the The Parables, H. 367 (February 1961, Czech Philharmonic Orchestra strove 2x Ančerl). Besides a number of repeats, in vain for inclusion of Martinů in its 1962 brought (19x) Symphony No. 5 repertoire. In 1977 and 1978 the compo- H. 310 and Symphony No. 6 (K.Ančerl), sitions of the traditional repertoire were the first performance in Prague of Con- performed (27x in total): Symphonies certo for Flute,Violin and Orchestra, Nos. 1,3,5 and 6, Concerto for Violin H. 252 (January 1962, 2x F.Čech, B. Bělčík, No. 1 and Memorial to Lidice (at Prague K. Šejna).The two symphonies were per- Spring), as well as Rhapsody-Concerto formed on several foreign tours (England, for Viola (8x, both at home and abroad, Norway, Sweden, Finland, East Germany, J. Motlík, Z. Košler). In the jubilee year Austria and Italy). In 1963 the Czech of 1979 (20x) the Czech Philharmonic Philharmonic only played (both 2x) Con- Orchestra performed: for the first time certo for Piano and Orchestra No. 3, Concerto for Piano and Orchestra H. 316 and Symphony No. 1, H. 289. No.4,“Incantations”, H. 358 (2x, E. Leich- The interesting composition Concerto ner, F.Mechkat), and also such tried-and- grosso, H. 263, was only played in 1964 Conductor Martin Turnovský tested titles as Bouquet of Flowers, (5x, K.Ančerl, of which 3x in France). Rhapsody-Concerto, Symphony No. 6 1965 was rife with tours (34x): the Czech Martinů’s music and performed it when- and 8 times within a tour of Belgium, and Concerto for Violoncello No. 1 (9x, Philharmonic presented Double Con- ever possible. In 1969 (within a total of Greece and Switzerland.A great of which 7x in Japan, J. Chuchro, Z. Košler). certo (11x,V.Neumann) in Western 10 concerts) the Orchestra performed for opportunity was afforded to J. Chuchro – Europe (5 weeks in Switzerland and West the first time Rhapsody-Concerto for in 1971 he conducted (14x) Concerto In the 1980s Martinů works were per- Germany), and later on performed the Viola and Orchestra, H. 337 (R. Golan, for Violoncello No. 1 – and J. Panenka, formed frequently, especially in anniversary same composition in the USSR (4x). In the Z. Košler).When it comes to other com- who performed (6x) and Concerto for years and the Czech Music Year. I would autumn, the orchestra (conducted by positions, they again included repeats. Piano No. 3 on home stages, as well as above all like to mention the perform- Ančerl, Neumann and Turnovský) made its Significant were the performances of in West Germany, Romania, Hungary and ances of the titles new to the Czech Phil- first tour of the USA, performing Martinů Symphony No. 6 at the Lucerne Festival the USSR. In the same year, the Czech harmonic Orchestra: in 1980 it concerned 16x, mainly Double Concerto and Sym- and Concerto for Piano No. 2, H. 237 Philharmonic Orchestra first performed Concerto for Piano and Orchestra phony No. 4, H. 305. In 1966 and 1967 with R. Firkušný at the Edinburgh Festival, the cantata The Epic of Gilgamesh, No. 5,“Fantasia concertante”, H. 366 compositions performed in previous all under the baton of V.Neumann. In the H. 351 (2x,V.Smetáček), and played (2x, K. Havlíková,V.Neumann), Sinfonia seasons were repeated; for example, following years, the remarkable Rhapsody- The Parables, H. 367 (2x). In 1972 too concertante for Violin,Violoncello, Symphonies Nos. 1, 3, and 4, as well as Concerto appeared on the programme Martinů compositions were repeated (6x). Oboe, Bassoon and Orchestra with Memorial to Lidice H. 296 and Bouquet quite frequently. Soloists, both Czech and Worthy of mention are two performances Piano, H. 322 (2x, B. Bělčík, K. Novotný, of Flowers, H. 260 (a total of 7x). In 1968 foreign, took turns, with J. Motlík and J. Suk of Field Mass, H. 279 next to Janáček’s J. Mihule, J. Formáček, Z. Košler), with the Czech Philharmonic Orchestra per- being among the most noteworthy. Dra- Glagolitic Mass under the baton of the Symphony No. 4 also performed again formed Concerto for Piano No. 1, maturgies take composers’ anniversaries outstanding W.Sawallisch. In 1973 J. Suk (10x, of which 6x in East Germany). In H. 149 and Concerto for Violoncello into account.Therefore, in these years performed the European premiere of 1981 the Czech Philharmonic Orchestra No. 1,H.196 (J. Chuchro), and played for Martinů’s music was played more often Concerto for Violin and Orchestra toured the USA and Canada, performing the first time Concerto for Violin, Piano and to a greater extent.These are the No. 1, H. 226, after helming its world a Martinů composition at each concert and Orchestra, H. 342 (2x, N. Grumlí- seasons whose dates end in 9 or 0. premiere in Chicago.Also performed that (20x,V.Neumann and Z. Košler alternat- ková, J. Kolář, P.Maag).This was at the year was Concerto for Harpsichord, ing). 1982 only brought repertoire time when Karel Ančerl’s post had been In 1970 the Czech Philharmonic only H. 246 (2x, Z. Růžičková and Z. Košler), certainties (11x), among them, Rhapsody- assumed by the new principal conductor, performed Symphony No. 6 (9x,V.Neu- as well as, after an interval of 51 years, Concerto (2x, J. Suk,V.Neumann) and, Václav Neumann, who loved mann), once at the Prague Spring festival Half-Time, H. 142 (2x,A. Copland). in connection with it, a selection from the

