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

MAY—AUGUST 2007 / VOL.VII / NO.2

Opera ances rform Pe ’s artinů ith M ence w spond ar Corre Zouh deněk Z Sport tinů & Mar NTS & EVE NEWS OOKS NEW B Ds NEW C ts– Conten VOL. VII / NO.2 MAY—AUGUST 2007

e WelcomE —NEWS FROM POLIČKA —HISTORICAL RECORDING —THE BOHUSLAV MARTINŮ DAYS —NEW CONTRACT —INTERNATIONAL MARTINŮ CIRCLE r JULIETTE IN GÖRLITZ • PETR VEBER, GÜNTER THIELE

t Operas / News • EVA VELICKÁ —MARTINŮ ENSEMBLE FROM SPAIN

y ConcertS / News —MARTINŮ FEST IN POLIČKA • LUCIE BERNÁ —BOHUSLAV MARTINŮ QUINTETS

u ConcertS / News A CONCERT BY THE APOSIOPÉE ENSEMBLE • GUY ERISMANN —FORTHCOMING CD h Interview WITH… JIŘÍ KOLLERT i Letters • EVA VELICKÁ DEAR FRIEND ZOUHAR: BOHUSLAV MARTINŮ’S LETTERS TO ZDENĚK ZOUHAR 1949–1959 j NewBooK • VÍT ZOUHAR MILOŠ ŠAFRÁNEK: ENCOUNTER AFTER FIFTY YEARS s News • ALEŠ BŘEZINA MARTINŮ REVISITED 2009 BUDAPEST SPRING FESTIVAL l Events / News • MARTINA FIALKOVÁ d ResearcH 2) New CDs &Books A ‘SPORTSMAN ’? MARTINŮ, SPORT & SOKOL y • ANTHONY BATEMAN Bohuslav Martinů in Alassio, Italy 1952 © PBM me– b Welco

THE BOHUSLAV MARTINŮ NEWS FROM POLIČKA INTERNATIONAL NEWSLETTER is published by the ON SATURDAY 14 April the traditional Bohuslav Martinů Foundation in collaboration MARTINŮ CIRCLE spring exhibition dedicated to Bohuslav with the Bohuslav Martinů Institute in Prague Martinů was opened in the Municipal Members receive the illustrated Bohuslav EDITORS Museum and Gallery in Polička. It will run Martinů Newsletter published three times Zoja Seyčková until 28 October 2007.The exhibition each year plus a special limited edition CD. Jindra Havlíčková usually focuses on a certain part of the The IMC is supported by the Bohuslav Lucie Berná composer’s work or life.This year’s is Martinů Foundation and Bohuslav Martinů TRANSLATION special in that it replaces the permanent Institute in Prague Martinů display, which was closed last Composer’s native room in the tower Hilda Hearne year due to the museum’s extensive of the St. James Church in Polička MEMBERSHIP PHOTOGRAPHS reconstruction. Gala opening of the AND SUBSCRIPTION The Bohuslav Martinů Foundation’s and Institute’s museum is planned for 2009, the year marking the fiftieth anniversary of Bohuslav INFORMATION archive, collections of the Municipal Museum – Martinů’s death. Since the museum is located in the building of the former school Bohuslav Martinů Memorial in Polička, attended by the young Martinů, in addition to a new permanent display it will also DUE TO THE STEEP RISE OF THE Anna Fárová’s archive, Zdeněk Zouhar’s archive comprise a reconstructed classroom in the style of the early 20th century. CZECH POST SERVICE PRICES we had to increase the IMC GRAPHIC DESIGN The short-term exhibition will guide its visitors through the composer’s childhood spent in the church tower, his studies in Prague, stays in and America, return to subscription. Many thanks to all David E. Cígler Europe, and besides his fascinating fate it will, at least partially, acquaint them with his IMC members for understanding. PRINTING extensive oeuvre. All the material on display comes from the museum’s archives and YEARLY SUBSCRIPTION VIAPRINT includes music autographs, correspondence, a host of photographs, set designs, as well • For individuals: as Martinů’s witty self-caricatures and documentation about performance of his works PRICE 20 Euro / 25 USD / £ 14 UK at the present time. + 15 Euro / 20 USD / £ 10 UK postage CZK 50 (includes 3 issues of the BM Newsletter The Bohuslav Martinů Newsletter and a non-commercial CD recording is published three times a year. HISTORICAL RECORDING from the Bohuslav Martinů Days Festival COVER PHOTO WE HAVE acquired from Czech Radio Brno’s archives a unique recording of Bohuslav in Prague) Bohuslav and Charlotte Martinů in Cassis, France, Martinů’s Tears of the Knife, H. 169.The composer wrote this, his second, • For companies: 80 Euro / 100 USD June 1952 (the shadow belongs to the photographer opera in 1928 in Paris. However, it was only prepared and performed forty years later + 30 Euro / 50 USD postage – painter Rudolf Kundera) ©PBM in Brno under the baton of the conductor Václav Nosek, who also premiered in Brno (Subscription includes 10 copies of each EDITORIAL OFFICE another of Martinů’s avant-garde operas, Three Wishes or Inconstancy of the Life, issue of the BM Newsletter and three copies of the non-commercial CD The Bohuslav Martinů Institute H. 175 from 1929.The radio recording of Tears of the Knife was made in 1969, with recording from the Bohuslav Martinů Náměstí Kinských 3 stellar performances by L. Lesmanová (Mother), J. Jánská (Eleonora) and R.Tuček 150 00 Praha 5, Czech Republic (Satan).Václav Nosek conducts here the Orchestra of the Janáček Opera in Brno. Days Festival) tel.: +420 257 313 104, +420 257 320 076 fax: +420 257 323 761 AS A BONUS e-mail: [email protected] (and while www.martinu.cz THE BOHUSLAV MARTINŮ DAYS 2007 stocks last), > 3 December 2007 / Martinů Hall, Academy of Performing Arts, Prague subscribers ISSN 1214-6234 Concert of prize-winners from the 2007 Martinů Foundation Competition in the for 2007 will category of piano receive > a special 2CD 4 December / Martinů Hall, Academy of Performing Arts, Prague of Martinů’s The Kinton-Anagnoson Piano Duo „The Greek Martinů, Mozart, Stravinsky, Lutoslawski, Dvořák, Gershwin Passion“ in the 2006 National > 5 December / Gallery, Academy of Performing Arts, Prague Theatre Prague production HOMAGE TO ZDENĚK ZOUHAR conducted by Jiří Bělohlávek. Ensembles and artists to be specified. / Conductor Jaroslav Kyzlink Martinů, Zouhar For further details and for a free copy of the magazine – e-mail: THE PREVIOUS ISSUE > 14 & 15 December 2007 / Dvořák Hall, Rudolfinum, Prague [email protected] CLOSING CONCERT (Bohuslav Martinů Institute, Náměstí The Czech Philharmonic Orchestra / Conductor Jiří Bělohlávek Kinských 3, 150 00 Praha 5) Martinů, Hindemith Concert programme is subject to change Gregory Terian – UK members only, MUNICIPAL MUSEUM — For more information contact [email protected] / www.martinu.cz tel.: 01625 523326 BOHUSLAV MARTINŮ Mari Tokuda – members in , MEMORIAL IN POLIČKA e-mail: [email protected] OFFERS short-term exhibitions dedicated to the life and work of THE BOHUSLAV MARTINŮ COMPLETE EDITION THE IMC CORDIALLY B. Martinů, a guided tour to Martinů’s ON THE 7th OF JUNE a contract was signed between WELCOMES THE NEW MEMBERS: birthplace in the St. James church The Bohuslav Martinů Foundation, on the one hand, and • Dr. Mark V.Sanderford, USA tower and for registered researchers b Bärenreiter-Verlag and Editio Bärenreiter Praha, on the other. • Rodney Martin, Luxembourg archive materials concerning Martinů. The subject of the contract is The Bohuslav Martinů • Jonathan Burton, UK Further information available at Complete Edition which will be edited by the Martinů Institute in Prague.The contract • Rodney Hughes, UK www.muzeum.policka.net has been signed after long negotiations and ensures the conditions regarding the • The Royal Scottish Academy of Music, UK and www.policka-mesto.cz publication and organisation of the edition.The Martinů Complete Edition will be • Prof. Pamela Howard, UK published in more then 100 volumes in over 50 years starting in 2009.

BOHUSLAVMARTINŮNEWSLETTER2)2007 e s— Opera Juliette IN

PETR VEBER the stage director framed the production of individual characters, while, on the GÜNTER THIELE in a film sequence and a verbal instruction contrary, Act Three in a suggestively about the law, dreams and cogitation and implemented “office of dreams” most THE THEATRE IN GÖRLITZ in the when he had the (somewhat trite) idea drew near to the mentioned Kafkaesque CONSIDERING the not so enthusiastic eastern part of the former East Germany of letting a modern omnipresent security Prague.The stage director accentuated opinions about some earlier productions is by no means a large stage, yet judging by camera “oversee” everything. the character of the omnipotent clerk, of Juliette, or the Key to Dreams, H. 253, this season’s programme and the resulting a little ironic, and by means of a red light in Germany, (see for instance Harry form of the most recent of the series of The stage director perhaps most flickering during the main hero’s repeated Halbreich’s book), it was with some performances of Martinů’s Juliette, or the departed from the original notions when harrowing attempts at penetrating back trepidation I entered the Görlitz Theatre, Key to Dreams, H. 253, (30 March) it it comes to the conception of the title to the world of dreams, he managed to and my misgivings were not alleviated either possesses a healthily ambitious ensemble. character herself.The Juliette rendered escalate the entire scene into a dramatic by the directors introduction before the Alongside Juliette and several other by the soprano Yvonne Reich was very apex. Subsequently, in the conclusion he actual performance nor the information operas, this season’s programme newly specific, dominant, dressed in bright red – managed to logically express the story’s that both the main characters were slightly contains The Bartered Bride too.This no seductive French phantom but an return to the starting point. indisposed. I did not understand then, or do Photos by Karen Stuke Karen Photos by

Juliette (Yvonne Reich) Little Arab (Patricia Bänch) and Michel (Marc Horus)

doesn’t necessarily reflect a major expressionistically unkind and aggressive The production was built around the so now, what new light the simultaneous gravitation towards Czech culture (after character from the German cultural tenor Marc Horus in the role of the reading and screening of a film of Kafka’s all, the town is closer to Poland than space. In singing terms, the role came off seeking, uncomprehending, desiring, naive parable ”Vor dem Gesetz” could cast over North Bohemia), but rather the fact that nicely within this conception’s intentions. and suffering Michel.This character doesn’t Martinů’s masterpiece.To my mind this the dramaturgy knows what ranks among Just like this conception, disappointing leave the stage.The young singer with exposure before the actual opera was only the cornerstones of the European comic too was the manner in which the stage a nice timbre rendered the role with confusing.Together with a rather cluttered repertoire (Smetana) and what can be an director took hold of the second act of sensitivity and adroit technique, lyrically, stage and an orchestra that at times interesting enrichment from among the the opera.Although the orchestra – the convincingly. He added to the mix sounded more like Alban Berg than Martinů, rarely played or internationally discovered New Lusatian Philharmonic – admirably psychologically novel and credible acting the first hour or so was indeed a rather titles (Martinů). mastered Bohuslav Martinů’s music, and in a decisive manner helped create – mixed blessing. with which it must have had zero notwithstanding all the reservations to the I was torn between admiration for the The stage director Klaus Arauner experience, the second act with the work’s Kafkaesque conception – a uniform ambitious undertaking and dismay at the successfully conceived the dreamy magic scene in the forest was owing to and to a certain extent phantasmic and actual result most of the time.After the surrealistic work for last year’s autumn the stage director too perfunctory and intellectually stimulating performance. intermission proceedings improved by and premiere in a comprehensively unified not entirely satisfactory in musical terms. Naturally, in musical terms it would have by, both musically and conceptually. Already manner, however, significantly differently For example, the magical, poetic juncture been necessary to give preference to in the climactic meeting between Juliette from the expected and perhaps even with hunting-horns or the music around a really symphonic Juliette, with all the and Michel in the second act the perform- logical and usual lyrical anchoring. He the words about echo even sounded attendant dynamic nuances; however, the ance caught fire. And in the office of dreams primarily didn’t resist the alluring fusion lacklustre, as if unnoticed or under- structure of the orchestra in Görlitz does with its imprisoned inhabitants of perpetual of the modern work by the inter-war estimated by the conductor Eckerhard not allow for such munificence.Yet the dreamers I was finally won over.Their silent “Prague” composer with Kafkaesque Stier, and consequently, was a wasted evening’s musical level was essentially agony made the last act appear as something poetics which may be from the same opportunity. admirable. entirely different from previous productions period too, yet, in spite of a certain affinity, I have seen; both terrifying and convincing. it rather contravenes the poetry of the Act One successfully made use of the With kind permission reprinted At this stage the orchestra also sounded original work. Kafka led Arauner already surrealistic absurdity of the port town from the Czech musical magazine much better than before.Afterwards I came in his prime general deliberation, when both in terms of the set design and details Harmonie No. 6, 2007 to think of the testimony Martinů gave r BOHUSLAVMARTINŮNEWSLETTER2)2007 BOHUSLAV s MARTINŮ’S Opera — GÖRLITZ THE MARRIAGE AT DIVADLO KOMEDIE IN PRAGUE EVA VELICKÁ

