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

SEPTEMBER—DECEMBER 2007 / VOL.VII / NO.3

s Opera certs / Con scape inů’s E Mart ance om Fr art I. fr orks P nů’s W arti th ist ofM w wi L tervie In Hrůša Jakub ies bituar O NTS & EVE NEWS ts– Conten VOL. VII / NO.3 SEPTEMBER—DECEMBER 2007

e WelcomE f ConcertS —WE ARE MOVING MARTINŮ DAZZLES —NEW SECRETARY OF IMC AT THE SMETANA’S LITOMYŠL 2007 —INTERNATIONAL MARTINŮ CIRCLE INTERNATIONAL OPERA FESTIVAL • LUCIE BERNÁ r Reviews MARTINŮ AT THE PROMS 2007 • GREGORY TERIAN t ConcertS THREE CONCERTS — ONE CONDUCTOR • MARK TODD / PAVEL MATYS

y Operas/ NewRecordinG TEARS OF THE KNIFE • ANTHONY BURTON

u Operas/ HistoricaL Recordings FILM, FAIRYTALE, THEATRE Interv ew AND MUSIC g i • JAN KLUSÁK WITH… JAKUB HRŮŠA • LUCIE BERNÁ

i HistorY j Obituaries/ ConferencE —THE ORGANIST AND COMPOSER BEDŘICH MARTINŮ’S ESCAPE JANÁČEK • JANA HŘEBÍKOVÁ FROM FRANCE —CZECH COMPOSER JINDŘICH FELD • ALEŠ BŘEZINA • ALEŠ BŘEZINA, LUCIE BERNÁ —GUY ERISMANN • PATRICE CHEVY —EDITORIAL BOARD OF THE BOHUSLAV a News/ Martinů RevisiteD 2009 MARTINŮ COMPLETE EDITION —US ARMY BAND AND CHORUS • MARK TODD —AN AMERICAN MARRIAGE l Events / ConferencE • GREGORY TERIAN 18TH CONGRESS OF THE INTERNATIONAL —REPORT FROM A RESIDENCY MUSICOLOGICAL SOCIETY IN ZURICH AT BÄRENREITER-VERLAG, KASSEL • ALEŠ BŘEZINA s SpeciaL Series ; New CDs & DVD LIST OF MARTINŮ’S WORKS STAGE WORKS AND FILM MUSIC / OPERAS y Bohuslav Martinů in Polička, 1918 © PBM me– b ] Welco

THE BOHUSLAV MARTINŮ INTERNATIONAL NEWSLETTER is published by the Bohuslav Martinů Foundation in collaboration MARTINŮ CIRCLE with the Bohuslav Martinů Institute in Prague Members receive the illustrated Bohuslav EDITORS Martinů Newsletter published three times Zoja Seyčková each year plus a special limited edition CD. Lucie Berná The IMC is supported by the Bohuslav Martinů Foundation and Bohuslav Martinů TRANSLATION Institute in Prague. Hilda Hearne

PHOTOGRAPHS SUBSCRIPTION The Bohuslav Martinů Foundation’s and Institute’s 20 Euro/ 25 USD/ £14 UK archive, collections of the Municipal Museum – (includes 3 issues of the BM Newsletter Bohuslav Martinů Memorial in Polička and a non-commercial CD recording GRAPHIC DESIGN from the Bohuslav Martinů Days Festival in Prague). David E. Cígler New residence of the International Martinů Circle, Bohuslav Martinů Foundation and Institute 100 USD for companies PRINTING subscription includes 10 copies of each BOOM TISK, spol. s r.o. issue of the BM Newsletter and three NEWS — DEAR FRIENDS, WE ARE MOVING copies of the non-commercial CD PRICE From 1. 1. 2008 you will find us at a new address: recording from the BM Festival CZK 50 Bořanovická 1779/14, 182 00 Praha 8-Kobylisy, right by Kobylisy metro station (line C) The Bohuslav Martinů Newsletter Email addresses and telephone numbers will remain unchanged. Single copies of the Newsletter: is published three times a year. For this reason, the library of the Bohuslav Martinů Institute will be closed between 3 Euro/ 4 USD plus postage 1. 12. 2007 and 31. 1. 2008.Thank you for understanding. COVER PHOTO For further details about membership and for a free copy of the magazine contact Bohuslav and Charlotte Martinů in Polička,1935 Jana Honzíková ©PBM Dear members, we would like to inform you that Jindra Havlíčková is no longer IMC secretary.Yet she is still very busy, because she has a little child. Jana Honzíková has e-mail: [email protected] EDITORIAL OFFICE taken over her working duties. Jana worked in the Martinů Institute until 2003, when Bohuslav Martinů Institute, The Bohuslav Martinů Institute her son was born. She is a musicology graduate of Charles University in Prague. Náměstí Kinských 3, 150 00 Praha 5 Náměstí Kinských 3 From 1 January 2008: 150 00 Praha 5, Czech Republic Bořanovická 14, 182 00 Praha 8 tel.: +420 257 313 104, +420 257 320 076 or fax: +420 257 323 761 Gregory Terian – UK members only, e-mail: [email protected] tel.: 01625 523326 www.martinu.cz Mari Tokuda – members in Japan, ISSN 1214-6234 e-mail: [email protected]

THE IMC CORDIALLY WELCOMES THE NEW MEMBERS • Justin Krawitz, Madison, USA • Kees van Es, Hong Kong • Ing. Josef Exner, Czech Republic • Gideon Flusser,Tel Aviv, Israel Jindra Havlíčková & her son Jana Honzíková • Éva Molnárová, Budapest, Hungary • Prof. Stephen Shipps, Ann Arbor, She edited the Martinů Newsletter and was responsible for other Martinů projects Michigan, USA (the new edition of Harry Halbreich’s Bohuslav Martinů – Werkverzeichnis und • PhDr. Jana Zapletalová, Olomouc, CZ THE PREVIOUS ISSUE Biografie; Bohuslav Martinů – Complete Critical Edition). She is looking forward to • Schott Music, Mainz working for the International Martinů Circle and hopes the society and all its members will be successful in spreading Martinů’s music to an even wider audience. BONUS – Those who recruit MUNICIPAL MUSEUM — a new member for Martinů will receive a bonus Martinů CD! BOHUSLAV MARTINŮ INTERNATIONAL MARTINŮ CIRCLE MEMORIAL IN POLIČKA SUBSCRIPTION 2008 OFFERS short-term exhibitions Please note: In December an IMC account will be opened at the bank Česká spořitelna. Since the dedicated to the life and work of VERY IMPORTANT Czech Republic is not in the euro zone, every payment from abroad is subject to B. Martinů, a guided tour to Martinů’s We kindly ask all members to send their a high charge. It would thus make financial sense if one member undertook to collect birthplace in the St. James church email addresses to [email protected]. all the subscriptions from his/her country.This person would gather the subscriptions tower and for registered researchers Some of them are out of date. And we in his/her personal account and then send them on to Prague. Owing to Gregory archive materials concerning Martinů. kindly ask members who do not have Terian and Mari Tokuda,such a system already functions with the British and Japan Further information available at an email address to create one if at all section of the IMC. www.muzeum.policka.net possible.This would simplify our contact We kindly request that members visiting Martinů Days in Prague pay their and www.policka-mesto.cz and save money on postage. subscriptions in cash. Thank you.

BOHUSLAVMARTINŮNEWSLETTER3)2007 e s— MARTINŮ AT THE Review PROMS 2007

GREGORY TERIAN

THE PERFORMANCE of Martinů’s Piano Concerto No. 4 Incantations, H. 358 given at the Proms on 26 August by Ivo Kahánek and the BBC Symphony Orchestra conducted by Jiří Bělohlávek was a re- sounding success.There was an enthusiastic response from a near capacity audience at the Royal Albert Hall. A nicely judged programme also included Britten’s Four Sea Interludes and Pokofiev’s 5th Symphony.

INTERESTING REVIEWS (CHOICE) heard at the Proms: the London premiere PREPARED BY ZOJA SEYČKOVÁ was there in 1957 with compatriot Rudolf Firkušný as soloist. Ivo Kahánek gave …In an auspicious Proms debut, Ivo …Following this, Ivo Kahánek, the winner a thoroughly fine and convincing perform- Kahánek whipped up more of a storm as of the 2004 Prague Spring International ance. Martinů’s music is too infrequently soloist in Martinů’s Fourth Piano Concerto, Piano Competition, joined the orchestra heard in concerts despite the composer’s full of typical percussive brilliance and to play Martinů’s Incantation.The com- prolific output; this concerto is a delightful an astonishing stabbing solo part. Maybe poser, since his opera “Julietta”, first heard listen… Chris Caspell patriotism, or the yearning for the in 1938, had explored the idea of fantasy homeland that characterised Martinů’s and dreams in music; this came to a peak www.classicalsource.com/db_control/db_ later works, accounted for Bělohlávek’s in the 1950s Fantaisies symphoniques prom_review.php?id=4848 really coming to life for this highly enter- (Symphony No. 6) and Incantation The critics commended the panache and taining work by an underrated twentieth (completed early in 1956). Incantation’s virtuosity of the soloist and the commit- century Czech master… Simon Thomas foundation is the two-note cell of a major ted support of the orchestra under Bělo- second first heard in the bird-song …Last night’s concerto – Martinů’s Fourth hlávek but the usual critical reservations http://www.musicomh.com/proms/2007- opening and is largely rhapsodic – another – was much rarer, but its restless inven- surfaced, notably from Michael Billington 56_0807.htm characteristic of Martinů’s later music… tion, pungency and virtuosity were given of the Guardian, concerning Martinů’s …In this performance the orchestral sharp focus by the pianist Ivo Kahánek, standing among 20th Century composers. sound was much better and the flighty and with keen, gritty involvement in the citrus Earlier in the week, during the course of fantastic strings were quite equalled by tang from the BBC Symphony Orchestra an interview on BBC Radio 3’s In Tune …In this, his second of four visits to the rounded, well-balanced winds and brass. under Jiří Bělohlávek… programme, Kahanek gave a scintillating Proms this year, Jiří Bělohlávek joined An interesting effect, the harp glissandos Geoffrey Norris performance in the studio of one of the forces with his countryman Ivo Kahánek using the back of the hand in the coda to Martinů Three Czech Dances. During the to present what might be described as the first movement, was well executed, www.telegraph.co.uk/arts/main.jhtml?xml= concert interval on television, Bělohlávek a Czech hat-trick: Bohuslav Martinů’s adding a magical shimmering.This is only /arts/2007/08/27/bmprom227.xml was asked why the music of Martinů was Incantation, his fourth piano concerto… the third time that Incantation has been performed so infrequently in the concert hall. As far as the UK is concerned the answer is fairly obvious. Apart from the BBC, British concert promoters are IVO KAHÁNEK recordings for Supraphon, Cube Bohemia, reluctant to risk programming any work Czech Radio and Czech Television. which might affect box office receipts. THE WINNER of the piano competition Ivo Kahánek’s most noteworthy concerts One can only be thankful that the BBC within the Prague Spring Festival, Ivo include his debut with the Czech Philhar- continues to do so. Kahánek (*1979), advanced to the Czech- monic Orchestra conducted by Zdeněk The informative „red button“ commentary Slovak-Korean-Japanese final round and Mácal and London debut with the BBC on the Martinů Concerto, available to proceeded to enchant the jury with his Symphony Orchestra under the baton of digital viewers of the concert on tele- convincing performance of Liszt’s Piano Jiří Bělohlávek at the Royal Albert Hall vision, was written by Anthony Burton. Concerto No. 1 in E flat major. His victory is within the BBC Proms festival (Martinů’s Jiří Bělohlávek’s first „Last Night of the all the more valuable in that he is only the Incantations). Proms“ proved to be a triumph.The third Czech in history to have received At the present time, he is preparing for concert opened with Dvořák’s Othello the highest award. Ivo Kahánek the recording of Bohuslav Martinů’s Overture with following support from the Ivo Kahánek is the laureate of the inter- Sonata for piano, H. 350 and Fantasy violinist Joshua Bell and the winning ways national competitions Concertino Praga Eugen Indjić, Alicia de Larocha, etc. and Toccata,H. 281 in February 2008. of the Russian soprano Anna Netrebko. (1994), Chopin Competition in Mariánské Ivo Kahánek has regularly performed as Also figuring prominently in his diary The last night speech must have been an Lázně (1997),Vendôme Prize Competition a guest on concert stages both in the Czech is the Prague concert with the Czech intimidating experience but Jiří did okay – Central Europe (2003), and the holder Republic and abroad, including at presti- Philharmonic Orchestra scheduled for and has clearly won over the hearts of the of a special award in the Maria Canals gious festivals (Prague Spring, Beethoven- 5 June 2008. The orchestra, conducted Promenaders. competition in Barcelona (2001). He is fest Bonn, Encuentro de Santander,Ticino by Jiří Bělohlávek, will again perform a graduate of the Janáček Conservatory in Musica). He has collaborated with renowned Concerto for Piano and Orchestra The August 26 Prom including the Ostrava (Marta Toaderová) and the Music orchestras including Philharmonie Köln, No.4 (Incantations), H. 358. Ivo Kahánek Martinů Piano Concerto No. 4 is Faculty of the Academy of Performing Arts the Prague FOK Symphony Orchestra, would like to record Incantations in the now available as a download from in Prague (Prof. Ivan Klánský). He also Czech Radio Symphony Orchestra, Brno future. He is also particularly keen on www.deutschegrammophon.com attended master classes given by Karl- Philharmonic Orchestra, Janáček Philhar- the piano compositions from Bohuslav and iTunes. Heinz Kämmerling, Christian Zacharias, monic Orchestra Ostrava. He has made Martinů’s Paris period. n r BOHUSLAVMARTINŮNEWSLETTER3)2007 THREE CONCERTS — certs— ONE CONDUCTOR Con PETER STARK CONDUCTS MARTINŮ