BOHUSLAVMARTINŮNEWSLETTER3)2008 f rch– BOHUSLAV MARTINŮ Resea & THE CZECH PHILHARMONIC ORCHESTRA

suites The Chap-Book, H. 214 A, B. W.Sawallisch discovered for himself another Martinů piece and daintily included in his programme Memorial to Lidice (2x) alongside Dvořák’s Stabat mater.This beautiful composition was also played in Japan (Tokyo,V.Neumann). In 1983 (9x) Suite from the Opera , H. 253 B, was performed in premiere in Zbyněk Vostřák’s arrangement (2x,V.Neu- mann), and Concerto for Violoncello and Orchestra No. 2, H. 304, was played by the Czech Philharmonic Orchestra for the first time (2x A. May, F. Vajnar). 1984 was Czech Music Year.At a concert to mark its opening, J. Suk presented Concert for Violin No. 2, and repeated it at the Lucerne Festival.Tried-and-tested repertoire titles were played (29x) both Violinist Josef Suk Pianist Emil Leichner Soprano Dagmar Pecková at home and abroad. (The Bohuslav Martinů Festival 2002) (The Bohuslav Martinů Festival 1995)

At this juncture, I must finally mention Czech Philharmonic Orchestra, Jiří Bělo- of mention is the Bohuslav Martinů situation, on the other, through perform- Jiří Bělohlávek, who was an assistant hlávek, also presented Martinů composi- Festival, which has been held every ance, either a conductor or a soloist. On conductor with the Czech Philharmonic tions at Paris’s Opera Bastille, in Germany, December since 1995 by the Bohuslav 2 October 1980 in Leipzig we opened our Orchestra from the 1970s. Later on he Spain, Switzerland and the USA (11x). In Martinů Foundation with the participation tour with Martinů’s Symphony No. 4. Václav was a regular guest conductor (alongside 1991 Double Concerto was played (only of the Czech Philharmonic Orchestra. Neumann was to appear in this city for the V.Neumann) and in 1990 assumed the 3x, J. Bělohlávek) in Australia. In Australia At the first Festival, alongside Incanta- first time since he resigned in 1968 from post of principal conductor for two the Czech Philharmonic met its former tions and Symphony No. 1, the song the post of Generalmusikdirektor of the seasons. He too performed Martinů member and outstanding oboist Jiří cycle Nipponari, H. 68 (D. Pecková, Gewandhausorchester in protest at the compositions on a regular basis. In 1984 Tancibudek,to whom Martinů dedicated V. Válek) was performed by the Czech occupation of Czechoslovakia by Warsaw and subsequently in 1985 Bělohlávek his oboe concerto. In 1992 I. Ženatý Philharmonic for the first time. Mostly Pact forces, including those of East Germany. mainly conducted in the Czech Philhar- performed Concerto for Violin No. 2 Martinů compositions, and later on pieces We awaited with extreme tension how the monic Orchestra Symphony No. 4 and (3x, Germany and The Netherlands, by other composers relating to his œuvre, audience would receive him. Upon the con- Memorial to Lidice (15x in Prague, the J. Bělohlávek). In the following years, the were performed within the following ductor’s arrival, everybody in the audito- USA, Great Britain,Yugoslavia and Spain). situation continued to be favourable. editions.The conductors of festival rium duly stood up and applauded for Alongside him, in 1984 Libor Pešek con- In 1993 (16x) the Czech Philharmonic concerts include M.Turnovský, N. Järvi, several minutes. He was so loved and so ducted in 1984 (9x) Symphony No. 6 and Orchestra played for the first time Con- Sir Charles Mackerras, L. Svárovský, well understood! That evening we probably František Vajnar (2x) Bouquet of Flowers. certo for Oboe and Small Orchestra, T.Sanderling, J. Kout. gave one of the best performances of the One of the most noteworthy events in H. 353 (2x, I. Séquardt,V.Neumann), and symphony.The concert culminated in 1986 was the concert performance of the also performed Martinů pieces in Austria I could continue enumerating perform- Mahler’s Symphony No. 4.The success was opera Ariane, H. 370 (2x, soloists, Prague (9x, J. Bělohlávek), played for the first time ances of Martinů’s works in the years that enormous and the ovations sincere. Philharmonic Choir,V.Neumann). Mainly The Rock, H. 363 (Prague Spring,V.Neu- followed but would, however, like to focus performed in 1987 (16x) were Sym- mann). Martinů’s repertoire compositions on some outstanding performances en- A great experience for us has always been phonies Nos. 1 and 4 (primarily in the continued to be performed throughout graved in my memory.They are connected, performing Symphony No. 6. Neumann USA,V.Neumann), Concerto for Piano the rest of the decade. Especially worthy on the one hand, through the milieu and conducted it superbly with, I would say, No. 2 (USA, Carnegie Hall, R. Firkušný, V.Neumann), Concerto for Piano No. 3 (Prague, 2x, E. Leichner, J. Bělohlávek), Concerto for Harpsichord (3x, Z. Růžič- ková,V.Neumann) and Rhapsody-Con- certo (2x, J. Suk,V.Neumann). When it comes to 1988 and 1989, worthy of mention are the performances (9x) of Symphony No. 6 at Paris Opera (V.Neumann) and Rhapsody-Concerto (3x in Switzerland, N. Imai).