BOHUSLAV MARTINŮ’S comic opera The Marriage, H. 341, is an ideal piece for a student performance, both in terms of its duration (approximately one hour) and singing and acting demands. Students of the Music Faculty of the Academy of Performing Arts (HAMU) in Prague suitably chose this opera for their production and thereby proved that a dramaturgically interesting title can also be used for a school performance.When preparing such a production, students can learn a great deal, far more than in the case of common student performances consisting of selected extracts from famous 18th and 19th century operas. Martinů created

Jale Papila, Marc Horus, Shin Taniguchi and choir

after having attended a performance in resources were an additional handicap, Wiesbaden shortly before his death, this performance of Juliette is not an where his initial disappointment seems experience I would like to be without. to have changed to a more favourable opinion, wondering if these productions Juliette, or the Key to Dreams, H. 253, maybe had something in common. lyric opera in 3 acts Although the overall conception was only Theater Görlitz, Germany partially successful and the rather limited www.theater-goerlitz.de

NEW ENSEMBLE FROM SPAIN News— MARTINŮ ENSEMBLE is a formation created in Barcelona in an attempt at recovering and spreading non habitual repertoire, belonging mostly to the 19th and 20th centuries, across concert rooms.There are certain who have assured their perennial presence in concert programmes. Beethoven, Mozart, Haydn, Brahms, Bach, Schubert, Podkolesin (Jan Morávek) and Agafja (Pavla Hamerníková) etc. But what happens to other top level composers such as Karel, Rheinberger, Spohr, Martinů, Schmidt, etc? In Spain they are almost unknown and many of these the work in New York in 1952 upon the commission of NBC television network. composers are not known outside their own countries’ borders. It is for this reason that The purpose for which Martinů wrote the opera and his great experience in we decided to make justice to these composers as well as to uncommon works from operatic creation led him to a clear concept according to which he adroitly well recognized authors, thus filling the hole existing in concert programs today. condensed into one hour Gogol’s entire drama The Marriage, while at the same Parallelly, in 2007 we began a project for the promotion of young emerging Spanish time retaining the basic characters and wit of the literary work.The theme of talents, which allows us to develop a different project every two years.We regularly comical, even desperate wooers, a bride and matchmakers serves Martinů as invite new directors, players and musicologists to our formation, so that they may a springboard for presentment and musical characterisation of individual figures, help us attain an optimal level in our performances.All in order to render a tribute induction of moods and comic scenes. to great masters of music history and to bring the names of Martinů and many others The opera’s brisk music requires a very pregnant de-romanticised staging, otherwise as far as we can. Gerard Pastor López the entire work can acquire the tinge of regional farce. Fortunately, the HAMU students and Berg Chamber Orchestra did not present such an inanimate performance. Although certain student “signs” were naturally present in their interpretation, the performance of The Marriage given on 24 and 25 March 2007 at Prague’s Divadlo Komedie was a great success.The conductors Tomáš Brauner and Lukáš Vasilek prepared the music part very well with the orchestra, and, primarily, the singers, who knitted their parts, many a time comprising difficult ensemble numbers, excellently with relatively solid acting. On the second evening, when I was in attendance, I was surprised by the beautiful voice and dramatic talent of the baritone Jan Morávek, rendering the “hero” Podkolesin.The tenor Juraj Nociar was convincing in the role of his friend Kochkarev.The stage director Gabriela Haukvicová worked with the actors exemplarily, connecting the acting and music in an extremely logical manner.The sets by Gabriela Kaclerová were simple yet very witty – for example, in their making use of the skewed shapes of the doors hanging in empty space. n

Martinů Ensemble from Barcelona

BOHUSLAVMARTINŮNEWSLETTER2)2007 t BOHUSLAV MARTINŮ: Piano Quintets certs— Martinů Fest Nos. 1 and 2 Con Sonata for Two in Polička and Piano FOR THE TENTH TIME LUCIE BERNÁ laureates of Prague Spring, and within these “Echoes of Prague Spring” a young Martinů performer, the cellist Tomáš Jamník, and the pianist Ivo Kahánek gave a concert during the tenth edition of the Fest.

The first edition of Martinů Fest took place in 1996 and aimed to loosely link up to “Bohuslav Martinů’s Polička”, held in the 1960s. Over the past decade the festival’s dramaturgy has issued from the Procházka Photo Petr Karel Košárek – Piano, Martinů Quartet immense diversity of Martinů’s oeuvre – Tower of the St. James Church in Polička (Lubomír Havlák – First , For those interested in the personality among the concerts to have taken place Petr Matěják – Second Violin, of Bohuslav Martinů, a visit to his are those bearing the subheadings “Jazz To a significant extent, the face of Martinů Jan Jíša – , Jitka Vlašánková – ) birthplace in Vysočina is always the and Martinů”,“Paris and Martinů” and Fest is also determined by the numerous Recorded at Czech Radio Studio No. 1, Prague, right decision.Throughout the year, “Martinů and America”.Top Czech artists accompanying events (mainly organised from 22 to 24 June, 2005 / Producer: Václav Zamazal they can visit in Polička Martinů’s room and ensembles have performed at Martinů by the Bohuslav Martinů Memorial in DDD/ TT: 58:33/ Text: English,German/Naxos 2007,8.557861 in the tower of Saint James Church, Fest – Emil Leichner (piano), Zuzana cooperation with the Bohuslav Martinů the display in the Bohuslav Martinů Růžičková (harpsichord), Kateřina Institute in Prague) – film screenings about In Bohuslav Martinů’s extensive chamber Martinů, thematically focused displays – oeuvre it is always interesting to follow the in the previous years, for example, Czech composer’s development on a single formal artists of pre-war France in Bohuslav type.This development is symptomatic Martinů’s oeuvre (2002),The Martinů family and well perceptible in string quartets and – Life in a tower (2004), Costume and set piano trios.With Martinů, however, we designs for Bohuslav Martinů’s stage works can also find a number of less usual types (2005), Opening of the Springs – the 50th enabling us to trace stylistic changes and anniversary of the world premiere (2006). different or, conversely, similar “Martinů” Other accompanying events included principles in two piano quintets from 1933 picture exhibitions at the Tyl House and and 1944 too. If we leave aside the so- street theatre performances. called “zero” Piano Quintet, H. 35, Piano Quintets No.1 and No.2 represent Martinů Fest has established a stable chamber works of a high level, dealing with position in the Polička calendar and also the problem of concerting strings and one gained respect in nationwide terms. It has phonically different instrument – in this case, been regularly supported by the Bohuslav piano.With its inclination to folk melodi- Martinů Foundation, positively evaluated ousness, Piano Quintet No.1, H.229 may by the Ministry of Culture. It has become evoke the impression of simplicity.Yet in a music festival attended by visitors from essence it is an extremely complicated and

Photo Petr Klein Photo Petr home and abroad. So, see you in Polička modernist work. Just as this quintet repre- Ivo Kahánek (piano) and Tomáš Jamník (cello) next year.You won’t regret it! sents Martinů’s 1930s French period, so Piano Quintet No.2, H.298 documents Memorial (at the present time, due to Englichová (harp),Václav Nosek (con- the style of the 1940s, which Martinů spent reconstruction, only in a provisional ductor), the Talich Chamber Orchestra, www.policka.org in America. At certain moments the setting reduced form), as well as the tomb of Janáček Quartet, Czech Nonet and www.triartmanagement.cz is more transparent, with modernism on Martinů and his wife Charlotte. Smetana Trio. www.tyluvdum.cz the one hand and the Czech nostalgia of Alongside the larger-than-life Martinů the previous quintet brought here to a statue in the park, Polička also prides climax.The beautiful second movement itself on an extensive medieval rampart captivates us with minimalist-tinged pas- and a Classicist town hall dominating sages. All the mentioned characteristics the square. finely flow from this brilliant recording. Folklore undertones appear in many places The best month to visit Martinů’s birth- but are soon abandoned, and non-diffuse place is undoubtedly May, when Polička strings with a syncopated piano further resounds for a week to the stirring music continue in tempo. In the second move- of its native son. Under the title “Martinů ment of Quintet No.1 and in many parts of Fest”, from 13 to 17 May 2007 a series of Quintet No.2 the entire suite sounds in chamber concerts took place there for the lyrical places veiled and mysterious. Else- tenth time.The festival included various where (for example, in the fourth move- accompanying events and culminated in ment of Quintet No.1) the whole configu- a symphonic concert at St. James Church. ration sounds unusually ample, when all the The tenth Martinů Fest was opened in strings compactly take off and the piano the newly refurbished premises of the Tyl supports them.The entire recording is House by Ensemble Martinů, who have driven by a motoric power, with a nimble performed at many previous editions.The beat tending to dominate. Nevertheless, Moravian Philharmonic Orchestra Olomouc the whole is sufficiently gradated.The set Photo Petr Procházka Photo Petr and the Žerotín Academic Ensemble of two quintets is supplemented by the performed at the concluding concert. From the left: Lucie Berná (The Bohuslav Martinů Institute),Alena Báčová (the director baroque-like Sonata for Two Violins and Regularly invited to the festival are the of the Tyl House) and Lucie Jirglová (The Bohuslav Martinů Memorial in Polička) Piano, H. 213. Eva Velická y BOHUSLAVMARTINŮNEWSLETTER2)2007 A CONCERT BY THE APOSIOPée eNSEMBLe News— 6 FEBRUARY 2007 OPERA NATIONAL IN PARIS

GUY ERISMANN about a sort of psychological miracle which is highlighted by the closeness between the folk character and an MORAVIAN FOLK POETRY instrumentation comprising modern IN THE WORKS strangeness which raises the question of delicate belonging to our time or of subtle OF JANÁČEK, DVOŘÁK timelessness. Here Martinů’s genius is AND MARTINŮ extremely efficient in its simplicity.The issues of style as the one of aesthetics are It might happen that a concert of Moravian absent, the form is just the right one, in folk music goes unnoticed in the rich harmony with the subject that submerges Parisian musical life even though it has into the present time that also knows been embellished by the names of Janáček, how to be the one “before the folklore”. Dvořák and Martinů. And yet this Moravian The encounter of wise musical pieces music was undoubtedly performed for the with lively springs, yet impenetrable by first time in Paris at the 6 February 2007 the artist’s subconscious mind, seems to concert.This is also true for the folk cantata be here an example, an important lesson by Bohuslav Martinů The Opening of of musical know how. the Springs, H. 354, irrespective of the Martinů’s work was preceded by about

