THE BOHUSLAV MARTINŮ FOUNDATION THE BOHUSLAV MARTINŮ INSTITUTE THE INTERNATIONAL MARTINŮ CIRCLE

INTERVIEW WITH CONDUCTOR JIŘÍ BĚLOHLÁVEK martinůJANUARY—APRILrevue 2010 VOL.X NO. FESTIVAL IN BASEL 2009 1 MARTINŮ EVENTS IN LONDON MARTINŮ RECORDINGS ķ IN THE GERMAN RADIO ARCHIVES contents

3 Martinů Revisited Highlights 4 news —Anna Fárová Dies —Zdeněk Mácal’s Gift 5 International Martinů Circle 6 festivals —The Fruit of Diligent and Relentless Activity CHRISTINE FIVIAN 8 interview …with Jiří Bělohlávek ALEŠ BŘEZINA 9 Liturgical Mass in MILAN ČERNÝ 10 News from Polička LUCIE JIRGLOVÁ

UP 0121-2 11 special series —List of Martinů’s Works VIII 12 research —Martinů Treasures in the German Radio Archives GREGORY TERIAN 13 review —Martinů in Scotland GREGORY TERIAN 14 review —Czech Festival in London

UP 0123-2 UP 0126-2 PATRICK LAMBERT 16 festivals —Bohuslav Martinů Days 2009 PETR VEBER 17 news / conference 18 events 19 news UP 0106-2 UP 0122-2 UP 0116-2 —New CDs, Publications

ARCODIVA Jaromírova 48, 128 00 Praha 2, Czech Republic tel.: +420 223 006 934, +420 777 687 797 • fax: +420 223 006 935 e-mail: [email protected] ķ

highlights

IN 2010 TOO WE ARE CELEBRATING a momentous anniversary – 120 years since the birth of Bohuslav Martinů (8 December 1890, Polička). Numerous ensembles and music organisations have included Martinů works in their 2010 repertoire. We will keep you up to date on this page with the most significant events. MORE INFORMATION > www.martinu.cz > www.czechmusic.org ‹vFESTIVALS—› The 65th Prague Spring The 65th PRAGUE SPRING INTERNATIONAL MUSIC FESTIVAL International Music Festival Prague, 12 May—4 June 2010 Prague / 12 May—4 June 2010 www.festival.cz 15 May 2010, 11.00 am > Martinů Hall, Lichtenštejn Palace Scherzo, H. 174 A Hana Brožová Knauerová (Flute) Petra Matějová (Piano) 16 May 2010, 4.00 and 8.00 pm > National Theatre, Prague Nocturno I, H. 91 Bouquet of Flowers, H. 260 Prague Philharmonia, Roman Válek (Conductor) Kateřina Kněžíková, Markéta Cukrová, 16 May 2010 / 4.00 + 8.00 pm Tomáš Kořínek, Adam Plachetka (Soloists) Prague Philharmonic Choir NATIONAL THEATRE / PRAGUE / CZ Lukáš Vasilek (Chorusmaster) Martinů: Bouquet of Flowers / H.260 Kühn Children’s Choir Jiří Chvála (Chorusmaster) Prague Philharmonia, Roman Válek (Conductor) Hradišťan Dance Company Kateřina Kněžíková, Markéta Cukrová, Ladislava Košíková (Choreography) Tomáš Kořínek, Adam Plachetka (Soloists) Alena Vaňáková (Director) Prague Philharmonic Choir, Lukáš Vasilek (Chorusmaster) 22 May 2010, 11.00 am > Martinů Hall, Lichtenštejn Palace Kühn Children’s Choir, Jiří Chvála (Chorusmaster) Vigilie, H. 382 Hradišťan Dance Company Kateřina Chroboková – organ Ladislava Košíková (Choreography) 24 May 2010, 8.00 pm Alena Vaňáková (Director) > Rudolfinum, Dvořák Hall, Prague Concerto for Oboe and Small Orchestra, H. 353 Concerto for Flute, Violin & Orchestra, H. 252 www.festival.cz Prague Chamber Orchestra Ondřej Kukal (Conductor) www.narodni-divadlo.cz Maurice Bourgue (Oboe) Clara Novakova (Flute) František Novotný (Violin) 24 May 2010, 8.00 pm > Czech National Bank Hall Sonata for Cello No. 3, H. 340 Opéra national de Michal Kaňka (Cello), Pavel Kašpar (Piano) 30 May 2010, 8.00 pm 24 26 28 30 June 2010 > Municipal House, Smetana Hall, Prague, CZ + + + Concerto for Piano and Orchestra No. 4, ATELIER LYRIQUE DE L’OPÉRA NATIONAL DE PARIS “Incantations”, H. 358 Martinů: / H.346 Czech Philharmonic Orchestra Zdeněk Mácal (Conductor) www.operadeparis.fr Garrick Ohlsson (Piano)