The 1990s afforded plenty of opportuni- ties to present Martinů pieces on various stages. In 1990 (30x) the Czech Philhar- monic Orchestra performed for the first time Jazz Suite, H. 172 (2x, L. Pešek). Other great events were the performance of Concerto for Violoncello No. 1 (J. Starker, J. Nelson) and the Prague Spring performance of Concerto for Piano No. 2 (R. Firkušný, J. Bělohlávek).The newly appointed principal conductor of the The Czech Philharmonic Orchestra – String section (The Bohuslav Martinů Festival 2002) g BOHUSLAVMARTINŮNEWSLETTER3)2008 rch– Resea ews— MARTIN TURNOVSKY´ N CELEBRATED HIS 80th BIRTHDAY An entirely independent chapter would be ON 29 SEPTEMBER 2008 the Czech needed for a complete list of recordings, conductor Martin Turnovský celebrated gramophone records and, later on, CDs or his 80th birthday. This year we also video recordings.The Czech Philharmonic commemorate the centenary of Orchestra has recorded almost all of the birth of the conductor Karel Martinů’s symphonic works, many titles Ančerl, who at one time taught several times, with several conductors and Martin Turnovský.The fate of the various soloists. Definitely worthy of two conductors is closely con- mention are the set of symphonies with nected with the events of 1968, Václav Neumann; both of the violin con- when they emigrated and certos and the viola Rhapsody with Josef conducted a number of world- Suk; the set of piano concertos with Emil renowned orchestras. Leichner; Bouquet of Flowers with Karel Having graduated from the Academy Ančerl and Libor Pešek; Double Concerto of Performing Arts in Prague in Karel with Karel Šejna and Jiří Bělohlávek; Ančerl’s class, Martin Turnovský the most recent complete recording of became a student of George Szell. concertos for violin, viola and double After his success in the international concertos with other instruments (violin, competition of conductors in Conductor Jiří Bělohlávek piano, flute) with Bohuslav Matoušek and Besançon, he conducted in Brno and Christopher Hogwood; and many other Pilsen. Between 1966 and 1968 he was recordings.With absolute certainty it can Artistic Director of the State Opera greater understanding of the primarily be said that alongside Antonín Dvořák, in Dresden. In 1968 he performed all lyrical areas than Ančerl before him, and Bohuslav Martinů is the most frequently over Europe and overseas. He became Martin Turnovský thus created an exemplary performance recorded Czech composer. It is a pity that head of the Norwegian State Opera in for the Czech Philharmonic Orchestra, (to date) the set of Martinů symphonies Oslo, between 1979 and 1982 he directed the Bonn Opera House.Turnovský has which served and still serves as a bench- conducted by Jiří Bělohlávek has not been cooperated with world-renowned opera and symphonic ensembles, the New York mark for all other conductors. Bělohlávek completed. Immediately after its release, Philharmonic Orchestra, Cleveland Orchestra, Royal Liverpool Philharmonic too conducted this composition in an out- Bělohlávek’s first CD received great acclaim Orchestra,Wiener Symphoniker, etc. From 1992 to 1995 he headed the Prague standing manner, as did L. Pešek, J. Kout, and was nominated for a Grammy Award. Symphony Orchestra, FOK. Sir Charles Mackerras and E. Leinsdorf. Since 1998 he has been the principal guest conductor of the Gunma Symphony The Czech Philharmonic Orchestra has On 27 August 1979 the Czech Philhar- Orchestra in Japan. In 1999 he was awarded the Austrian Honorary Cross for played the symphony on a total of 112 monic Orchestra was present at the Science and Arts, 1st class. occasions, the highest number of perform- ceremonial placing of Martinů’s remains Turnovský has recorded with a number of leading Czech and international labels ances of a Martinů piece. Every conductor in the family tomb in Polička.Within the and his recording of Bohuslav Martinů’s Symphony No. 4 with the Czech Philhar- also likes to perform the beautiful and ceremony,Václav Neumann conducted monic Orchestra was awarded the Grand Prix du Disque. popular The Frescos of Piero della Symphony No. 6. On this occasion, we In 2006 he received a medal from the Bohuslav Martinů Foundation in recognition Francesca; I particularly recall Vladimir recollected that at the beginning of the of his long-time efforts in promoting the music of Martinů. n Ashkenazy, who conducted it (11x) in 1970s we had put bouquets of flowers (see Newsletter 3/2006, p. 10) Spain, the USA,Vienna, London and Paris on Martinů’s grave in Schönenberg near as well as Prague. Double Concerto, Liestal, Switzerland.The grave was on open conducted by Sir land by the forest.And in those August BOHUSLAV MARTINŮ (4x, of which 2x in Germany), is deeply days of 1979 I especially recalled Bureš’s engrained in our memory too. I also recall text, which Martinů so wonderfully set to INSTITUTE CORNER our first post-war encounters with the music: the baritone solo in The Opening legendary Rudolf Firkušný: in 1969 at the of the Springs:“…I am at home, at home, THE DILIA publishing house has donated to the library of the Bohuslav Martinů Edinburgh Festival and in 1987 at New and walk an old road, behind me at my Institute the hire material – score of the composition Three Fragments of the York’s legendary Carnegie Hall.Then we heels spring in memory, and just like back Opera Juliette, H. 253 A.The autograph of the score was recently discovered played, just as we did later on, in 1990, at then, the playful village youth rollicking in in the publishing house’s archive Prague Spring, Concerto for Piano No. 2. front of me […] what does it matter that (see Newsletter 2, 2008, page 19). It was a great experience and a success their days are gone, from hand to hand we with critics and audiences alike.Through- pass a heavy key, the key from home.” n out the 1990s we performed Martinů compositions very frequently.Although the A DONATION from a Miroslav long-yearned-for lifting of the yoke and Breuer has extended the library of the gradual return to a free society brought ERRATA / Bohuslav Martinů Institute.The valuable Dear readers, we would like to take this about certain problems too, or perhaps opportunity to correct some erroneous data item in question is a Circle Blue Print accompanying phenomena apparent in in the first part of the article on the Czech copy of Symphony No. 3, H. 299. society as a whole, Bohuslav Martinů’s Philharmonic Orchestra: This copy is bound in a hard folder works have been firmly and permanently — Page 14, bottom of first column: Rhapsody, and does not contain any notes by the anchored in the repertoire of the Czech H. 171, was conducted in Prague for the first composer or anyone else. Martinů Philharmonic Orchestra, which has ever time by E. Ansermet, not V. Talich. completed Symphony No. 3 on 14 June increasingly exported them to stages — Page 14, bottom of second column: 1944 in Ridgefield, Connecticut. worldwide. One important number to end La Bagarre, H. 155, was conducted byV. Talich It was premiered on 12 October 1945 only in 1935 (4x), not also in 1933. with: in total, in the entire history of the — Page 15, last column: The Frescoes of Piero della by the Boston Symphony Orchestra Czech Philharmonic, from its very begin- Francesca, H. 352, was conducted in Salzburg and Serge Koussevitsky, to whom it ning to the end of the 2007/2008 season, by R. Kubelík in August 1956, not in March is dedicated. n one or several Martinů works have been 1956. performed at 626 concerts. Please accept our apologies. Copy of Symphony No. 3