Autograph of The Opening of the Springs, H. 354

music is nowadays quite extensive but it A CONCERT BY THE is the only ensemble whose repertoire APOSIOPÉE ENSEMBLE includes an important part of Czech music 6 February 2007 in its original version.We still remember Opera National in Paris the September 2004 concert in the Paris Czech Centre (Janáček Hall) in the Heng Shi, Baritone framework of the Weeks of Foreign Emmanuel de Lattre, Recitation Cultures when we heard choirs by Frédéric Aladjem and Catherine Smetana, Dvořák and Janáček. Since then Martinez,Violin due to its effort and patience the Aposioée Alain Martinez,Viola choir progressed further and extended its Frédéric Lagarde, Piano repertoire.Thanks to Natacha Bartosek Aposiopée Ensemble, Choirmaster the choir’s future is guaranteed. Natacha Bartosek, Soprano and Alto Translated from French into English solo Léa Dahan, Mathilde Roge and by Jana Sadilová Léa Broux

Aposiopée Ensemble FORTHCOMING CD fact that it was composed in Nice, France, fifteen fragments from the ballet with songs News— in 1955 where the composer lived for by Leoš Janáček, Rakos Rakoczy (1891), SMETANA TRIO, some years following his return from the typical of the composer’s ethnomusicolo- consisting of Jitka . gist period and by some Moravian Duets Čechová – piano, (1876) by Antonín Dvořák which witness JanaVonášková- The children choir gave an original to the encounter of Janáček and Dvořák Nováková – violin execution of the Martinů cantata in a new around the Moravian musical funds of Sušil. and Jan Páleníček – French translation and in a slightly adapted It is well known how important those cello, are recording form at the Studio adjacent to the Opera subtle compositions were in the career a new CD (to Bastille grand hall.The skilful performance of the New World Symphony composer. be released by with an alternation of recitatives in French Supraphon) and with vocal parts in the original language The delicate execution itself of the containing Piano brought to the work all its charm and Opening of the Wells is indeed a miracle. Trio No.2,H.327 innocence.The psychological impact of this We owe it to a French-Czech choirmaster by Bohuslav Martinů. parabola makes the audience shiver at the Natacha Bartosek who comes from the The album will also poet’s simple words: Czech Moravian land as Martinů and Bureš comprise Zdeněk do. In France she is in charge of the Young Fibich’s Trio in This is our custom in May every year, Voices Ensemble Aposiopée, founded in F Minor and Antonín The children help each well to find its spring 2004 as a successor of a children choir Dvořák’s Trio in B-flat as if the earth her heart were laying bare who first performed long extracts of the Major, Op. 21.The CD should appear on the market in July 2007. Smetana Trio have To bring a harvest fair up in the hills ballet with songs Rakos Rakoczy at the recently won the prestigious BBC Music Magazine Award 2007 for a Supraphon Auditorium des Halles in Paris in 2002 and recording comprising A. Dvořák’s works – Dumky, Op. 90, and Trio in F Minor, Op. 65. We therefore find in this parabola a hymn 2003 and subsequently executed its stage The recording was selected from some 1,500 CDs released worldwide in 2006 and to children and a folk rite related to version.The ensemble consists of about evaluated as the best in the “chamber music” category. n nature. And that was Martinů’s intention. thirty young singers aged from 8 to 17 Composed for a children choir it brings whose repertoire of French and foreign

BOHUSLAVMARTINŮNEWSLETTER2)2007 u s Letter — Dear Friend BOHUSLAV MARTINŮ’S LETTERS TO ZDENĚK ZOUHAR

VÍT ZOUHAR

“THE NAME OF THE GUY from Brno is Zdeněk Zouhar [...] he conducts there a female choir, I am in correspondence with him and he has procured some books for me I need here.They took great delight from the chorus.” This is how on 2 October 1954 Bohuslav Martinů informed his siblings in Polička for the first time about Zdeněk Zouhar (1927), conductor of the choral society OPUS.The mentioned “chorus” is the cycle Primrose, H. 348 the composer was writing for Zouhar that summer. Although five years had already passed since the first letters were exchanged between Martinů and Zouhar, the specific request voiced by the twenty-seven-year- old choir-master and his concert plans for Bohuslav Martinů’s compositions were the impulse not only for intensification of their correspondence but also the instigation for the origination and form of several works.

Zdeněk Zouhar, however, had first written to the composer back in 1949. At that time, he was still a music and art pedagogy student at Brno University and a private pupil of the composer Jan Kunc, who was working at this institution. He had just In front of the house on the Svépomoc Street No. 182. From the left: Ladislav Pražan, Zdeněk Zouhar, Jan Šprincl,Věra Šimůnková-Zouharová, finished his cycle Songs about Love to texts Marie Pražanová, Marie Martinů, Jindřiška Martinů, Jan Edinger, František Martinů. Probably October 1954. of Moravian folk poetry. Enthused by Bohuslav Martinů’s new vocal compo- Bohuslav Martinů’s works with his chorus, a performer but also a devoted promoter However, even this is now missing. sitions, he sent his cycle for assessment but also preparing a new concert series. who always had “plenty of plans” (letter to the composer in New York.A kindly The 1953–1954 season was also new to siblings in Polička dated 27 July 1956) The correspondence elucidates the and encouraging reply was the first letter for Zouhar due to the fact that following in a city he was bound to by a host of origination and performance aspects of of a correspondence that was to last his brief employment at gymnasium in friendships and contacts from the inter- Bohuslav Martinů’s compositions. Besides the ten years. Martinů invigorated the young Bratislava (1950–51) and Znojmo (1951) war (Vítězslava Kaprálová, Jan Kunc, Rudolf aforementioned Primrose cycle, it concerns, composer by writing back to him on he had returned to Brno to join the music Firkušný, etc.) and post-war (Jan Novák, for example, the chamber cantata The 11 October 1949: “I like your cycle, and department of the University Library, Břetislav Bakala, etc.) eras. Opening of the Springs, H. 354, the cantata what I like even more is that you are 22 years which he was to head until 1961.In this Mount of Three Lights, H. 349, the oratorio of age, which means that you have ahead new milieu he began preparing a new KEY TO OUR HOME The Epic of Gilgamesh, H. 351, the choral of you a number of years of hard and concert series from Bohuslav Martinů’s The letters Bohuslav Martinů sent to cycles Brigand Songs I and II, H. 361, responsible work in which one gets nothing works. At the beginning of July 1954, he Zdeněk Zouhar form a mere fragment of as well as the opera The Greek Passion, for free, do not forget it, even for a moment.” forwarded his concert plans to Nice the composer’s correspondence in Czech H. 372.When in a letter dated 27 October Zouhar continued studying composition with a request for a composition for the in the 1950s.The thirty letters he sent 1954 the composer asked Zouhar to consult with Alexander Moyzes at the University OPUS chorus. Martinů was impressed to Brno between 11 October 1949 and the Brno philologist Jan Šprincl about the of Performing Arts in Bratislava and with by the letter and duly met Zouhar’s 21 February 1959 are located in Zdeněk accentuation of the text in the oratorio Theodor Schäfer at the Janáček Academy requirements. After returning from Allos, Zouhar’s archives.With a few exceptions, The Epic of Gilgamesh, he also mentioned of Music and Performing Arts in Brno. when he found the letter, he wrote to they had yet to be published. Kazantzakis’s novel The Greek Passion and Brno on 29 July: “It will be my pleasure to pointed out: “[...] I think that I will take it as the PRIMROSE write some duets for you, I am quite free now, This intention only occurred in 2006 when subject for my next opera.” Another letter In June 1954 Zdeněk Zouhar completed […] Working with our folk texts has always Zdeněk Zouhar, together with the author indicates that Martinů considered making use his first season at the helm of the Brno- been a joy for me. I hope I will send them to of this study, completed the annotated of cimbalom in this opera: “Is there anybody based choral society OPUS with whose you still during the holidays, and if I am not edition of these letters, which is being over there who plays the cimbalom? I would like female choir he performed, among other mistaken you really want duets or don’t you issued in a Czech-English version under to use it in the new opera I am planning, and compositions, Antonín Dvořák’s complete want a chorus?” Without waiting for a reply the title Milý příteli: Dopisy Bohuslava Martinů unfortunately information in instrumentations Moravian Duets. He was seeking new and specifications, he informed as early as Zdeňku Zouharovi. Dear Friend: Bohuslav about this instrument is scarce and incomplete, compositions for his chorus.Therefore, on 3 August: “Dear friend: It gave me great Martinů’s Letters to Zdeněk Zouhar by the only a quotation that such an instrument exists.” he resumed his previous correspondence joy to compose again to our folk texts, so Palacký University Press in Olomouc. This is what Martinů asked Zouhar on with Bohuslav Martinů in order to ask I will soon send you a collection of five duets Zdeněk Zouhar’s letters to Bohuslav 30 January 1955. However, he eventually the composer for a new composition. He bearing the title “Primrose”. I will have a copy Martinů have not been preserved, the only abandoned this intention. suggested that it be a loose continuation made and send it within a week or so.” exception being the greetings on the of Dvořák’s Moravian Duets and, at the composer’s 64th birthday, which was Earlier still, preparation of the cantata Mount same time, indicated his further intentions. This is how the cycle Primrose came to life. located at the Bohuslav Martinů Memorial of Three Lights for the Dutch male-voice choir He had in mind not only performing Martinů found in Zouhar not only in Polička under shelf marque XVI/a 329. Die Haghe Sanghers led Martinů to seeking i BOHUSLAVMARTINŮNEWSLETTER2)2007 s Zouhar: Letter — 1949 –1959