COVENT GARDEN CHAMBER ORCHESTRA MARK TODD

Saturday 13 October 2007 | St James’s Church, Piccadilly Two works by Martinů formed the first half of the programme presented by the Covent Garden Chamber Orchestra at their concert at St James’s Piccadilly on October 13 – the Overture for Orchestra, H. 345 and the Rhapsody- Concerto for Viola and Orchestra, H. 337, both premiered in 1953 in USA. The CGCO is a non-professional orches- tra founded in the 1980s, its members coming from a variety of professions, Hertfordshire County Youth Orchestra in front of the Rudolfinum in Prague Peter Stark including publishing, teaching, architecture, arts administration, IT,medicine and the musical terms, played with certainty and BBC. Its voluntary membership assures THE HERTFORDSHIRE a refreshing naturalness and spontaneity. THE HERTFORDSHIRE enthusiasm, but in this case there is a high COUNTY YOUTH The conductor’s conception revealed COUNTY YOUTH level of skill too.The orchestra works with ORCHESTRA I. that Czech music is close to his heart. ORCHESTRA II. a variety of invited conductors – on this At the same time, it was evident that the occasion Peter Stark, a student of Norman PAVEL MATYS conductor and orchestra are on very good MARK TODD del Mar and Sir Charles Mackerras who terms indeed, having a rapport we in the has worked with a number of amateur Rudolfinum, Dvořák Hall, Czech Republic are somewhat lacking at Weston Auditorium, Hatfield and professional orchestras both in Britain | Monday 27 August 2007 times. | Saturday 1 September 2007 and other countries. Mr Stark and his players especially excelled Conductor and orchestra responded It is not customary in our country that when performing the free movement of Opportunities to hear performances of equally to the lively invention in the a foreign student orchestra chooses for Martinů’s Symphony No. 1, those beautiful, symphonies by Martinů are not too Overture and the lyrical moods of the its concert three demanding 20th century delicately modulating passages arching into frequent in Britain, so it was good news Rhapsody-Concerto.The excellent viola Czech music works and its nigh-on pro- the distance, which are so typical of Martinů, that a performance was scheduled in my soloist was Paul Silverthorne, who per- fessional performance is enthusiastically evoking his experience of an open, light, native country.The Hertfordshire County formed the work in the Martinů weekend received by the Rudolfinum’s nearly full infinite space when gazing at the Vysočina Youth Orchestra’s concert in the Weston at the Barbican some years ago and in Dvořák Hall. Doubly so when the orchestra hills from the tower of the Polička church. Hall in the University of Hertfordshire at USA, together with the London Symphony is made up of students of various, mainly If the interpretation did deviate a fraction Hatfield on Saturday September 1 was an Orchestra of which he is the leader non-musical, subjects for whom music is from our deep-rooted conception, it was entirely Czech programme, Janáček’s Taras of the viola section. He also wrote an just a hobby.Yet this was the case on Mon- mainly in the symphonic fresco Taras Bulba and Sinfonietta sandwiching Martinů’s excellent note on the work (of which day 27 August 2007 at a concert given by Bulba, whose musical language is close to Symphony No.1. Disappointingly another he is preparing an edition for the Martinů the Hertfordshire County Youth Orchestra the nature and idiom of Russian Orthodox engagement meant that I would not be Complete Edition) for the concert from England. Church music and, accordingly, requires its able to attend this concert, so I was very programme. The young Hertfordshire musicians have performing with great intensity and wide- pleased to get permission from the con- The firm control maintained by the con- recently been giving concerts throughout breath phrasing. At this juncture, the ductor Peter Stark and the Hertfordshire ductor ensured that both works regis- Europe and over the past few years this youth orchestra was found rather lacking County Schools music Service to attend tered more fully than they might in a more leading English youth orchestra has per- in the intensity of sound, primarily with the afternoon rehearsal. casual presentation by a top professional formed such compositions as Messiaen’s higher strings, and musical elongation– this The orchestra includes young people orchestra.The many solo phrases in each Turangalila Symphony, Britten’s War Requiem is precisely what makes our Slavonic music between the ages of seventeen and work were clearly and stylishly presented and Mahler’s Symphony No. 3. However, different from Western European music in twenty-two who attend, or have attended, by orchestra members.The Rhapsody- for its tour of the Czech Republic the general and the English music tradition in schools in Hertfordshire. On the previous Concerto is an intimate, even private, work orchestra chose a purely Czech pro- particular, naturally influencing the musical Monday, 27 August, the young players had as well as a vehicle for a soloist, and the gramme: Leoš Janáček’s Sinfonietta and feeling of English musicians and, in turn, given the same programme in the Dvořák soloist registered this in his interpretation Rhapsody for Orchestra Taras Bulba, and leading the performer to a more rational Hall of the Rudolfinum in Prague – and by – something more subtle for an orchestra Bohuslav Martinů’s Symphony No.1, conception. all accounts had received great acclaim to achieve. H. 289. In the concert’s conclusion, the Dvořák from the Czech audience. After the interval the orchestra performed The programme, tricky indeed for the hall resounded to the fanfares of Janáček’s Before the rehearsal and in the break I had Dvořák’s Symphony No.7 with equal success young English musicians, was prepared and Symfonietta, during which ten outstanding the opportunity to speak to some of the – a notably strong interpretation, with led by Peter Stark, the orchestra’s chief Czech trumpeters from leading Czech young players. Eleanor Lovegrove (trumpet) a trenchant rhythm maintained even in the conductor, famous in Britain and continen- orchestras played on the organ gallery.The stressed the concentration that was final bars and chords, to excellent effect. tal Europe for winning the conductors’ joint performance clearly revealed that needed for all the works – though it was The audience – which filled the nave of competition in Leeds, regularly performing today Janáček’s music is understood and not at all ‘nerve-wracking’ - and found the the church – expressed enthusiasm both at the Royal Festival Hall and Barbican cherished throughout the world. contrast between Janáček and Martinů’s for the performances and the works, and, Centre, recording for BBC Radio 3 and The concert was a true music holiday.The styles interesting – in the Janáček constant quite apart from the enjoyment it provoked collaborating with many renowned orches- smiles on the faces of all those present – changes of rhythm needed special atten- and achievement it represented, this event tras and conductors. both in the auditorium and on the stage – tion, while in Martinů the balance and was of value in promoting awareness of Under Stark’s supple gestures, the youth bore witness to the fact that something shape of each phrase required thoughtful Martinů’s music. orchestra, excellent in both technical and good was created and conveyed. care.The conductor and players had found

BOHUSLAVMARTINŮNEWSLETTER3)2007 t THREE CONCERTS – s ONE CONDUCTOR Opera — PETER STARK Tears of CONDUCTS MARTINŮ the Knife continued from previous page x

the Prague performance a wonderful ANTHONY BURTON experience, and had especially appreciated the fullness and bloom the Rudolfinum acoustic had given their performances. Second Movement Opera, From the start of the rehearsal Peter Stark The Film Studios, Covent Garden, emphasised to the players the difference London, 1 to 4 May 2007 an acoustic makes to balance and clarity, and his stress was on clarifying texture Martinů isn’t normally thought of as an and precision of rhythm.The Weston Hall avant-garde composer, and he himself struck me as having a good acoustic too, disclaimed the label. But his association improving as I moved back in the hall, but with the Dada and surrealist movements the increasing effectiveness and confidence in Paris in the Twenties placed him briefly in the performance itself as the players at the cutting edge of modernism, and got into the swing of their rehearsal was continued to influence his work up to marked. (I was able to hear the rehearsals his 1937 operatic masterpiece Juliette, for the Taras Bulba and the Martinů Sym- H.253. And we shouldn’t forget that at phony.) The precision and balance which the time his use of jazz idioms wasn’t the conductor strove for and the players a gesture towards populism, but another achieved served Martinů well and indeed symbol of up-to-dateness. the qualities of the music came over more The height of Martinu’s avant-garde phase Hannah Pedley – mother,Yvette Bonner – Eleonora effectively than in some performances was probably marked by his short one-act by professional symphony orchestras.The opera entitled, for no very obvious reason, watchword all the time was ‘no scrappi- Larmes de couteau, or Tears of the ness’ and clean precise articulation. Knife, H. 169. He wrote it in 1928 for The conductor had the gift of stressing the that year’s Baden-Baden festival of need for precision without ever blunting contemporary music, but it was turned the young players’ notable enthusiasm.The down by the committee because of Photos Olivia Mann violin solo (played by leader Hugh Blogg) Georges Ribemont-Dessaignes’s text. in the first movement of Taras Bulba was That’s hardly surprising: it’s an absurdist, just right in style – not sentimental but anti-romantic concoction involving Satan suitably intense, an object lesson to some in various guises seducing a mother and professional orchestra leaders. I spoke to daughter, a hanged man suspended above Rufus Frowde, a former Hertfordshire the stage, and a temporary suicide. Brian pupil but now deputy conductor, also Large is probably right to suggest, in his sometimes a player in the violin section, biography of Martinů, that the piece could but pianist in the Martinů: it was the first only make its full effect with the aid of time he had been involved in the perform- film sequences. In any case, it was never ance of a Martinů work, and he appreciated performed in the composer’s lifetime. the way the piano was a true orchestral Tears of the Knife was given its British member, integrated into the texture of premiere by Second Movement Opera, in the work, and not some kind of obbligato an uncredited English translation, in four Yvette Bonner – Eleonora, Hannah Pedley – mother – so the player’s task was following the performances at the beginning of May. conductor and listening to everything else I can’t say that the production by Oliver been very much cut down).The Covent The only disappointment was that, with that was happening to assure balance and Mears made sense of the story-line: I’m Garden Film Studios, a workaday building apparently minimal publicity, so few people blend. However, the integration and team- not sure anything could. But it created the in a side street only a few paces away from found their way to such an adventurous work of the performances did not preclude right atmosphere of deadpan surrealism, the tourist rat-runs and not much further and rewarding evening.This enterprising individual wind players taking their chances and brought off a genuine coup de théâtre from the Royal Opera House, had the young company deserves better – to shine when appropriate. when the hanged man came to life.There right feeling for a fringe venue: down-at- especially if it perseveres in its valuable The large contingent of brass in the Sinfo- was strong singing by Yvette Bonner as the heel, awkward, but friendly and welcoming, exploration of Martinů’s dramatic nietta was provided by local players from virginal Eleonora, Hannah Pedley as her and acoustically a pleasant surprise. output. n outside the orchestra. In Prague some of the seductive mother, and Stephen Anthony top local musicians had joined the orchestra Brown as the insidious Satan. And – providing a greatly appreciated opportu- although the orchestra was placed in NEW RECORDING News nity to meet and discuss in the tight schedule a corner to one side of the stage, the — On page 19 of this issue of our Newsletter you can find a reference to the CD Martinů of the visit, which otherwise included just conductor Nicholas Chalmers obtained – Complete Piano Music No. 3, containing the compositions Sonata for piano, Fantaisie et one day for rapid sightseeing in Prague. crisp, lively playing – with banjo, saxophone Toccata, and Etudes and Polkas, with the pianist Giorgio Koukl. Naxos is also preparing These events were notable not only for and even offstage accordion all present the fourth part of this series, in which the same pianist will delight us with recordings the obvious pleasure they gave their per- and correct – and excellent co-ordination of other Bohuslav Martinů piano compositions such as Les Ritournelles, Borová, formers (conductor included) but also for and balance with the stage.The score was ParT.S.F., Scherzo, Quatre mouvements. In world premiere, the CD presents two the very real achievement of good perform- revealed as strong, entertaining and utterly pieces, Lístek do památníku (Paris 1932) and Rujana. ances of all the works and in the case of characteristic. the Martinů in particular the opportunity The Martinů formed the last item in provided to an English audience of getting a triple-bill with Offenbach’s The Two Blind HISTORICAL RECORDING to know something that might be unfamiliar. Men, updated as a very black comedy The performances in Prague were indeed, and Benjamin Fleischmann’s MR JAMES BERDAHL from the Aspen Music Festival and School has kindly provided recorded, and the Hertfordshire Schools touching Rothschild’sViolin, completed and for our library’s archives a recording of Sonata for Viola an Piano, H. 355 from Music Service plans to issue them on CD orchestrated by his teacher Shostakovich 7July1965.The performer is Lillian Fuchs, to whom Bohuslav Martinů dedicated the some time in 2008. n (though the orchestration here must have composition. y BOHUSLAVMARTINŮNEWSLETTER3)2007 FILM, FAIRYTALE, THEATRE eras— — AND MUSIC Op

The prediction that in order to see Jiří Nekvasil and Daniel It is evident from the production just how Dvořák’s productions one day it would be necessary to travel much everyone enjoys performing in it, abroad has come true.The staging in Rostock of Bohuslav a testimony to the degree to which the stage director inspired them to approach Martinů’s Three Wishes, H.175 is truly exceptional. the work creatively. A minor miracle JAN KLUSÁK occurred here: a perfect service was rendered to composer and librettist alike, a real picture of their era emerged, yet at The world premiere of Martinů’s opera animated, not feature film. Using the facet the same time today’s world lives here. took place in 1971 in Brno. It was con- technique, they set in motion costume On the stage we see our contemporaries ducted by Václav Nosek, and the result was designs, thus the recapitulation eschews rubbing shoulders with the Bright Young a triumph.The current musical preparation Naturalism and the risk of tedium, becoming Things of the Roaring Twenties. And it in Rostock by the conductor Peter a zesty play. Dvořák and Nekvasil have truly would appear that Martinů is indeed Leonard, also impeccable, provides plenty made full use of the opportunity to afford a world-class composer, having stood of food for thought. I was present at the the production a truly cinematic nature. the test of time alongside Honegger, first performance and was left pondering The entire staging is a series of tableaux; Hindemith and Bartók. the style and manner of playing of German on the screen originates a background What does producing theatre mean? and Czech orchestras, the feeling for rhythm formed by video projections shooting As Max Fischer put it: versifying through and tempo, the differing relation to jazz. actors on floating and multicoloured the stage. Nekvasil and Dvořák do so It is hard to put into words, it must be carpets by front and overhead camera. sterlingly. n The author is a composer

the text of Three Wishes.The actors give Three Wishes, H.175 top-notch performances.The cast is Premiere: 20 January 2007, 7.30 pm, international, with the appearances of the Großes Haus, Das Volkstheater Rostock, Czech singer Lucie Ceralová in the double Germany Photo Dorit Gätjen role of the Fairy/Lilian Nevermore and the African-American Bonita Hyman singing Reprinted from Czech newspaper Lidové noviny, the beautiful Dinah’s song being a delight. 1 June 2007, with their kind permission

HISTORICAL RECORDINGS News— FRANZ GEROLDINGER has discovered in a second-hand bookshop and kindly donated to us a gramophone record (probably from 1973) on the Melodia label containing Concerto for Flute,Violin and Orchestra, H.252 (Albert Forman – flute,Valentin Žuk – violin) and Concertino for Piano Trio and Orchestra, H. 232 (Eduard Grač – violin,Viktor Simon – cello, Alexandr Bakhchiev – piano, Michail Terian – conductor).