BOHUSLAVMARTINŮNEWSLETTER3)2008 h rch– Resea Forgotten

JANA HONZÍKOVÁ he does not mention how many polkas it concerns. However, we have available the information from the aforementioned On 24 January 2009 THE WORLD notebook stating “5 at the Academy, 1 at PREMIERE OF BOHUSLAV Zdena’s”. Hence, it is reasonable to assume MARTINŮ’S 1916 PIANO CYCLE that Martinů chose from the six polkas the OF SIX POLKAS, H.101 will take five with the best quality, numbered them place at Prague’s Rudolfinum.This and sent them to the Academy for the virtually unknown work will be per- mentioned purpose. Some title pages of formed by Pavel Kašpar, an Ostrava the autographs from Mrs Hendrychová native who has devoted to inter- bear the inscription “Entry. Polkas 1916.”, preting Martinů’s piano compositions indicating a connection with the submission for many years. During the evening, of the polkas to the Academy. In this we will also have the opportunity respect, it is also possible to meditate on to hear Film en Miniature, H. 148. the cycle’s title. In his new edition, Harry The concert will be one of the intro- Helbreich chose his own simple title, ductory events of the MARTINŮ “6 Polkas”. Autographs and sources REVISITED project commemorating relating to the Academy speak in favour the anniversary of the composer’s of the title Polkas 1916. death (2009) and, at the same time, his birth (2010). Concerts, opera According to all the information available, performances and other events will the cycle of polkas originated in June 1916 take place worldwide during the two in the village of Borová, near Polička, yet it anniversary years.When it comes to is not possible to determine the exact date. Pavel Kašpar’s recordings, especially Martinů spent part of 1916 there in an worthy of mention is the complete evangelical clergyman’s house. During the Martinů piano œuvre project, from war years he was a frequent guest of the which two CDs have already been pastor Vladimír Čech,with whose family released by SwissTudor label – the Martinůs were close friends. In 1915 “Bohuslav Martinů. Piano Works” Martinů was forced to leave Prague so as I and II.The Polkas from 1916 (under to avoid conscription and the social life in Halbreich No. 101) will also be Borová at least partially substituted for the recorded for a CD, which will be re- cultural activity in the city. Distinguished leased by Tudor in the spring of 2009. artists gathered in Borová.This was mainly A fourth CD, work on which is now owing to Čech’s wife, Gabriela Čechová, in full swing, is in the pipeline too. a beautiful, educated woman who to the young Martinů became a great idol The Martinů literature does not contain for several years. Accordingly, the small many mentions of Polkas from this period. vicarage was visited by such luminaries Their existence is naturally reflected as Jan Werich, Max Švabinský and his wife, in the three basic catalogues of Bohuslav as well as the painter Herbert Masaryk. Martinů’s compositions – Halbreich’s, In later life, the valuable contacts Martinů Červinková’s and Mihule’s.Yet it is neces- established in Borová helped him on several sary to point out that their description, occasions. In Gabriela Čechová’s company number and enlistment are inaccurate. Martinů with nieces of pastor Čech in Borová, 1916, one of the nieces is Lydia Čechová Martinů also began learning English, played Owing to the opportunity I had to access – “Liďásek” the piano and organ and studied hymn- all known sources, I managed to clarify this books of the Czech Brethren. information in my 2000 thesis (Institute also including other piano and vocal definitive at the beginning.This assumption Martinů dedicated one of the polkas to of Musicology, Faculty of Arts, Charles pieces. Manuscripts from the probate is supported by one of the composer’s Zdena Maxová, mother of Mrs Hendry- University).A more accurate description estate of her mother, Zdena Maxová, autographic lists contained in a small chová and friend of Gabriela Čechová. of the cycle appears in the revised edition brought about a fundamental change in notebook from Miloš Šafránek’s probate A friendship developed between her and of the Halbreich Catalogue (Bohuslav the view of the entire cycle of polkas. estate. Besides his purchases, Martinů Martinů, and since she was also a skilful Martinů,Werkverzeichnis und Biographie, These manuscripts included the polkas’ wrote down “Polkas. 6”. pianist he dedicated some of his composi- 2007). autographs and transcripts, representing In this respect, it is necessary to mention tions to her. Her image is captured on differing versions of the hitherto known an interesting circumstance that could be a society photograph in Borová.The second With regard to only a certain part of the autographs from the Museum of Czech related to the selection and sequence of polka bears the dedication “To Liďásek from sources having been known, the informa- Music and, moreover, differently num- the polkas. In March 1919 Martinů sent Bohouš”.“Liďásek” refers to Lydie Čechová, tion contained in the catalogues is incom- bered.Through marking in one of the to the Czech Academy of Sciences and a niece of Pastor Čech. plete and divergent.Autographs of the autographs and its copy, they also included Arts a request for financial support for his In addition to the six polkas, Martinů also 1916 polkas come from three sources, in the cycle Polka in D minor, which is further work on the basis of a submitted composed in Borová (in March of the same some of them being in several versions. stated as an independent composition in cycle of piano polkas. Just like previously year) the piece Rujana, reminiscent of The Bohuslav Martinů Memorial in Polička, the Červinková and Mihule catalogues. in the case of the orchestral song cycle Debussy’s La cathédrale engloutie. Com- the Museum of Czech Music in Prague Niponari, H. 68 (1912) and Czech parison of these two compositions shows and Mrs Hendrychová’s private archive Thorough comparison of all these sources Rhapsody, H.118 (1918), his request was one of the significant aspects of Martinů’s in Prague feature in the compendium of has revealed that it does not concern five, granted. In the summer of 1919 Martinů early œuvre, the stylistic diversity or sources found to date.This year, Mrs as stated in the Červinková and Mihule wrote to Stanislav Novák:“I have received even disintegration of the 1910–1923 Hendrychová donated to the Bohuslav catalogues (and an older Halbreich listing), from the Academy 300 K. for the Polkas.” compositions. Besides pieces of a purely Martinů Foundation a set of autographs but six polkas, whose sequence was not Unfortunately, in his request for support Impressionistic nature, there are composi- j BOHUSLAVMARTINŮNEWSLETTER3)2008 rch– Polkas Resea