not accept other Zouhar requests for Part-Songs, H. 338 and Five Czech new compositions, to which Martinů Madrigals, H. 321, Sonata No. 3 for responded in the letters dated 7 and Cello and Piano, H. 340, Fantasy and 27 October 1954 (“Christmas Mass”) and Toccata,H. 281, the cantatas , 30 January 1955 (“ballad”), after almost H. 279 and Legend of the Smoke a year he indirectly returned to Zouhar’s from Potato Fires, H. 360, Fantaisies calls.When at the beginning of July 1955 Symphoniques (Symphony No.6), he read the volume of poetry Song of H.343 and the opera The Marriage, the Rubínka Spring by the Polička native H. 341. Miloslav Bureš, he decided to use Zouhar’s OPUS choir and entrust them with the “SMALL THINGS” new cantata’s premiere.Without waiting At the same time, the correspondence for Bureš’s response, in letters dated 6 and supplements the mosaic of the composer’s 16 July 1955 Martinů informed Zouhar deliberations about returning from exile of the cantata The Opening of the Springs to his homeland, and serves as proof of its and his plans concerning the premiere in unfeasibility.The letters confirm Bohuslav Polička. Martinů’s profound knowledge of the situation in Czechoslovakia, as well as his WHAT MEN LIVE BY warnings against the consequences of an The letters to Zdeněk Zouhar also overly robust promotion of his person at contain detailed performance instructions. a time when, as he stated himself, he was These primarily concern the opera What “banned”. In the letter dated 27 October Men Live By, H. 336 and the second 1954 he prompted Zouhar in Brno: cycle of male choruses Brigand Songs. After “I would like to ask you for cautiousness in my Zouhar had written to Martinů about his promotion, you perhaps know why. Everything intention to perform at a concert in Brno is still not in order, but everything has its time, the opera What Men Live By, the composer even a flower.” This also bears witness to replied on 11 March 1956: “It could be clear traces of self-censorship. For example, performed in concert version and with piano. in the letter dated 18 December 1956, It actually concerns a type of old plays that he comments on the situation “at home” were called Miracle, religious and at the same merely in indications: “our mutual clasping time folk plays that can be performed of hands is also what I wish, perhaps it will anywhere, in fact it is not a theatre play as happen one day once the clouds have such, it is static and something like the legend dispersed and the whole horizon will be seen, of Dorothy. My own and main condition is that as I used to see it from the Polička tower, for it must not be played pathetically, but the present there are black clouds over the joyfully”.And, in addition to the general spa.” In vain, however, would we look for tone, he also specified his conception of mentions of the composer’s existential sets and costumes: “With regard to the complications or intimate relationships, as concert direction aspect, I think that the piece he wrote about them to his friends Frank should be actually performed on a stage Rybka and Miloš Šafránek. Zouhar was without scenery. It doesn’t mean singers on a performer, promoter and editor who did chairs in one row but just that they would not need to be informed of such things. probably move on the stage, here, however, only in a small space. […] Thus the actors The collection of letters intensifies with would not act but sing and reduce gestures Bohuslav Martinů’s notes on the composi- to the most essential.” Similarly, the letter tions written back in his youth.When dated 21 January 1957 is virtually given correcting the list of compositions for over to performance notes. Bohuslav Bohuslav Martinů.Volume of Reminiscences Martinů dedicated the second cycle of and Studies (1957), which was under Brigand Songs to the Moravian Teachers preparation, he demanded that space not Choral Society and asked Zdeněk Zouhar be wasted on those “small things”, pointing to hand over a “directive” to the choir: out again at another juncture: “I don’t “The songs are without bar-lines and must really like the page of small and insignificant be sung according to the text and very free compositions, in the case of many of them (not slowly!), i.e. like improvisation, they have maybe just a title exists now, so it took up complete liberty in this respect… I myself a lot of space.” This disparaging of early Envelope and letter from 29 July 1954 would only require two things, namely, works was then significantly extended definitely not singing them sentimentally, even in the letter dated 26 June 1957.The new “folk texts”.Therefore, in September treatise intrigued him to such an extent if the text could tempt them to do so, and composer responds in it to the rapid 1954 he asked Zouhar to procure for him that they incited in him deliberations another thing, and this is important, getting advent of New Music, stating: “you can the “2nd volume of Janáček’s Moravian about and research into harmonisation into them a space, they can adapt everything expect a production that is not so Songs”. Zouhar sent him the collection by of Moravian folksongs. else at their will.” entertaining”, adding, as if in resignation: return, adding the complete 1901 Bartoš “So I do not fit in with it obviously.” and Janáček edition of Moravian Folksongs Although, with regard to his work on Besides these compositions, we can find in Newly Collected. Although Martinů the oratorio The Epic of Gilgamesh and the the letters mentions of performing other The conclusion, however, is an ironic and ultimately used only two texts, the orchestral The Frescoes of Piero della Martinů works.The composer repeatedly fresh return. Happenstance dictated that collection and Janáček’s introductory Francesca, H. 352 the composer could mentions Three Legends, H. 339,Three Bohuslav Martinů’s last letter to Zdeněk

BOHUSLAVMARTINŮNEWSLETTER2)2007 o s Letter — Dear Friend Zouhar: BOHUSLAV MARTINŮ’S LETTERS TO ZDENĚK ZOUHAR 1949 –1959

Zouhar was a sort of recontre with the 1959, was one of the most frequently first letter. Similarly to in October 1949, performed. Zdeněk Zouhar also symboli- in February 1959 too Martinů responds cally returned to his correspondence with to Zouhar’s new composition.This time it Bohuslav Martinů in 1979 through his concerned the Wind Quintet 151. Martinů orchestral composition Variace na téma himself commented on his evaluation: Bohuslava Martinů (Variations on the “So I have criticised it pretty thoroughly, so Theme of Bohuslav Martinů). Its theme do not be angry with me.” The collection is the song Děvče z Moravy (A Girl from of letters concludes in two messages of Moravia) from the song cycle Songs the composer’s wife Charlotte dated onTwo Pages, H. 302. The ten years October 1959: the obituary announcing of correspondence is reflected in the Martinů’s death and the reply to Zouhar’s numeral ten in the number of variations. condolences. Whereas Zouhar’s compositions react THE ADDRESSEE to Bohuslav Martinů’s creation rather In the years that followed Zdeněk sporadically, his conducting, scholastic, Zouhar further developed his career as editorial and organisational activities are a composer. In the 1960s he began closely related to it. As conductor of the working at the Janáček Academy of Music OPUS singers’ association, in 1955 and and Performing Arts in Brno, where later 1956 he premiered, in addition to the on he was appointed professor of Primrose cycle (whose three parts were composition and head of the Department dedicated to Zouhar and OPUS), another of Composing and Conducting. Between four Martinů compositions: Five Czech 1997 and 2005 he was a professor at the Madrigals,Three Sacred Songs,Three Part- Music Faculty of the Academy of Arts in songs and the cantata The Opening of the Banská Bystrica, Slovakia. He is the author Springs. In Czechoslovak premiere, he of the operas Proměna (Metamorphosis, performed the cycle Five Czech Madrigals 1971) and Velká láska (Great Love, 1986), and a cross section through the operas the oratorio Plameny kostnické (Flames What Men Live by (The Fairy-tale of of Constance, 1988) and Půlnoční mše a Cobbler) and The Marriage. He established (Midnight Mass, 1957), a number of and prepared concert cycles from Martinů chamber compositions, of which the Wind works at the University Library in Brno, Quintet 151 (1958), to which Martinů which later became the starting point of responded in the letter dated 21 February the international music festival in Brno whose first edition in 1966 was upon his instigation devoted Photo Lucie Berná to Bohuslav Martinů’s On 5 March 2007 Zdeněk Zouhar had been awarded the Bohuslav Martinů medal. work. As a music The medal was presented by Ivan Štraus, President of the Board of Bohuslav Martinů Foundation. editor for Czecho- slovak Radio from 1961 to 1971, Zouhar compositions Primrose, H. 348 (Panton 1970s, when Charlotte Martinů visited recorded Bohuslav 1976, 1985), Little Songs for Children Czechoslovakia, did he get to meet the Martinů compositions, Voices’ Choir, H. 373 (Panton 1976), composer’s wife. Bohuslav Martinů also with in many cases The Bird Feast, H. 379 (Panton 1977), repeatedly mentioned the addressee’s these being the first- Czech Nursery Rhymes, H. 209 (Panton wife,Věra Zouharová (1928), in his letters. ever radio recordings. 1977, 1984), Four Marian Songs, H. 235 As a pianist, she participated in the (Panton 1979) and the opera Three premieres of the composition Primrose At the music Wishes, H. 175.In 1977 Zouhar became and the cantata The Opening of the Springs. department of the one of the founders of the Bohuslav In 1968, she completed her studies of University Library in Martinů Society, which he chaired between musicology at Brno University with an Brno he prepared and 1991 and 1999. He formulated the first extensive dissertation entitled Klavírní dílo edited the first Czech draft principles of the Complete Critical Bohuslava Martinů. (Bohuslav Martinů’s book about the edition of Bohuslav Martinů’s works Piano Works). composer, Bohuslav (1994) and from 1993 to 1999 chaired the Martinů: Volume of editorial board of the critical edition. When, in the letter dated 2 May 1957, Reminiscences and Bohuslav Martinů concurred with Zdeněk Studies (1957). In 2001 The minimal possibilities of travelling in Zouhar that „Primrose opened the door“, he published the the 1950s from Czechoslovakia beyond it not only concerned his work, but also monograph Sborové dílo the Iron Curtain were the reason why his friendship with Zdeněk Zouhar and Bohuslava Martinů Zdeněk Zouhar never actually met the intertwining of the Zouhars’ fate with (Bohuslav Martinů’s Bohuslav Martinů. He did, however, Bohuslav Martinů’s work. n Choral Works). He frequently visit his siblings in Polička, continuously published where he acquainted himself with studies largely focused composition autographs, correspondence on Martinů’s work and documents preserved by Marie Poster of the concert with parts of operas The Marriage and prepared for Martinů and Marie Pražanová, a close and What Men Live by, 11 February 1956 publication his friend of the composer’s sister. Only in the a BOHUSLAVMARTINŮNEWSLETTER2)2007 MARTINŮ2009 News—

In 2009 we will commemorate the discussions of all parties concerned narrator, violin, cello, , , 50th anniversary of the composer’s resulted in a very interesting preliminary piano and . Ensemble Martinů could death. Many organisers are preparing programme on which the festival perform something from its wide repertoire for this year large- or small-scale events committee has already begun working. of contemporary Czech music too.The at which works by Bohuslav Martinů At present, it is in the phase of specific organisers hope that also participating in (1890–1959) will be performed. steps being taken by the committee the Czech opening of the Budapest Spring together with the Bohemia association Festival will be Magdalena Kožená, a unique BUDAPEST SPRING FESTIVAL and the Czech Centre management. interpreter of Martinů’s songs. WITH A CZECH OPENING The required finance is being sought both in Hungary and the Czech Republic ACCOMPANYING MUCHA MARTINA FIALKOVÁ association’s representatives Éva Molnár (with the assistance of the Bohuslav Just like every other big festival, Budapest and Otto Zachár (Chairman) assisted with Martinů Institute) and other accompanying Spring offers a host of accompanying Serving as a model example is the large- further steps and contacted the manage- events are being prepared. events. For 2009 there is an excellent scale project in Budapest for whose mate- ment of the Budapest Spring Festival, the opportunity to combine the Bohuslav rialisation several subjects have combined biggest Hungarian musical event.The idea The pivotal point of the festival’s Czech Martinů anniversary with that of another their powers. Its initiator is Jaroslav Šonský, of opening the 2009 festival with Czech opening will apparently be Comedy on the celebrated Czech who has influenced the a Czech violinist living in Sweden, an active Days focused on B. Martinů’s works was Bridge, H. 247, the very first Martinů opera course of world art history – Alfons Mucha member of the International Martinů received very positively by the festival’s to be presented in Budapest. It should be (70 years since his death). Éva Molnár (from Circle. (In 2003 he received from the director, Zsófia Zimányi.The project’s performed by a Hungarian opera ensemble. the Bohemia association), who translated Ministry of Foreign Affairs of the Czech preparations have been joined by the Czech The programme will also comprise other into Hungarian Jiří Mucha’s novel on his Republic the Gratis Agit award for long- Centre in Budapest and also supported significant Martinů works, alongside father’s life, has enthusiastically plunged into term promotion of Czech culture abroad.) by Prague’s Bohuslav Martinů Institute. opuses by other Czech composers. An preparations for a large Alfons Mucha On the basis of his proposal, intensive The list of performers and opuses that attractive component will undoubtedly be exhibition at Budapest’s Museum of Fine negotiations with the Budapest-based could form the content of the Czech Martinů’s The Kitchen Revue, H. 161, Arts.The Czech Centre is participating too. association Bohemia (a holder of the same Days originated according to the proposal a hit with jazz elements composed as With kind permission reprinted from the award) started last year. Subsequently, the submitted by Jaroslav Šonský. Further a pantomimic revue for five dancers, Czech musical magazine Harmonie No. 2, 2007

ZDENĚK ZOUHAR & VÍT ZOUHAR

Dopisy Bohuslava Martinů Milýpříteli: Zdeňku Zouharovi

Bohuslav Martinů’s letters Dearfriend: to Zdeněk Zouhar

This unique collection of letters from the last ten years of Bohuslav Martinů’s life addressed to Zdeněk Zouhar is a key testimony Zdeněk Zouhar & Vít Zouhar to Martinů’s works, life circumstances and the relationship between the composer and the interpreter of his works who premiered the cantata The Opening of the Springs, H. 354, the cycles Three-Part Songs, H. 338 and Three Legends, H. 339, and initiated the origination of the Primrose, H. 348 cycle. In the letters, published for the first time after almost fifty years, Martinů conveys his ideas of how the opera What Men Live by, H. 336, the Primrose cycle, the male choruses Brigand Songs, H. 361, the cantata The Opening of the Springs should be Dearfriend: interpreted, and gives opinions on the new music, Moravian folksongs, his return from exile and many other topics. Dopisy Bohuslava Martinů Zdeňku Zouharovi This edition captures Martinů’s singular literary style in authentic form, provides facsimiles of letters and juxtaposes the Bohuslav Martinů’s letters to Zdeněk Zouhar correspondence with the composer’s letters to his family, friends, interpreters, as well as the reminiscences of his wife Charlotte.