The Fairy (L. Ceralová) and Monsieur Juste (Olaf Lemme) WE WOULD LIKE TO THANK MARK TODD for sending us a recording of Symphony No. 3 con- heard, yet in this case the ear recognises Accordingly, a set design literally in film – ducted by Břetislav Bakala and performed by which nationality has put the score to life. and, at the same time, stage – movement. the Brno State Philharmonic Orchestra, released In the music of Three Wishes, jazz plays We can only marvel at the finance in the 1950s by the Polish label Polskije Nagranija. a pivotal role, with the German approach German theatres have available for such Mr Todd has also donated to us a copy of recording of to it being somehow more expressive than exacting technology. Symphony No. 6 with the Nottinghamshire County ours, the more supple lines of our playing The high technical and organisational Orchestra, conducted by Christopher Adey. This revealing the influence of Ježek and other requirements of the work resulted in recording was released in 1974 on a gramophone traditions of Czech jazz. Martinů failing to live to see his opera record, an original of which was obtained by Aleš The libretto’s author is Georges Ribemont- premiered. Dvořák and Nekvasil have Březina in September 2007 while visiting the con- -Dessaignes, a Dadaist, early Surrealist, overcome these obstacles with bravado. ductor. In the 1970s, Adey recorded with the BBC whose sensibility chimes with our Dvořák’s finely colourful setting, informed Scottish Orchestra all of Bohuslav Martinů’s sym- equivalent of these movements – Poetism. by surrealism, heaps up allusions to phonies and is an ardent admirer of the composer. Martinů worked with him on several Toyen, Štyrský, Muzika. For Nekvasil, this Yet another of Mr Todd’s discoveries is a recording occasions, Three Wishes being their second inspiration also opened up the path to of Three Madrigals for Violin and Viola, H. 313 collaboration.The libretto has a complex, eschewal of realism and descriptiveness, by Joseph Fuchs and Lillian Fuchs, to whom this com- refined form. All the lead characters are lending to the production the form of position was dedicated.The record, Decca Gold Label in fact double roles: film actors, playing an ungraspable, magically variable collage, DL 8510, also contains Mozart’s Duo No. 2 for Violin under different names in the story being fragmentary in nature.Without firm and Viola (KV 434), which was significant for Bohuslav shot.Their roles in the film begin blending borders, the real and the virtual blend Martinů’s creation, and here we have proof that together with their real-life fates and ulti- together and melt into one. Film, fairytale he really heard it.To quote from the sleeve-notes: mately merge.The film story is a Dadaist and theatre of technical sorcery mingle in “It is interesting to record here a note sent by the fairytale following the absurd logic of the production. And crowning it all is the composer Martinů to Joseph Fuchs following one of the concert appearances of dream, in places reminiscent of Ionescu’s music itself, a sparkling multi-faceted jewel. Joseph and his sister, Lilian Fuchs: I was so inspired with your playing DUO avec theatre.The actual story is framed by The production is played in Marcus Lilian, that I wrote a new Madrigale for you.Would you accept the dedication and the shooting of a film.The production’s Gammel’s German translation – it is crucial l’expression of my admiration for you and Lilian. Best regards, Martinů. The DUO creators deal with this by means of an that the audience properly understands referred to was Mozart’s No. 2 in B flat major, included in the Long Play record.“

BOHUSLAVMARTINŮNEWSLETTER3)2007 u “I CANNOT DESCRIBE TO YOU ALL WE WENT THROUGH ry— Histo MARTINU’S eSCAPe

ALEŠ BŘEZINA slightest support, help or information from our 500 inhabitants. In 1940 it had roughly month the Martinůs spent here, letters, representatives at the legation, who all happily twice that number, plus thousands of photographs, etc. Owing to Mrs Facq’s made it out of Paris in time and re-grouped fugitives passing through the town every kind assistance, we even got to meet IN THE LITERATURE we can find few happily in London. If it were not for Firkušný, day. Martinů wrote to Paul Sacher from Mrs Georgette Lacouture, who since her details about what exactly Bohuslav it is quite possible that I would not be writing there on 2 July 1940: “I cannot describe birth in 1920 has been living in Rue Croix- Martinů did from June 1940 to the end of this today.” 1) to you all we went through here, after long Pierre and still remembers the composer March 1941.And no wonder – it is the The primary objective of all fugitives was peripetia we found shelter at Charles who for a month lived with his French wife period of his flight from Paris before the to get away from Paris and go as far south Munch’s. All our friends are scattered, we in the house opposite. Nazi troops, a period dominated by as they could, in the direction of the free don’t even know where, and we hope that At a time when thousands of fugitives had absolute chaos.All of a sudden everyone part of France. From there it was possible you at least receive this letter, we have heard nowhere to take shelter, the Martinůs were had to fend for oneself. To find out some to continue through Spain and Portugal to that connection with Switzerland has been very grateful for their accommodation, even more detailed circumstances of this dramatic escape, which lasted a total of eight months, in May 2007 the stage director Jiří Nekvasil and I set out on a several-day journey retracing Martinů’s g footsteps.We were interested in details from the single period about which we could not bring any particular testimony in either of our documentaries, Out of Exile (Czech Television,1998), and Martinů and America (Czech Television, 2000).At that time, no one at all was in close personal contact with Martinů.This, however, does not mean that all of Martinů’s friends abandoned him to the tender mercies of fate. Owing to the letters the Bohuslav Martinů Foundation and Institute have been gradually acquiring from various private and public archives, as well as purchases at antiquarian bookshops, it is Mrs. Christiane Facq, at her shop Roncomagus in Rancon A house in the street Rue Croix-Pierre, where Martinů possible to put together a fairly detailed lived in Rancon picture of the composer’s vicissitudes, his hopes and disappointments in that fateful the USA. Charlotte Martinů recalls that renewed. […] In this situation, I have no other though they had meagre comfort there. summer of 1940. In this respect, the most the day after Firkušný’s call her husband choice but leave for America, that is, of course, According to Charlotte’s testimony, it was significant documents include his corre- set out in the afternoon to see his friend, should it only be possible.” 2) In the same a “spacious room with a fireplace and a small spondence with Marcel Mihalovici, Paul the conductor Charles Munch, who was letter, Martinů asked Sacher for financial bathroom.There was no kitchen, so I cooked on Sacher, Rudolf Firkušný and the pianist also just about to leave. “Can we come assistance in the form of advance payment an open fire in the fireplace. […] The Munches Alfred Cortot, who was to become to your place in Villefavard? Bohuš asked in for a cantata Sacher wanted to commission brought us sheets and blankets, and Charles was Minister for Family and Youth (“de la a low-spirited manner.Well, yes, come down, from him.The money arrived by return so friendly and attentive that he managed to famille et de la jeunesse”) in the quisling we will somehow cram in there.” On the post and soon Sacher ordered from rouse “Petit-Père” 4) from his melancholy. Petit- Vichy government yet despite the pos- very same day, the Martinůs left with Martinů a violin concerto (Concerto da Père and I went to the wood to gather kindling, sibilities this prominent post afforded him a minimum of luggage for Gare camera for violin and string orchestra with we had to walk three kilometres for milk, across did not lift a finger to save Martinů. Crucial d’Austerlitz, thronged with people striving piano and percussion, H. 285), emphasising the field to the neighbouring farm, which was for understanding the complexities of the to get out of Paris as quickly as possible. that it concerned a normal commission no joke since there were vipers there and we situation at that time is the detail that the After many hours, they managed to buy for a normal fee.3) drove them away with sticks. […] Once we were composer’s correspondence with his tickets for La Souterraine and presently After arriving in Rancon, naturally we sitting on the steps in front of the church and family in Polička, which was at that time found an unannounced, hence almost acquired the first piece of information watched the never-ending crowds of refugees already part of the Reichsprotektorat empty, train to nearby Limoges and left in the local Café du Commerce, where who hauled with them plenty of old junk, and Böhmen und Mähren, had to be delivered Paris.They got off in La Souterraine, we were straightaway referred to Mrs the devastated soldiers: ‘There is nothing like through his friend, the conductor Paul which is still a sleepy regional centre with Christiane Facq. Her shop, Roncomagus, living as a vagrant’, Charles Munch ruminated, Sacher, via Switzerland. Because of censor- a not overly extensive public transport offers various natural products and ‘you have nothing, you need nothing’. Yet, before ship, the letters had to be written in connection with the surrounding world. concurrently serves as a tearoom and the long, he added: ‘Well, but you get fleas.’” 5) French, while, to be on the safe side, Basel They saw out the night on a railway local cultural centre. Mrs Facq was very The seeming tranquillity was fraught with was stated as the place of sending so as station bench and the next day, partially pleased by the information that many tension. “The Germans were in Bordeaux not to disclose the real hiding place of the by bus, but mainly on foot, they reached years ago a world-famous composer had and almost upon us,” Martinů later wrote.6) composer, who was at that time sought Villefavard (Haute-Vienne). Sixty-seven stayed in her birthplace. She showed us on Even though, despite his bad mental state, by both the French and Czechoslovak years after Bohuslav and Charlotte, we old maps the street and the house where he was able to give thought to some creative (Protectorate) authorities. too arrived here, on foot and well after the Martinůs had dwelled. Nowadays, the work, he did not have appropriate conditions When it comes to the beginning of the midnight. Of course, we did not meet former Rue Haute, which Martinů stated for it in Rancon. “When Petit-Père could not actual escape, Martinů described it later anyone so late at night, so we decided to in his letters as his address, is called Rue compose, since he didn’t have access to a piano, in a text called concisely 1938-1945: return to Villefavard the next day.This time Croix-Pierre.Thanks to Mrs Facq, we were it seemed to him that he was wasting time.” 7) “In the afternoon on Sunday 9 June Firkušný we took the route through Rancon, where also able to correct the name of the then Although a piano was available at Charles telephoned, saying the news from the battle- Bohuslav and Charlotte Martinů spent house owner, Mr Gabriel Pailler – by Munch’s in Villefavard, the house was packed ground was bad and that he was leaving that the whole month in restless expectation mistake, Martinů repeatedly called him with his family members who had escaped very evening and advising me to leave as and febrile correspondence to all sides. Paillet – and acquired contact to his son, from Alsace before the German troops. quickly as possible too. I must point out that Rancon (Haute-Vienne department, who could perhaps help us in our search We found out about it owing to serendipity at the time we were not provided with the Limousin region) today has a little over for supplementary information about the once again. During our conversation with i BOHUSLAVMARTINŮNEWSLETTER3)2007 HERE…” ry— FrOM FRANCe Histo

Christiane Facq, her shop was entered by grandmother) married the famous she herself was a talented violinist and direction of Spain. He was not the only an elegant lady who was introduced to us Byzantinist Jean Ebersolt, while Geneviève later on established in Villefavard a choir one to fail to do so – in a letter dated as “Madame Claire”, secretary of the music married the conductor Charles Munch, with which she held regular concerts. 17 July he wrote to his friend Marcel festival in Villefavard.When we told her whose invitation led Bohuslav Martinů to Mr Kaltenbach linked up to this tradition Mihalovici that he had not find there about the purpose of our visit to Rancon, Villefavard. However, at first it seemed that too.Together with his wife Annie and his the violinist Collette Frantz, who had she immediately arranged for us a meeting there would be no room for him at the cousin, the architect Gilles Ebersolt, in promised to help him in crossing the with the conductor Jérôme Kaltenbach. inn.When Charlotte and Bohuslav “in the 2001 they reconstructed Edouard and Pyrenees to Spain – a number of other He is not only an admirer of Bohuslav afternoon finally reached Villefavard” and Sophie Maury’s farmstead, which had lain personalities attempted it in vain too (at Martinů’s music (he has conducted headed for Munch’s manor, they met his dormant for a long time, and made of it about that time the famous philosopher Symphony No. 4, H. 305 and Sinfonia sister-in-law halfway. “We have nowhere the Ferme de Villefavard cultural centre Walter Benjamin committed suicide at the concertante, H. 322 for violin, violoncello, to put you, everyone from Alsace came (www.fermedevillefavard.asso.fr).The nearby border). Consequently, Martinů together to our place for concrete piggery from 1900 was con- immediately left Cauteret for southern the winter. And despite verted into a gallery, the whole barn France, where he spent the period from our best will, we cannot became a beautiful concert hall with August to December 1940 continuously provide you with lodging, excellent acoustics (it was implemented shuttling between his residence in Aix-en- even for tonight.”‘But,’ by the world-famous Chinese acoustician Provence and the authorities in Marseille Bohuslav objected Albert Yaying Xu, experienced in adapting from which he needed an exit permit in diffidently,‘yesterday similar buildings, having redeveloped, for order to depart from France.We would morning I spoke with example, a barn in Evian into a concert like to explore this part of Bohuslav Charles and he explicitly hall for Mstislav Rostropovich). Now it Martinů’s odyssey, primarily his three- promised that we could is a place where professional CDs are month stay in Lisbon, in the next few stay at his place.’‘I’m recorded and concerts and master classes years. sorry, but we really can’t held. Mr Kaltenbach expressed interest Over the four days of our trip, we walked squeeze you in.” […] in organising for 2009 a Bohuslav Martinů dozens of kilometres on side roads. In the evening Charles Festival focused, among other composi- Perhaps to the same extent as our coming Munch came over to see tions, on pieces linked with the period of across unknown documents, finding signifi- us.‘We’ll find something the composer’s escape from France, or cant buildings and meeting with Martinů’s for you.Tonight you will with the personality of Charles Munch, contemporaries has our knowledge of sleep in the room where who after Bohuslav Martinů’s departure this chapter of the composer’s life been some acquaintances of from Rancon wrote to him the following extended by the blisters that helped us, Conductor Jerôme Kaltenbach in front mine will be staying, but letter: I feel honoured, my dear friend, that at least partially, to feel ourselves in of “La Solitude” Photos by Aleš Březina they will only arrive I have received from you such a long and a similar situation to the then fifty-year- tomorrow.’ […] Next intriguing letter. I have in Paris a sort of old Bohuslav Martinů and his wife oboe, bassoon and chamber orchestra, and day we looked around for some accom- ‘folder’ in which I keep letters from great Charlotte. n also knows a number of chamber works), modation and, with Charles’s assistance, composers. Rest assured that it will find its but also the founder and director of the found shelter in Rancon […]” 8) There the place there. […] More than at any other festival at Ferme de Villefavard.And, most increasingly tense Martinůs waited a month time, I feel the sincere desire to play the importantly, Mr Kaltenbach, long-time for the exit visas that would finally allow music of Martinů, because he is a great principal conductor of the opera in Nancy, them to leave France. It was also in Rancon composer, because I love him, him and his 1) Bohuslav Martinů: 1938–1945, In: Miloš Šafránek (ed.), is also Charles Munch’s nephew! where Martinů, in the middle of July 1940, music alike. 9) Bohuslav Martinů. Domov, hudba a svět (Bohuslav As a scion of a family which since the end came to know of the death of his beloved To conclude our trip, we visited the Martinů: Home, Music and the World), Prague 1966. Martinů certainly did not number among those idle of the 19th century has had a decisive pupil Vítězslava Kaprálová (she died on medieval university town of Limoges, the representatives Miloš Šafránek, the cultural attaché influence on Villefavard’s destinies, the next 16 June in Montpellier), which also former music centre around the St Martial to the Czechoslovak Embassy in Paris.At that time, day Mr Kaltenbach related to us a number resulted in Martinů’s definitive decision monastery where, according to Šafránek’s Šafránek pursued feverish activity in the USA, from where he strove to lend as much help as possible, of interesting details about this small town to leave Rancon on 17 July and continue testimony, Martinů found in the local arranging for Martinů not only the necessary visa but with the population of a mere 160. In 1844 their flight, first to the Pyrenees (Cauteret) bookshop just a very poor selection of also preparing the ground for his stay in New York all of Villefavard’s inhabitants seceded from and subsequently to southern France new pieces a few years old and quickly left through establishing new contacts in musical circles. 2) The letter is deposited at the Paul Sacher Foundation the Catholic Church and, led by the Catholic (Aix-en-Provence). the town.We discovered there several in Basel and is quoted with the kind permission of priest, became adherents to Protestantism. With such a brief description from bookshops and second-hand bookshops its owner. In 1882, due to the lack of their own Protes- Charlotte Martinů’s viewpoint, the and in one of them found a precious copy 3) Although, according to the mentions in the correspondence, at that time Martinů was already tant clerics, the Swiss pastor Edouard approach of Munch’s sister-in-law would of an issue of Cadeau Théatre Cinema considering composing a cantata to texts of the Maury came to work in Villefavard. He also appear somewhat harsh, yet to understand dedicated to Georges Neveux, the first Sumerian Epic of Gilgamesh, it was only set to music brought with him his wife Sophie, from the situation it is important to realise that edition of a play by another of B. Martinů’s in 1955.The oratorio The Epic of Gilgames, H. 351 is dedicated to Maja Sacher. a wealthy industrialist’s family in Vevey. Her fleeing at that time were not only Parisians old collaborators, Georges Ribemont- 4) Petit Père is Charlotte Martinů’s pet name for her property made it possible to build up the but also a vast number of people from -Dessaignes, and finally, an early French husband. most advanced farm in France at that time, Alsace, among which were relatives of monograph on Leoš Janáček, written by 5) L. Sadílková, A. Březina (ed.), Charlotte Martinů: My Life with Bohuslav Martinů, Prague 20032, p. 81. possessing, among other facilities, progres- the Ebersolts and the Munches (not only Daniel Muller in 1930, in which the author 6) Bohuslav Martinů: 1938–1945, pp 333–334. sive concrete stables and a sophisticated Charles Munch himself hailed from extends his thanks for valuable advice not 7) My Life with Bohuslav Martinů,p.81. system of cleaning and supplying feed by Alsace but also, for example, a relative only to Max Brod but also, and in partic- 8) My Life with Bohuslav Martinů,p.80.In her reminiscences, Charlotte Martinů occasionally carriages on rails.According to the design of his, the world-renowned doctor and ular, to Miloš Šafránek! symptomatically omits political connections. It is of the Swiss architect Fréderic Bosshard, organist Albert Schweitzer). According En route to Paris we stopped off in obvious that the relatives from Alsace did not come spacious new houses were erected, most to Mr Kaltenbach’s information, at that Nevers, where we failed to find any trace together to Villefavard to spend the winter there, but to find refuge on their escape.The people in Alsace, notably the “La Solitude” villa, which on critical time an entire Alsatian village of the SIAMAC factory, in which Martinů living close to the infamous Maginot Line, became the 10 June 1940 became a one-night shelter moved to them. It was by no means easy deposited part of his music autographs first victims of the Nazi invasion of France. for Bohuslav and Charlotte Martinů. to embrace yet another two refugees, in 1940.Yet we will continue searching, 9) Charles Munch’s letter to B. Martinů,Villefavard, The two daughters of Edouard and Sophie even if they were Bohuslav and Charlotte not only there but also in Cauteret near 3 September 1940. It was published for the first time by Jaroslav Mihule in his monography Martinů. Maury married prominent cultural per- Martinů.And Juliette Ebersolt certainly Lourdes, where in July 1940 Martinů Osud skladatele (Martinů.The Fate of a Composer), sonalities. Juliette (Jérôme Kaltenbach’s was aware of the composer’s significance – wanted to cross the Pyrenees in the Prague 2002.