highly stylised polkas, whereby the stylisa- tion process affects all parameters of the musical structure.The fundamental principle of creating individual pieces is the same, yet each of the six polkas has its own specificity. It is possible to observe in them a certain development from a more simple type to a more complex structure. The first two polkas are simpler, and also less technically demanding.The paramount composition of this set of polkas is un- doubtedly Polka No. 4, which is also the most extensive (439 bars), its virtuoso nature bearing witness to the high level of performance skills possessed by Zdenka Maxová, to whom the piece is dedicated.

The six Polkas 1916 can be considered the first integrated cycle within Martinů’s piano œuvre of this period, amounting to more than fifty autographic pages. Also highlighting their importance is the several pages of sketches, more than one manu- script version, copies, and, last but not least, the compositions’ virtuoso elements. According to Harry Halbreich, the set of polkas is interesting evidence of “the Smetana phase” Martinů passed through during his impressionistic period.They serve as an example of the work of the tions of a more traditional character Martinů’s return to more traditional work, primarily determined by the absence young Martinů, as he is for the time whose harmony does not deviate from the compositional techniques in 1915–1918 of permanent pedagogic guidance. being not much known to us from either Classical-Romantic model. Bearing witness was probably connected with his almost recordings or concert halls.That is to say, to this is the difference between composi- four-year stay in his hometown, where he Martinů himself judged his pieces from this his early period is still frequently (and tional methods within a single musical type, also began deepening his relationship to period extremely critically. He considered erroneously) considered the period of the as in the case of the Impressionistic ballet Czech folk songs. His forced stay in Polička his first real work the composition Half- 1930s compositions during his stay in Night, H. 89 (1914), which is followed during the wartime years afforded the time, H.142, written in Paris in 1924. Paris. Serving to illuminate and make the by the entirely different composition of young Martinů the opportunity to more This fact is also documented by one of public familiar with his really early work, the ballet The Shadow, H.102 (1916), systematically concentrate on composing his manuscript listings from 1935, where comprising more than 100 pieces com- made up of self-contained numbers with and home his compositional technique. Martinů sums up his creation in this posed between 1910 and 1923 in Bohemia, a simple functional-harmonic structure. When cursorily comparing some of the period in the following words:“By 1918 – will be some of the first volumes of It serves as proof of Martinů’s deviation compositions of Martinů’s early period, piano compositions – Puppets – etc., two the Complete Critical Edition, which is from Impressionistic techniques, which one cannot help but notice a striking ballets – inconsequential.” More than twenty being prepared by the Bohuslav Martinů began back in 1915 and culminated in the imbalance of these pieces’ quality. It is yet years down the road, it is only the three Institute.The first in the sequence is cantata Czech Rhapsody (1918). another salient feature of Martinů’s early series of Puppets he considers of value the volume containing the symphonic (and with the passing of the years he Nocturne, H. 91 (1914–15), which is comes to value them even more highly). scheduled to be published in 2010. To coincide, the composition itself will Polkas, H.101, are Martinů’s first attempt probably experience its first-ever public at composing a cycle of stylised dances. performance. Let us recall that his stylised piano com- positions also include the most essential The correspondence has revealed that and best-known pieces – Three Czech already at the time of their composing Dances, H.156, the Borová, H.195 cycle, Martinů ruminated over the polkas being Etudes & Polkas, H. 308 from 1945. performed. In one letter he wrote about At the time of composing Polkas, dance the request for making a copy, in another stylisation was nothing new for Bohuslav he mentions a specific interpreter – Karel Martinů.Above all, he dealt with compos- Šolc. Šolc was a close friend of Martinů’s, ing the aforementioned ballets over an editor of some editions of his piano extended period. By the end of 1916 he compositions, as well as an occasional had written three of them – Night, Dances interpreter of his piano pieces. Harry with Veils,The Shadow (1912–16), in which Halbreich expressed a critical opinion of he had encountered classical dance the polkas, saying that the prospects of formations. Stylised works also appear their ever being successfully performed in his early piano oeuvre; all three series are dim indeed.We will just have to see of the celebrated Puppets can also be what new fates await them. n Martinů with Čech’s family, from the left sitting Gabriela Čechová understood as a cycle of loosely stylised (Beli) and pastor Čech, Borová, 1916 waltzes. Now he attempted to compose

