January—April 2020 / Vol.XX / No.1 Martinů’S Own Texts Robert Kolinsky Martinů’S Relationship to Czechoslovakia 5Th Benefit Concert Revue Com Petition Contents

THE BOHUSLAVMARTINŮ FOUNDATION THE BOHUSLAVMARTINŮ INSTITUTE THE INTERNATIONALMARTINŮCIRCLE MR martinů days 2019 january—april 2020 / vol.XX / no.1 martinů’s own texts robert kolinsky martinů’s relationship to czechoslovakia 5th benefit concert revue com petition contents

From 29 November to 1 December 2019, the “Each year, our public is introduced to artists who 24th Bohuslav Martinů Foundation Competition launch their career with this competition, rapidly 2 competition took place in the Martinů Hall of Liechtenstein becoming prominent figures in our music scene,” Palace in Prague. This year the competition says Jiří Hlaváč, Director of the Bohuslav Martinů highlights was open to participants in the categories of Foundation, who chairs the competition’s panel 3 piano and chamber ensemble without piano. of judges. The judges for the individual disciplines As the winner of the piano category, the jury are traditionally chosen from among eminent 4 review selected Matouš Zukal, who was also awarded musicians and music pedagogues. For the piano thomas svatos: the title of Best Participant; in the chamber category, it is Ivo Kahánek; the contest for martinů’s subliminal states ensemble category they chose the Duo chamber ensembles without piano is overseen by PATRICK LAMBERT Bohémo, which consists of Matouš Pěruška, the cellist Michal Kaňka. The Bohuslav Martinů violin, and Kristina Vocetková, cello. The Competition has been bringing young talents into awards ceremony and laureates’ concert took the limelight since 1996. The successful laureates 5 imc news place in the Martinů Hall on Sunday 1 Dec em - of previous years include the likes of Roman ber 2019 as part of the Bohuslav Martinů Days. Patočka, Václav Petr, Ivo Kahánek, Tomáš Jamník, The event was recorded by Czech Radio. Olga Šroubková, or Anna Paulová. ❚ 6 review martinů days 2019 Matouš Zukal Duo Bohémo PATRICK LAMBERT

8 texts 1938–1945 (part 2) BOHUSLAV MARTINŮ

12 interview robert kolinsky: martinů fascinates me more and more each day PETR VEBER photo vilém žák Quasi Duo 14 texts bohuslav martinů’s ambivalent PIANO relationship to czechoslovakia 1st Prize: Matouš Zukal 2nd Prize: Eliška Tkadlčíková (part 1) 3rd Prize: Adam Závodský, ALEŠ BŘEZINA Melanie Šohajová Award for the Best Interpretation news of a Work by Bohuslav Martinů: 18 Matouš Zukal new sources found in 2019 Jaroslav and Zorka Zich Award: MARTIN LEDVINKA, MAREK PECHAČ Matouš Zukal 19 review CHAMBER ENSEMBLE WITHOUT PIANO 5th benefit concert and 1st Prize: Duo Bohémo 2nd Prize: Quasi Duo, Krása Quartet the pavel haas quartet 3rd Prize: Slavic Trio ANNA ŠERÝCH Award for the Best Interpretation of a Work by Bohuslav Martinů: Duo Bohémo Přemysl Pražák Award: Duo Bohémo Award for Best Participant in the 2019 Bohuslav Martinů Foundation Competition, awarded across both disciplines: Matouš Zukal Viktor Kalabis and Zuzana Růžičková Award for both disciplines: Krása Quartet

2 | martinůrevue12020 > OpernhausHannover, Germany Tassos Apostolou Uwe Gottswinter Rupert Charlesworth Barno Ismatullaeva Magnus Vigilius Martin Mutschler(Dramaturgy) Susanne Reinhardt(LightingDesigner) Eva-Maria vanAcker(CostumeDesigner) Susanne Gschwender(SetDesigner) (Conductors) Valtteri Rauhalammi,CameronBurns Barbora Horáková(Director) 21 March2020 The GreekPassion BOHUSLAV MARTINŮ operas Toccata e Due Canzoni BOHUSLAV MARTINŮ > DvořákHall,Rudolfinum,Prague 29 May2020 La Bagarre BOHUSLAV MARTINŮ > SmetanaHall,MunicipalHouse,Prague 25 May2020 festival spring prague 2, 4,13,16,21and26April2020 25 and28March, Additional performances: / Prague SymphonyOrchestra Peter Oundjian(Conductor) Jiří Rožeň(Conductor) PKF –PraguePhilharmonia highlights PREMIERE (Manolios) / H155 (Panait) (Grigoris) (Katerina) / / (Yannakos) 8.00 pm 8.00 pm / 7.30 pm / H372I / H311 > JanáčekTheatre,Brno,CZ www.staatstheater-hannover.de > Moreinformation: Chor derStaatsoperHannover Niedersächsisches StaatsorchesterHannover, Daniel Eggert www.ndbrno.cz > Moreinformation: Patricie Částková (Dramaturgy) Alexandra Grusková (CostumeDesign) Dragan Stojčevski(SetDesign) Tomáš Netopil(Conductor) Jiří Heřman(Director) 9 April2020 The GreekPassion BOHUSLAV MARTINŮ Frank Schneiders Michael Kupfer-Radecky 13, 18,19, 23and24April Additional performances: (Archon) (Captain) / 7.00 pm (Fotis) / H372II > Coburg,Germany 5, 14and21May2020 17, 19, 22,24,26and29 April, Additional performances: 11 April2020 The GreekPassion BOHUSLAV MARTINŮ omno n2 May 1939. Communion on25 ontheoccasionofherFirstHoly gift a was The compositionCzechRiddles,H 277bis, Alexandra Boucher was bornin1929. ERRATA fromthelastissue, page 4: www.landestheater-coburg.de > Moreinformation: Coburg Philharmonisches OrchesterLandestheater Kinderchor desLandestheatersCoburg Extrachor desLandestheatersCoburg Chor desLandestheatersCoburg Marvin Zobel (Captain) Bartosz Araszkiewicz(Fotis) Michael Lion(Grigoris) Dirk Mestmacher(Panait) Peter Aisher(Yannakos) Olga Shurshina(Katerina) Milen Bozhkov(Manolios) Dorothee Harpain(Dramaturgy) Susanne Reinhardt(LightingDesign) Nicola Reichert(SetandCostumeDesign) Roland Kluttig(Conductor) Tibor Torell (Director) / 7.30 pm martinů / H372I / revue PREMIERE 1 2020 | 3 thomas svatos: martinů’s subliminal states review

composer to “establish his unique philosophical view” and seek a new direction in music that demanded “a strict suppression of romanticism and subjectivism, and a return to absolute musical values”. […] It is certainly among the merits of the volume that it includes a translation of the complete text of this most revealing personal document [Martinů’s autobiography, 1941] for the very first time. In my view, many of the ideas to be found in the American Diaries are already well and more coherently expressed here. […] It is Svatos’ central premise that had Martinů’s aesthetic ideas been more widely known during the composer’s lifetime, especially / PATRICK LAMBERT in America, he would have enjoyed a higher standing in academic circles. […] An additional Thomas D. Svatos, Martinů’s subliminal states: bonus, under the heading “Part three: Docu - a study of the composer’s writing and reception, mentation and further reading”, brings three with a translation of his American Diaries appendices: a list of the composer’s source (Rochester, NY: University of Rochester Press, reading; a dubious report on him from May 2018). 1955 by the communist cultural politician […] It is a thoroughly researched, scholarly, Miroslav Barvík (quite a discovery), and a close closely argued and well written book that examination of the inauthentic correspondence commands the reader’s attention. […] Martinů’s supposedly written by Martinů, Vitka [Vítězslava writings, especially those from the American Kaprálová] and her father Václav Kaprál to be period, have been the focus of Svatos’s atten - found at the end of Jiří Mucha’s documentary tion since the late 1990s, and over the years he novel Podivné lásky, published in 1988. […] has undertaken research into source material In terms of presentation this handsome volume in the Czech Republic. His PhD dissertation is a thing of beauty, sturdily bound, clearly (2001) was on this subject, and he has pub - printed on top-quality paper. The text has been lished several articles and papers on the topic very well proofread. […] In his Preface Svatos […] Svatos is keen to point out “flaws” in Šafrá - states that “no prior knowledge of the composer nek’s edition [Šafránek, Miloš (ed.), Bohuslav is necessary”, but in my view readers would Martinů: Domov, hudba a svět (Homeland, music need to have a deep interest in Martinů’s music and the world), Prague 1966], especially with beforehand in order to tackle this challenging regard to the diaries which are “rife with omis - and thought-provoking tome, especially with sions, faulty transcriptions, curious substitutions regard to some of the speculative and esoteric of words and other irregularities”. But we should philosophical ideas expressed in the American remember that Šafránek was a personal friend Diaries, which are mentally quite exhausting to of the composer’s and would have been aware Inevitably, meanings can sometimes become unravel. […] Nevertheless I would recommend of his ideas about music at first hand and later distorted or lost in translation, which always this study to those who wish to expand their through their correspondence. […] I cannot involves an element of interpretation. […] knowledge about one of the most fascinating help feeling that Svatos’s original claim of In his preface Svatos states that his book is personalities of twentieth-century music. […] “creating a primary source translation” does not not a biography, but the nine chapters com - sit well with his decision to make it “more prising ‘Part one: A chronicle of a composer’ are Originally written for reader-friendly” for the purposes of this book – replete with illuminating biographical detail. Dvořák Society Journal, No.1/2020 one that “irons out” Martinů’s “idiosyncratic And this is most welcome, since he is very well language textures” and strives “to transmit his informed about Martinů’s cultural and political core meaning as clearly as possible” – in pref er- environment, both in Prague and Paris, and also ence to undertaking a “critical edition”. about the fierce polemics which spurred on the

4 | martinůrevue12020 MR

MARTINŮ REVUE (formerly Bohuslav b Martinů Newsletter) is published by the ]d International Martinů Circle in collabo ra - tion with the Bohuslav Martinů Institute in Prague with the ﬁnancial support of the Bohuslav Martinů Foundation.