In English and Czech language My own and main condition is that it must not be played “pathetically”, but joyfully.That is why it is called opera- pastoral.The text tempts a lot to a very serious and “deep” conception, but it was not my plan. For me it is a rather Palacký University, 394 pp cheerful work and the listener must feel not a religious-like moral but joy.The moral is precisely in joy. Scheduled date of publication: —From Bohuslav Martinů’s letter to Zdeněk Zouhar on the interpretation of the opera What Men Live by, 11 March 1956 June/July 2007 I have received a beautiful poem from a Polička native, M. Bureš, about the opening of the springs in our Vysočina. I was totally enchanted by the poem and immediately sat down at the piano.And now I think, if you would be interested, that we could make a premiere of this composition in Polička. I know you are looking for material and this would perhaps be the most suitable. It is for female choir and simple, Soprano and Alto Solo, Baritone Solo, two violins, viola and piano. I am sure that Bureš will agree too. So write to me and tell me what you think. —From Bohuslav Martinů’s letter to Zdeněk Zouhar, 6 July 1955

BOHUSLAVMARTINŮNEWSLETTER2)2007 s — Research A‘SpoRtsmAn Co MARTINŮ, SPORT & SOKOL

ANTHONY BATEMAN Nezval, laid out a modernist manifesto for forward-looking young artists such as he and Martinů. Nezval suggested that popular THE MODERN RENAISSANCE of culture, including organised sport, could organised sport originated in the elite provide them with a dynamic source of ‘public’ schools of Britain but by the inspiration:“We are going to study the 1920s games such as football had achieved possibility of new ballet on the street, in the significant popularity across Europe. ring and the dance hall, everywhere This development registered itself in the movement is naturally manifested.We are creative arts and particularly in artistic going to look for immediate expressions of modernism. Sport provided many it at football and boxing matches…” progressive young artists, writers and musicians with a rich source of inspiration In Paris Martinů did exactly this. Shortly as they broke with the traditions of after his arrival he shared an apartment with nineteenth century Romanticism. For the journalist, Ondřej Sekora, who was then them sport was at once democratic, a sports correspondent for the Lidové noviny quintessentially modern and irreverently newspaper and who soon afterwards lowbrow.This article suggests that introduced the sport of rugby to their Bohuslav Martinů was one such musician, native Czechoslovakia.The pair often went and that sport and sporting institutions to football matches together and must have made a significant impression on his life discussed the sport at length. In addition, and work.

If we exclude hunting, there was little contact between sport and so-called ‘classical’ music before the twentieth century: Mozart’s ‘Skittle ground’ trio was perhaps the product of his leisure pursuits, although scholars have recently doubted this; in Vienna the Strauss family waltz industry occasionally exploited the increasing vogue for sports such as horse racing by employing sporting titles for their publications; and composers such as Sir Edward Elgar sometimes scribbled musical sporting ditties for their own amusement.The remarkable Charles Ives was an early exponent of sports music (writing works such as Yale-Princeton Football Match as early as 1896), but he worked in a musical vacuum and these compositions were not performed until considerably later.

By the time Martinů wrote his ground- breaking football work, Half-Time, H.142 in 1924, sport was indelibly imprinted Half-Time (drawing by B. Martinů) © PBM Paris 1924 – official poster of the Olympic Games on the Parisian musical map.Two com- positions were seminal in this process: of football. In 1922 fellow member of the picturesque”. Ironically, Lambert himself sport in Paris in the early 1920s was highly Debussy’s Jeux, a Nijinsky ballet employing École de Paris,Alexander Tcherepnin, had had composed a ballet on a boxing theme conspicuous.Although Martinů was back in tennis as an erotic metaphor, and Erik composed For Boxing Training, one of his only ten years before. Polička writing Half-Time during the 1924 Satie’s Sports et Divertissement, a multi- Three Pieces for Chamber Orchestra,ahighly Paris summer Olympics, he could not have media experiment in irreverent musical contrapuntal and suitably punchy work Whilst Half-Time forms part of a con- avoided the significant hype and publicity Dadaism. But the interest in sport of first performed in Riga in 1926. Dmitri stellation of sports pieces emanating that preceded this major sporting event. Martinů and other younger composers Shostakovich, an avid football fan, wrote from Paris in the 1920s, its composer had Furthermore, he would have taken great was more substantial than that of Debussy The Golden Age in 1929, a propaganda ballet a genuine and longstanding interest in patriotic pleasure in the success of the and Satie. His friend Arthur Honegger had in which a Soviet football team visit sport, and particularly football, a game he Czechoslovakian national football team who already written a fine ballet score called corrupt and decadent Western Europe had loved since his childhood.Although had asserted the confidence and pride of Skating Rink, a topical comment on the to play a game.There was also Pavel not related to sport in its formalised this newly created nation by holding the Parisian craze for roller-skating, a pursuit Bořkovec’s Start, Louis Beydt’s Fanfares and sense, his early ballet score, The Shadow, world championship between 1919 and which enabled him to portray musically Loucheur’s Défilé Olympique. However, not H. 102 (1916) takes a macabre line on the 1923. Perhaps because of these factors, an the Futurist fascination with mechanical everyone approved of the trend for sports idea of ‘play’. In this one-act scenario a girl undated postcard to a friend in Prague movement. Honegger was surely music. In 1934 the English composer, playing with a ball and a skipping rope states that his sporting interests were influenced by Half-Time when he later Constant Lambert, disapprovingly referred literally dances herself to death as she leading him to neglect composition! composed his Symphonic Movement No. 2 to Martinů and Honegger as “sportsman chases her own shadow. More significantly, (Rugby), although he preferred the “savage, composers”; for him, their sports works in the Foreword to Martinů’s mousy ballet, Martinů owned a score of Debussy’s Jeux, brusque, untidy and desperate rhythms” had merely replaced Romantic pictorialism Who is the Most Powerful in the World, suggesting that he had studied this master- of that sport to the “more scientific” game with an equally questionable “mechanical H. 133 (1923), his friend, the poet Vítězslav piece in detail, but it is significant that he d BOHUSLAVMARTINŮNEWSLETTER2)2007 — mposer’? Research

signalled his conversion to Stravinskian also convey this context. In terms of its modernism with his own take on sport, orchestration, the predominance of winds Half-Time: the subject matter has and brass and the use of an obligato piano superficial similarities to Jeux but gone part lend the work a suitably aggressive is the impressionistic idiom.Whilst Satie vigour and vitality. Structurally the entire had taken middle class leisure pursuits work is based upon a short, two-bar as a stimulus for an aesthetic of almost rhythmic motif (the referee’s whistle?) total inconsequentiality, the democratic which is subjected to a process of modernity of organised spectator sport continuous development and also recurs was for Martinů something altogether to separate the seven different variations more serious.The Martinů scholars Brian (or ‘phases of the game’). Like a game Large, Miloš Šafránek and Jaroslav Mihule of football, the work has a remarkable are in general agreement that in Half-Time rhythmic freedom within a relatively rigid Martinů conveys a sense of the movement formal structure; harsh ostinati, motoric and noise of a soccer crowd in music of rhythms and aggressive stabbing chords a predominantly rhythmic character. create a palpable sense of dramatic The brisk tempi, which only dissipate for tension whilst demonstrating Martinů’s a few bars in the middle of the work, debt to Stravinsky’s Petroushka and

Half-Time (caricature by B. Martinů) © PBM

appropriately, given that sport itself is a football match. La Bagarre is, properly a quasi-religious social ritual, The Rite of speaking, an analogous subject, but Spring.At the same time, though Half-Time multiplied, transported to the street. It’s relates to professional, competitive sport, a boulevard, a stadium, a mass, a quantity a sense of play in a more childlike sense which is delirium, clothed as a single body. permeates the work.As is evident in much It’s a chaos ruled by all the sentiments of of his music, Martinů never lost touch enthusiasm, struggle, joy, sadness, wonder. with the ‘child within’, a factor later made It’s a chaos governed by a common feeling, explicit in the children’s games depicted an invisible bond, which pushes everything in Act 1 Scene 3 of Špalíček (H. 214, 1932). forward … a new form of powerful, unconquerable human mass.” Here Martinů Half-Time was first performed by Václav gave eloquent expression to the modernist Talich and the Czech Philharmonic on preoccupation with the crowd but with December 4th 1924 with the audience in none of the reactionary connotations of Prague’s Smetana Hall divided in loyalties W. B.Yeats’s “rough beast”. Rather, the like a football crowd, one section loudly movements, sounds and passions of the enthusiastic and another vociferously crowd betoken sport’s democratic hostile to the obvious influence of immediacy. Sport is therefore regarded as Stravinsky. Nevertheless, the work a suitable subject matter for a new form heralded Martinů as an important new of art music.At the same time, whilst we musical voice and in 1926 he composed can search for direct musical references to what can be described as a companion sport in works such Half-Time and Rugby, piece to Half-Time, La Bagarre, H. 155 both Martinů and Honegger ultimately (or ‘The Tumult’). By the time of its first believed that the abstract language of performance in 1928 Martinů had cleverly music was incapable of representation in dedicated the work to Charles Lindbergh any realist sense.These works use musical in the light of his solo non-stop flight language to create abstract expressions of across the Atlantic the previous year (also the essence of the sporting experience the subject of an opera by Bertolt Brecht and thus have visual parallels in abstract and Kurt Weill).Whilst the composition’s art works of the 1920s such as Willi aviation links were clearly an opportunistic Baumeister’s The Footballer and John afterthought, as with Half-Time, La Bagarre Heartfield’s Football. is fundamentally a musical expression of the crowd. In its programme notes There is another important facet to Martinů wrote,“In Half-Time …I have Martinů’s relationship to sport, one that The building of the Sokol Gymnastic Society in Polička © PBM portrayed the tension of spectators at is both highly personal and undeniably

BOHUSLAVMARTINŮNEWSLETTER2)2007 f — A‘SpoRtsmAn Composer’? Research MARTINŮ, SPORT & SOKOL