BOHUSLAVMARTINŮNEWSLETTER3)2008 k 9 January 2009 31 January 2009 1 March 2009 / 11.00 am

• Ostrava, CZ • Westmorland Hall, Kendal, England • Großer Saal, Brucknerhaus, Linz,Austria – www.jfo.cz Symphony No. 6 www.brucknerhaus.at ents Double Concerto for two String Orchestras, (Fantaises Symphoniques), H. 343 Serenade for Chamber Orchestra, H. 199 Ev Piano and Timpani,H. 271 BBC Philharmonic, Gunther Herbig Czech Chamber Philharmonic Orchestra Janáček Philharmonic Orchestra, (Conductor) Pardubice, Douglas Bostock (Conductor) Theodore Kuchar (Conductor), Derek Han (Piano) 4 February 2009 / 7:30 pm 4 March 2009 / 1:00 pm

12 January 2009 / 7.30 pm • Simon Lepper Clitheroe Royal Grammar • Kendal Midday Concert School, Clitheroe Club, Kendal Town Hall, Kendal, UK CONCERTS • Czech Chamber Music Society Variations on a Theme of Rossini,H. 290 Three Czech Dances, H. 154 Dvořák Hall, Rudolfinum, Prague, CZ Gemma Rosefield (Cello) Martin Kasík (Piano) 5 December 2008 / 8.15 pm www.ceskafilharmonie.cz and Simon Lepper (Piano) String Quartet No. 3, H. 183 13 March 2009 / 7.45 pm • Vredenburg, Leidsche Rijn, Pražák Quartet 4 February 2009 Utrecht, Netherland BOHEMIAN RHAPSODIES www.radiokamerfilharmonie.nl 13 January 2009 / 7.30 pm • Dvořák Hall, Rudolfinum, Prague, CZ PROJECT www.vredenburg.nl www.pko.cz • Ulster Hall, Belfast Double Concerto for Two String Orchestras, • Czech Chamber Music Society Rhapsody-Concerto for Viola www.ulster-orchestra.org.uk Piano and Timpani,H. 271 Dvořák Hall, Rudolfinum, Prague, CZ and Orchestra, H. 337 Intermezzo, H. 330 Netherlands Radio Chamber Philharmonic www.ceskafilharmonie.cz Serenade No. 2 for Two Violins and Viola, • Ulster Orchestra Society, Belfast, UK Orchestra, Richard Hickox (Conductor) Serenade No 2. for two Violins and Viola, H. 216 Tomáš Hanus (Conductor), Howard Shelley (Piano) H. 216 Sinfonietta La Jolla, H. 328 Leon McCawley (Piano) Czech Chamber Orchestra, Prague Chamber Orchestra 6 December 2008 / 6 pm Andreas Sebastian Weiser (Conductor), David Švec (Piano), Jitka Hosprová (Viola) 14 March 2009 JanaVlachová (Violin) • Wigmore Hall, London, UK 6 February 2009 • Czech Chamber Music Society www.wigmore-hall.org.uk 14 & 16 January 2009 Martinů Hall, HAMU, Prague, CZ Sextet for Piano, Flute, Oboe, Clarinet • Lewisburg, Bucknell Concert Hall, USA String Quartet No. 7 and two Bassoons, H. 174 • Amsterdam Concertgebouw, Small Hall, Double Concerto for Two String Orchestras, (Concerto da camera), H. 314 Nash Ensemble Netherland Piano and Timpani, H. 271 Philharmonic Quartet Prague String Quartet No. 7, H. 314 Janáček Philharmonic Orchestra 13 December 2008 / 10.30 am Pražák Quartet P. Jumppanem (Piano), 20 March 2009 / 7.45 pm Theodore Kuchar (Conductor) • Czech Chamber Music Society 17 January 2009 • Ulster Hall, Belfast, UK www.ceskafilharmonie.cz 13 & 14 February / 8.00 pm Double Concerto for two String Orchestras, Martinů Hall, Liechtenstein Palace, Prague, CZ • Prinzregententheater, Munich, Germany Piano and Timpani,H. 271 Sonata for Viola and Piano, H. 355 Concert for Oboe and Orchestra, H. 353 • Uihlein Hall, Kenneth Montgomery (Conductor) Vladimír Bukač (Viola), Jean Fountain (Piano) Symphonieorchester des Bayerischen Milwaukee, USA Rundfunks, Mariss Jansons (Conductor), Symphony No. 6 “Fantaisies 24 March 2009 16 December 2008 Stefan Schilli (Oboe) Symphoniques“, H. 343 • Gewandhaus, Leipzig, Germany Milwaukee Symphony Orchestra, • Suk Hall, Rudolfinum Prague, CZ www.mdr.de 22 & 23 January 2009 Jakub Hrůša (Conductor) Chamber Music No. 1, H. 376 Symphony No. 2, H. 295 Chamber Ensembles of Members of Czech MDR Sinfonieorchester, Stefan Solyom • Strathmore Hall for 22nd 15 February 2009 Philharmonic Orchestra and their guests (Conductor) Joseph Meyerhoff Hall for 23rd – Chamber Ensemble Variation, North Bethesda/Baltimore, USA • Overland Park,The KU Edwards Campus Jan Jouza (Artistic Director) 20 December 2008/ 7.30 pm Oboe Concerto, H. 353 Concert Hall, USA Baltimore Symphony Orchestra Double Concerto for Two String Orchestras, 27 March 2009 / 7.45 pm • Dvořák Hall, Rudolfinum, Prague, CZ Carlos Kalmar (Conductor) Piano and Timpani, H. 271 www.fok.cz Katherine Needleman (Oboe) Janáček Philharmonic Orchestra • Ulster Hall, Belfast, UK Three Czech Dances, H. 154 P.Jumppanem (Piano), Symphony No. 2, H. 295 Jiří Kollert (Piano) Theodore Kuchar (Conductor) Carlos Kalmar (Conductor), 24 January 2009 / 7.30 pm Quirine Viersen (Cello) 4 December 2008 19, 20 & 21 February 2009 • Royal Festival Hall, London, UK 27 March 2009 • Stadthalle, Minden, Germany The Frescoes of Piero della Francesca, H. 352 • Theater der Stadt Schweinfurt, 5 December 2008 London Philharmonic Orchestra, Schweinfurt, Germany • Barbican Hall, London, UK Sir Mark Elder (Conductor) www.bamberger-symphoniker.de Juliette, H. 253 – concert staging • Stadtpark Schützenhof, Herford, Germany Symphony No. 1, H. 289 BBC Symphony Orchestra, BBC Singers 6 December 2008 25 January 2009 / 11.30 am Bamberger Symphoniker, Jiří Bělohlávek (Conductor), Thomas Dausgaard (Conductor) Magdalena Kožená (Mezzo-soprano) • Concert Hall, Bad Salzuflen, Germany • Coffee Concert, London, UK 9 December 2008 www.wigmore-hall.org.uk 24 February 2009 31 March 2009 Suite La Revue de Cuisine for Clarinet, • Christuskirche, Detmold, Germany Bassoon,Trumpet,Violin, Cello • Musical Salon Café créme • Gläserner Saal/Magna Auditorium Wien, 19 December 2008 and Piano, H. 161 in the St.Vavřinec Church, Prague Austria Nash Ensemble, Marianne Thorsen (Violin), Promenades for Flute,Violin String Quartet No. 2, H. 150 • Liederhalle, Beethoven-Saal, Stuttgart, Ian Brown (Piano) and Harpsichord, H. 274 Aron Quartett Germany Monika Knoblochová (Harpsichord) and guests Concerto No. 1 for Violoncello 27 January 2009 / 1:00 pm PAUL KASPAR TOUR (Piano) and Orchestra, H. 196 20 February 2009 www.paulkaspar.com Nordwestdeutsche Philharmonie • Rachel Porteous Peel Hall, Salford University, 6 February 2009 Andris Nelsons (Conductor), Salford, UK • West Bohemian Symphonic Orchestra, Sol Gabetta (Cello) String Sextet, H. 224 Mariánské lázně, CZ • Latvian National Sypmhonic Orchestra, Riga, The Marchini String Quartet, Concerto for Oboe, H. 353 Latvia 7 January 2009 / 7.30 pm Fiona Petersen (Violin), V. Vlna (Oboe), P.Roháč (Conductor) Concerto for Piano and Orchestra No. 2, Jessica Burroughs (Cello) H. 237 • Czech Chamber Music Society – 26 February 2009 Dvořák Hall, Rudolfinum, Prague, CZ 28 & 29 January 2009 / 7.30 pm 1 March 2009 www.ceskafilharmonie.cz • Der Geer Hall, Norrköping, Sweden String Quartet No. 1 “French” H. 117 • Smetana Hall, Municipal House, Prague, CZ Symphony No. 6 • Grazer Philharmoniker, Graz,Austria Apollon Quartet www.fok.cz (Fantaises Symphoniques), H. 343 Concerto for Piano and Orchestra No. 2, Piano Concerto No. 2, H. 237 Norrköping Symphony Orchestra, H. 237 Prague Symphony Orchestra, Alan Buribayev (Conducor) Tomáš Netopil (Conductor), Karel Košárek (Piano) l BOHUSLAVMARTINŮNEWSLETTER3)2008 Please, help us to compile the concert calendar – inform us about events involving Martinů’s music at [email protected] 22 March–1 April 2009