Editors incircle news Jakub Hrůša, Magdalena Kožená, Zoja Seyčková, Tereza Žůrková, President of IMC IMC Patron Bohuslav Martinů Institute, Justin Krawitz (English language editor) cd bohuslav Publisher’s Oﬃce martinů days International Martinů Circle International Martinů Circle, z.s. 2019 IČ: 22688846 GENERAL INFORMATION Bořanovická 14, It is our pleasure to inform Members receive the illustrated 182 00 Praha 8-Kobylisy, you, that IMC members will Martinů Revue published three times Czech Republic a year plus a special limited edition CD e-mail: [email protected] recieve with the summer containing world premieres, historic www.martinu.cz issue of Martinů Revue performances and archival recordings Translation (May–August 2020) from the annual Martinů Festival not Adam Prentis new CD with these Martinů obtainable commercially. Photographs compositions from festival The IMC is supported by the Bohu - The Bohuslav Martinů Foundation’s Bohuslav Martinů Days 2019: slav Martinů Foundation and Bohuslav and Institute’s archive, collections of Martinů Institute in Prague. the Bohuslav Martinů Center in Polička • Eight Preludes for Piano, H 181 Graphic Design David Cígler (Eliška Tkadlčíková – Piano /1–4/, Matouš Zukal – Piano /5–8/) MEMBERSHIP & SUBSCRIPTION Printing Naproma Production, s.r.o. INFORMATION IN 2020 • Duo for Violin and Cello No. 2, H 371 – Selection – Adagio, Poco allegro E-MAIL MEMBERSHIP The Martinů Revue is published (Marie Hasoňová – Violin, Judita Škodová – Cello) ▶ three times a year in Prague. 450 CZK / 25 EUR / 30 USD / 18 GBP • Concerto for Oboe and Orchestra, H 353 (14 GBP if paying for dual member - Cover Martinů Festtage 2019, (Vladimír Borovka – Oboe, Leoš Svárovský – Conductor, ship with Dvořák Society of Great concert in Grosse Synagoge Basel, Academic Chamber Soloists) Britain) 24 November 2019, • Three Songs after Poems by Guillaume Apollinaire, H 197 ▶ POSTAL MEMBERSHIP Photo: Benno Hunziker (Marie Fajtová – Soprano, Jana Vychodilová – Piano) 570 CZK for members in the Czech Republic • New Chap Book, H 288 ISSN 1803-8514 33 EUR / 25 GBP for members in the MK ČR E 18911 (Marie Fajtová – Soprano, Jana Vychodilová – Piano) rest of Europe www.martinu.cz • Sonata for Cello and Piano No. 2, H 286 (21 GBP if paying for dual member - (Alžběta Vlčková – Cello, Jana Vychodilová – Piano) ship with Dvořák Society of Great Britain) 42 USD (35 EUR) for members 2020 subscription payments outside Europe ▶ SUBSCRIPTION FOR CORPORATE WE WOULD REQUEST that members forward their 2020 subscrip- MEMBERS: 100 EUR / includes tion payments through their usual channels. A list of our inter- 10 copies of each Revue PLUS 3 copies national contacts: of the special limited edition CD ▶ GREAT BRITAIN: ▶ SPECIAL RATE for music students under 25 years of age: Michael Crump ▸ [email protected] ▸ +01495 370010, 10 EUR / 250 CZK 26 Hillside Terrace, Waunlwyd, Ebbw Vale, Blaenau Gwent, ▶ SINGLE COPIES OF THE REVUE:

THE PREVIOUS ISSUE NP23 6TY United Kingdom 80 CZK / 3 EUR / 4 USD + postage ▶ USA: For further details and for single copies Erik Entwistle ▸ [email protected] ▸ +1 239 395 0339 of the Martinů Revue contact: THE BOHUSLAV MARTINŮ CENTER 2538 Blind Pass Court, Sanibel; Florida 33957; USA Lucie Harasim Berná IN POLIČKA offers an interesting, inter - ▶ NETHERLANDS & LUXEMBOURG: phone: +49 152 581 668 32 actively conceived exhibition on the com - e-mail: [email protected] poser’s life and work. The modern display of Gert Floor (Netherlands) ▸ [email protected] ▸ +31725095262, The International Martinů Circle, z.s. Bohuslav Martinů’s life and work is located Gortersweg 6, 1871 CC Schoorl, Netherlands Bořanovická 1779/14 in the historical building of the former ▶ FRANCE & BELGIUM: 182 00 Praha 8-Kobylisy, CZ council school, which Martinů attended as a child. Consequently, the project also Nicolas Derny ▸ [email protected] ▸ +32 472360869, 55 Chemin de Mons, 6220 Fleurus, Belgium comprises a reproduction of Martinů’s WELCOME NEW MEMBERS: classroom, complete with period painting ▶ GERMANY: > Jakub Kalus, CZ and furniture. The centre also contains Lucie Harasim Berná ▸ [email protected] ▸ +49 152 581 668 32 > Etsuko Ueda, Japan an audio-visual hall and study room. ▶ JAPAN: Bohuslav Martinů Center Yukiko Sawa, President of International Martinů Circle in Japan. Tylova 114, 572 01 Polička tel.: +420 461 723 857 Office: Yasuko Tanaka ▸ [email protected] www.cbmpolicka.cz ▸ +81 80 3202 3006

martinůrevue12020 | 5 martinů days 2019 review

This year’s festival events were less widely spread out than on previous occasions and, apart from the prologue, a concert given by the Prague Castle Guard and Police Band in the Spanish Hall of the Castle on 24 November, they spanned just over two weeks, the final concert being given on 17 December by the Janáček Philharmonic Ostrava at the Prague Congress Centre. I was fortu nate to be in Prague for the week beginning Sunday 1 December and was able to attend five events in all, mainly given in the Martinů Hall of HAMU.

This initial Sunday evening concert (1 Decem ber) approach to these interesting, jazz-influenced players of this fine ensemble perform standing, consisted of music by Bohuslav Martinů and his pieces, he brought the last four to life in a manner rather than sitting at their desks, which seemed to near contemporaries Ervin Schulhoff and Hans that fully held our attention. Then, to demonstrate have the effect of allowing more freedom to their Krása as well as by the living com poser Luboš his versatility, he gave a thoroughly convincing playing. This was also noticeable in the en semble’s Sluka, performed by winners of the Bohuslav performance of Sluka’s two-movement Piano performance of Janáček’s early Suite for strings, Martinů Foundation Competition 2019 in the Sonata. We had to wait for the final item of the each of the six movements surprisingly brief. categories of piano and chamber ensembles concert in order to hear the winner of the other On Wednesday (4 December), I was back in the without piano. It is always stimulating and category: Duo Bohémo, consisting of the violinist Martinů Hall for a concert dedicated to the memory refreshing to hear a new genera tion of talented Matouš Pěruška and the cellist Kristina Vocetková, of Prof Emil Leichner, who died in 2019 and was Czech musicians and I was not disappointed. who performed with deep commitment Martinů’s closely associated with the music of Bohuslav photo petra hajská photo zdeněk chrapek photo