nationalistic, namely his connections with fanfare has already created a school.” the Sokol gymnastic society.The Sokol Martinů later continued this tradition by (or ‘Falcon’) society was formed by writing a 32-bar fanfare entitled Greetings Miroslav Tyrš and Jindřich Fügner in 1862 to Sokols and the Sokol Festival (without in order to promote Czech cultural and H-number), for the 1948 event.The piece social life and to cultivate the physical was never performed and was smuggled into and intellectual development of its exile by Marie Provazníková, a Sokol official. members.Although gymnastics was It was subsequently arranged for 9 wind the organisation’s primary means of instruments by Jan Hanuš from the original developing a national ideal in which the piano version and published in 1976 in the strong and healthy human body and the Swiss journal, Konfrontace.The 1948 Sokol body politic were symbolically conflated, it festival was the last before the organisation also sought to nurture moral, educational was banned by the communist regime. and cultural principles. From 1882 Sokol held mass festivals (or in Czech ‘Slety’) The 1938 “Slet” had also occurred at in Prague, large-scale patriotic jamborees asignificant watershed in Czech history. featuring vast collective gymnastic displays As the storm clouds of war gathered, the as well as theatrical, literary and musical media portrayed Sokol as a defiant symbol events. Musical accompaniment to of Czech resistance to foreign tyranny and gymnastics was introduced at the second aggression. Martinů’s experience of the 1938 “Slet” in 1891 and, at the 1895 “Slet”, Festival had confirmed him in this view and a large contingent of Moravian Sokols shortly afterwards, with the world teetering performed an exercise routine with Indian on the brink of conflict, he wrote:“All my clubs to the music of a lifelong Sokol thoughts and desires have been constantly member, Leoš Janáček. bound-up with my imperilled homeland, where just a few months ago I was filled up Music had played an integral part in the with such great hope and joy from the ceremonial and social aspects of Sokol unforgettable moments of the All-Sokol culture since its earliest days. In the early Festival.” The composer was clearly an 1860s no less a figure than Antonín enthusiastic believer in the philosophical, Dvořák amended the title of a short nationalistic and athletic principles of the musical fragment to ‘Sokol March’ although Sokol movement. the work was never completed. Later, the talented composer of band music, Sport was therefore a significant thread František Kmoch (1848-1912), received running through Martinů’s life and work. a regular salary from Sokol to provide At the level of his national identity, his marches for its ceremonial occasions. relationship with Sokol – a relationship Martinů’s teacher, Josef Suk, wrote he nurtured even when living abroad – a suitably uplifting march, Towards a New provided this deracinated figure with Life, for the 1920 “Slet”.The work later consistent point of reference, a sense of received a silver medal in the music La Bagarre, first page of the score (autograph) © PBM Czechness and national solidarity that he competition at the 1932 Los Angles saw so graphically symbolised by those Olympics (the gold medal not being celebrations marking President Tomáš It will be performed at the opening Sokol displays.At a more personal level, awarded).The most famous Sokol Garrigue Masaryk’s 80th birthday. Later, concert. I would have won first prize. Kunc Martinů’s interest in sport and his willing- composition is undoubtedly Janáček’s in 1933, the Sokol in Mělník expressed an wrote to me that it had been the only ness to musically engage with it suggests Sinfonietta,awork first performed at interest in performing Who is the Most serious piece that had been entered, but a refreshingly unpretentious and democratic a concert during the Prague “Slet” in Powerful in the World, suggesting the extent one gentleman did not find it festive attitude towards popular culture more June 1926. In the work’s majestic opening to which Sokol was a cultural, as well as enough, therefore they could not award generally. Martinů was a creative artist of Allegretto perhaps we can hear the a sporting, organisation. On his summer first prize to me, even though all the others the highest order who nonetheless did not emphatic syllables of the word ‘Sokol’ trips back to Czechoslovakia during the were for it. First prize was not awarded see himself as above or beyond the ordinary in the part over which, in the 1920s and 30s Martinů made a point of at all.” The jury included Josef Suk and man or woman in the street. He could long phrases of the brass, a triumphant attending the Sokol festivals in Prague the conductor of the first performance, identify with, and celebrate, the passions, falcon soars. (in the colder months he would enjoy František Stupka with Martinů receiving desires and pleasures of the crowd. For him skiing and other winter sports around a prize of 3,000 Czech crowns.The work the increasing separation between so-called In many ways Martinů’s relationship with Polička). As his letters suggest, Sokol was later performed at the 1938 Festival. “High Art” and the “Popular” was anathema Sokol demonstrates the broader cultural gymnastic displays always made a profound A critique of the performance in Radio- to his musical aesthetic. Citing Martinů’s role of the organisation within Czech impression on him. journal highlighted the contemporary programme notes to his First Symphony society. Martinů’s father was an active interface of sport and music: “The relation (1941), Miloš Šafránek wrote: “In Half-Time, member of the Polička Sokol and his son In 1931 he wrote to his family from Paris of today’s music to sport is all the stronger Martinů’s interest is focused on things and was thus involved with the society from telling them of his intention to enter in so far as the new generation of com- happenings of our everyday life, things often his early childhood.The Polička Sokol a Sokol competition for an orchestral posers draws inspiration from sport… overlooked and their importance under- provided moral and financial support for work due to be performed at the “Slet” Bohuslav Martinů wrote in Paris the estimated, but, in Martinů’s view,‘more vital the composer’s studies in Prague and of the following year. Soon afterwards football-inspired Half-Time and today gives than many of the different slogans under also provided the young musician with he had completed his Festive Ouverture us his Festival Overture. However, we have which music today proceeds along beaten performing opportunities. For example, for Sokol Festival, H. 211. On the a lot of other composers who have found paths’”. If, as Constant Lambert suggested, in spring 1920 Martinů played the piano 29th March 1932 he again wrote to his a strong stimulus for their creation in the Martinů was a “sportsman composer”, in two musical events organised by Sokol, family: “I received the [second] prize for Sokol exercises.The model is, of course, it was for sound musical and humanistic the first of which formed part of the the Festive Overture for the Sokol Festival. Suk’s immortal march whose introductory reasons. n g BOHUSLAVMARTINŮNEWSLETTER2)2007 …with JIŘÍ terview— KOLLERT In

EVA VELICKÁ On another of your CDs you recorded music by Josef Suk, with whom Martinů briefly studied before In 1996 the pianist JIŘÍ KOLLERT leaving for Paris. However, this short received the 3rd prize of The Bohuslav “study” must be put in inverted Martinů Foundation Interpretation commas. At the age of thirty-three, Competition, category of piano.Two Martinů was already seeking style years later, in 1998 as a member of Trio orientations and influences and Concertante he won the 1st prize at yearned to obtain a scholarship in the same competition in category of Paris. Could Suk still, in spite of this, chamber music. Long before that time have influenced Martinů somehow, and ever since he has intensively and what could Martinů have learnt devoted himself to performing and from him? promoting Bohuslav Martinů’s music. In addition to giving concerts and Martinů was definitely attracted by Suk, he recitals, he has also recorded, written visited him 11 years before this study. Suk texts, organised competitions and par- created music with a national character, ticipated in the editorial preparation which was one of the major sources of of music for a Japanese publisher. Jiří inspiration for Martinů, as he said himself. Kollert, who is a distant relative of emotionalism.At the same time, in com- global trends. Hence, foreign listeners can At the same time, he was a much-travelled Bohuslav Martinů, has a Japanese wife posing terms, he achieved a refined also find in it what they already know. man with an overview of the course of and often gives concerts in Japan. In our simplicity. In addition, he does not have anything events worldwide. In his music, I can see interview, we also asked him about his as folksy as the The Opening of the elements similar to those appearing in experience with Japanese audiences. What are, in your opinion, the basic Springs, H. 354 for solo piano. So, it the work of some French composers. interpretational pitfalls of Martinů’s is not exotic. But the Czech elements, the Suk’s Fantasy-Polonaise reminded me of piano music? Slavonic touch, melodiousness, charm – Saint-Saëns, Filled With Longing of Fauré, For your CD “Martinů – Piano yes, it is cherished. The Breeze Summer Impressions indicating Works”, released by the Japanese His delicacy, refinement, taste. In Paris he impressionism. From among Czech company Octavia Records Inc in encountered all the latest artistic trends – Which other composers does composers, he perhaps represented a type 2003, you recorded five opuses from it was a great place for honing one’s taste. Martinů’s music fit well with on closest to Martinů’s notions. Martinů did various periods of the composer’s He is said to have been “chic” when it a concert stage in dramaturgical not continue to pursue Suk’s style, as you life. Can you try, on the basis of comes to appearance and he had exquisite terms? indicate, but I think he was influenced by these compositions and from the taste in art.Thus, the greatest pitfall is him, and not only by the one year but also viewpoint of a piano virtuoso, to the scale of means – not overburdening Thanks to its “classicality”, it can be by the previous work he must have characterise Martinů’s stylistic his music with an unduly great strength, combined very well. It mixes superbly known. Maybe they had a similar relation development and direction? massive espressivo, but at the same time with Mozart or Beethoven, as well as, to the piano too – for Suk it was retaining his emotional charge and boldness. for example, with Debussy or Suk. I like a confessor of intimate feelings, while Martinů’s development is extremely With Martinů, the border is narrower than playing Martinů with Suk due to a certain Martinů also opens his heart to the piano interesting – from his enchantment with with the majority of composers. kinship of spirit and, at the same time, at difficult times. colour, through rollicking with rhythm to a substantial contrast in style.When a synthetic and philosophical view at the On the CD you present piano music abroad, I frequently juxtapose Martinů Could you, in conclusion, reveal to us end of his life. In all periods, however, he is for solo piano. Do you also possess music, as the centre of gravity, with music some of your future artistic plans? truly Martinů, with his typical gentleness experience with Bohuslav Martinů’s by other Czech composers and add and refinement.The butterflies and birds piano concertos or other orchestral to it other European composers who In April I will play Rachmaninoff’s Concerto of paradise are the result of his being compositions with piano? influenced each other.The audience better in C Minor in Yokohama. I am scheduled to bedazzled by Debussy, with his extensive orientate themselves, and it is interesting perform with the FOK Prague Symphony range of colours, tints and reflections. Yes,a couple of years ago I played Double for me. Sometimes I even prepare an Orchestra and the Czech Philharmonic I think that he learned a lot about the Concerto for Two String Orchestras, entirely Czech programme. Orchestra. piano’s palette, although he did not Piano and Timpani,H. 271. The Abroad, I strive to promote Czech music continue to pursue the same style.Then conductor liked what I’d done with it and Let us return to the Czech tradition. as much as possible. I have just begun came France and its avant-garde milieu. suggested that the next year I play Piano Polka abundantly appears in many writing about Czech piano art on the Les Six, the admired Stravinsky and others Concerto No. 1,H.149. Unfortunately, of Martinů’s cycles.This dance and website of the Japanese Society of Piano must have been a revelation for Martinů. some organisational complications its piano stylisation is, however, Pedagogues, every month one article He managed to perfectly absorb new occurred and the concert was abandoned. also more than typical of Bedřich supplemented by recordings. In addition, trends, move in them freely, as well as I would like to play all Martinů’s concertos. Smetana.What is the difference I am giving concerts and concerts with connect himself with his Czech roots. However, few orchestras are willing to between the Smetana and Martinů comments, will appear within a festival and Three Czech Dances, H. 154 is an include them in their seasonal repertoire. piano polka? will record a number of works by leading excellent example – polka dances with And I would also like to record them. Czech composers for a programme of jazz rhythms in a masterly synthesis. In Yes, Smetana began with it as a symbol of a Japanese television channel. I immensely addition, it is one of the favourite works To what extent does Martinů’s music national music. It is beautiful, overgrown enjoy presenting the beauties of our of pianists.We pianists can perhaps also draw upon Czech tradition? Do with folksiness, as if garbed. Martinů takes music. So far, I have mainly been successful count ourselves lucky for Martinů’s audiences in Japan, where you have polka as a template, selects its typical in doing so in Japan, thanks to excellent friendship with Firkušný, which might often given concerts, perceive elements and blends them with other cooperation with the company releasing have encouraged him to write larger Martinů’s music as a kind of folk elements, imparting its regularity with my CDs and the publisher that issued compositions, such as Fantasy and or exotic matter? contretemps, puts the bass alternatively on a Suk album edited by me. Nevertheless, Toccata,H. 281.The second exile the weak and strong beat. He also makes I hope that I will manage to extend my engendered a cleaving to his Czech roots He draws a lot from Czech tradition, but fun of it without causing offence. He is sphere of activity in such a scope into and a profound and unpretentious it is significantly recast and enriched with witty, amuses himself with it. other countries too. n

BOHUSLAVMARTINŮNEWSLETTER2)2007 h ook— MILOŠ ŠAFRÁNEK: NewB encounteR afterfiftY

ALEŠ BŘEZINA the time.Within a short time, owing to his diligence, wide cultural interests and tolerant personality, he had made the TORST PUBLISHES THE MEMOIRS acquaintance of a number of leading artists OF MILOŠ ŠAFRÁNEK, DIPLOMAT and politicians of the era. Later on, AND MUSIC WRITER Šafránek himself expressed his experience in the words:“My element has always been action, as well as service, primarily for my country, Martinů in particular.” The driving MILOŠ ŠAFRÁNEK (1894–1982) was force behind his miscellaneous activities from the Europe-oriented generation with was the desire to mingle with extremely a liberal education who reached maturity talented personalities and do in their at the time of the origination of Masaryk’s favour everything that was within his Czechoslovakia.The relation to Tomáš powers. Perhaps he never strove to get Garrigue Masaryk, the founder of an his own personality into the centre of independent nation built upon the ideals attention. He not only helped Czech of healthy self-confidence supported by artists living in Paris, but in fact all artists education and an extensive international he met, be they European, or American, perspective, became the determining basis French or people attracted to Paris by its for his own direction in life. reputation as a city open to new trends in contemporary art. Music, composers After completing his studies, Šafránek and performers were at the centre of entered the diplomatic services. In 1927 Šafránek’s attention. Of interest is the fact he began working as a press attaché at the that his first wife was the brilliant pianist Czechoslovak embassy in Paris and thus Germaine Leroux, primarily famous for found himself at the centre of probably the performing contemporary music. Šafránek most important cultural metropolis of was aware, as he stated himself, that Photos Anna Fárová’s archive Anna Fárová’s Photos Miloš Šafránek in Paris, 1927