BOHUSLAVMARTINŮNEWSLETTER3)2007 o s AN AMERICAN New –– MArRIAge

US ARMY BAND In 2009 we will commemorate the on to Opera Boston for further perform- 50th anniversary of the composer’s ances where a DVD and/or CD recording AND CHORUS death. Many organisers are preparing is due to be made. for this year large- or small-scale events MARK TODD at which works by Bohuslav Martinů The motivating force behind this enter- (1890–1959) will be performed. prise is the director/designer Pamela Howard from the UK who hopes to bring AMAZING what an Ebay search can turn GREGORY TERIAN the production to London and Prague. up! A couple of months ago we could see Readers may recall that in 2005 she was an Ebay posting for an LP by the US Army responsible for the imaginative open-air Band including a performance of Martinů’s A long-overdue project will be realised recounted by Charlotte Martinů in her staging of The Greek Passion, H. 372 I ‘Military Mass’ – Field Mass, Cantata for in 2009 with a new English language memoir, but then disappeared from the at the Byzantine fortress of Heptapyrgion Baritone, Male Chorus and Orchestra, production of Martinů’s opera scene as far as English language audiences in Thessaloniki.We wish her well with the H. 279. A hasty bid followed and the LP The Marriage, H. 341. were concerned. new venture. n arrived a few days later. One side was indeed devoted to Martinů’s The first performance took place on Following rehearsals in April, the new Field Mass, with a trenchant performance, 7July1953 for NBC Television. It was production will be given its premiere in JOIN THE sung in English translation, with confident conducted by Peter Herman Adler, May 2009 by the Opera Theatre Pittsburgh . . . . brass soloists and strong-voiced choir a Czech conductor who had studied with conducted by Gil Rose. Jonathan Eaton is drawn from the US Army.The LP surface Vítězslav Novák and Alexander Zemlinsky the Artistic and General Director of the martınurevısıted is a bit noisy at present but will probably in Prague and who came to the United company. In a nice touch, it will be staged CELEBRATIONS! respond to cleaning.The conductor is States in 1939. In 1949 he was appointed in an old 1950s TV studio and one of the For more information, visit Associate Bandmaster Captain Allen director of the National Broadcasting performances will be televised.The setting www.mar ti nu.cz Crowell, a native of Alabama who had also Company’s Opera Theatre.The Company for the new production of Gogol’s play or contact worked as a vocalist with the Army Choir. had achieved an outstanding success with will see a transplant from 1850s Russia The Bohuslav Martinů Institute Of particular interest is the eloquent and Menotti’s Armahl and the Night Visitor,the to a Russian emigre community in New Martin Bonhard, emotional baritone soloist – SP Richard first opera to be written for television. York in the 1950s. After the Pittsburgh international coordinator Stilwell. At that time a member of the The Marriage was also well received, as performances the production will move [email protected] US Army, he went on to an international solo career,featuring in recordings of works such as Brahms Requiem and Britten’s War Requiem. He is probably best known as REPORT FROM A RESIDENCY the Pelléas in the recording of Debussy’s Pelléas and Melisande with Federica von AT BÄRENREITER-VERLAG, KASSEL Stade and the Berlin Philharmonic con- ducted by Herbert von Karajan. WITHIN THE PROJECT named “Profes- Another feature is the use of a harmonium sionalisation in music materials editing which had seen service with the US Army through further education of music in World War Two. experts”, financially supported by the Notes on the reverse of the sleeve European Social Fund, the musicologist suggest that the performance took place Lucie Berná of the Bohuslav Martinů in 1973. A photo there shows the chorus Institute took up a special residency at in the White House with President Richard Bärenreiter-Verlag in Kassel. Between Nixon and the British Prime Minister 16 July and 3 August 2007 she familiarised Edward Heath. It’s not clear whether the herself with all the publishing house’s Martinů was actually performed in Edward departments. Under the guidance of Mrs Heath’s presence – it would certainly have Annette Thein,she was able to participate been appropriate if it was, for two reasons: in the current editing projects (for example, Edward Heath was himself a conductor, Works of G. Rossini, Monteverdi operas especially of choral works, and had an in critical new editions) in the complete interest in Czech Music; and as a young editions department. In addition to man at the time the Mass was written carrying out the tasks assigned, she also Heath had spoken against the Munich had the opportunity to study and compare Agreement, invited the exiled Edvard the already published volumes of individual Beneš to speak in Oxford and then himself editions (for example, Hector Berlioz: New served in the army in the war. Nixon once Edition of the Complete Works, Neue Lucie Berná and Helmut Pötter in the archive of hire materials expressed enthusiasm for the music of Mozart-Gesamtausgabe) and prepare the Tchaikovsky – but perhaps it is significant groundwork for the texts of the Music she devoted herself to description of the Republic and the budget of the City of that in the photo, Heath is talking to Editor’s Handbook, which will be used autograph of The Parables, H. 367 and Prague.The project has been supported the musicians, while Nixon seems more in pilot courses in May and June 2008. the facsimile of Piano Concerto No. 4, within the framework of the JPD 3 pro- interested in the camera. During her residency, Lucie Berná also “Incantation”, H. 358).As a result of this gramme (Single Programming Document On the reverse of the LP the Army Chorus participated in a session of the lectureship cooperation with her German colleagues, for Objective 3) Measure 3.2 Develop- sing arrangements of spirituals and short and a meeting of colleagues from the Lucie Berná gained valuable experience ment of Further Education. n works by Gershwin, Foster and others. promotions department. She mapped the that she will make use of when preparing A copy of the performance of the Martinů current status of the music material of pilot courses and during editing work. Field Mass will be placed in the Bohuslav B. Martinů’s compositions in the publishing Martinu Institute Library. n house’s archive of hire materials and the The project is co-financed by the European ] archive of autographs (among other things, Social Fund, the state budget of the Czech a BOHUSLAVMARTINŮNEWSLETTER3)2007 — LIST OF MARTINŮ’S WORKS Special s— CATEGORY/ SUBCATEGORY/ Serie | STAGE WORKS AND FILM MUSIC | OPERAS

IN THIS ISSUE OF THE NEWSLETTER Schoolmaster (T), Officer (speaking role), we have begun publishing a complete list of ALEXANDRE BIS, 2 Sentry (speaking roles) THE PLAYS OF MARY Bohuslav Martinů’s works.We have started OPERA BUFFA IN 1 ACT Performer(s) of premiere: O. Jeremiáš (cond.) — Hry o Marii with the operas (in alphabetical order). — Dvakrát Alexandr, jednoaktová opera buffa Premiere: 18. 3. 1937, Czechoslowak Radio, — Die Marienspiele The basic data on the works listed here have — Zweimal Alexander, Opera buffa in einem Praha, Czech Republic — Les Jeux De Marie been taken over from the online catalogue Aufzug Archive: Praha, Archive of the Czech Radio, of Martinů’s œuvre at www.martinu.cz, which Czech Republic 1. Prologue.The Wise and Foolish is continuously updated and issues from the Lyrics (French) by A.Wurmser, German Publisher: Boosey & Hawkes, B&H 17982, Virgins. Drama in 1 act latest research as documented by the staff translation K. Honolka, Czech translation 1951 (ČR, SR - DILIA, Praha), D. L. 1290 — 1. Prolog. Panny moudré a panny pošetilé. of the Bohuslav Martinů Institute. E. Bezděková Copyright: Boosey & Hawkes, London – Drama o 1 dějství In the next issue you will find a list of all Halbreich number: 255 NewYork — 1. Prolog. Die Weisen und die törichten Martinů’s ballets, scenic and film music. Durata: 38’ Jungfern. Drama in 1 Aufzüg Place of composition: Paris According to romance original arranged Abbreviations/ Date of composition: 1937 Performing forces: 1111-1110-pf.-archi THE DAY OF GOOD DEEDS, V.Nezval. Aalto Solo roles: Archangel Gabriel (cA), Foolish ar. harp (without vl. II) OPERA IN 3 ACTS Solo roles: Armanda (S),Alexandr (Bt), — Den dobročinnosti, opera o 3 dějstvích Virgin (mS), Dealers in Oils (Bt, B), arm. harmonium Bridegroom (T,mS, cA, B) batt. battery Oskar (T), Philomene (Ms) – Female — Der Wohltätigkeitstag, Oper in drei Narrator, Portrait (B) – Male Narrator Aufzügen Performing forces: 2020-4120-timp.-batt.-pf.- Bt baritone archi without vl. / at least eight each B bass Performer(s) of premiere: G. Calder (cond.), — Le Jour de Bonté CA contralto G.Amberger (direc.), M. Krali (scen.) 2. Mariken of Nimégue. Miracle in 1 act cel. celesta Premiere: 18. 2. 1964, Mannheim, Germany French libretto G. Ribemont-Dessaignes, — 2. Mariken z Nimégue. Mirakl o 1 dějství cmp. chime-bells Archive: Polička, Památník Bohuslava Martinů, German translation C. Hoffmann, — 2. Mariken von Nimégue. Mirakl in cond. conductor Czech Republic Czech translation V.Fux. einem Akt direc. director Publisher: Bärenreiter, Kassel, BA 4314, 1962 Halbreich number: 194 — 2. Mariken de Nimégue fisarmon. accordion Copyright: Bärenreiter, Kassel Durata: 75’ fl. flute Place of composition: Paris According to flemisch legend from mS mezzosoprano Date of composition: 1931 15th century wrote Henri Ghéon, pf. piano Performing forces: 0121-0210-timp.-batt.-pf.- Czech translation V.Závada. S soprano ARIANE, LYRIC OPERA IN 1 ACT archi Solo roles: Mariken (S plus dancing role), scen. scenography — Ariadna, lyrická opera o 1 dějství Solo roles: Blonde (S), Lucas (T), Nicolas (T), Devil (Bt plus dancing role), Principal T tenor — Ariadne, lyrische Oper in einem Aufzug postman (T), desperate woman (mS), (speaking role), God (B), God’s Mother (A), timp. timpani woman (A), vagabond (B), policeman (BBt), Mascaron (T), Drunkard (B), Girl (S), vl. violin Lyrics (French) by composer, among the play mayor (B), sacristian, others smaller parts, Male and Female Choir, Dancers vlc. cello Le Voyage de Thésée from G. Neveux, mixed chorus Performing forces: 2222-4231-timp.-batt.-xlf.- xlf. xylophone German translation F.Schröder, Czech Performer(s) of premiere: M. Kaňák (cond.), pf.-archi translation E. Bezděková. J. Průdek (direc.), P.Godefroid (scen.), Halbreich number: 370 D. Klán (Lucas), S. Sem (Nicolas), 3.The Nativity of Lord. Pastorale Commentary/ Durata: 42’ K. Hájovská (Blonde) in 1 act „Archive“ – gives the information where Place of composition: Schönenberg - Pratteln Premiere: 28. 3. 2003, České Budějovice, — 3. Narození Páně. Pastorale o 1 dějství the autograph orchestral score is deposited Date of composition: 1958 Czech Republic — 3. Die Geburt des Herrn. Pastoral Premiere: Day / Month / Year Performing forces: 2222-2220-timp.-batt.-ar.- Archive: Basel, Paul Sacher Stiftung, Switzerland in einem Akt cel.-pf.-archi Publisher: unpublished Moravian folk lyrics. Solo roles: Ariane (S),Theseus (Bt), Burun (T), Copyright: Panton International Praha ACCUSATION AGAINST Solo roles: Maria (S), Blacksmith (B), Minotaurus (B or Bt), Sentry (T), Old Man Notes: unfinished, reconstructed by M. Kaňák Blacksmith’s daughter (mS), Inn-keeper (B), THE UNKNOWN, OPERA IN 3 ACTS (B), 12 Youths (T and B) — Žaloba proti neznámému, Female, Male and Childern’s Choir Performer(s) of premiere: L. Romansky (cond.), Performing forces: 3202-4110-timp.-trgl-archi opera o 3 dějstvích R. Schenkel (direc.) — Anklage gegen Unbekannt, Premiere: 2. 3. 1961, Gelsenkirchen, Germany THE MARRIAGE, 4. Sister Pascaline. Legend in 1 act Oper in drei Aufzügen Archive: Polička, Památník Bohuslava Martinů, COMIC OPERA IN 2 ACTS — 4. Sestra Paskalina. Legenda o 1 dějství — Plainte contre inconnu Czech Republic — Ženitba, komická opera o 2 dějstvích — 4. Schwester Paskalina. Legende in einem Publisher: Bärenreiter, Kassel, BA 3532, 1960 — Die Heirat, komische Oper in zwei Aufzug Lyrics (French) by B. Martinů after Copyright: Bärenreiter, Kassel Aufzügen G. Neveaux’s play. Text by B. Martinů according to J. Zeyer Halbreich number: 344 Lyrics (English) by B. Martinů after N. Gogol, and folk poetry Durata: 29’ 45’’ or more precisly after A. Baksky’s Solo roles: Paskalina (S), Marta (cA), Place of composition: Nice COMEDY ON THE BRIDGE, English translation. German translation Maiden (S), Speaker,Vocal quartet, Date of composition: 1953 RADIO-OPERA IN 1 ACT E. Roth, Czech translation E. Bezděková. Mixed Choir, Dancers Performing forces: 3232-4231-timp.-batt.-pf.- — Veselohra na mostě, rozhlasová opera Halbreich number: 341 Performing forces: 2222-4231-timp.-batt.- xlf.- archi o 1 dějství Durata: 61’ pf.- archi, arm., timp., String quartet behind Solo roles: Prascovie (mS), Procurator (B, Bt), — Komödie auf der Brücke, Funkoper Place of composition: New York the Scene Dora Tambov (S), Michel Tambov (T), in einem Akt Date of composition: 1952 Plouchkin (B), Kopak (T), Pacha (S), Halbreich number: 236 Performing forces: 2222-2201-timp.-batt.-pf.- Durata: 131’ Women (A), Chorus Lyrics (Czech) after V.K. Klicpera. archi Performer(s) of premiere: V.Nosek (cond.), Place of composition: Paris English translation W.Schmolka, also free Solo roles: Podkolyosin (Bt), Stepan (speaking Date of composition: 1933–1934 A. Barová (Prascovie), R. Novák adaptation from T.Kushner (2003) role), Fyokla Ivanovna (mS), Kochkarev (T), (Procurator), M. Ungrová (Dora Tambov), Performer(s) of premiere: A. Balatka (cond.), German translation E. Roth Agafya (S),Arina (A), Dunyashka (speaking R.Walter (direc.), F.Muzika (scen.), V.Krejčík (Michel Tambov), J. Hladík French translation B. Horowicz. role), Ivan (B),Anuchkin (T), Zhavakin (T) (Ploushkin), J. Holešovský (Kopak) M. Hloušková (Gabriel), B. Žlábková Halbreich number: 247 Commissioned by National Broadcasting (Mariken),V.Strelcová (Paskalina) Premiere: 1. 12. 1980, Brno, Czech Republic Durata: 38’ Company’s Opera Theatre Archive: Autograph missing Premiere: 23. 2. 1935, Brno, Czech Republic Place of composition: Paris Premiere: 7. 2. 1953, New York, USA Archive: Basel, Paul Sacher Stiftung, Publisher: unpublished Date of composition: 1935 Archive: Polička, Památník Bohuslava Martinů, Copyright: Panton International Praha Switzerland (only No.2), Praha, National Performing forces: 1111-2110-timp.-batt.-pf.- Czech Republic Theatre Archive, Czech Republic Notes: Unfinished. Only concertante archi Publisher: Boosey & Hawkes, B&H 17384, 1953 premiere, scenic performance still don’t Publisher: DILIA, Praha, 1965 Solo roles: Popelka (S), Sykoš (Bt), Eva (A), Copyright: Boosey & Hawkes, London – Copyright: DILIA, Praha take place. NewYork