The Czech Nonet Trio Bergerettes

Prof. Jiří Hlaváč, the director of the Foundation, Duo No. 2, H 371. In between this, the winners of Martinů, especially the piano music. The performers presided over the official prize-giving ceremony the second prize, Quasi Duo, consisting of violinist were the Trio Bergerettes, an ensemble that won at the start of the programme, which included Marie Hasoňová and cellist Judita Škodová, played the top prize in the BM Foundation Com petition a number of separate awards, such as the Kalabis an interesting Duo by Schulhoff and the Krása 2002 and whose pianist Barbora Sejáková is one of Růžičková Prize. It was noticeable that the lion’s Quartet played Theme and Variations for string Leichner’s star pupils. The programme opened with share of certificates seemed to go to the pianist quartet by the composer after whom they have a lively account of the Piano Trio with the Gipsy Matouš Zukal and after hearing his performance named themselves. finale in G, Hob. XV:25, by Haydn, a com poser much one understood why. The programme opened with The following day, 2 December, I attended an admired by Martinů. This was followed by Barbora Martinů’s Eight Preludes, H 181, composed in Paris unrelated event which began early enough for Sejáková’s wonderfully accomplished rendering of in 1929 and dedicated to the composer’s future me to transfer to the Rudolfinum and catch the Martinů’s Piano Sonata, H 350, com posed for wife Charlotte. These piano pieces were shared second half of the festival concert given by the Rudolf Serkin in 1954. After the interval, she between Eliška Tkadlčíková, winner of the second Czech Philharmonic Chamber Ensemble. I arrived returned to give a magnificent performance of the prize, who played the first four numbers, and just in time to hear the beguiling central move - Piano Sonata No. 2 in D minor Op. 14 by Prokofiev. outright winner Matouš Zukal. While she was ment of Martinů’s Serenade No. 2, H 218, and was Although they were near contempo raries and somewhat tentative and over polite in her impressed to discover that the violin and viola Prokofiev spent some years in Paris, there is no

6 | martinůrevue12020 Winners of the Bohuslav Martinů Foundation Competition

evidence as far as I am aware of that the two the centre-piece of the programme. It opened and dedicated to the memory of Prof Josef musicians ever met, though the Russian com - with the Divertimento for Nonet, com posed in 1937 Koutecký (6 December). Apart from providing his poser’s fate after his return to his homeland must by Iša Krejčí, a member of the Manes Group of life dates, the 90 page bilingual festival booklet have served as a warning to Martinů when con - musicians in Prague to whom Martinů belonged as offered no information about this distinguished templating his own return to his Soviet dominated a corresponding member. The younger composer medical doctor, who in fact had undertaken homeland. This concert, among the high points of admired Martinů and dedicated his Small Ballet pioneering work in the field of paediatric oncology. my visit, was brought to an uplifting conclusion of 1927 to him. This witty music was followed by The centre-piece of the programme was Martinů’s with a carefully prepared interpretation of Mar - a relatively early composition by the Frenchman Oboe Concerto, H 353, composed in 1955 for tinů’s Piano Trio No. 3, H 332, written in New York who was to become Martinů’s teacher and mentor Jiří Tancibudek, a former oboist in the Czech Phil - in Paris, Albert Roussel, his Divertissement for har monic. The soloist in this performance was wind quintet and piano Op. 6, for which members Vladislav Borovka, also a member of the Czech of the Czech Nonet were joined by the pianist Philharmonic as well as being oboist of the Czech Stanislav Gallin. These pieces fittingly set the Nonet. The concerto was preceded by one of mood for an accomplished performance of Mozart’s Divertimenti for strings, the one in Martinů’s valedictory masterpiece, its second D major, K136, and a not inappropriate inclusion movement aptly described by Petr Veber in the since Martinů’s series of Serenades composed in programme note as being “imbued with the poetic Paris in the early 1930s (one of which had been features of nostalgia”. performed earlier in the festival) were inspired by The second half of the concert opened with Mozart’s example. This well turned performance a less familiar Martinů piece, the Quartet for oboe, would have benefitted from a smaller ensemble violin, cello and piano, H 315, composed in 1947 than the student orchestra assembled here. for performance by musicians at the Mannes However, Martinů’s scoring in the Oboe Concerto is School of Music in New York where he had taught. so expert that the super large orchestra crowding It proved a refreshing experience listening to this the stage of the Martinů Hall, albeit moderated well wrought music and a pleasure hearing the by effective control of dynamics by the energetic photo zdeněk chrapekphoto artistry of the vilém žák photo oboist of the Czech Nonet, Vladislav conductor, did not result in the drowning of the Vladislav Borovka, oboist of the Czech Nonet Borovka. The evening was rounded off by the soloist; on the contrary, he shone through, delightful Baletti a 9 by Jan Novak, a work that he reminding us what a fine, sunny composition this in 1951. The Trio Bergerettes were suc cessful in had submitted to his former teacher Martinů for concerto is. The very enjoyable concert ended building an inspiring climax in the central Andante, his comments, prior to the composition of Mar - with music that gave the orchestra and its attaining that moment of spiritual levitation that tinů’s own Nonet. Listening to the four lively individual players an opportunity to display further the composer’s wife Charlotte liked to describe as dance-like movements, one cannot help con clud - their considerable talents: Roussel’s colourful “opening a window into heaven”. For their encore, ing that the teacher’s documented testy criticisms ballet music The Spiders Feast, Op. 17, a score that we were enchanted by a pastiche movement from had been unduly harsh and that we should in any Martinů confessed to be among his favourites by Luboš Sluka’s Ježek-inspired Sunset Suite. case be grateful that Jan Novak’s piece provided the revered French master. The concert given in the Martinů Hall the fol - the impulse for Martinů to fulfil the commission I returned to London with the impression that low ing evening (5 December) also paid homage to he had received from the Czech Nonet. As a bon this edition of the Martinů Days festival had a musician who had died in 2019 and been closely bouche, this excellent ensemble delighted us with served the composer worthily in the 25th year of associated with Martinů’s music, the pianist a movement from Jiří Jaroch’s Children’s Suite as its existence, marking also the 125th anniversary Eliška Nováková, widow of Martinů’s onetime an encore. of the birth of his French wife Charlotte. ❚ pupil, Jan Novák. The featured ensemble was the The final concert that I was able to hear during famous Czech Nonet for whom, in 1959, Martinů my stay in Prague was given by the Academic had written his Nonet No. 2, H 374, which formed Chamber Soloists conducted by Leoš Svárovský

martinůrevue12020 | 7 bohuslav martinů: 1938–1945 texts

Continued from the previous issue

Part 2

You might be expecting some description of New York from me now, of my impressions etc. All I can say is that everything that went on affected me as if from a very great distance. I was not present, and it took quite some time for me to begin reacting to my surroundings and the events that occurred. I was seized by a kind of lethargy, a desire to avoid all thoughts, con - siderations, movement. It is true that we were both in a wretched physical condition, not to mention our mental one. My joy at being in New York was mostly formal, while the question of what I would do here with no knowledge of the language, no compositions, unknown in this strange land, could not be shaken off. However, I finally saw not only that I was known here, but that I enjoyed considerable standing as a com poser. I saw that the inability to speak

the language was no obstacle and that I would martinů centre in polička © bohuslav be able to work here perhaps even more than elsewhere. But that all came later. For the time being I met new people, new things, another peculiar way of life. No one asked me for my documents, permits, papers; I could go wherever I wanted to, do whatever I wanted to, think whatever I wanted to – I will not say buy whatever I wanted to, but the items at least existed, people appeared to respect one another, many of them expressed joy and satisfaction that I was among them, they were unrestricted, free, friendly, and kind. There was no sign here of that Bohuslav and Charlotte Martinů, with an unknown young girl, in their apartment in New York, 1942 display of human degradation and negation that we endured in Marseille. Shop windows full of returning desolate thoughts and ruminations, festival in Berkshire at the kind and warm invita - goods that had disappeared from Europe. And which were still stuck in Europe and which could tion of Emanuel Ondříček. At the time I was so the only thing I wished for at that moment have long kept my mental state in disarray, were writing Concerto da Camera for violin and string was to catch my breath, to find rest. But that unable to develop, and were thus blocked and ensemble with piano, a composition that was is in scant supply in New York. stifled. One of the surprises was that the score overdue to be sent to Basel. I also read my first Hardly had we arrived and I was already being (actually only a copy) of Concerto Grosso had been English book, which oddly enough was a Spengler, asked after by many people, known and unknown. saved by Széll and that Koussevitzky had already one that I had previously read in a French Those who had played things by me and those put it in the programme for April. The concert was translation. When the holidays came to an end, who had merely heard of me. A reception after called off (the materials were not produced in I did not return to New York but instead to its my arrival at the League of Composers, a recep - time), but Concerto Grosso was performed the vicinity, to a little villa in Jamaica, a half-hour’s ride tion in the Czech neighbourhood at K. Leitner’s, following season both in Boston and in New York on the subway from the city. There I started my an interview with Olin Downes at the N. Y. Times, by Koussevitzky and the Boston Orchestra. So my second cello sonata, but it was uphill work. a meeting with Koussevitzky, whom I was position was immediately confirmed and I had for In the meanwhile the aforementioned premiere acquainted with from Paris and who performed starters at least three manuscript scores. of Concerto Grosso took place in Boston with the “Bagarre” here in 1927, thus immediately Fortunately, the holidays came, which we spent a repeat in New York, and Serge Koussevitzky creating a position for me here, etc. It was all at the Šafráneks’ in Plaisantville and on the island commissioned a symphony. My first meeting with exhausting for me, yet also encouraging. The ever- of Martha’s Vineyard, Mass., and at the music the unique Boston Orchestra was a fortunate one.