“music was a special, fateful resources. In addition to championing his phenomenon of my life, its catalyst. music, Šafránek was also helpful to Martinů Music has never abandoned me.” in tackling complicated life situations. Perhaps this most manifested itself at the Bohuslav Martinů, living in Paris from beginning of World War Two when first he 1923 to 1941, found Šafránek a nigh-on prepared the groundwork for Martinů’s indispensable assistant owing to his emigration to the USA, then procured for practical turn and unceasing desire to him an American visa and prior to the help. Šafránek introduced Martinů to composer’s arrival in the New World began artists and benefactors, he advocated energetically building up for him a good performance of his works. He published starting point in social, musical and many articles about the composer in musicological circles. dailies and magazines, later on also Program of the Prague concert with monographic works (1944 USA, 1946 Šafránek managed to sort the composer’s “Parisian pianist Germaine Leroux”, England, in 1961 adefinitive extensive hitherto scattered oeuvre into an inventory 1937 version was published in Prague, also which has served as the basis for all other issued in German and English, to date still work of this type. His extensive probate one of the basic sources for Martinů estate, also comprising the manuscript of research). Over the decades, in his texts the presented reminiscences, is deposited Šafránek drew the world’s attention to and gradually being worked through at the Bohuslav Martinů’s personality and music Bohuslav Martinů Memorial in Polička. and strove to elucidate and interpret its Besides autographs and photographs, it Germaine Leroux, Miloš Šafránek’s wife, in New York aesthetic and general intellectual contains correspondence, a prolific and j BOHUSLAVMARTINŮNEWSLETTER2)2007 ook— YeARs NewB

interesting source for research into largest publishing houses.When, several Martinů’s work and life. years ago, I told him that The Bohuslav NEW BOOK Martinů Foundation had dedicated to In his lifetime, Šafránek did not receive Miloš Šafránek the concluding concert of gratitude in Czechoslovakia for his work the Bohuslava Martinů Festival 2002 and, Miloš Šafránek: in favour of Martinů, who lived in exile in memoriam, also its memorial medal, Setkání from the 1940s and later on even became he lit up with happiness and quietly said: a US citizen.The very opposite was the “Mon oncle Miloš. It was he who intro- po padesáti letech case. However, his impact on research into duced me to French high society at that (Encounter after Bohuslav Martinů was immense.We still time.” encounter in Czech and foreign literature Fifty Years) alike formulations taking over his Owing to the fact that for several decades intellectual patterns and stereotypes their author fraternised with the most Prague, Torst 2006, 364pp ISBN 80-7215-295-5 without the necessary critical reflection. important personalities of the time, In Czech language. This is primarily the case of his indirect Šafránek’s memoirs represent a fascinating records of the composer’s statements and cross section through the cultural and testimonies to the intellectual circles in political history of Europe and the USA. which their multiyear dialogue took place. A cross section all the more valuable in Upon closer inspection, we can still see so far as it presents a 20th century history traces of his distanced relationship to different to the one that could be music analysis and the proclivity to presented at the time of the German and excessive deprecation of the group of Soviet occupations of Czechoslovakia. composers from German-speaking Bohuslav Martinů and Miloš Šafránek Šafránek does not so much describe the countries who were for Martinů at the in Paris, 1927 development of his own deliberations – outset of his music career apparently these appear as definitively formulated more important that he later on admitted. after the more than forty-year isolation during his studies in Telč and Prague and Typical features of Šafránek’s literary of Czechoslovakia from the free world the first years of his stay in Paris – to activity are spirited formulation, the ability caused by the communist regime, we can a much greater extent he focuses on setkání po p to immediately intrigue and lead every barely imagine just how significant encounters with important people.That is adesáti letech story to its point. In this respect, he is a personality of the Paris of that time also why his reminiscences are not lined similar to his somewhat older con- Miloš Šafránek was.A number of Czech up chronologically but as (mini)portraits temporaries André Maurois and Stefan artists whom in the 1950s and 1960s he of personalities.The publication of Miloš Zweig, who also saw in the genre of helped to spirit away from that prison of Šafránek’s memoirs is one of the most torst biography an artistic expression of its kind. the mind, at least by means of his works, significant publishing events of the present speak about encounters with Miloš Šafránek time since it markedly contributes not Naturally, during the years spent in France and the stories he told with a slightly only to an understanding of the non- The name of the diplomat and music and the USA Miloš Šafránek experienced amused look on their face. As if they were communist history of the Czech lands but writer Miloš Šafránek (1894–1982), much more than was possible to fit into conveyed by someone who must be taken also to a more profound knowledge of the father of the photography historian the mentioned monographs on Martinů. with a pinch of salt and not a man who political and artistic history of Europe and Anna Fárová and co-founder of Prague’s Fortunately, he set aside time for writing effectively helped them. In stark contrast North America in the first half of the Theatre of Music, is primarily known memoirs into which he put at least a part to this view is the pronouncement of Jean 20th century. n in the Czech Republic thanks to his of that which was essential for him.Today, Leduc, director of one of the world’s pioneering books about his friend Bohuslav Martinů published between 1961 and 1979. Little is known, however, about the remarkable course his life took, his diplomatic work in France (1927–38), sojourn in the United States (1939–45) and his systematic championing of Czech music worldwide.This all is dealt with in a voluminous book of his reminiscences whose core is formed by his pre-war stay in France and the wartime years spent overseas. Šafránek was in close personal contact with the dozens of personalities of French and Czech culture he depicts in his book.The centre of gravity of his interest is Czech music, whose promotion in France he significantly participated in. Essential parts of the book are devoted to the personality of Bohuslav Martinů.The book comes with a photography supplement and an index of names. The Cover of Šafránek’s book Bohuslav Martinů, the Man and His Music, www.torst.cz Bohuslav Martinů, Germaine Leroux and Léon Barzin before the premiere of published in New York by Alfred Sinfonietta Giocosa, H. 282, in New York, 1942 © PBM A. Knopf in 1944

BOHUSLAVMARTINŮNEWSLETTER2)2007 k 25 July 2007 / 7:30pm

• Aegidienkirche, Schulstraße, Regnitzlosau, THE MARTINŮ INSTITUTE’S CORNER – Germany vents Martinů, Dvořák, Bach E Tomáš Jamník (cello), Eleonora Reznik (piano) THE BOHUSLAV MARTINŮ INSTITUTE would like to extend ASPEN MUSIC FESTIVAL its cordial thanks to Mr Oldřich F. Korte for donating part of lists of www.aspenmusicfestival.com 2 August 2007 / 6.00 pm performances of Martinů compositions CONCERTS written in the composer’s hand. • Benedict Music Tent, Aspen, CO, USA On the first page the list begins with 19 August 2007 Double Concerto, H. 271 the compositions Concerto Grosso, Aspen Concert Orchestra, H. 263, Sinfonietta Giocosa, H. 282, • Biel, Switzerland Conductor:Tito Munoz Double Concerto, H. 271, followed The Revolt, H. 151 by Symphonies No.1, H. 289 and Bieler Symphonieorchester FESTIVAL DE MÚSICA DE LA CATALUNYA CENTRAL No.2,H.295.The second page finishes ENSEMBLE MARTINŮ IN GREECE with Piano Quintet No.2, H. 298.It www.aimsnet.org primarily concerns the compositions’ 14 September 2007 / Santorini 15 August 2007 / 10.00 pm performances in the USA. Although 17 & 18 September 2007 / Athens the data from Martinů are not complete Promenades for flute, violin & piano, H. 274 • Teatre Comarcal de Solsona, Catalunya, Spain and with several compositions he Seon-hee Myong (piano) 24 & 25 September 2007 himself adds question marks concerning Paul Silverthorne (viola) the exact date of performance, this Sonata for Viola and Piano, H. 355 • Augsburg, Germany source provides valuable information The Frescoes of Piero 24 August / 10.00 pm about performances of Martinů works della Francesca, H. 352 and the composer’s efforts to monitor List of performances in the United States in the 1940s (Martinů’s hand) Philharmonisches Orchester Augsburg • Església de Sant Llorenć de Morunys, Spain and record these performances. n Evgueni Grach (violins),Andriy Viytovych (viola) 25 September 2007 Madrigals (Duo No.1) for Violin and Viola, H. 313 • Brasilia Symphony No. 6 (Fantaises Symphoniques), OBITUARIES H. 343 OPERAS Conductor: Ira Levin BALLETS DR. RICHARD KLOS 4 October 2007 21 & 22 September 2007 Ivan Štraus • Konzerthaus, Kleiner Saal, Berlin, Germany 11 & 12 October 2007 Sextet for piano & wind instruments, H. 174 Quintett Chantily, Pirmin Grehl (flute), • Konzerthaus,Werner-Otto-Saal, Berlin, Dr. Richard Klos had the misfortune to Florian Grube (), Germany be born in 1924, part of a generation Johannes Zurl (clarinet), The Amazing Flight, a mechanical ballet, earmarked for total deployment during Dmitry Babanov (horn), H. 159 the Nazi occupation. He managed, how- Bence Boganyi (bassoon), Conductor: Gerd Herklotz ever, to escape this fate before graduating Modern Art Ensemble Ben Kim (piano) from secondary school by signing up as 13 October 2007 21 September 2007 / 8.00 pm an apprentice locksmith. His apprentice- ship finished right at the end of the war. • St James Church, Piccadilly, London, UK • Konzerthaus,Werner-Otto-Saal, Berlin, In addition to manual skills, he also Covent Garden Chamber Orchestra Germany received an indenture that was to provide Conductor: Peter Stark Larmes de couteau – The Knife’s Tears, him with sufficient working-class the Czech Music Fund.The ideological Paul Silverthorne (viola) opera in one act, H. 169 Conductor: Gerd Herklotz credentials during post-1948 loyalty leader of the Martinů cause was Josef Rhapsody-Concerto for Viola screenings. Hence, he was able to Páleníček, a close friend of the Martinůs, and Orchestra, H. 337 Modern Art Ensemble complete his studies of law in 1950. who spread visions and ideals around him. 24 October 2007 / 7.30 pm His first job was as an accountant in the The infantryman who rounded them up ON AIR company Textilia,which was in liquidation. and translated into juridical language • Rudofinum, Prague, CZ Two years later, he was employed by Tesla acceptable for the powers that be, was Tre Ricercari, H. 267 23 July 2007 Hloubětín, this time as a lawyer. However, Dr. Klos. Among his achievements during Prague Philharmonia the work proved to be tedious, which is the twenty years he worked for the Czech Conductor: Jiří Bělohlávek A recording of Martinů’s Concerto for Violin, Piano and Orchestra, H. 342, from February why he had ten years to further educate Music Fund was, for example, the drawing 1 November 2007 / 7.30 pm 2007 at the Smetana Hall, Municipal House, himself in civil law. Later on when his up of a last will and testament template by 2 November 2007 / 11.00 am Prague, performed by the Rozhdestvensky mother persuaded him to apply for a the Faculty of Law of Charles University 3 November 2007 / 8.00 pm family, will be broadcast by Český rozhlas 3 – lawyer’s position at the Czech Music Fund which could be accepted worldwide. His Vltava The concert will be broadcast online he had already turned 40.There the most deep knowledge of German allowed him to • Lincoln Center, as well (www.rozhlas.cz/vltava). interesting chapter of his life began: communicate with one of the members of New York,USA a continuous balancing act between the Martinů Mission, including the world’s BBC PROMS Concerto for Two http://nyphil.org obligatory libations to the Communist greatest copyright expert, Dr. Uchtenhagen; and Orchestra, H. 292 New York Philharmonic www.bbc.co.uk/proms/2007 gods and the endeavour to do something the commander-in-chief of the Swiss Armed Conductor: Semyon Bychkov 26 August 2007 / 7.30 pm good – first for Janáček, later on (in Services and Mayor of Lucerne, Dr. Meyer; Katia and Marielle Labèque (pianos) a scope surmounting the national the closest friend of the Martinůs, the • Royal Albert Hall, London significance) for Bohuslav Martinů. pastor Max Kellerhals; and other prominent Prom 56 Following rapid training in copyright law, persons, mainly in Switzerland. Although he FESTIVALS Piano Concerto No. 4 ‘Incantation’, H. 358 he could see to efficient setting up of did not consider his French language skills BBC Symphony Orchestra financial mechanisms in the case of Leoš up to scratch, he still became the most MITTE EUROPA FESTIVAL 2007 Conductor: Jiří Bělohlávek Ivo Kahánek (piano) Janáček’s bequest.As a result, the Zdenka important legal adviser to Mrs Charlotte Live broadcast by BBC Radio! and Leoš Janáček Foundation could begin Martinů and enjoyed her boundless www.festival-mitte-europa.com taking better care of Janáček’s works, confidence. He formulated her first and 17 July 2007 / 7:30pm The concert will as well be broadcast online at www.bbc.co.uk/proms/2007/whatson/week1.shtml which at that time started to be asserted second (significantly amended) last will and in a larger scope. Later on, his experience testament, the one in which she bequeathed • Schloß, Schloßplatz, Schlettau, This is only a selection of Martinů performances Germany all over the world. Please, help us to compile the with settlement of Janáček’s matters came the bulk of the revenues to The Bohuslav Martinů, Fibich, Dvořák concert calendar; inform us about events involving in useful when building up The Bohuslav Martinů Foundation within the Czech Music Smetana Trio Martinů’s music! Martinů Foundation under the aegis of Fund. He induced its director, Mr. Ševčík, to l BOHUSLAVMARTINŮNEWSLETTER2)2007 s–– REPORT FROM New A RESIDENCY AT BÄRENREITER-VERLAG, KASSEL