martinůrevue12010 | 3 news

[ OBITUARY ] PHOTOGRAPHY HISTORIAN ANNA FÁROVÁ DIES THE INTERNATIONALLY renowned photography historian and theoretician Anna Fárová, who passed away on Saturday 27 February 2010 at Anna Fárová with Aleš Březina and Viktor Stoilov the age of 81, was a pioneer when it came to of Torst publishers at Martinů Institute in 2006 writing about photography as high art. Fárová discovered for the world many giants of Czech Šafránek served as a diplomat in and photography who were viewed with disdain by was a great admirer and champion of Martinů’s the previous regime. Truly momentous were her music. He wrote a monograph titled Bohuslav Anna Fárová as a small girl with her father exhibitions and monographs on Josef Sudek and Martinů: His Life and Works, published back Miloš Šafránek František Drtikol, as well as her work as curator in 1961 in English by Allan Wingate in London. of the photography collection of the Museum Anna (Anette) Šafránková was born in 1928 published by Torst (see Bohuslav Martinů of Decorative Arts in Prague. in Paris and saw Martinů frequently when she Newsletter, issue 2/2007, p.17). The book Anna Fárová was the daughter of Miloš was a child. She was instrumental in getting was launched in 2006 at the Bohuslav Martinů Šafránek, a close friend of Bohuslav Martinů’s. her father’s memoirs Encounter after 50 Years Institute. ❚

ZDENĚK MÁCAL’S GIFT from Charlotte Martinů. The score contains the con ductor’s notes, and alist of perform - AT THE BEGINNING OF 2010 the Bohuslav ances conducted by Zdeněk Mácal. Martinů Foundation received a precious gift – Bohuslav and, later on, Charlotte Martinů the “Circle Blue Print” copy of Martinů’s had the autographs duplicated by means of Symphony No. 1, H. 289 (1942). The owner of the copying techniques available at the time. the score was the renowned Czech conductor Martinů wrote the originals of his compositions Zdeněk Mácal (1936), who obtained it directly on so-called “transparencies”, which were copied on to special paper. The most frequently used type of paper was of the Circle Blue Print brand, yet Symphony No. 1 is on “Maestro” paper. This invaluable source is of great significance for preparation of the complete critical edition of this symphonic work. On 8 February 2010 Zdeněk Mácal had been awarded the Bohuslav Martinů medal. The medal was presented by Ivan Štraus, Chairman of the Board of Bohuslav Martinů Foundation. ❚

NEW ARTICLE ON OUR WEB PAGES AN INTERESTING article on Bohuslav Martinů’s wife “Charlotte Martinů (1894–1978) – A Faithful Heart” by Patrice Chevy, board member of the International Martinů Circle, can be now downloaded in the section Download at www.martinu.cz ❚