8 | martinůrevue12020 consulate and from the envoy himself, which saved me a lot of worries and allowed me to focus on my work with greater peace of mind. Many of you probably know that strange feeling when you present your work to a foreign audience. Will they understand what you wanted to express? I had felt this unease many times before myself, in France, Italy, Switzerland, and even at home

© bohuslav martinů centre in polička © bohuslav of course. It is not the desire for success, it has much deeper causes and questions, whether your internal troubles will find their way to other, different worlds. So you will understand that I was overjoyed when the reactions were positive and brought other unexpected consequences. The violinist Mischa Elman had wanted to hear Shostakovich’s symphony. But he got the date wrong and instead heard music by a composer he had probably never heard of before. The result was that he asked me for a violin concerto Rudolf Firkušný, Charlotte and Bohuslav Martinů in Central Park, New York, 1943 (Koussevitzky’s intervention). In truth, he placed me in a rather embarrassing situation. Although I knew Elman’s reputation as a violinist, I had The ensemble has many French members, who both the form and the orchestration they now never heard him. Besides, I had just finished the welcomed me warmly and heartily, as did the rest have, and the whole first movement materialised aforementioned Concerto da Camera and also the of the orchestra, so I suddenly felt at home and as before my eyes, as if it had been hiding behind concert suite for violin, which I had begun long if I had always been with them, or as if I was at this introduction. And yet the modulation of before in Europe for Dushkin, but all in all I was the third desk in the Czech Philharmonic. And so neither chord plays any real role in the subsequent not really interested in a violin concerto at the I instantly became a kind of adopted member of structure. I finished the second movement in time. However, when Mischa invited me into his this body, a relationship that lasts to this day. It is Middlebury (Vermont). There I received a telegram studio to hear him play (he was probably quite hard to depict how much it helped me back then. from Koussevitzky with the offer of a place as unpleasantly surprised that I had not heard him

Bohuslav and Charlotte Martinů at the window of their apartment in New York, at 24 West 58th Street

I now stood before the problem of the sym - professor of composition in Berkshire. The summer before), I changed my opinion, and a hazy image of phony, or its realisation, for otherwise the problem festivals in Tanglewood in Berkshire are renowned, what the concerto might be like formed within me. dates much further back (my first failed attempt and my predecessors there were Hindemith and Mischa is a violinist body and soul, and his tone, is the Rhapsody). I felt I was not yet sufficiently Stravinsky. And so I became a teacher, notwith - which never exceeds the boundaries of beauty of prepared. Besides “Juliette”, I had not used a large standing my negligible vocabulary of English the violin’s sound, is strangely enchanting. All the orchestra since the “Bagarre” and “Rhapsody”, words. But everything worked out much better same, I started the concerto much later, despite that is, since 1927–1928, and my struggles with than I would have imagined, and I am very glad Elman’s queries and unease. I prioritised a con - the cello sonata did not suggest that I was ready that I could thus better adapt to the American certo for two pianos and orchestra that I had to undertake a composition of such a momentous style of life and thought, and I have many happy promised in Berkshire to the pianist duo of and major form. So I delayed the job from one memories of that course. I wrote the last move - Luboshutz-Nemenov. month to the next, until in May 1942 I placed the ment of the sym phony there, which Ifinished In the meantime, America had joined the war first chords on paper. As an interesting aside, orchestrating in Manomet (Massachusetts). The and Europe forged on with its sad tragedy. Black I note that these two chords had hounded me as symphony is dedicated to the memory of Mrs clouds blocked all hope bar a single ray of light. a theme since January and that I had logically Natasha Koussevitzky. The symphony’s perform - There was really only one left. America was at war refused them. One cannot base or create a theme ance somehow marked my definitive acceptance and preparing to strike with incredible energy and on two chords (B minor, B major). And yet I could by the American music scene. I also found a kinder organisation. There were shadows here too, but not be rid of them, until in May I suddenly found and more concrete appreciation both from the the fact itself held true. We were also in need of

martinůrevue12020 | 9 willpower, resistance, defiance, endeavour and the relentless will to endure, not to succumb to the dreadful news, to retain our conviction and faith in the true values of humanity and civilisation so dearly won and now so endangered. America and the whole of our surroundings here had not yet felt and, perhaps apart from its leading figures, did not understand what was at stake. They were as yet unaffected by the war, except in small details. Optimism had to be forced when everything suggested the opposite. But it was necessary, or else all would be lost to us. How often in the evening streets of New York did I ever repeatedly reinforce, reaffirm, and revive all that I considered to be values that must not be lost, if we were not to lose humanity itself. And believe me, those endless avenues and streets of New York are not exactly the best source of inspiration for these kinds of thoughts. They stifle you, entrap you, and you feel as if you cannot Ridgeﬁeld, Connecticut, 1944 escape. You cannot rest, sit down at a table outside some little café like in Paris and let the events and people pass by you in peaceful repose I chose small ensembles and smaller orchestras. thanks to our consul Hajný. I think that Captain and rumination. No, you must keep going, ever Even my stage works, except “Juliette”, are for Hajný had quite a hard time with it, and the dedi - forward, block after block, to eternity, and the smaller orchestras. A concerto for two pianos is cation changed in the details, but the premiere on further you go, the more your thoughts and the the “ideal type” for this form. My work took me 28 October 1943 had the character of a national uniform nature of your surroundings force you through another sad Christmas. At the time I had manifestation and assuaged all mistrust. The to go faster and faster, until you stop thinking various performances of smaller chamber com - captain shone with joy, and it was wonderful and start counting blocks. positions, including the new cello sonata. The to be in Cleveland with so many friends. No, I cannot say that I have only happy mem o - same day that I wrote down the last chord of the We spent the holidays in Darien, where ries of New York. Truly, the best was not to think concerto for two pianos, I drafted the beginning Charlotte started our first “victory garden”. and just work. And here, as often before, my of the violin concerto for Mischa Elman, which The stay was very pleasant, New York was just compositions gave me robust support. Despite I then completed in two to three months. an hour’s train-ride away. Charlotte was happy all the emotions, thoughts, troubles within, it is In the meanwhile I was planning a second because the landscape reminded her somewhat necessary to find a certain pliable, vital organi - symphony. It happens frequently that in the of France. The sculptor Mario Korbel also lived sation, order, which gives cohesion to our mixed course of work on one thing, elements and ideas there, and many friends. I completed my second personal feelings, and that is positive action. occur to you that cannot be implemented into the symphony and “Memorial to Lidice” there. We were now definitively in New York on 58th composition at hand, but which you store away Soon afterwards I committed my great pre - Street, west of Fifth Avenue. My work on the for the next piece, so to say, one that you often miere “attack” on the American public. The concerto for two pianos was progressing well. never actually write. Which was the situation here premiere of the second symphony in Cleveland To tell the truth, I am the Concerto Grosso type. as well. In my long search for the beginning of the was on the same day as the premiere of You will find a superficial description of this form first symphony, my thoughts were hampered by “Memorial to Lidice” in New York. Leinsdorf in almost every textbook, perhaps at most that other ideas. They were clearly unsuitable for the conducted in Cleveland, Rozdinski in New York. the solos and orchestra take turns. But the structure that I had in mind for the symphony. We were in Cleveland when friends from New York matter is actually much more profound. The whole You can probably understand that when you find phoned up at 3 in the morning to inform of the structure of this form points to a totally different yourself standing before the problem of your first profound impact made by the Memorial. Several understanding, a different approach to the prob - symphony, you adopt a highly nervous and grave days later, the concerto for two pianos was lem. Where the symphonic form allows, in fact stance, and your reflexes reach out, not to premiered in Philadelphia and then repeated in requires the application of emotional elements, Beethoven’s First, but to Brahms’ First. And so New York. Followed by the premiere of the violin often in their most romantic conception and I almost feel that all these elements, relatively concerto in Boston and another performance of expression, where dynamic peaks and catharses speaking, assembled for me a second symphony the second symphony by Rodzinski in New York are conditioned, where you can expand your while I was composing the first. That is indeed that same day. I stayed in New York, but I took themes into infinite dimensions even to the quite an exaggeration; but the fact is that when my radio with me to Carnegie Hall, and because detriment of organic order, there the form of I started my second symphony, I found that my both compositions came at the same time, I had Concerto Grosso permits strict order, boundaries, material was practically ready. However, a certain to take a break from listening to the concerto to a balance of emotional components, the limitation amount of disorder was caused by me having too make my appearance on the stage of Carnegie and adequate equalisation of gradation and lucid a concept of what I wanted to do. Perhaps Hall, and then catch the end of the concerto from dynamics, an utterly different and strict structure I will return to that some other time. Boston. The New York premiere of the violin of thematic organisation, in short, another world I wanted to dedicate the symphony to my com - concerto came soon afterwards. Seeing that all completely. For this reason I also delayed working patriots and the workers in Cleveland, who did these concerts are repeated two or three times on a symphony for so long, and for this reason so much for the war industry. The idea succeeded each, I hardly ever escaped from the stage, or