Thanks to financial support from the preparation).The internship also * The project is co-financed by the European European Social Fund*, Aleš Březina, comprised excursions to the publisher’s Social Fund, the state budget of the Czech Director of the Bohuslav Martinů Institute, various departments (the distribution Republic and the budget of the City of Prague. was able to take up a residency at the depot, rental depot, production The project has been supported within the German music publishing company department). framework of the JPD 3 programme (Single Bärenreiter in Kassel.The residency took During his stay, he also studied and Programming Document for Objective 3) place from 20 to 30 March 2007 and described all the B. Martinů autograph Measure 3.2 Development of Further its objective was to extend editing sources at the Bärenreiter publisher and Education. experience and familiarise the participant discussed the conditions of the project The name of the project is Professionalisation with the operation of a leading global of digitising all Martinů’s autographs in music materials editing through further publishing company specialised in urtext deposited at Bärenreiter. education of music experts. and critical editions. Aleš Březina A. B. worked with the publisher’s lecturer perused both common current and on revision of the Editorial Principles – urtext editions (for example, Claude their division into a wider variant Another outcome of the residency was Debussy – Suite Bergamasque), as well exclusively intended for editors of The the acquisition of coloured copies of as critical editions (for example, Hector Bohuslav Martinů Complete Edition and three B. Martinů autographs (La Rhapsodie, Berlioz-Gesamtausgabe and Gioachino a narrower variant that will be published H. 171, Rhapsody-Concerto for Viola and Rossini-Gesamtausgabe, currently under for the public. Orchestra, H. 337 and , H. 346).

invest the initial 100,000 Czech crowns in the Foundation. By means of his infallible pen, Dr. Klos protected this finance against the grabbing hands of the bosses of that time. He convinced Minister of Culture Èeský dialog Klusák, on the basis of his flawless French and personal charm, to befriend Charlotte Martinů, which he consequently did.And, Czech Dialogue last but not least, Dr Klos was the inconspicuous prime mover behind the transfer of the remains of Charlotte and, later on, Bohuslav Martinů to Polička. 0DJD]LQHZLWK He encountered dunces and shysters, as well as persons of extraordinary character. DWUDGLWLRQRI\HDUV He knew how to talk to each and every one of them in the right pitch so that ductor at the Tanglewood Music Festival  $UH\RXLQWHUHVWHGLQWKHLQIOXHQFH nothing could set back the Martinů cause in Lenox, Mass. In 1942, he studied with &]HFKFXOWXUHKDVRQWKHUHVW and it could slowly progress. He knew how Bohuslav Martinů in Tanglewood. RIWKHZRUOG" and on whom to foist an idea, convincing In 1945 he joined the New York Phil-  :RXOG\RXOLNHWRNQRZKRZ&]HFKV the respective person that it was precisely harmonic, where he became assistant OLYHLQRWKHUSDUWVRIWKHZRUOG" him/her who had initiated the next step conductor. In 1949, Hendl was appointed forward. He knew when it was necessary music director of the Dallas Symphony to be cautious and when he could take Orchestra; from 1953 he simultaneously risks. His life was Big Manoeuvres. He held the same post with the Chautauqua 5HDGWKH staved off stress by means of his famed Symphony Orchestra, staying until 1973. dry English-type humour, as well as the Hendl was always interested in new scores: &]HFK'LDORJXH 6XEVFULSWLRQ support he had in his precious wife. he had given the first performance of (85(XURSH Now Dr. Klos can talk to Janáček and Peter Mennin’s Third Symphony with the WKHLQGHSHQGHQWPDJD]LQH RU Martinů in person.We, the survivors, New York Philharmonic in 1947, putting ZLWKDUWLFOHV 86'RYHUVHDV believe that both of the two great men the 23-year-old composer on the map; have extended to him their effusive thanks and in Dallas his premiere performances LQ&]HFKDQGLQ(QJOLVK for the immense yet primarily behind-the- included, in 1949, the Third Piano scenes work he carried out to preserve Concerto, H. 316, of Bohuslav Martinů their respective legacies. Let us remember who, with the soloist, his fellow Czech him with love and gratitude. Rudolf Firkušný, had come to the United  :HLQIRUPDERXWSROLWLFVKLVWRU\ States as a refugee early in the war. DQGFXOWXUHDVZHOODVVRFLDOHYHQWV WALTER HENDL Another important premiere came in  :HPDNHLWSRVVLEOHIRU\RXWRPDNH 1954, when he conducted Aldo Parisot and QHZIULHQGVDQGEXLOGEXVLQHVVUHODWLRQVKLSV the New York Philharmonic in Villa-Lobos’ ZLWK&]HFKVIURPDOORYHUWKHZRUOG Walter Hendl, musician, pianist, well-known Second Cello Concerto. conductor and former director of the Mr. Hendl headed the Eastman School Eastman School of Music, died on 10 April in Rochester from 1964 to 1972. After 7RUHFHLYHDIUHHLVVXHRUVXEVFULEH 2007. He was 90. Mr. Hendl was born leaving Eastman, he joined the conducting IRUPDJD]LQHZULWHFDOORXURIILFH January 12, 1917, in West New York, N.J. faculty of the Juilliard School in Manhattan. 6RNRORYVND3UDKD&]HFK5HSXEOLF He won the New Jersey State Piano Com- He directed the Erie Philharmonic 7HO)D[    petition in 1936 and entered the Curtis Orchestra until 1990. HPDLOVWUL]RYVND#VH]QDPF]PILDONRYD#FHQWUXPF] Institute of Music in Philadelphia the next year. His breakthrough came in 1941, when http://news.independent.co.uk/people/obituari Serge Koussevitzky trained him as a con- es/article2461436.ece n

BOHUSLAVMARTINŮNEWSLETTER2)2007 ; N E W C D s I N T H E B O H U S L A V M A R T I N Ů I N S T I T U T E

Bohuslav Martinů Martinů: Martinů: Days 2005 Complete Piano Music 2 Piano Quintets Nos. 1 and 2

• String Trio No. 1,H.136 • Puppets, Book III, H. 92 • Piano Quintet No. 1,H.229 • Huit preludes for piano, H. 181 • Puppets, Book II, H. 116 • Piano Quintet No. 2, H. 298 • Sonata for Flute,Violin and Piano, H. 254 • Puppets, Book I, H. 137 • Sonata for Two Violins and Piano, H. 213 • Trio for Flute, Cello and Piano, H. 300 • Film en miniature, H. 148 Martinů Quartet, Karel Košárek – Piano Zemlinsky Quartet, Michal Šupák – Piano, • Spring in the Garden, H. 125 Recorded in 2005 / Naxos LC 05537, 2007 Marcel Moyse – Flute, Blanche Honegger Moyse – • Butterflies and Birds of Paradise, H. 127 See also review on page 6. Violin, Nathan Chaikin – Cello, Louis Moyse – Piano, • The Fifth Day of the Moon,H. 318 Denise Bidal – Piano • Les bouquinistes du Quai Malaquais, H. 319 Recorded in 1938 and 2005 / The Bohuslav Martinů Foundation, – piano Český rozhlas, 2007 Recorded in 2005 / Naxos, DDD, LC 05537, 2007

NEW BOOKS Martinů’s Mysterious Accident

Essays in Honor of Michael Henderson. Ed. Michael Beckerman. New York, Pendragon Press 2007, 198 p. Studies in Czech music No. 4, ISBN 978-1-57647-003-9

Despite the fact that Bohuslav Martinů lived for several years in the United States and had many of his works premiered in this country, he still stands as an enigma.This collection of essays by an international group of experts, Bohuslav Martinů is dedicated to the memory of Michael Henderson, who died in 1994 at the age of 47. Henderson was in the process of writing a biography of • Sonatina for Two Violins and Piano, H. 198 the composer.These essays include a range of new approaches to Martinů • Sonata for Viola and Piano, H. 355 – Judy Mabary gives a concise history of Martinů’s collaboration with • Sonata No. 2 for Violin and Piano, H. 208 choreographer Eric Hawkins,The Strangler; Aleš Březina looks • Three Madrigals for Violin and Viola, H. 313 penetratingly at the often tortured relationship between Martinů and the Philipp Naegele – Violin and Viola,Pina Carmirelli – Czechoslovak government; and Michael Beckerman explores questions Violin, Ralf Gothóni – Piano of construction in Martinů’s Piano Concerto No. 2. Shorter pieces by Czech Recorded in 1979 / Da Camera Magna, ADD, DaCa 77 803 scholars Iša Popelka and Jaroslav Mihule are also included. In addition, there will be an essay by Michael Henderson on „Martinů’s Mysterious Accident“ which will shed light on one of the most harrowing events in the composer’s life. More info and orders: www.pendragonpress.com

Zdeněk Zouhar & Vít Zouhar Dear friend: Bohuslav Martinů’s letters to Zdeněk Zouhar

For details see page 11. Bohuslav Martinů: Kammermusik ZdeněkZouhar & VítZouhar Miloš Šafránek: • Fantasy for Theremin, H. 301 Setkání po padesáti letech • Quartet for Oboe,Violin, Cello and Piano, H. 315 • Duo No. 2 for Violin and Viola, H. 331 (Encounter after Fifty Years) Dearfriend: • Duo No. 1 for Violin and Cello, H. 157, ku Zouharovi Dopisy Bohuslava Martinů Zdeň • Duo No. 2 for Violin and Cello, H. 371 eněkZouhar For details see page 17. BohuslavMartinů’s letters to Zd Stamitz Quartet, Lajos Lencsés – Oboe, Valérie Hartmann-Claverie – Ondes-Martenot, Helena Suchárová – Piano Recorded in 1996 / Bayer Records, DDD, 100 358, 2006