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MARTINŮ REVUE (formerly Bohuslav “≠INTERNATIONAL MARTINŮ CIRCLE≠] Martinů Newsletter) is published “] by the International Martinů Circle PATRON MAGDALENA KOŽENÁ in collaboration with the Bohuslav Martinů Institute in Prague with The next meeting of the Board of the International Martinů Circle will ≤nancial support of the Bohuslav take place in Paris on 24 June at 10 am at the Czech Centre, rue Bona- Martinů Foundation Prague.

parte. The meeting will coincide with the evening premiere of a new produc- port photo david Editors tion of the opera Mirandolina at Paris Opera's Atelier Lyrique. A meeting with GENERAL INFORMATION Zoja Seyčková & Lucie Berná friends of the Mouvement Janáček is also envisaged and we hope that Members receive the illustrated Bohuslav Martinů Institute Patrice Chevy will repeat his guided tour of the Paris locations where Mar - Justin Krawitz (with special thanks) Martinů Revue published three times tinů resided. Publisher’s Of≤ce a year plus a special limited edition CD International Martinů Circle, o.s. containing world premieres, historic IČ: 22688846 [≠MARTINŮ REVUE NO.2 / 2010≠” performances and archival recordings Bořanovická 14, 182 00 Praha 8-Kobylisy, from the annual Martinů Festival not Czech Republic Our next issue will include a preview of Giorgio Koukl's latest project. Fol- obtainable commercially. e-mail: [email protected] lowing his acclaimed recordings of Martinů's entire solo piano output and The IMC is supported by the www.martinu.cz the complete cycle of piano concertos, he is now engaged in recording for Bohuslav Martinů Foundation and Translation Naxos a large selection of unpublished songs the mezzo-soprano Jana Bohuslav Martinů Institute in Prague. Veronique Firkušný-Callegari Wallingerová. Some IMC members have generously contributed financial Hilda Hearne MEMBERSHIP & SUBSCRIPTION support without which this enterprise would not have been viable. The next INFORMATION Photographs edition of the Revue will also contain a report on the forthcoming Prague > YEARLY SUBSCRIPTION: The Bohuslav Martinů Foundation’s 20 EUR / 25 USD and Institute’s archive, collections of the Spring. Maurice Bourgue will be revisiting Prague to perform the Martinů > Bohuslav Martinů Center in Polička . The concerts which he gave as director of the Sándor Végh SUBSCRIPTION FOR CORPORATE MEMBERS: 100 EUR Graphic Design David E. Cígler Academy were among the most memorable events of the Martinů Festivals includes 10 copies of each Revue Printing BOOM TISK, spol. s r.o. in the 1990s. Young musicians who appeared with the Academy have since PLUS 3 copies of the non-commercial The Martinů Revue is published achieved international status and continue to promote the music of Martinů. CD recording from the Bohuslav three times a year in Prague. Martinů Days Festival in Prague > Cover photo [≠LONDON EVENT≠” SINGLE COPIES OF THE REVUE: 50 CZK / 2 EUR / 3 USD + postage Jiří Bělohlávek London-based members will wish to know that there is to be a video screen- Photo Z. Chrapek For further details and for single copies ing of last October's acclaimed Brno production of . It will be ISSN 1803-8514 of the Martinů Revue contact: MK ČR E 18911 pre sented by Pamela Howard on Sunday 19 September 2010 at the Lecture Jana Honzíková Theatre of the Victoria and Albert Museum in South Kensington together e-mail: [email protected] with a small related exhibition (starting time to be confirmed). Thereafter The International Martinů Circle, o.s. Pamela will be return ing to Brno to direct anew production of Janáček's Bořanovická 1779/14 Adventures of Mr Brouček at the National Theatre. 182 00 Praha 8-Kobylisy, CZ WELCOMES NEW MEMBERS [≠2010 SUBSCRIPTION PAYMENTS≠” (in alphabetical order) > D. Rey-Bellet (Praga Digitalis), France WE WOULD REQUEST members who have not yet paid their 2010 subscrip- > J. M. Birchall , GB tions to do so as sooon as possible through one of our international con- > K. Boak, GB tacts listed below: > D. Bridges, GB