10 | martinůrevue12020 from the nervous tension, rehearsals, and per - quintet, a third sonata for violin, Madrigal-Sonata I had spent many long years with in Paris and formances, which were mostly first-class, the way for violin, flute, and piano, Trio for Flute, Cello, who published an article in the N. Y. Times back American orchestras are. and Piano, Czech Rhapsody (violin – for Kreisler), in 1939. The result was not just an article in the But otherwise New York is not a place where a flute sonata, Etudes and Polkas for piano, aforementioned revue but also the book from I could rest. And so I found – as I still find – true a second cello concerto with orchestra, Scherzo Knopf. I must say that Šafránek had his fair share refreshment in the evenings spent at the house for orchestra – and perhaps I have even forgotten of troubles due to the material, which was not of E. Švec and his wife, whose acquaintance some. sufficiently at hand here, and also due to my we had made in Darien, and in the evenings – During my fourth vacation in Ridgefield, confused memory regarding the dates of the and Christmas Eves – at our dear friends the Con necticut, Icomposed my third symphony, completion, the performance of com posi tions, etc.; Macháčeks in the Czech neighbourhood, who were dedicated to the Boston Orchestra and Serge also, I reckon, due to someone in London not

© bohuslav martinů centre in polička © bohuslav also visited by Ježek, and in the long discussions Koussevitzky. For my fifth, and I hope final, considering the book to be neces sary at present with Šafránek in Central Park. I could not forgive vacation in the summer of 1945, I stayed in South because it was not political propaganda. (And yet myself if I made no mention, besides E. Ondříček, Orleans on Cape Cod by the sea, where I com - it was not a matter of financial support.) Despite of my friend Rybka, an organist in Jamaica, and pleted my fourth symphony for the Philadelphia this, the book was published in New York and also his family. Rybka was the first American Czech Orchestra, dedicated to Helena and Bill Ziegler. in Canada (Ryerson Press) and is selling well, so to reach out to me straight after my arrival in I am still in South Orleans as of the writing of this another edition is being prepared in London and America. He has retained his direct and cheerful article. But it will soon be time to return to New probably also in France. Czech nature despite his American citizenship; York and then to return to Europe. There is not So here you have a sort of cursory view of our relationship instantly developed into a dear much news yet from home, but my friends in those few years. There are a number of pre mieres and much appreciated friendship. Then there was France have not forgotten me. One of the first still ahead of me now. In October the third sym - phony in Boston, in November the Fourth sym - phony in Philadelphia and New York, Suite Con - certante in St. Louis, the Scherzo in Washington, and several chamber works. I will attend them only partly in spirit, as I am otherwise already with you and with my friends in Europe. A few more words about America, of which I actually know only a very small area in the vicinity of New York. Unless I am mistaken, we have grown accustomed to regarding America as a country without our thousand-year-old tradition (which is true), as a country that we reared and educated (which is also true, but not completely any more), in short, as a country that we gave everything to (which really is no longer true). We still think that America lives in gratitude and admiration of our culture and civilisation, sup - ported by the hard-won battles of centuries (which is also no longer true). What we have forgotten is that much more is required to uphold a civilisation than mere praise, that is, actually self-praise. The Ameri cans have acertain expres - sion that needs to be explained in our terminology: “wishful thinking”, that is, to explain everything according to one’s own wishes and to see, and of Bohuslav Martinů with Charlotte at Macháček's during Christmas: Mrs. Macháčková, Bohuslav Martinů, course find, in facts those things that we Charlotte Martinů, Alén Diviš, Josef Macháček, New York, 1942 ourselves put in them. That is, to be quite honest, I have found very few traces of the so-called Firkušný of course, living right next door and concerts held after the libera tion of Paris included inferiority complex towards Europe, if any at all. successfully conquering America. He also played “La Bagarre”. The upcomi ng season has most of All the crises and convulsions of our, in their view, my Fantasy and Toccata, Esquisses de Danses, my American com positions on the programme “old civilisation”, into which they are, as they feel, and the intermezzo from “Juliette” [Scene at the in Paris, and the Double Concerto with P. Sacher, always dragged in the end, neither impress them Forest, 2nd Act, 3rd Scene]. which has so many memories for me. My first nor convince them of some superior order of ours. symphony was already performed in Geneva In short, the sooner we correct this view of ours ✼ ✼ ✼ (Ansermet) in May. and myth, the closer we will be to understanding I think it is time to shorten this article. So I will I must also mention my biography, which America and its energy. only name my other compositions: Suite Con - was written by Miloš Šafránek and published by I end this article with the wish that all the new certante for violin and orchestra for S. Dushkin, A. A. Knopf in New York. Following my series of strength and energy back home finds its proper which will be premiered in St. Louis, three cycles of premieres in 1943, the Musical Quarterly asked application. And farewell until we meet soon. songs on folk texts (the new “Chap-Book”, “Songs me for the dates of my works and my biogra phy. on One Page”, “Songs on Two Pages”), a piano I entrusted this task to M. Šafránek, whom South Orleans, late September 1945

martinůrevue12020 | 11 robert kolinsky: martinů fascinates me more interview

there for a week or maybe a bit more, I was pretty exhausted towards the end, but the last concert was with the Prague Symphony Orchestra and Jiří Bělohlávek. They performed Martinů’s Sixth Symphony, and it blew my mind. It’s one of two or three concerts that have remained with me, in my memory, to this day. / PETR VEBER How does the press see you? A concert that shook me to the core.

[…] “Das feinste und das kleinste festival”. The small - In what way? Is your festival always the same size est, the finest. They wrote that about us in as this year? Or is it growing? a newspaper once, that was some ten to fifteen I was touched by how dynamic the work is, years ago. Back then I reckoned: We’ll keep it its fatalism and dramatic power. I was also I feel that five or six concerts is just about the that way. […] strongly affected by the music of composers right amount. When you’re walking around who like to present drama. Like Shostakovich, Basel, it feels like a pretty big festival. We are When did you personally discover Bohuslav for instance. But I wasn’t yet quite sure what quite visible, although that is not our main goal. Martinů, his personality and his music? to do with Martinů, how to process him We mainly want the legacy of Bohuslav Martinů In a way that touched you and appealed to internally. Because he doesn’t compose by to be seen and heard. […] I always thought you more profoundly than other composers? working with classic themes, which would be we’d probably survive if we stayed a relatively unequivocally sad or jolly or would consist of small group. I’d rather have people say the When I visited Prague for the first time, roughly leitmotifs. I think that in his music everything is festival should be bigger than for them to say at the age of eighteen or nineteen, I tried to merely intimated. He uses little motives that he it’s expanded almost too much. […] attend every concert I possibly could. I was allows to grow on their own. And then there is

12 | martinůrevue12020 and more each day

was no big task, I’m glad to have been there among the singers, to have seen the music from the inside. […]

Martinů spent a number of years in Switzerland. Is he well known there? Or not?

He is quite well known now, in part thanks to our festival, I guess. But when I was still a student, he was not taken seriously, really. The path to uncovering his genius is not so straightforward. I’m fascinated how, especially in the fifties, his style had such impeccable certainty that I can compare it to Bach, who also wrote fugues at the end of his life at a time when no one was interested in them at all, with his sons laughing at him… It is similar. When Martinů wrote things like Ariane, H 370, it was in the fifties, and the West was domi - nated by the so-called Darmstadt School, and every thing with even ahint of tonality was denounced. It was a matter of principle. And then this old gent comes up and starts playing < Robert Kolinsky Madeleine Albright, Patron of The Martinů Festtage Basel, with Robert Kolinsky with func tions like major and minor… They turned their nose up at him, and it lasted a long time. There were not many big conductors who some moment in his work, like his wife said, Is that when you founded the festival? promoted him, as there are now. Maybe some when it’s as if the heavens part… When you try of them were afraid they’d be a laughing to analyse, you find how complex a path Mar - I was twenty-five, and I participated in one stock… That’s my opinion. tinů takes to simplicity. festival, but it didn’t work out. Then they told me to do it myself. Well – and that was the Has it changed? And then? When did you come to thoroughly start. Then I said to myself that it should appreciate him? probably be an annual event. There are so many It has. The past five or ten years, I really works in his legacy that should still be heard, haven’t heard any comment of the sort that his Then when I was about twenty-five, I remem - so we don’t just keep performing those few music isn’t all that good… That disappeared ber talking with one colleague about Martinů; most famous ones… […] When the program - completely. But the promoters call the shots, I remember I was quite arrogant… Until I finally ming is good, success follows. […] People are and they are scared of any music made in the started taking a greater interest in him – and surprised how deeply they are touched by his twentieth century. So of course, Martinů will his music began to really fascinate me. And it music. never be played as much as Dvořák or Brahms fascinates me more and more each day, even or Schumann. But that doesn’t matter! now. Sometimes I can’t fathom what guides What all of Martinů do you yourself play? him to make his music the way it is. German The full interview is available in Czech at music has a clearer character: here’s the theme, Practically everything, even the piano con cer - www.klasikaplus.cz, 8 December 2019 here’s where it turns around… Martinů does tos; in recent years I’ve been greatly admiring everything more with feeling, in a kind of French his piano works, which I am only just starting manner. The music develops in a way that to discover and explore. […] There is nothing of makes one feel as if it didn’t even have a com - his I wouldn’t perform. And I was glad to have poser. As if it grew of its own accord. I haven’t had the opportunity to sit down and play the found any music like it. […] piano part in The Prophecy of Isaiah. Although it

martinůrevue12020 | 13 bohuslav martinů’s ambivalent relationship texts to czechoslovakia