Concerto for Piano and Orchestra No. 2, NEW PUBLICATIONS H. 237 Neue Philharmonie Westfalen, Germany — ANTHONY BATEMAN, a member of the News International Martinů Circle, would like to announce the publication of Sporting FESTIVALS Sounds: Relationships Between Sport and Music, a collection of essays edited by THE BOHUSLAV himself and John Bale. MARTINŮ DAYS 2008 The book contains his own essay ‘Ludus Tonalis’: Sport and Musical Modernisms 30 November–12 December 2008 1910–1939 in which he discusses and for more details see page 20 contextualises Martinů’s Half-time, CZECH TOUCHES La Bagarre and the composer’s Sokol- OF ART,EM-ART related compositions. Sporting Sounds can be pre-ordered from Amazon or directly 26 December 2008–14 January 2009 from the publishers Routledge. n • Prague, CZ www.ceskedotekyhudby.cz

27 December 2008 THE CZECH PHILHARMONIC Orches- • Pantheon of National Museum, Prague tra in cooperation with the Bohuslav Five Madrigal Stanzas for Violin Martinů Institute issues the 2009 and Piano, H. 297 Calendar “BOHUSLAV MARTINŮ S. Hessová (Violin), 2009” containing numerous images from Š. Kose (Piano) Bohuslav Martinů’s life and historic photo- To be published in December 2008. graphs from the Czech Philharmonic For more information about the calendar, 14 January 2009 Orchestra’s archive. write to [email protected] n • Memorial of National Literature, Božena Němcová Hall, Prague Trio No. 2 in D Minor for Violin, Cello and Piano, H. 327 NEW CDs Moravian Piano Trio