> LIST OF MARTINŮ’S WORKS > Category STAGE WORKS AND FILM MUSIC > Subcategory OPERAS BOHUSLAVMARTINŮNEWSLETTER3)2007 u s Performing forces: 3333-4331-timp.-batt.-pf.- Date of composition: 1929 MIRANDOLINA, archi TEARS OF THE KNIFE, Performing forces: 2222-4331-timp.-batt.-pf.- COMIC OPERA IN 3 ACTS Solo voice 1: fl.-fisarmon., vl. (on stage) OPERA IN ONE ACT archi; jazz.instr.: 2 sax., flexaton, banjo, pf., — Mirandolina, komická opera o 3 dějstvích Solo roles: Katarina (S), Lenio (S), Manolios — Slzy nože, opera o 1 dějství fisarmon., jazzfl. — Mirandolina, komische Oper in drei (T),Yannakos (T), Michelis (T), Pannait (T), — Die Tränen des Messers,Oper in einem Solo roles: Nina Valencia/Indolende (S), Aufzügen Nikolio (T), Grigoris (bBt), Patriarcheas Aufzug Serge Eliacin/Adolphe (T), Arthur (bBt), Fotis (Bt), Kostandis (B),Andonis (T), — Larmes de couteau de Sainte-Barbe/Mr. Juste (Bt), Lilian Lyrics by B. Martinů after C. Goldoni’s Narrator (speaking role), other smaller Nevermore/Nulle (A),Adelaide (A), La Locandiera roles, Boys Choir, 2 Mixed Choirs French libretto G. Ribemont-Dessaignes, Eblouie Barbichette (S), Dinah (S), Halbreich number: 346 Dedication: Paul Sacher,Graf Herbert Otto Teo German translation I.Wenderholm, 10 smaller roles, Choir, Male quartet, Durata: 103’ Performer(s) of premiere: P.Sacher (cond.), Czech translation E. Bezděková. Mixed soloists quartet Place of composition: Nice G. Herbert (direc.), O.Teo (scen.), Halbreich number: 169 Performer(s) of premiere: V.Nosek (cond.), Date of composition: 1954 S.Warfield (Katerina), G. Peterson Durata: 20’ E. Schorm (direc.), L.Vychodil (scen.), Performing forces: 3222-4330-timp.-batt.-archi. (Manolios), Chor des Stadttheaters Zürich, Place of composition: Paris J. Souček (Juste), M. Šafránková (Indolende), Ballet Chor des Stadttheaters Luzern Date of composition: 1928 E.Výmolová (Nulle), J. Škrobánek (Adolphe) Solo roles: Cavaliere di Rippafratta (B), Premiere: 9.6. 1961, Zürich, Switzerland Performing forces: jazz.orch: 0111-sax.alto- Premiere: 16. 6. 1971, Brno, Czech Republic Marquis di Forlimpopoli (B), Count Archive: Wien, Universal Edition, Austria 0220-tenorbanjo-tamt.-pf.-2vl.-1vlc (soli), Archive: Polička, Památník Bohuslava Martinů, d’Albafiorita (T), Mirandolina (S), Ortensia Publisher: Universal Edition,Wien, U. E. altogether 14 musicians, fisarmon. behind Czech Republic and Deianira (S resp.A), Fabrizio (T), 12 766, 1961 the stage Publisher: DILIA, Praha, D. L. 540, 1970, 2000 Valet of Rippafratta (B), Copyright: Universal Edition,Wien Solo roles: Mother (T), Eleonora (S), Satan (T) Copyright: Panton International Praha Performer(s) of premiere: V.Kašlík (cond.), Performer(s) of premiere: V.Nosek (cond.), (ČR, SR – DILIA, Praha), L. Mandaus (direc.), F.Tröster (scen.), L. Ogoun (direc.),V.Štolfa (scen.), A. Landa (choreography), M.Tauberová L. Lesmanová (Mother), J. Jánská (Mirandolina) JULIETTE (THE KEY TO DREAMS), (Eleonora), R.Tuček (Satan) Premiere: 17. 5. 1959, Praha, Czech Republic LYRIC OPERA IN 3 ACTS Premiere: 22.10. 1969, Brno, Czech Republic THE VOICE OF THE FOREST, Archive: Bärenreiter, Kassel, Germany, — Julietta (Snář), lyrická opera o 3 dějstvích Archive: Polička, Památník Bohuslava Martinů, RADIO-OPERA IN 1 ACT Copy of piano score in Bärenreiter, Kassel — Juliette, lyrische Oper in drei Aufzügen Czech Republic — Hlas lesa, rozhlasová opera o 1 dějství Publisher: Bärenreiter, Kassel, BA 3551, 1959 — Juliette (La clé des songes) Publisher: DILIA, Praha, 1982 — Die Stimme des Waldes, Funkoper Copyright: Bärenreiter, Kassel Copyright: Panton International Praha in einem Akt Lyrics by B. Martinů after Georges Neveaux, (ČR, SR: DILIA, Praha) French translation B. Martinů, Libretto by Vítězslav Nezval German translation L. Kaufmann, Halbreich number: 243 THE GREEK PASSION, new version of text A. Březina, D. Bernet, Durata: 37’ OPERA IN 4 ACTS – 1st Version English translation G.Thomsen, THEATRE BEHIND THE GATE, Place of composition: Paris — Řecké pašije, opera o 4 dějstvích – W.Schmolka, D. Pountney. OPERA-BALLET IN 3 ACTS Date of composition: 1935 1. verze Halbreich number: 253 — Divadlo za bránou, opera-balet Performing forces: 2121-2110-timp.-batt.-pf.- — Griechische Passion, Oper in vier Durata: 146’ o 3 dějstvích archi (4432) Aufzügen – erste Fassung Place of composition: Paris — Das Vorstadttheater, opera buffa Solo roles: Bride (S),Young Forester (T), Date of composition: 1937 in drei Aufzügen Hostess (A), 3 Bandits (T,Bt, B), Narrator Libretto written by Martinů after Kazantzakis Performing forces: 3322-4331-timp.+batt.- Dedication: Otakar Jeremiáš novel Christ Recrucified. cmp.-pf.-archi, fisarmon. Lyrics by B. Martinů after Jean Baptist Performer(s) of premiere: O. Jeremiáš (cond.), Halbreich number: 372 I Solo roles: Juliette (S), Michel (T), Gaspard Debureau and Jean-Baptist A. Slavická (Bride), J. Gleich (Huntsman), Durata: 130’ Commissar (T), Man with Helmet (Bt), Molière. M. Šlechtová (Publican) Place of composition: Nice – New York – Man in the window (B), Little Arab (mS or Halbreich number: 251 Premiere: 6. 10. 1935, Praha, Czech Republic Schönenberg – Pratteln – Rom – Nice A), Old Arab (B), other 5 mS, 1 A, 2 T,2 Bt, Durata: 110’ Archive: Praha, Czech Radio Archive, Date of composition: 1956–1957 4 B, 1 speaking role, Mixed Choir I. ballet pantomime, II. and III. opera buffa Czech Republic Performing forces: 3333-4331-2timp.-3batt.- Dedication: Václav Talich Place of composition: Paris Publisher: DILIA, Praha, D. L. 1448, 1965 cemb.-archi Performer(s) of premiere: V.Talich (cond.), Date of composition: 1936 Copyright: DILIA, Praha Solo voice 1: fl.-fisarmon., vl. (on stage) J. Honzl (direc.), F.Muzika (scen.), J. Jenčik Performing forces: 2222-4220-timp.-batt.-xlf.- Solo roles: Katerina (S), Lenio (S), Manolios (choreography), O. Horáková (Juliette) pf.-archi (T),Yannakos (T), Michelis (T), Pannait (T), Premiere: 16. 3. 1938, Praha, Czech Republic Solo roles: Colombine (S), Harlequin (T), Nikolio (T), Grigoris (bBt),Archon (bBt), Archive: Praha, National Theatre Archive, Katushka (mS), Pierot (Bt), Night WHAT MEN LIVE BY, Fotis (Bt), Kostandis (B),Andonis (T), Czech Republic Watchman (B), Magistrate (B), Old man OPERA-PASTORALE IN 1 ACT Dimitrios (Bt), Ladas (speaking role), Publisher: DILIA, Praha, 1947 (B), Hag-exocist (A), Publican (B), Singers, — Čím lidé žijí, opera-pastoral o 1 dějství Narrator (speaking role), other smaller Copyright: DILIA, Praha Dancer and Mixed Choir — Wovon die Menschen leben, Pastoral- roles, Boys Choir, 2 Mixed Choirs Dedication: A. Balatka Oper in einem Aufzug Dedication: Sacher Paul, Graf Herbert Performer(s) of premiere: A. Balatka (cond.), Otto Teo R.Walter (direc.), F.Muzika (scen.), Lyrics by Bohuslav Martinů after Lev Tolstoy’s Performer(s) of premiere: U. Schirmer (cond.), THE SOLDIER AND THE DANCER, M. Figarová (Colombina), E. Gabzdyl The Fairy Tale about the cobbler. D. Pountney (direc.), S. Lazaridis (scen.), COMIC OPERA IN 3 ACTS (Harlequin) Halbreich number: 336 N. Stemme (Katerina), Ch.Ventris — Voják a tanečnice, komická opera Premiere: 20. 9. 1936, Brno, Czech Republic Durata: 40’ (Manolios),A. Clarke (Kostandis), E. Silins o 3 dějstvích Archive: Polička, Památník Bohuslava Martinů, Place of composition: New York (Fotis), E. Ruuttunen (Grigoris),Wiener — Der Soldat und die Tänzerin, Czech Republic Date of composition: 1952 Symfoniker, Moscow Chamber Choir, komische Oper in drei Aufzügen Publisher: DILIA, Praha, D. L. 1151, 1956 Performing forces: 2232-2110-timp.-batt.-pf.- Children Choir of Bregenz Copyright: DILIA, Praha archi (44332-66432) Premiere: 20. 7. 1999, Bregenz, Austria Czech libretto: J. L. Budín after Pseudolus, Solo roles: Martin Avdeyich (Bt), Old farmer Archive: Basel, Paul Sacher Stiftung, comedy of Plautus, German translation (B), Stepanich (B),Woman with a child (S), Switzerland K. Honolka. Old woman (A), Narrator (T), Boy Publisher: Universal Edition,Wien, U. E. Halbreich number: 162 THREE WISHES OR (speaking role), Narrator (T), small choir 31 003, 1998 Durata: 135’ INCONSTANCY OF THE LIFE, Premiere: May, 1953, New York, USA Copyright: Universal Edition,Wien Place of composition: Polička, Paris FILM-OPERA IN 3 ACTS WITH PRELUDE Archive: Polička, Památník Bohuslava Martinů, Date of composition: 1927 AND POSTLUDE Czech Republic Performing forces: 2222-2330-timp.-pf.-archi — Tři přání aneb Vrtkavosti života, filmová Publisher: Boosey & Hawkes, B&H 17358, Solo roles: Simon (Bt), Malina (A), Kalidorus opera o 3 dějstvích s předehrou a dohrou 1953 THE GREEK PASSION, (T), Pseudolus (Bt), Bambula (B), Fenicie — Die drei Wünsche oder Die Wechselfälle Copyright: Boosey & Hawkes, London – OPERA IN 4 ACTS – 2nd Version (S),Aloisie (A), Harpax (T), Cook (T), des Lebens, Film-Oper in drei Aufzügen, NewYork — Řecké pašije, opera o 4 dějstvích – 2.verze other (7 S, 5 T, 1 Bt, 2 B, 6 speaking roles) mit Vor- und Nachspiel — Griechische Passion, Oper in vier Performer(s) of premiere: F.Neumann (cond.), — Les Trois Souhaits our Les vicissitudes Aufzügen – zweite Fassung O. Zítek (direc.), B. Babánek (scen.), A. Pelz de la vie (Kalidorus), Z. Otava (Pseudolus), J. Čihák Libretto written by Martinů after Kazantzakis Premiere: 5.5.1928, Brno, Czech Republic French libretto G. Ribemont-Dessaignes, novel Christ Recrucified. Archive: Polička, Památník Bohuslava Martinů, German translation M. Gammel, Halbreich number: 372 II Czech Republic Czech translation E. Bezděková. Durata: 107’ Publisher: DILIA, Praha, 1966 Halbreich number: 175 Place of composition: Schönenberg – Pratteln Copyright: Panton International Mainz Durata: 135’ Date of composition: 1958–1959 (ČR, SR: DILIA, Praha) Place of composition: Paris Prepared by Lucie Berná & Jana Honzíková d BOHUSLAVMARTINŮNEWSLETTER3)2007 > LIST OF MARTINŮ’S WORKS > Category STAGE WORKS AND FILM MUSIC > Subcategory OPERAS MARTINŮ DAZZLES s— at the Smetana’s Litomyšl 2007 Concert International Opera Festival