/ ALEŠ BŘEZINA 3. escape to the US with minimal aid from the state; Part 1 4. offer of the post of Professor of Compo- Bohuslav Martinů in 1919 sition at the Master School of the Prague Following the Communist coup in Czecho slo - Con servatoire and the transformation of 1950, he received regular subsidies from the vakia in 1948, the composer’s return was state support; Czech Academy of Sciences and Arts (pre-1918: deemed undesirable, and his compositions were 5. prohibition of the performance of Martinů’s Czech Academy of Emperor Franz Joseph for completely removed from the domestic concert works in his homeland; the Sciences, Literature, and Art; hereafter scene for a number of years. They slowly 6. change of attitude and interest shown referred to as CASA), the Ministry of Education started to reappear to a limited extent in the by Czechoslovak State Security. and National Enlightenment, the Ministry of mid-1950s but could not enjoy full performance Sections 3-6 will appear in the next issue of Foreign Affairs, and the Office of the President availability until after the fall of the regime in the Martinů Revue. of the Republic.1 Support for Martinů – both 1989. Correspondingly, Martinů never received financial and otherwise – from the first Czecho - any Czechoslovak state award, unlike numerous 1. Four decades of continuous slovak President T. G. Masaryk and his family other Czech composers who have since fallen support of Martinů in 1914–50 would merit a chapter of its own: as early as into oblivion. In 1991 he was finally (and post - 1919, Alice Masaryková wrote a remarkable humously) recognised with the Order of Tomáš Owing to his humble family background and his letter to the conductor of the National Theatre, Garrigue Masaryk, but even then it was only the remarkable talent, Bohuslav Martinů secured Karel Kovařovic: “Maestro, is it possible for Second Class distinction. This article is divided his first financial support as a mere secondary- Mr Martinů to travel with you as a violinist to into the following sections: school student. At the time, the aid came from Paris? He claims it is a matter of life and death 1. four decades of continuous support by the a private source – the Polička bookseller Josef for him. Do consider his plea, and you have my Czech Academy of Sciences in 1914–50; Kaňka paid for Martinů’s studies at the Prague thanks. Yours sincerely, A. Masaryková” 2. efforts to secure the post of Professor of Conservatoire in the years 1906–10. This early Martinů sent a total of 21 applications to Composition at the Prague Conservatoire experience taught Martinů both to request aid the CASA in the years 1914–49; 13 of them in 1935; and to use it responsibly. Between 1914 and were successful and only eight of them were

14 | martinůrevue12020 “…pour le moment, je suis là-bas toujours considéré comme un famous czech composer…”

denied. In April 1914 he applied for a travel scholarship “for a journey to Paris, which he had long contemplated”. Three years later he asked for a scholarship from the CASA for his song cycle Nipponari, H 68, and for support from the foundation of Klementina Kalašová for young composers in the sum of 100 crowns (“He would use the support to replenish music supplies and music books, which he needs for his

© bohuslav martinů centre in polička © bohuslav studies.”). His recommendation was written martinů centre in polička © bohuslav by Josef Suk, who later taught him at the con - servatoire in Prague. In 1919 Martinů sought to be “granted sup - port for further works”. He appended his appli - cation with the set of piano Polkas, H 101, and also mentioned his ballet The Shadow, H 102, the song cycle Magic Nights, H 119, Sonata in C minor, H 120, for violin and piano, and the cantata Czech Rhapsody, H 118.2 Just five days later he sent two letters to the CASA, asking for funds in connection with Czech Rhapsody.3 Bohuslav Martinů with Joe Jenčík and Josef Matěj Gottlieb, collaborators on the ﬁrst production He ended up receiving the 2nd Annual Prize for of the ballet Špalíček, 1933 it, in the sum of 800 crowns. He was less suc - cessful the following year, when his application Czech Philharmonic in Rudolﬁnum. Bohuslav Martinů at the third desk of the second violins, 1921 © bohuslav martinů centre in polička © bohuslav The letter from Bohuslav Martinů to CASA, 4 April 1914. Archive of CASA, 560/1914

provided the composer with the heights […]. ”He was able to corroborate these same sum for “further studies claims with numerous performances of his in Paris” in 1927. He garnered works in Europe and the US. Yet when he © bohuslav martinů centre in polička © bohuslav a mixed response with his ap pli - applied for the same sum a year later, the cation “to at least partly cover Academy was “unable to comply” for unspecified the expenses I have for the reasons. preparation of the piano reduction In 1932 he requested yet another scholarship of my comic opera The Soldier and of 4,000 crowns, arguing that the results of the Dancer, which will be staged his work abroad “are considerable and sufficiently in February 1928 at the National meaningful both for our music and for the Theatre in Brno. The piano reduc - advancement of Czech art. […] with the position tion was arranged by Mr K. Šolc, that I have carved out here, they would have whose fee of 4,000 crowns a great impact on the promotion of Czech music. I cannot pay from my income, I would use the scholarship to complete my which only suffices to allow me new ballet, commission a piano reduction and to complete my work and goals translation of the text of my ballet The Chap- started in Paris […] it will enable Book. By granting this support, the estimable me to more calmly attend to Cz. Academy would enable me to preserve these further work, which will also affect Czech customs and games in a work of artistic the advancement of other works value.” The CASA accorded him with only half of Czech music.”6 of the requested fee but gave the composer A jury awarded Martinů “half the second half for his Concerto No.1 for of the 2nd Annual Music Prize, Violoncello and Orchestra, H 196 I, and String increased by half of the 3rd Prize Quartet No.3, H 183. Martinů later received and 500 crowns from the funds another 3,000 crowns for The Chap-Book of the music department”, that is, (Špalíček), H 214 I, from the Pavlína Erbanová 3,000 crowns, for La Bagarre, Fund in 1934. H 155. However, it is telling that Martinů’s last application for support from this composition, which was the CASA came in 1939, for Tre Ricercari, H 267, successfully premiered in 1927 which was performed at the International by Serge Koussevitzky and the Festival of Contemporary Music in Venice. The to be “granted support for further works in the Boston Sym phony Orchestra, was not included country’s transformation into the Protectorate field of music” was rejected. He sent another in the pro gramme of the 1928 ISCM festival of Bohemia and Moravia just three weeks after request for the funding of his com positional by the organisation’s Czechoslovak branch, the sending of the request presumably explains activities in 1921, providing his song cycle but instead by its central jury section. The why he did not receive the scholarship, nor Magic Nights as an attachment.4 composer’s application from January 1929 could it have been delivered to him in Paris if In April 1923 Martinů applied for a “scholar - for a scholarship or contribution to reimburse he had been awarded it. ship of 1,200 crowns”, explaining that his mem - his expenses for the preparation of the piano Shortly after the end of World War II, a new bership in the Czech Philharmonic and his reduction and German translation of the text president of the CASA was elected – Zdeněk private lessons “leaves him with hardly any time of his opera Three Wishes or the Inconstancy Nejedlý, a leading figure in circles that were for his own compositional work.” The CASA of Life, H 175, was only partly satisfied with openly hostile to Bohuslav Martinů and his scholarship would supposedly “allow him to fulfil the receipt of 1,000 crowns. He therefore music. Despite this fact, the so-called Fourth his long-time wish of studying composition for decided to create the piano reduction himself Class of the CASA, which dealt with fine art, a period in Paris.”5 At the same time he unsuc - and only com mis sion the German translation. music, and literature, retained a certain amount cessfully attempted to win a prize from the His request for a scholarship of 4,000 crowns of independence for several more years, and as Matěj Havelka Fund with his orchestral piece in March 1930 was complied with to the full, late as December 1949 it still awarded Martinů Vanishing Midnight, H 131. He fared no better enabling his “continued stay in Paris, where “the First Annual Prize of 10,000 crowns for his three years later when he sent his ballet Istar, I have been living for quite some time and where Symphony No. 3.” H 130, to the CASA. His request to finish “works I have built up a position that has real artistic His last official communication with the CASA and enable his continued stay in Paris,” however, importance for Czech music. I am determined took place a year later, when the institution’s earned him 2,000 crowns. The CASA also to bring this endeavour to the greatest possible general secretary, Prof. Viktor Trkal, sent the