13 April 2009

• Musical Hall, Pardubice Songs on One Page, H. 294 P.Švestková (Mezzo-soprano), M. Šetáková (Piano)

OPERAS

11 and 14 December 2008 / 7 pm

• Disk Theatre, Prague, CZ www.divadlodisk.cz Comedy on the Bridge, H. 247 The Marriage, H. 341 Students of the Academy of Performing Arts Martinů: The Complete Magdalena Kožená: Bohuslav Martinů in Prague Music for Violin Songs My Mother • Overture for Orchestra, H. 345 22 & 23 February 2009 and Orchestra – 4 Taught Me • Piano Concerto No. 2, H. 237 2 & 4 March 2009 • Piano Concerto No. 4,“Incantation”, • Violin Concerto No. 1, H. 226 • Martinů: Songs on Two Pages, H. 302 H. 358 • National Theatre Brno, CZ • Violin Concerto No. 2, H. 293 Magdalena Kožená – Mezzo-soprano • Les Fresques de Piero della Francesca, La Revue de Cuisine, H. 161 Tears of the Knife, H. 169 Bohuslav Matoušek – Violin Malcolm Martineau – Piano H. 352 The Amazing Flight, H. 159 Czech Philharmonic Orchestra Recorded in 2007 / Deutsche Grammophon, 477 6665, 2008 Robert Kolinsky – Piano Jiří Srnec (Director), Christopher Hogwood – Conductor Vladimir Ashkenazy – Conductor Bohemia Balett and Ensemble of the Dance Recorded in 2001, 2004 / Hyperion Records, CDA67674, 2008 Sinfonieorchester Basel Conservatory Prague CD Octavia Records 2008

27 March 2009 / premiere Bohuslav Martinů: Complete Piano Music 4 • National Theatre Brno, CZ www.ndbrno.cz Juliette, H. 253 • Borová, Seven Czech Dances, H. 195 • Quatre mouvements, H. 170 J. Nekvasil (Director), Jan Hanus (Conductor) • Les ritournelles, H. 227 • Prelude No. 1 ‘on the theme of the • A Note in a Scrapbook, No. 1, H. 222* Marseillaise’, H. 85* The programme subject to change • Improvisation, H. 333 • Prelude No. 2 in F minor, H. 86* Prepared by Jana Honzíková & Asami Naka • Dumka No. 2,‘Elégie’, H. 250 • Instructive Duo for the Nervous, H.145 • Adagio ‘In memoriam‘, H. 362 • Procession of the Cats on Solstice • For Dancing, H. 158* Night, H. 122 • A Note in a Scrapbook, [No. 2], H. 241 • Piece for the Little Evas, H. 242* • Dumka No. 1,‘Contemplation’, H. 249 • Mazurka ‘Homage to Paderewski’, H. 284 • Bagatelle ‘Morceau facile’, H. 323 • On T.S. F.Waves, H. 173bis • Rujana, H. 100* • Scherzo, H. 138bis* Giorgio Koukl – Piano • Barcarolle, H. 326 • [untitled], H. 141* Recorded in 2006 / Naxos, 8.570215, 2007 • Dumka No. 3, H. 285bis • Prelude, H. 140* * World premiere recording

BOHUSLAVMARTINŮNEWSLETTER3)2008 ; THE BOHUSLAV MARTINŮ FOUNDATION, IN COOPERATION WITH THE BOHUSLAV MARTINŮ INSTITUTE, THE FACULTY OF MUSIC OF THE ACADEMY OF PERFORMING ARTS, THE FRENCH INSTITUTE IN PRAGUE, THE MUSIC AGENCY C.E.M.A., THE ARTS INSTITUTE–THEATRE INSTITUTE AND THE CZECH PHILHARMONIC ORCHESTRA, ANNOUNCES THE 14TH EDITION OF THE FESTIVAL BOHUSLAV. MARTINUDAYS 30 November—12 December 2008

30 NOV 2008 / 7.30 pm / Martinů Hall / Lichtenštejn Palace / Malostranské nám.13 / HAMU / Prague 5 Concert of laureates of the Bohuslav Martinů Foundation cello competition —Tickets will be on sale one hour before the concert / Price CZK 50/150 / Reservation: [email protected]

9 DEC 2008 / 7.30 pm / Martinů Hall / Lichtenštejn Palace / Malostranské nám. 13 / HAMU / Prague 5 Concert in honour of Charlotte Martinů (1894–1978) —With financial support from Mr Geoffrey Piper (MusicEnterprise, Luxembourg) B.Martinů / D.Milhaud / F.Schmitt / J.Françaix / F.Poulenc IN MODO CAMERALE Ludmila Peterková clarinet / Daniel Wiesner piano / Jaroslav Kubita bassoon / Jana Brožková oboe —Tickets will be on sale one hour before the concert / Price CZK 50/150 / Reservation: [email protected]

11+12 DEC 2008 / 7.30 pm / Dvořák Hall / Rudolfinum / Náměstí J. Palacha / Prague 1 1 Opening concert Martinů Revisited Bohuslav Martinů— Three Fragments from the opera Juliette / H.253 A (1939) / world premiere CZECH PHILHARMONIC ORCHESTRA / Sir Charles Mackerras Conductor Magdalena Kožená Juliette / Steve Davislim Michel and others —Tickets will be on sale at the Czech Philharmonic box office / www.ceskafilharmonie.cz www.martinu.cz www.czechmusic.org Concert programs subject to change

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