THE SMETANA’S Litomyšl International chose the folk texts from the collections from Hradišťan and their choreographer, Opera Festival is the second-oldest music of František Sušil and Karel Jaromír Erben Ladislava Košíková.When the immense festival (after Prague Spring) and at the (in the case of “Carol”). In the orchestra response from the understanding audience same time the biggest “open air” classical Martinů employed two pianos. was not dampened even by a power cut music festival taking place in the Czech and a long pause, I felt that we were Republic. It has been held in the birthplace In musical terms, Bouquet of Flowers linked privileged to have witnessed a miracle. of the founder of Czech national music, up to Špalíček (The Chap-Book, H.214), (Jiří Černý – Hospodářské noviny) Bedřich Smetana, since 1949.The pro- becoming its vocal-instrumental counter- gramme comprises opera productions, part. It is one of the most remarkable concert performances of operas, as well replicas of Czech folklore.The texts set to ON SATURDAY 16 June a scenic collage as gala concerts, oratorios, cantatas and music all have an epical and balladic nature of Leoš Janáček and a cycle of Bohuslav song evenings, i.e. forms dominated by – the ballad of a prisoner in Turkish captivity Martinů’s compositions to folk texts in ONE OF THE APEXES of this year’s vocal art.The festival’s centre is the (Sweetheart Dearer than Family), followed an original dance conception formed the Smetana’s Litomyšl festival was Bohuslav beautiful Litomyšl State Castle, which in by the playfully jocose Koleda (Carol) evening programme in the second court- Martinů’s Bouquet of Flowers in Ladislava 1999 was registered on the list of UNESCO in which Martinů ingeniously integrated yard. Even though Leoš Janáček’s ballet Košíková’s ballet choreography and Photos František Renza Photos František

world cultural heritage sites. The main a children’s choir radiating humour and and Bohuslav Martinů’s Bouquet of Flowers performed by the Zlín Bohuslav Martinů events take place in the castle’s second freshness.The longest and most dramatic are both inspired by folklore, they are Philharmonic Orchestra under the baton courtyard. part is Man and Death – a dialogue very different works. In 1891, when his of Roman Válek.The choreography was between the Human and Death.The story ballet was premiered, Janáček was only custom-made for the festival. On 16 June the audience heard Martinů’s of a human leaving this world is rendered at the beginning of his career, whereas at (Jindřich Bálek, HARMONIE,August 2007) cantata Bouquet of Flowers, H. 260, here in a combination of solo voices and the time of composing Bouquet of Flowers Texts compiled by Lucie Berná and Leoš Janáček’s ballet Rákos Rákoczy. commentary of a mixed chorus. in 1937 Martinů was at the peak of his Specially created for both pieces of the creative strength, with his work being Litomyšl performance was a dance choreo- The work itself, as well as its unusual much weightier.The brilliant musical Leoš Janáček: RÁKOŠ RÁKOCZY graphy and video projection. It concerned staging, including a dance and video performance prepared by Roman Válek Bohuslav Martinů: BOUQUET OF a unique attempt at giving stage form to component, was a great surprise and with the Zlín Bohuslav Martinů Philhar- FLOWERS Martinů’s cantata.The choreographer was profound experience for the audience. monic Orchestra, soloists and the chorus Antonín Stehlík – baritone Ladislava Košíková, the dancers were from We have selected a few reviews: of Ostrava’s Moravian-Silesian National Kateřina Kněžíková – soprano the folk ensemble Hradišťan. Theatre provided a sturdy undercarriage Kamila Ševčíková – mezzosoprano for the dancers from the Hradišťan Tomáš Kořínek – tenor The radio cantata Bouquet of Flowers was (…) YET FATE ULTIMATELY decided ensemble. Ladislava Košíková’s choreo- Adam Plachetka – bass composed in the summer of 1937 and otherwise: the evening gave me an experi- graphy follows the text and story of Hradišťan Dance Group is dedicated to the painter Jan Zrzavý, ence from a premiere of a splendid work. individual parts, as well as their general Holešov Children’s Choir – Moravské děti a friend of Martinů’s during his Paris years. For the first time in my life I experienced meaning. (…) Bohuslav Martinů’s cantata Dana Zapletalová and Lenka Polášková – Martinů wrote this cycle of compositions Bohuslav Martinů (stage performance of clings more to folk ballads and medieval choirmasters to Czech folk texts for soli, mixed choir Bouquet of Flowers) overshadowing Leoš folk plays, making the texts splendidly The Moravian-Silesian Theatre Choir Ostrava and small orchestra on commission for Janáček (arrangement of the ballet Rákos glisten with its original music. Alongside Jurij Galatenko – choirmaster Czech Radio.The cantata consists of eight Rákoczy). I may not be entirely apt to com- a chorus with four soloists, also perform- The Zlín Bohuslav Martinů Philharmonic movements, arranged in pairs, of which pare the young Janáček and the mature ing in the penultimate part of Bouquet of Orchestra each contains one orchestral and one Martinů, yet in the music and songs of Flowers (Carol) is the Holešov Children’s costumes – Eva Jiříkovská orchestral-vocal movement (Overture- Bouquet of Flowers there are so many forms Choir. An original stage form, prepared video art – Tomáš Hrůza Sister Poisoner / Idyll-Cow Girls / Intrada- of love and death, simplicity and sanctity – as a premiere for the Litomyšl festival, light design – Arnošt Janěk Sweetheart Dearer than Family) except and they all sprang to life in the austere supplemented by lights and video projec- choreography Ladislava Košíková in the case of the closing orchestral-vocal and non-formulaic rendition of Moravian tion, gave the work a suggestive shape. director Alena Vaňáková pair Carol – Man and Death. Martinů performers headed by young dancers (Jindřich Bálek, Czech Radio 3 – Vltava) conductor Roman Válek

BOHUSLAVMARTINŮNEWSLETTER3)2007 f with… view— Inter JakubJAKUB HRŮŠAHrůša LUCIE BERNÁ and, primarily, permanent engagements with professional orchestras both in our country and abroad, I no longer have much Since 2005 the Czech conductor time for activities with student ensembles. JAKUB HRŮŠA (1981) has been The main advantage of student orchestras, Music Director of the Zlín Bohuslav in my opinion, is and will for ever remain Martinů Philharmonic Orchestra. the enthusiasm of their members, the fact He studied conducting at the that their relationship with music is not Academy of Performing Arts in tainted by professional concerns that Prague where his teachers included are not among the most joyful ones – Jiří Bělohlávek. Since his graduation apprehensions about, for example, in 2004, for which he was given the earnings, tension between colleagues, opportunity to conduct Suk’s Asrael tiredness (psychic in the worse case) Symphony with the Prague Radio or any type of resignation. Students’ Symphony in the Rudolfinum, Jakub diametrically opposed qualities make it Hrůša has built a strong reputation possible for them to deal with technical in his home country. In addition to shortcomings and intricacies of music his titled positions with the Prague texts at an especially felicific level. I still Philharmonia and the Bohuslav fondly recall many moments when I felt Martinů Philharmonic, he has great joy since I sensed and witnessed conducted all the major Czech absolute engagement of many members orchestras and has also appeared of these orchestras during rehearsals, at the Prague National Theatre. concerts, as well as competitions.

What, in your opinion, is the greatest How did you perceive Martinů’s success a conductor can achieve? music as a student, and how was it received by your classmates? Sorry, but this question is absolutely impossible to answer, as is, for example, I personally: with absolutely natural another that I’m frequently asked: enthusiasm.Above all, at that time I did not Jakub Hrůša Who is your favourite composer? understand what I understand now a little Every artist’s personal success is, I would more, the fact that despite Martinů’s a special, striking penchant for it. Martinů’s symphonies to be too similar to each other. say,“just” the fact that he does not lose genius, his compositions are either music contains a lot of indefinable, Accordingly, he only valued the most his permanent internal inspiration, that magnificent – or merely excellent. I loved irresistible energy. original compositions (most of all Fantaisies within him remains an inner fire inflaming every one of his miniature pieces (how, Symphoniques) – and then those somehow moments of festiveness, that he keeps as a young pianist, I adored his Colombines In 2004 you conducted the Czech otherwise (mostly thematically) captivating. deeming important every, even the from the piano cycle Marionettes) Philharmonic Orchestra for the I remember that he mentioned Memorial slightest, musical (artistic) work. As as much as I did his grand operatic first time. On the occasion, you to Lidice, H. 296. I would add, for instance, regards the everyday, more working level, compositions I knew from gramophone performed The Parables – one of Field Mass, H. 279 or (when it comes to I consider it a success, or rather perhaps records.When in my first year at the Martinů’s major orchestral works. theatre) The Greek Passion. I must say that a life sanctification, if a conductor (artist) Academy of Performing Arts I participated Since 2005 you have been the I personally have never had this impression. finds a permanent path of addressing really in the Prague Spring competition, I chose principal conductor of the Zlín For sure, you can find with, for example, the significantly his colleagues – they first of to play in the second round Martinů’s Bohuslav Martinů Philharmonic symphonies very similar working principles, all – and together with them all those Fantaisies Symphoniques, H. 343. Orchestra. How has your perception but lack of originality simply doesn’t enter who come to encounter art.When it This was the composition (besides some of Martinů’s music changed? into the equation. My perception of comes to the personal level, I am happy Janáček pieces) I perhaps most frequently Martinů’s music has been transforming in when I succeed in harmonically combining listened to when studying at Brno grammar I firmly believe, in the direction of deeper this sense too:The more I encounter the steps connected with my beautiful school. It raised my spirits during breaks understanding! I have already answered a relatively large quantity of literature of vocation with the moments of life that are between biology and chemistry… this question to a certain extent – today (not only) that time, the more I appreciate not directly related to my profession. It is difficult to speak on behalf of my I clearly realise what a qualitative differ- the value and originality of Martinů’s work. Or, if they are and must be related, then classmates.At the grammar school, where ence there is between The Parables, I was extremely gratified by the possibility when I succeed within their framework I did not have many kindred spirits when H.367, The Epic of Gilgamesh, H.351 to perform The Parables with the Czech or through them in also exalting the it comes to musical taste, probably no one and The Greek Passion, H.372 on the Philharmonic Orchestra. I have come to (necessary) more ordinary moments. knew Martinů properly.At the Academy one hand and some of his ballet pieces, terms with the composition and included it was certainly different, but I can’t really concertante (more casual) compositions it in my debut with the BBC Symphony You have great experience of say what my classmates’ real relationship or chamber (more instructive) pieces on Orchestra this February (15. 2.).The English conducting student ensembles – to his music was. Martinů has always the other. If only other composers had so people present, who otherwise highly you work with the Prague Student been played a lot, and will continue to be much spirit even when creating smaller esteem Martinů’s music owing to the long- Orchestra and the Czech Student played – if only for the fact he has a really pieces! time promotion by Czech artists, primarily Orchestra.What is the main virtue wide range of compositions for various Of interest in this regard was my Jiří Bělohlávek, had not encountered The of a student orchestra? instruments and ensembles. experience as assistant to Vladimir Parables before – and they were in raptures. Yet I can mention my peers’ relationship Ashkenazy in the Czech Philharmonic Owing to my work with these two to Martinů. In the Prague Student Orchestra. I think he really esteemed After three years, your name has orchestras, I have gained truly extensive Orchestra we played for a long time his Martinů (and also performed his music returned to the programme of experience in this field – and that gratifies difficult Double Concerto for Two String several times), yet, as he confessed to me, Martinů Days.With the Prague me. My collaboration with them has been Orchestras, Piano and Timpani, H. 271 was hindered by the certain lack of Philharmonia and Brno Czech beautiful.At the present time, however, – and the orchestra members, although diversity of Martinů’s work. For instance, Philharmonic Choir you will perform when my diary contains various stand-in it is so weighty and modern, developed he found, to put it simply, individual Martinů’s cantata Bouquet of Flowers, g BOHUSLAVMARTINŮNEWSLETTER3)2007 view— Inter

H. 260. But let’s return to the concert The composer/conductor relationship back in February. However, I must confess cerning the “situation when it comes to within Bohuslav Martinů Festival could be the theme for a whole book. that getting Martinů’s works into my Martinů”.The fact that to date I have not 2004.The circumstances of your It’s an extremely tense matter – and when programme abroad is not as easy as in the succeeded in getting his work on the engagement were a little unusual… it happens that they bring joy to each case of our older classical composers or programme, as I would like, does not mean other, it is one of the most amazing things Leoš Janáček today. In this respect, Britain that the situation is bad when it comes How else – being a stand-in. However, in the conductor’s profession (and I can is rather exceptional, it yearns for new to performing his music abroad! I must I had thoroughly studied three of the four also imagine it being the same with the pieces – or at least the BBC orchestra again draw your attention to, above all, compositions that were on the programme composer). does. But I hope that over the course of Jiří Bělohlávek, an exemplary Martinů’s (although I had done just one of them with time it will change and I will be able to get “advocate” (in the best sense of the professionals – Dvořák’s Serenade for Wind); Over your brief career you have Martinů on the programme abroad too. word), in whose programmes abroad but when it came to Martinů’s Rhapsody- already had the chance to perform (Recently, to my regret, a promisingly Martinů works figure quite often! Concerto for Viola and Orchestra, H. 337 in opera houses – at the National developing project about my conducting I didn’t even have it at home. So I really had Theatre in Prague you conducted The Greek Passion at Teatro Lirico in In 2005 your recording with the my work cut out to learn it properly within the monodrama Krapp’s Last Tape Cagliari fell through – still for me an Zlín Bohuslav Martinů Philharmonic the single weekend between receiving the by Marcel Mihalovici, a long-time incomprehensible and unpleasant breach Orchestra, which also contains offer and the first rehearsal. But I encoun- friend of Martinů’s, and Leoš of an agreement with an opera house with Martinů’s Suite from the ballet tered two of my beloved composers – Janáček’s The Cunning Little Vixen. which I established contact last autumn The Chap-Book, was released.Which Janáček and Martinů – so I could not Which Martinů opera would you like when I performed with its orchestra of Martinů’s works would you like to have wished anything better for my debut! to perform? The feature-length The Beethoven symphonies.) include in the permanent repertoire The other thing is that they were rather Greek Passion or poetic one-acters However, I have continuously had many of of this orchestra? demanding compositions (and I think such as Tears of the Knife or The Voice his pieces at my concerts at home – so at for the orchestra too – The Parables in of the Forest? What type of opera least I am gathering experience. In recent I would like to continue with other sym- particular). conductor are you? times it has concerned Bouquet of Flowers phonic pieces – for example, Symphonies (which I am now scheduled to perform No.1 and 6 (Fantaisies Symphoniques). I am Bohuslav Martinů had close relation- Definitely The Greek Passion,or The again), The Parables, H. 367, Estampes, also planning to present concertante ship with the conductors who Miracles of Mary, H. 236.Or Ariane, H. 369, Symphony No. 4, H. 305. In this pieces (for violin and piano). I would like premiered his works – Václav Talich, H. 370. I gravitate towards more weighty season I will also conduct Rhapsody- to perform Field Mass.There’s just so Sergei Koussevitsky, Ernest Ansermet, pieces; that’s the way I am… Concerto for Viola and Orchestra, much to choose from! H. 337, Concerto for Oboe, H. 353 and Symphony No. 3, H. 299. Thank you for the interview. n I would like to make a small note con-