16 | martinůrevue12020 played a very prominent – and negative – servatoire’s faculty had not yet submitted role in the selection of the new Professor of a proposal to fill the post vacated by Josef Suk. Composition at the Prague Conservatoire in The situation was further hindered by the fact 1935. Martinů had been eyeing the post since that Martinů was reluctant to make an official February 1932, as is documented by one of his bid for the position for tactical reasons, as the letters to his family in Polička. A month later con servatoire was fielding its own candidates, he informed his family that he had spoken namely, Jaroslav Křička and Rudolf Karel.7 And “with the chief of the office of the president […], so his friend Václav Talich, chief conductor of and I told him I could not accept any old post, the Czech Philharmonic and also a professor at and he agreed completely and promised me quite the conservatoire, advised him to apply for the officially that the position at the master school of professorship both at the MENE and at the the conservatoire vacated by Suk will be marked Rector’s Office, thus quashing any doubt of his for me with priority and that he will talk to the return.8 The same advice was given by Josef president about the matter.” Schieszl, who hastened to inform Minister The composer’s persistent efforts to return Krčmář that the request had already been sent, to Prague are remarkably attested by the while also interceding for Martinů at the con - correspondence of Josef Schieszl, secretary of servatoire itself.9 However, all these efforts the Office of the President of the Republic. were in vain because the Master School of Bohuslav Martinů in Venice, 1934 The president’s office sent Martinů a monthly the Prague Conservatoire decided to leave the subsidy, as evidenced by a letter from the post completely vacant out of respect for the composer a letter congratulating him on his composer’s long-standing supporter Miloš previous incumbent, Josef Suk.10 Martinů’s 60th birthday: “The Czech Academy of Sciences Šafránek, who served as a cultural attaché at efforts to secure various other positions11 also and Art joins you in commemorating your sixtieth the Czechoslovak Mission in Paris: “Martinů met with disappointment, and so he decided birthday today. You devoted your whole life to art, received the June payment today, so his finances to stay in Paris. Martinů revisited the issue and you can now gaze with joy at work well are in order. Hard to say what will become of him. repeatedly to no avail until 1939, when the accomplished. […] With the most profound […] He is secure for the duration of the holidays, outbreak of World War II put a decisive end respect, Prof. Dr. Viktor Trkal, General Secretary.” he was awarded a prize by the Czech Academy, to all his hopes. and he and his wife will spend 2–3 months in the (to be continued in the next issue) 2. Efforts to secure the post Czech countryside. He will be in dire straits when of Professor of Composition he returns to Paris in late September. His pub - at the Prague Conservatoire lishers, even Schott, are starting to struggle in 1935 economically.” The regular flow of money from 1 To avoid bringing the text to an excessive length, this the Office of the President of the Republic came paper does not discuss the Bedřich Smetana Jubilee Due to the many years he spent outside of the under threat with the resignation of President Foundation Prize, which was awarded to Martinů a total of three times in 1929 (Allegro Symphonique, H 171), 1935 Czechoslovak Republic, Martinů collaborated Masaryk, who provided a temporary solution by (The Plays of Mary, H 236), and 1937 (Theatre Behind the extensively with the Ministry of Foreign Affairs, awarding the composer an extraordinary grant Gate, H 251). which supported the composer’s stay in Paris to the sum of 5,000 crowns. Negotiations with 2 The Academy awarded him the sum of “300 crowns for and to some extent also his foreign travels. For the president’s successor, Edvard Beneš, about further works of music”. example, it awarded him a scholarship to visit some form of continued support are docu - 3 There appears to be no response to this second request in the CASA archives. Berlin in 1930, where Martinů offered his operas mented in Martinů’s letter to Jan Zrzavý from 4 He received 1,200 crowns from the Matěj Havelka Fund. to the chief conductor of the Berlin Krolloper, February 1937. 5 He was provided with 1,000 crowns “for further works Otto Klemperer, and other musicians; it also In 1935 Josef Schieszl began to actively of music”. Martinů used this scholarship to travel to contributed to his trip to the festival in Venice prepare for Martinů’s selection for tenure at the Paris for a three-month study visit under Albert Roussel. This short stay would ultimately be extended to per - in 1934, which included a performance of Prague Conservatoire. He was of the opinion manent residence in the French metropolis until the Inventions, H 234. that the composer had “hardly a competitor” outbreak of World War II. The Ministry of Education and National in his homeland, though he admitted there was 6 He received 1,000 crowns. Enlightenment (henceforth MENE) was also a selfish reason for his backing, as Martinů 7 Letter from Josef Schieszl to Zdeněk Wirth. approached by Martinů for the first time in had been receiving grants from the president 8 Letter from Bohuslav Martinů to Josef Schieszl. 9 Cf. Schieszl’s almost identical letters to Karel Hoffmeister 1929, when he asked for a contribution to have for years, and these would be terminated and Jan Branberger. the performance materials written out for his “as the result of a known situation”. His first 10 Cf. response of Minister Krčmář to Josef Schieszl. symphonic work La Bagarre, H 155. The MENE attempt was premature because the con - 11 Cf. the composer’s letter to his family in Polička.

martinůrevue12020 | 17 collaboration between teacher and pupil. The especially thanks to its advancement of con tem - collection encompasses Novák’s corre spon dence porary music; it published the works of composers with other people, and the Bohuslav Martinů the likes of Béla Bartók, Benjamin Britten, Aaron Institute has access to all his letters that contain Copland, Richard Strauss, Igor Stravinsky — and any mention of Bohuslav Martinů. from 1940s also Bohuslav Martinů. The Institute obtained the copies of hundreds of Although the archive is still being processed and

news documents from the estate of Marie Pražanová from catalogued, the first major series of business files, the Bohuslav Martinů Centre in Polička, the com - called the Directors’ papers, was made available to poser’s hometown. Pražanová was a friend of the the public last autumn. This collection of 300 boxes Martinů family and a supporter of the composer’s records the activities of the top managers of Boosey siblings Marie and František during World War II & Hawkes and contains their correspondence with new sources and later in the 1950s. She was clearly a meticu- composers, musicians, and institutions, internal lously organised woman, and the docu ments she correspondence, memos, reports, agreements, and had collected proved to be valuable sources of other historical records of all aspects of the pub lish - information for authors likes Miloš Šafránek and ing business — copyright, printing, the publishing / MARTIN LEDVINKA, MAREK PECHAČ Miloslav Bureš soon after the com poser’s death. and performance of music, and the promotion of Her collection has enabled the Bohu slav Martinů composers and their work. We have only examined The Library of the Bohuslav Martinů Foundation Institute to expand its online Database of Sources a fraction of these materials but have already made acquired three historical recordings of Martinů’s with more than 50 previously unknown photo - numerous findings, such as the bilateral correspon - compositions in 2019. The first is a rare perform- graphs of the composer or his friends and relatives dence (roughly 40 letters from 1955–8, most of ance of Concerto da Camera, H 285, from April and with over 200 items that document his life or which were previously unknown) between Martinů 1949, performed by the Cuban American violin events such as the construction of the Bohuslav and Ernst Roth, who served as Managing Director virtuoso Ángel Reyes and the Orchestre de Martinů Museum in Polička. Besides Marie Praža - at Boosey & Hawkes in 1945–64, or the extensive Chambre de Lausanne conducted by Victor nová’s correspondence with Bohuslav Martinů, correspondence of Roth and other B&H employees, Desarzens. The second item contains a rendition the collection also contains Pražanová’s personal regarding Martinů and his compositions, with of Field Mass, H 279, by the Yale Glee Club and memories and letters in connection with other Charlotte Martinů, Paul Sacher, Miloš Šafránek, the Schola Cantorum Men’s Chorus conducted by figures. Karel Šebánek, or with organisations such as the Hugh Ross on 23 March 1952 — in a version the Czech Philharmonic, Melantrich, the Czech Music composer himself may have heard, as he probably The printed score of Sinfonietta La Jolla, H 328, Fund, the copyright agency Dilia, and the pub lish - attended the concert. Finally, the collection has which Martinů sent to Václav Talich via Vítězslav ing firm Artia. Other documents include internal been augmented with a recording of the American Nezval in 1954, was discovered in the Music correspondence, contracts, and all kinds of lists premiere of Martinů’s opera Juliette, H 253, which Department of the Municipal Library of Prague. and concert programmes. photo: municipal library of prague municipal photo:

y Postcard sent by Martinů from Vermont to Jan Novák, dated 23 September 1951 Printed score of Sinfonietta La Jolla with Martinů's dedication to Václav Talich y was conducted by Bob Feist at the University of The title page bears the composer’s autograph We were able to study more than 30 items of Washington in 1988. dedication: Dear Václav Talich | My best regards | sheet music, among which we discovered the Last year, private archives provided the Institute Yours, B. Martinů | Nice 1954. autograph scores of Symphony No. 2, H 295, with an extensive collection of sources from the However, last year saw the Institute locate even Symphony No. 6, H 343, Five Czech Madrigals, estate of the composer Jan Novák that has been more sources, both musical and extramusical, in H 321, and Concerto for Piano and Orchestra No. 3, deposited in the Czech Museum of Music. Jan Novák the British Library. In 2016 the esteemed institution H 316, which had been considered lost until studied brieﬂy under Bohuslav Martinů (from Sep - made one of its greatest — and most voluminous — recently. The British Library also houses the tember 1947 to February 1948) and became his long- acquisitions to its Music Collections: the archives autographs of Tre Ricercari, H 267, and Symphony standing admirer. His estate includes a valuable set of the London headquarters of Boosey & Hawkes. No. 3, H 299, reproductions of the autographs of of letters that Martinů sent to his pupil in Com - The set comprises hundreds of boxes of documents Concerto for Oboe and Orchestra, H 353, and munist Czechoslovakia after the latter returned dating from the late nineteenth century (that is, The Marriage, H 341, with Martinů’s markings, there from America. The archives also contained before the company was established via the merger and other reproductions of autographs (some of Jan Novák’s notes from Mar tinů’s lectures in New of Boosey & Co. and Hawkes & Son in October 1930) which had served as engraver’s copies), scores, York, which he attended as an independent student, until c. 1980. The company achieved international or piano reductions in foreign hands, proofs, parts, and sheet music that documents the musical acclaim over the course of the twentieth century, or lists of corrections. ❚