LEAMINGTON CZECH MUSIC News— FESTIVAL WEEKEND RICHARD PHILLIPS

DURING THE HOLIDAY weekend of 2–6 May 2008, the Royal Pump Rooms in Leamington Spa, a beautiful town in the centre of England, will have ten concerts of Czech music, with works by Martinů in almost all of them. Artists appearing in the Festival Weekend include the Martinů and Škampa Quartets, Guarneri Piano Trio, Schubert Ensemble of London, Ensemble 360, Jana Nováková and Martin Kasík. Jaroslav Tůma will also give an organ recital in All Saint’s Church. Highlights of the weekend will include also various quintets and sextets by Martinů:

2 May – Piano Quartet, H. 287 (Schubert Ensemble of London) 3 May – String Quartet No. 5, H. 268 (Škampa Quartet) 4 May – String Quintet and String Sextet, H. 224 (Martinů Quartet with members of Škampa Quartet) 5 May – Vigilia, H. 382 and organ transcription of Harpsichord Sonata, H. 368 (Jaroslav Tůma) 5 May – Piano Quintet No. 2, H. 298 (Martinů Quartet with Martin Kasík) 6 May – Bergerettes, H. 275 (Guarneri Piano Trio) The Bohuslav Martinů Festival 2004, Jakub Hrůša with the Czech Philharmonic Orchestra and Isabelle van Keulen (viola) Photo Zdeněk Chrapek This is the fourth festival of Czech music put on in the Royal Pump Rooms in the last fifteen years and there can be no more appropriate building since during World etc.You also collaborate with contem- You have received numerous invita- War Two the Choir of the Czech Free Army, stationed in the Leamington area, used porary composers? How do you view tions to conduct foreign ensembles to rehearse in the elegant assembly Hall there.The conductor was Vilem Tauský, who the composer/conductor relationship? too – have you interpreted Martinů’s had been with Martinů in France when the German invasion of 1940 took place. music with non-Czech orchestras? In the nearby Jephson Gardens is the memorial to the patriots who were stationed I sincerely strive for this collaboration. What, in your opinion, is the situation in Leamington before being parachuted into Czechoslovakia to assassinate Heydrich. I have a circle of composers/peers with like when it comes to performing whom I have already established a profes- Martinů’s works beyond the Czech Full details of the Festival Weekend will be available in February, including special sional (and sometimes human too) Republic? offers of accommodation for those wishing to stay in Leamington. Leamington has personal relationship. Naturally, my task will good connections by train from London (about ninety minutes) and the nearest be to constantly extend this “circle”. I hope I had the most pleasant experience of this airport is Birmingham International (thirty minutes). See www.leamingtonmusic.org I won’t be disappointed in this process! kind with the BBC Symphony Orchestra or call the Festival Director, Richard Phillips on 01926 497000 for more details. n

BOHUSLAVMARTINŮNEWSLETTER3)2007 h aries— THE ORGANIST AND COMPOSER BEDŘICH JANÁČEK Obitu born May 18, 1920 Prague, died June 3, 2007 Lund

Janáček recalls his encountering Martinů summer, however, I will abandon this activity in a text on the origination of Vigilia.1) and will again become a freelancer, so I will They met in Rome in 1956. Martinů worked have more opportunities to also apply modern during the 1956–1957 season at the music at concerts in Sweden and, above all, JANA HŘEBÍKOVÁ American Academy in Rome as composer abroad. Nevertheless, recently (at the end of in residence. At that time, Janáček had two February and in the first half of March) I was organ concerts in Rome. Martinů attended on a tour of Belgium and England. I enclose THE ORGANIST AND COMPOSER both of them and after the second, which a programme from London.” Bedřich Janáček died in Sweden this took place at Pontificio Instituto di Musica June at the age of 87. Bohuslav Martinů Sacra, he examined the console with Martinů intended to compose for Janáček dedicated to him the only composition interest. During their meetings, Janáček several organ “vigilias”. Vigilia refers to the he wrote for solo organ, Vigilia (H. 382). also asked Martinů whether he could evening, night or worship before a great compose a piece for solo organ. holiday of the Christian calendar. However, Bedřich Janáček studied organ with Franjo Martinů only got around to composing the Lučić in Zagreb and Bedřich Antonín For illustration, Janáček sent to Martinů first Vigilia in the spring of 1959, when he Wiedermann at Prague’s Conservatory several contemporary organ compositions and his wife left Schönenberg, Switzerland, and Master School. He began giving inde- by Hindemith, Pepping, Messiaen and to spend a month in Nice. At that time, pendent concerts in 1938 and also regularly Durpé. Martinů replied in a letter dated he left the composition’s conclusion performing within Czech Radio’s Sunday 8July 1958: “Dear friend.You surprised unfinished and after the 87th bar only organ concerts. In August 1948 he emi- me with your present in the form of organ made a note:“da capo”.To the first Vigilia, grated to Sweden, where he worked as an compositions, as well as a detailed description he also sketched the beginning of the organist in a church in Lund. His extensive of technique. I was also surprised by the second Vigilia.Martinů sent Janáček the concert activity included performances in compositions’ relative simplicity. What I have sheet music for assessment, and enclosed churches and concert halls in Scandinavia, Bedřich Janáček always been apprehensive of is the opposite an organ cadenza from his cantata Mount Germany, Switzerland, France, England and since, as you know, the organ sounds like of Three Lights, H. 349 and asked Janáček other European countries, as well as two Jirák’s Preludes and Fugues, op. 77, and an extremely complex instrument. So it to arrange it for the instrument. tours of the United States (1968 and 1970). completed, revised and subsequently encourages me to write something for that Pride of place in his large repertoire was performed at his concerts Bohuslav instrument of yours.” Janáček replied to the first Vigilia with occupied by works of Czech composers Martinů’s Vigilia. As regards composing, enthusiasm and enclosed in his letter a list (J. Zach, F.X. Brixi, B.A.Wiedermann, J. B. he was an autodidact and only began In one of the letters to Martinů, Janáček of revisions. However, at that time Martinů Foerster, R.Týnský, L. Janáček). Under the composing in exile. In his creation he also writes about his concert activity was already seriously ill and, following his baton of Rafael Kubelík, he played on the focused on pieces for solo organ, for (7 April 1959): “During this winter season return to Schönenberg, on 30 May he was recording of Glagolithic Mass for Deutsche which he found major inspiration in I was an organist and chorus-master, first hospitalised in Liestal. In the meantime, Grammophon (1964). He participated in Protestant choral. J. S. Bach was for him here in Hässleholm and from January on Janáček sent Martinů several proposals the arrangements for the release of K. B. the greatest organ composer of them all. in the nearby town of Kristianstad. In the for arrangement of the organ part of

CZECH COMPOSER JINDŘICH FELD born February 19, 1925, died July 8, 2007

IN THEIR MATURITY, composers seldom The lesser the artist and pedagogue, the repeat two-bar units with the same endorse the icons of their youth.They do more overbearingly he behaves and the rhythmic structure. In his opinion, perma- not want to risk being accused of eclecti- more categorical is the advice he gives. nent regularity is “baggage” making cism and dependence on their older idols. A great artist and pedagogue knows that a composition stiff and weakening the Yet the Czech composer Jindřich Feld there is no simple prescription for creation. theme itself, as well as the further championed Bohuslav Martinů until the I was truly impressed by Bohuslav Martinů’s development of the work.Yet how many end of his life and was truly proud of this modesty and positive approach, a collegial compositions drawing upon this Czech professional alliance. He was even willing respect shown to a young composer. His musical tradition suffer from this very to sacrifice a certain part of his life to maxim of “always seeking the good in my academism! Martinů, who himself primarily chairing the Bohuslav Martinů Society. All pupils”,which should apply to every teacher, used syncopation in his creation, above admirers of Martinů’s music owe him a great had a great influence on me in my later all recommended to me a change, a new debt for this.Alongside Stravinsky, Bartók, pedagogic work. However, in his letter rhythmic element, freedom, fantasy – i.e. Honegger and Hindemith, in the 1950s Martinů does not only talk about what he irregularity. I also see in this advice the Martinů was one of Feld’s main icons (his likes, but focuses on criticism too. Naturally, strong influence of French music (and later development took in dodecaphony he gives advice based on his own musical Stravinsky) on Bohuslav Martinů’s thinking. and serialism in his own direction). Hence, feeling, absolutely in accordance with how I recall that in the 1950s it was widely Feld sent to Paris through the violinist he himself composes. And this is the most said that Martinů’s music is like a Czech Ladislav Jásek scores of two of his compo- valuable when it comes to advice.Those dumpling with a French sauce. My response sitions (Quartet No. 2, 1952, and Sonatina who know his music immediately under- Jindřich Feld to this statement has always been: So it is. for Two Violins, 1953) for judgment by stand that his advice could not be any And why not? Without the sauce, the dry Bohuslav Martinů, who promptly replied. different.Yet Martinů also respects differ- tation, etc.When he mentions “creating dumpling would no longer be edible! ent creative techniques, therefore relativis- the theme”, he means its rhythmic-metric In the following interview with Aleš ing his advice in advance, saying that he aspect. I think that at that time it was not What significance did Bohuslav Březina, Director of the Bohuslav Martinů himself does not always adhere to it. paid sufficient attention to at Prague’s Martinů’s letter have for your Institute, Jindřich Feld talks about his conservatory and the Academy of creative work? correspondence with Bohuslav Martinů In his comments, Martinů pays Performing Arts, despite the fact that it Really immense, already then, forty years (letter dated 1 July 1955). greatest attention to work with concerns a primary constituent, often ago. And today I see it in the same way rhythm. decisive for the overall construction of too. In a very stimulating manner, he What do you consider the main Yes,Martinů does not write anything a music composition. Of course, Martinů touched on the very problems I consid- feature of Martinů’s letter? about melodic line, harmony, instrumen- was right when he advised me not to ered, and still consider, fundamental. j BOHUSLAVMARTINŮNEWSLETTER3)2007 GUY ERISMANN aries— born March 24, 1923, Obitu left music lovers September 6, 2007 the cantata Mount of Three Lights,which he also considered well written for the instrument. PATRICE CHEVY

Following the death of Bohuslav Martinů context of Guy’s actions, and that the (28. 8. 1959), Charlotte Martinů granted GUY HAD A GREAT professional life in preparation of the 50th anniversary had Janáček consent to completing the first the institutions of French Radio, where in to be the first objective of Mouvement Vigilia and preparing it for publication. particular he led the musical programmes Janáček. He thought Janáček has now As Janáček states in his memoirs, he of France-Culture, a radio devoted to the reached the status of major composer in finished the last part of Vigilia (19 bars) in best of cultural tendencies. France (with an appreciable place in Opera September 1962, revised the composition, He also directed French radio contribu- Bastille repertoire), and he had a leading i.e. elaborated the dynamic, agogic and tion to the Avignon Festival, where many part in this success. registration, and for the publication wrote works were created (about 50). a preface with a list of all his alterations to Now, after Guy’s death, I remember my the score.The composition was published After 1988, he devoted all his efforts to last private conversation in March this by Max Eschig in Paris in 1965. Janáček, create a unique corpus of biographies year, and also the board meeting later however, points out that the first print of Czech composers, in particular the when he was desperately eager to have contains a host of errors, thus only the “tetralogy” Smetana, Dvořák, Janáček, a successor for the Mouvement he had second edition (1987), which he revised, Martinů. created. He was very happy to achieve this was error-free.The autograph and goal as the pianist Jean-François Ballèvre facsimile of Vigilia, including the attached He founded the “Mouvement Janáček” in accepted the challenge to be the next letter with Janáček’s manuscript, are France to promote the music of the great President. deposited in the PBM archives. n composer, but from the beginning, it was Guy Erismann the promotion of Czech music, the same He was certainly aware that his illness was way Dvořák society is currently working. Guy was awarded the highest distinctions very serious, but none of us was prepared from French authorities, as well as the to the sudden degradation. Guy’s incred- 1) Bedřich Janáček: Vyprávění Bedřicha Janáčka o tom, The biographies he has written are the Czech medal “Artis Bohemiae Amicis”. ible energy, passion, should be an jak vznikla “Vigilia” pro varhany od Bohuslava Martinů most comprehensive in French. But, more He was of course the best bridge between inspiration to all of us, lovers of Czech (Bedřich Janáček recounts the origination of Bohuslav important, they are works of a poet, musical cultures of both countries. No music, Martinů in particular. Martinů’s Vigilia for organ).The sheet with text is a lover of this music. Guy’s biographies doubt he liked very much the proactive It is a terrible loss to Czech music lovers attached to the correspondence between Bohuslav n Martinů and Bedřich Janáček, a copy is deposited have a unique signature. His Martinů actions of the Centre Tchèque in Paris. in both countries. at the Bohuslav Martinů Institute. “Un musicien à l’éveil des sources” (reference to the Bureš cantatas), is the He clearly said that Martinů was his next best possible illustration of his great “crusade” for Czech music in France, personality. which can be very well understood in the

EDITORIAL BOARD Conference— OF THE BOHUSLAV MARTINŮ COMPLETE EDITION

Although later on I accepted a host of WITH FINANCIAL SUPPORT other stimulations from modern music, from the Czech Science Foun- I have always considered the basic thing dation, the fifth session of the the sense for the compositional century international Editorial Board of headed by Martinů. the Bohuslav Martinů Complete Edition (BMCE) took place at I respected Bohuslav Martinů’s wish and the Bohuslav Martinů Institute did not tell anyone of the letter, under- between 2 and 4 June 2007. Its standing his “I don’t want it to become participants were acquainted a habit, I really don’t have the time for it”. with the activities and results And, unfortunately, in 1955 he did not of the research carried out at have time ahead of him – I only regret the BM Institute over the past that meeting him in person was out of the year (donated autographs / question at that time.And I am pleased publications / correspondence that in his commentary on a recording of on-line / the Martinů Revisited my compositions the French musicologist 2009 project).They discussed Pierre-E. Barbier says that I have inte- the detailed editorial plan and grated into my aesthetic some principles created a list of volumes for the Giselher Schubert From the left Lucie Berná, Sharon Choa, Paul Silverthorne specific to French culture, and calls me first 10 years – it was updated and Annette Thein Photos Lucie Berná / Petr Procházka an “heir to Martinů”,“who has found and divided into three phases the concertante vein of his compatriot”, with 18 volumes in total. Christopher Sharon Choa (University of East Anglia, Bergmannová from the Bohuslav Martinů “freedom of melodic invention” and Hogwood introduced the C. P.E. Bach Norwich) presented the editorial issues Institute introduced a volume of early a “baroque largesse worthy of his prede- Guidelines and on the basis of his of Symphony No. 4, H. 305 and Paul orchestral works for the first time. n n cessor”. recommendation two versions of the Silverthorne (first viola player of the More information: www.martinu.cz guidelines were created: Editorial London Symphony Orchestra and The project is coofinanced by Excerpted from Bohuslav Martinů Society News, Guidelines for editors’ internal use and Professor at the Royal Academy of Music) issue No. 30, 2007 a reduced version for the public – familiarised those present with the Editorial Principles for the Bohuslav source situation and editorial problems Aleš Březina / Lucie Berná Martinů Complete Edition. Editors from pertaining to Rhapsody-Concerto for abroad were also present at the session – Viola and Orchestra, H. 337. Sandra