18 | martinůrevue12020 of publicationconsists the completeedition.The theeighthvolumeof theunofficiallaunch of by thegenerousbenefac all tors, and wascrowned musicians, whohadper formed probono,and to comprised expressions ofgratitudebothtothe slav Martinů.Theceremonialpartoftheevening Bartók and century, namely, two quintessentialquartetworksoftheprevious programmeof ings. Theensemblecontributeda boasted thePavel HaasQuartetamongitsoffer - theannualbenefitconcert.Thelatestedition is efforts tosecurefunding.Onesuchendeavour and editorialworkalongsidepersistent,on-going century, necessitatesdecadesofintenseresearch exponents ofmodernmusicthetwentieth BohuslavMartinů,oneoftheworld’sgreat of The completecriticaleditionofthevastœuvre German MusicPub lishers Associationin2016. the prestigious BestEditionAward from first ofthem, eight volumeshavebeenpublished.Thevery Martinů Institute.Sinceitslaunchin2015, dation andimplementedbytheBohuslav theBohuslavMartinůFoun maintainedby - is slav MartinůCompleteEdition.Theproject supporttheBohu donationagreementto - a stranské Square.Ticketstooktheformof ings ofKaiserstein Palace inPrague’sMalo - vember 2019amidthemagnificentfurnish - No Martinů InstitutetookplaceonFriday 8 - The fifthbenefitconcertoftheBohuslav ŠERÝCH/ ANNA Rhapsody-Concerto orchestra, piano andpercussionfrom1941 Concerto daCamera review String QuartetNo.2 The EpicofGilgamesh String QuartetNo.4 , H337, forviolaandorches tra, 8,frviolin,string , H285,for and 5 , H150,byBohu - th by Béla , wonthe benefit concert benefit the pavel haas quartet ocontemplation andthanks.ThePavel Haas to of thewholeperformance gavegenerousimpulse poly phonic dramaticfinale,thesupremeoriginality tightlyrefinedpizzicato andthemassively the Non troppolento thefirstviolinand cellointhemesmerising of fugal rushofthesecond,exquisite dialogue thefirstmovement,throughcollaborative of From thetensionofopeningviolinpassage passiondominatedbyprecisionanddiscipline. a this alltolifewithmasterfulmusicianshipand Arabic culture.ThePavel HaasQuartetbrought broad scopeoffolkdanceandsong,includingfrom experience andremarkableknowledgeofthe reflectionof his collector’s rhythm, andmelody, a masterly unificationofpolyphony, harmony, able bywords.Bartók’scompositionevinceshis with intenseemotionsandessentiallyindescrib - cogentstoryoflife,imbued thenpresentsasa it sion intothetonalnarrativeofwork,which Quartet isdistinguishedbyitsexplorative immer - movement, earthyandexpansive. ThePavel Haas metrically composedaroundtheexpansive central compositeworkofpowerfulcompatibility, sym a - tók’s in theworld.Andtheydeliveredfull.BélaBar - from aloneinregardingthemasthebestquartet amfar synchronised initsperformancesthatI Marek Zwiebel, JiříKabát, andPetr Jarůšek–isso Director oftheBohuslavMartinůInstitute. of BärenreiterPraha,andcourseAlešBřezina, PublishingDirector Velická, ManagingDirectorand Bohuslav MartinůFoundation, LukášPtákandEva Directorsofthe Novenko, MemberoftheBoard publicwel their labourwasgivena comebyMichal fruitof Paul Silverthorne,andJitkaZichová.The Sandra Bergman nová, Pavel Žůrek,AlešBřezina, from 1952.Thecriticaleditionistheworkof The Pavel HaasQuartet–Veronika Jarůšková, String QuartetNo.4 Pavel HaasQuartet centre ofthecomposition,to is immenselycapti vat ing, Michal Novenko,Eva Velická andAlešBřezina This timeitwas lavishly thrilling. suitably andaptly servedbythehighestquality. benefit concertisalwaysmost configuration. A lighted bythefactofensemble’s Slovak-Czech beauties offolklorewasalsohumorously high - Alla slovacca the thirdmovementfromhis briskandwonderfullyoff-the-cuffrenditionof a and geographicalline,ErwinSchulhoff,gave composerofthesamechronological They chosea form ers alsocharacterisedtheirwittyencore. bodied expressivity oftoneeachtheper - their approach,thewarmemotionalityandfull- and compatibility, theincontrovertibleidentity of veritableswirl.Ensemble Martinů’s works–intoa movement –latentinperhapseverysingleoneof the typicalbreathofhomelandinlast and lucidity, suchasitsmotivesrequire,bringing the threemovementswithMartinůesquebrilliance pretation bythePavel HaasQuartet,whoinfused remark able. Truly remarkablewasitsinter - ing excellently andtrustingthatitwouldbe happily remarkingthatthequartetwasprogress - while workingonthepiecewasequallypositive, and broadrecognition.Martinů’sownassessment won itselfandits35-year-oldauthorhighpraise the Praguepremiereandbeyond,composition Novák-Frank Quartettheworkwasdedicated.At Stanislav Novák,towhosenewlyestablished long friendandclassmatefromtheconservatoire, written inconsultationwiththecomposer’slife - bothParis andPolička. Theviolincadenzawas in well.Theiconicquartetwaswrittenin1925 as BohuslavMartinůandhis to source, tobeutterlyoriginalandauthentic. ing ofthecomposer’swords–todrinkfrom comprehensivedisplayofthemean work, givinga - Quartet revealedtheverycoreofBartók’smature Original andauthentic–thosewordsapply . Thismodernisticswigofthelyrical martinů String QuartetNo.2 String QuartetNo.1 ❚ revue 1 2020 | 19 – BOHUSLAV MARTINŮ THE COMPLETE EDITION

Bärenreiter publishes The Bohuslav Martinů Complete Edition, a scholarly critical edition that presents the complete oeuvre of this major twentieth-century composer for the first time.

Already published

Series VI/2/1 ...... BA 10571-01 The Epic of Gilgamesh H 351, ed. Aleš Březina

Series II/1/4 ...... BA 10572-01 Symphony No. 4 H 305, ed. Sharon Andrea Choa

Series VI/2/2 ...... BA 10573-01 Field Mass H 279 / The Spectre’s Bride H 214A, ed. Paul Wingfield

Series IV/4/1 ...... BA 10574-01 Chamber Music for 6–9 Instruments I, ed. Jitka Zichová Les Rondes H 200 / Serenade No. 1 H 217 / Serenade No. 3 H 218 / Stowe Pastorals H 335 / Nonet No. 2 H 374

Series VI/2/3 ...... BA 10575-01 Chamber Cantatas, ed. Vít Zouhar Opening of the Springs H 354 / The Legend of the Smoke from Potato Tops H 360 / A Dandelion Romance H 364 / Mikesh from the Mountains H 375

Series IV/3/2 ...... BA 10576-01 Each cloth-bound volume (25.5 x 32.5 cm) includes String Quartets II, ed. Aleš Březina et al. a detailed Foreword and a Critical Report, both in English and Czech, sometimes also an Appendix. String Quartet No. 4 H 256 / String Quartet No. 5 H 268 / String Quartet No. 6 H 312 / Concerto da Camera (String Quartet No. 7) H 314 Approximately 100 volumes are planned overall, divided into seven series. Series III/2/4 ...... BA 10577-01 Quadruple Concertos String Quartet with Orchestra H 207, eds. Christopher Hogwood, Pavel Žůrek / Sinfonia Concertante No. 2 H 322, eds. Christopher Hogwood, Marek Pechač

Series III/1/8 ...... BA 10578-01 Concerto da Camera for Violin, String Orchestra, Piano and Percussion H 285, eds. Sandra Bergmannová, Aleš Březina, Pavel Žůrek / Rhapsody-Concerto for Viola and Orchestra H 337, eds. Paul Silverthorne, Aleš Březina, Jitka Zichová To appear in 2020/2021

Series III/1/5 ...... BA 10579-01 Piano Concertos Nos. 4 and 5, ed. Ivana Kalina Tabak Incantation (Concerto for Piano and Orchestra No. 4) H 358 / Fantasia Concertante (Concerto in B-flat for Piano and Orchestra No. 5)H 366

Series I/1/12 ...... BA 10580-01 The BMCE is edited by the Bohuslav Martinů Institute Ariane, lyric opera in one act H 370, ed. Robert Simon commissioned by the Bohuslav Martinů Foundation.

The volumes are available for a discount with a complete or partial subscription plan. They can also be purchased separately. www.baerenreiter.com • www.baerenreiter.cz