BOHUSLAVMARTINŮNEWSLETTER3)2007 k CONCERTS 19 January 2008 / 10.00 am / rehearsal 26 and 27 March 2008 19 January 2008 / 7.00 pm / premiere • Grosses Festspielhaus, Salzburg,Austria – 24 December 2007 • Philharmonie München, The Frescoes of Piero della Francesca, ents Germany H. 352 Ev • Oji Hall,Tokyo, Japan http://www.mphil.de/mphil/de/ Conductor: Adrian Leaper Partita (Suite No. 1) The Frescoes of Piero della Mozarteum Orchester Salzburg for String Orchestra, H. 212 Francesca, H. 352 Limato Chamber Ensemble Conductor: Markus Poschner 27 & 28 March 2008 / 7.30 pm Münchner Philharmoniker HEATH QUARTET,UK • Janáček Theatre, Brno, CZ 20 January 2008 Rhapsody-Concerto for Viola OPERAS String Quartet No. 2, H. 150 and Orchestra, H. 337 • Philharmonie München, Germany BALLETS 12 January 2008 / 7.30 pm Conductor: Jakub Hrůša The Frescoes of Piero della Francesca, H. 352 Antoine Tamestit (viola) Conductor: Markus Poschner 20 January 2008 • Holland Concerts, South Holland Centre, Brno Philharmonic Münchner Philharmoniker 24 February 2008 Spalding 24 March 2008 8 April 2008 / 7.30 pm 11 February 2008 / 7.30 pm 1 April 2008 17 January 2008 / 7.30 pm 11 April 2008 • Dvořák Hall, Rudolfinum, Prague, CZ • Salon Philharmonia, Krocínova 1, Prague, CZ 13 April 2008 • Grimsby Concert Society, Symphony No. 6 (Fantasies Symphoniques), Grimsby Central Hall, Grimsby String Trio No.1,H.136 H. 343 Hana Roušarová (violin) • Opernhaus Zürich, Schweiz Conductor: Vladimír Válek Dagmar Mašková (viola) www.opernhaus.ch 24 January 2008 / 7.30 pm Prague Radio Symphony Orchestra Sylva Jablonská (cello) ballet Before Nightfall, • North Cumbria Recitals, Carlisle 21 April 2008 with music: Double Concerto 27 February 2008 / 2.00 pm forTwo String Orchestras, 26 January 2008 / 8.00 pm • Rudolfinum, Prague CZ Piano andTimpani, H. 271 • Llandaff Cathedral,The Cathedral Green, Concerto for String Quartet Choreographer: Nils Christe • Edinburgh Society of, 3 Belford Road, Llandaff, Cardiff, Wales, UK and Orchestra, H. 207 Edinburgh http://www.bbc.co.uk/wales Talich Quartet 20 & 31 January 2008 / 7.00 pm BBC National Orchestra of Wales Conductor: Kaspar Zehnder 27 January 2008 / 3.00 pm Cello Concerto No. 2, H.304 Prague Chamber Orchestra • The Estates Theatre, Prague, CZ Conductor: Grant Llewellyn Kitchen Revue, H. 161 • Dunblane Cathedral Arts Guild, Danjulo Ishizaka (cello) Dance Conservatory Prague Dunblane Cathedral, Dunblane, Stirling 16 May 2008 / 8.00 pm Choreographer: Jiří Srnec 12 March 2008 28 January 2008 / 7.30 pm • Opéra, Strasbourg, France 6 & 14 March 2008 / 7.00 pm • Rudolfinum, Prague, CZ Cinq pièces brèves, H. 193 14 April 2008 / 7.00 pm • Aberdeen Chamber Music Club, Bergerettes, H. 275 Le Dumky Trio Cowdray Hall, Aberdeen Puella Trio • The National Theatre, 18 May 2008 / 6.00 pm 29 January 2008 / 7.30 pm Prague, CZ 15 March 2008 / 2 and 8.15 pm www.narodni-divadlo.cz • Sendesaal, Frankfurt/Main, Germany • Pollock House, Glasgow The Greek Passion, H. 372 II • Solothurn, Switzerland Quartet for Clarinet, French Horn, Conductor: Zbyněk Müller The Revolt, ballet sketch, H. 151 Violoncello and Side-Drum, H. 139 Director: Jiří Nekvasil Conductor: George Vlaiculescu Ulrich Büsing (clarinet) 13 & 15 January 2008 Stadtorchester Solothurn Gerda Wind-Sperlich (horn), 22 March 2008 http://www.stadtorchester-solothurn.ch Daria Balashova (cello), • Allerheiligen Hofkirche, München, Andreas Hepp (side-drum) • Volkstheater, Großes Haus, Germany 25 March 2008 Rostock, Germany Sextet for Piano This is only a selection of Martinů performances Who is the Most Powerful and Wind Instruments, H. 174 • Rudolfinum, Prague, CZ all over the world. Please, help us to compile the in the World? ballet comedy, KKISS-Quintett des Bayerischen Sonata for Violin and Piano No. 1, H. 182 concert calendar; inform us about events involving H. 133 (national premiere) Staatsorchesters Bohumil Kotmel (violin) Martinů’s music! Conductor: Christian Hammer Irina Puryshinskaja (piano) Jiří Kollert (piano)

18 th CONGRESS OF THE INTERNATIONAL The congress was supplemented by Conference a number of concerts, sightseeing tours —MUSICOLOGICAL SOCIETY IN ZURICH of monuments in Zurich and other Swiss cities with music history significance, visits ALEŠ BŘEZINA their lectures in parallel, sometimes up to editions were included in the “Institutes, to eminent institutions such as, for exam- 16 simultaneously. Fortunately, the number Societies & Research Projects” section. ple, Basel’s Paul Sacher Foundation, the of visitors was even higher, with their In addition to my Martinů presentation, Museum of Musical Instruments and Schola THE INTERNATIONAL Musicological interests being so diverse that few lecturers individual projects were introduced by, for Cantorum. In addition, there was also the Society originated in 1927 in Basel. could complain of there being empty seats. example, Jarmila Gabrielová (New Dvořák Complete Critical Editions exhibition and Between 10 and 15 July 2007 Zurich Every day opened with a keynote lecture Complete Works Edition), Daniela Philippi a number of exhibitions of individual music hosted its 18th congress, organised by the given by a prominent personality signifi- (Gluck Complete Edition), Peter Jost publishers.Within the congress, the com- Institute of Musicology of Zurich Univer- cantly transcending the borders of his/her (Richard Wagner Gesamtausgabe), Susanne pletion of the new revised edition of the sity headed by Hans-Joachim Hinrichsen specialisation. I had the opportunity to Schaal-Gotthard (Paul Hindemith Institute “Musik in Geschichte und Gegenwart” and Laurenz Lütteken. Immediately in their listen to some of them. I was particularly Frankfurt), Michael Kube (New Schubert encyclopaedia at Bärenreiter was cele- introductory speeches, they drew attention intrigued by Ludwig Finscher’s lecture Edition) and Ludwig Finscher (Triosonata. brated. On this occasion, Leonhard Scheuch to two momentous jubilees – the 80th titled “Was heisst und zu welchem Ende Catalogue raisonnée).The latter project, drew attention to another two extensive anniversary of the International Musico- studiert man musikalische Gattungs- currently being launched, is financed from projects of his publishing house that are logical Society and the 50th anniversary geschichte?” [What is the history of musical the money Ludwig Finscher received nearing completion: complete critical of granting emeritus status to one of its genres and for what purpose do we study together with the Balzan-Preis 2006 honour editions of the works of J. S. Bach and W. A. most famous members, the composer them?] (a historic first for a musicologist) on con- Mozart. According to Mr Scheuch, they Paul Hindemith. I had the chance to attend The initial lectures were followed by dition that he would invest it in a research have been superseded by two new projects: the congress and present the Bohuslav Symposia & Free Paper Groups, which project. As regards other thematic groups, the New Dvořák Complete Works Edition Martinů Complete Edition project. were divided into the following sections: I was captivated by the extensive “Wagner and the Bohuslav Martinů Complete Edition. Events of this type afford to musicologists I. From Antiquity to Renaissance, II. 17th & and Zurich” section, one extremely The gala event symbolically concluded in a precious opportunity to feel that their 18th Centuries, III. 19th Century, IV.20th popular with the audience, and the no less the Swiss premiere of Bohuslav Martinů’s branch is great and significant. Several Century till Today,V.Genres & National fascinating subsection “Implicit musical String Trio No.1, H.136 performed by hundred participants from all over the Traditions,VI.Theory & Methods, and VII. poetic in the operas of Paul Hindemith members of the young German ensemble world arrived at the congress and gave Interdisciplinary Perspectives. Complete in the music historical context”. casalQUARTETT. n l BOHUSLAVMARTINŮNEWSLETTER3)2007 NEW CDs & DVD CDs–– s New ––

Jaroslav Motlík Martinů, Prokofiev Viola Sergey Prokofiev: Symphony-Concerto Johannes Brahms: Sonata in F minor in E minor for Cello and Orchestra, Martinů: Complete for Viola and Piano, Op. 120, No. 1 DVD The Greek Passion Op. 125 Ladislav Vycpálek: Suita for Viola Bohuslav Martinů: Concerto No. 2 Piano Music, Vol. 3 Solo, Op. 21 Bohuslav Martinů: The Greek Passion, for Cello and Orchestra, H. 304 Igor Stravinsky: Elegy for Viola Solo H. 372/II Michal Kaňka – cello Fantasy and Toccata,H. 281 Bohuslav Martinů: Rhapsody-Concerto Tomáš Šimerda – director, screenplay Vladimír Válek – conductor Piano Sonata, H. 350 for Viola and Orchestra, H. 337 Sir Charles Mackerras – conductor Prague Radio Symphony Orchestra Etudes and Polkas, H. 308 Jaroslav Motlík – viola Brno Philharmonic Orchestra Recorded in 1999 and 2005 Three Czech Dances, H. 154 Květa Novotná – piano Soloists of the Welsh National Opera, Radioservis, DDD, CR0368-2, 2007 Giorgio Koukl – piano Czech Philharmonic Orchestra Cardiff Recorded in 2006 / Naxos, DDD, 8.557919, 2007 Zdeněk Košler – conductor Prague Philharmonic Choir Recorded in 1961, 1973, 1979, 1993 Kühn Children’s Choir ArteS MON, AS 723-2, 2007 Recorded in 1981, TV film from 1999 Supraphon Music, SU 7014-9, 2007

THE HYPERION/ MATOUŠEK SERIES

GREGORY TERIAN

READERS will be aware of the difficulties which have beset Bohuslav Matoušek’s admirable project to record all the concerto works by Martinů with violin and orchestra. Happily matters have now ly been resolved and the first CD in the series has now appeared in the UK (Hyperion CDA 67671). It contains the Concerto for Flute,Violin and Orchestra, H. 252 (1936) where Matoušek is joined by the flautist Janne Thomsen, the Duo Concertante for Two Violins and Orchestra, H. 264 (1937) and all Martinu devotees will be grateful with Regis Pasquier and the Concerto for his enterprise in bringing us these fine forTwo Violins and Orchestra, H. 329 performances. (1950) with Jennifer Koh.The Czech Philharmonic Orchestra is conducted The next disc in the series is due to be by Christopher Hogwood. released in January and will include the first recording on CD of the Concerto This is a first rate product in every respect for Piano,Violin and Orchestra, H. 342. with exemplary performances from the The remaining issues will follow during soloists, spirited support from the con- 2008. n ductor and orchestra, all complemented by fine sound.The two concertos find Martinů at his most appealing and cannot fail to lift the spirits. I understand that all concerned with this project are delighted > CZECH MUSIC QUARTERLY with the results. No. 3/2007: In this volume on pp 36–47 you can find very nice article “Music for Ted Perry, the founder of Hyperion me is the idea of light. A view of the Records, was a great Martinů enthusiast. life and music of Bohuslav Martinů.” His son Simon has followed the tradition by musicologist Lucie Berná.

BOHUSLAVMARTINŮNEWSLETTER3)2007 ; THE BOHUSLAV MARTINŮ FOUNDATION, IN ASSOCIATION WITH THE BOHUSLAV MARTINŮ INSTITUTE, ACADEMY OF PERFORMING ARTS IN PRAGUE, INSTITUT FRANÇAIS DE PRAGUE, PRAGUE PHILHARMONIC b AND CZECH PHILHARMONIC ORCHESTRA, TH PRESENTS THE 13 ANNUAL FESTIVAL ]

BohuslavMartinů 3—15 December 2OO7 PRAGUE Days 3 Dec 2007 7.30 pm / Martinů Hall, Academy of Performing Arts, Malostranské nám.13, Prague 1 1O Dec 2007 7.30 pm / Rudolfinum, Dvořák Hall, Nám. Jana Palacha, Prague 1 Concert of Prize-winners Concert Serie of the Prague Philharmonia 8 from the 2007 Martinů Foundation Competition in the Piano Category PRAGUE PHILHARMONIA BRNO CZECH PHILHARMONIC CHOIR 4 Dec 2007 7.30 pm / Martinů Hall, Academy of Performing Arts, Malostranské nám.13, Prague 1 conductor (Canada) JAKUB HRŮŠA THE KINTON–ANAGNOSON PIANO DUO Martinů Brahms Martinů Mozart Stravinskij Lutosławski Dvořák Gershwin

Dec 2007 7.30 pm / Rudolfinum, Dvořák Hall, Nám. Jana Palacha, Prague 1 Dec 2007 7.30 pm / Gallery, Academy of Performing Arts, Malostranské nám.13, Prague 1 14+15 5 Closing concert HOMAGE TO ZDENĚK ZOUHAR (born 1927) 1 THE BRNO ACADEMIC CHOIR THE CZECH PHILHARMONIC ORCHESTRA JAROSLAVA PĚCHOČOVÁ piano JAROSLAV KYZLINK conductor / VLADIMÍR CHMELO baritone Martinů Zouhar JIŘÍ BĚLOHLÁVEK conductor Martinů Dvořák 9 7 Dec 2007 7.30 pm / Pálffy Palace, Valdštejnská 158/14, Prague 1 • TICKETS FOR THE CONCERTS ON 3|4|5|7 DECEMBER WILL BE ON SALE ONE HOUR BEFORE THE CONCERT In association with the Institute Français de Prague Reservations: [email protected] (The Bohuslav Martinů Institute) | price: CZK 50/150 HOMAGE TO GUY ERISMANN (born 1923, died 2007) • Tickets for the concert on 10 December will be on sale at the Czech Philharmonic box office one hour before the concert (Address: Rudolfinum, Nám. Jana Palacha) | Reservations: tel.: +420 224 232 488 | price: CZK 100/400 LE DUMKYTRIO (France) / THE SMETANA TRIO • Tickets for the concerts on 14 and 15 December will be on sale at the Czech Philharmonic box office Martinů Smetana Fauré (Address: Rudofinum, Nám. Jana Palacha) | price: CZK 100/600 | tel.: +420 227 059 227 | www.ceskafilharmonie.cz

The concert programme is subject to change www.martinu.cz 3 / 2 + Management of the festival: The Bohuslav Martinů Institute | tel.: +420 257 31 31 04 | Moreinformation: [email protected]