THE PREVIOUS ISSUE > Gregory Terian (Great Britain), [email protected], +441625523326, > Duo Ardašev, CZ 18 Broadway, Wilmslow, SK9 1NB UK, Great Britain > John M. East, GB > Patrice Chevy (France), [email protected], +33675620321, > Alan M. Watkins, GB THE BOHUSLAV MARTINŮ CENTER 11 Résidence FOCH, 923 80 Garches, France > Second Movement Opera Company, IN POLIČKA offers an interesting, inter - > Mari Tokuda (Japan), [email protected], +81 339 393 395, Abigail Toland, GB actively conceived exhibition on the com - +81 359 990793 > University of Michigan, Ann Arbor, poser’s life and work. The modern display of > Geoff Piper (Belgium, Luxembourg and Austria), [email protected], USA Bohuslav Martinů’s life and work is located +352-474269, 24, rue des Cerisiers, Luxembourg, L – 1322 Luxembourg Corporate members: in the historical building of the former > Gert Floor (), [email protected], +31725095262, > ARCO DIVA publishers, Prague, CZ council school, which Martinů attended Gortersweg 6, 1871 CC Schoorl, Netherlands > NAXOS, GB as a child. Consequently, the project also > Robert Simon (USA), [email protected], mobile number 216-973-7716 NEW CD comprises a reproduction of Martinů’s , 2531 Jackson Ave. Apt 1E, Evanston, IL 60201, USA FOR IMC classroom, complete with period painting > Jaroslav Šonský (Sweden), [email protected], +4611318475, MEMBERS and furniture. The centre also contains Knopgatan 6, 603 85 Norrköping, Sweden an audio-visual hall and study room. > Petra Richter (), [email protected], Furtstraße 46, For details 73770 Denkendorf, Germany see p. 19 Bohuslav Martinů Center Those who pay their subscriptions via the Dvořák Society should continue Tylova 114, 572 01 Polička to do so. Those wishing to pay in Czech currency or by cash should contact tel.: +420 461 723 857 us at [email protected] ❚ www.cbmpolicka.cz

martinůrevue12010 | 5 festivals THE FRUITOF DILIGENT / CHRISTINE FIVIAN

MARTINŮ WHERE HE BELONGS This year’s International Bohuslav Martinů Days in Basel (Die Internationalen Musikfesttage B. Martinů, IMBM) commemorated the 50th anniver sary of the composer’s death in style. Numerous important pieces of music were presented. The festival opened with a magnifi - cent gala event staged as an homage to Bohuslav Martinů. The gala’s musical framework was provided by the children’s choir SurseeKantorei per - forming Martinů’s songs. The Swiss essayist Iso Camartin introduced the event with moving words and the Czech-Austrian writer Pavel Kohout highlighted the links between Switzer - land and the Czech Republic by recounting with a touch of humour the somewhat macabre his - y Opening concert in the Stadtkasino tory of the transfer of Martinů’s remains from Basel, 31 October 2009 Frenkendorf to his native Polička in Bohemia and the political frictions that accompanied it. 6 Frank Peter Zimmermann playing the second violin concerto, 31 October 2010 GAINING A FIRM FOOTHOLD The opening gala event in Stadtkasino Basel was also made special by a heliogravure designed by < Artistic director of the festival the Basel-based artist Hildegard Spielhofer upon Robert Kolinsky (far right) with Kathi Wagner and Jiří Menzel the commission of the Swiss Martinů Society. This work of art now hangs in Stadtkasino Basel next to Béla Bartók’s memorial tablet and > Televised production of The Marriage, reminds of Martinů’s final days, spent upon the NBC Television Station, premiered in 1953 invitation of his friend Paul Sacher in the village of Frenkendorf, near where (in the Liestal known only to a small circle of music lovers had drawn his attention to the piece. As hospital) he died on 28 August 1959. Martinů in Basel. Zimmer mann recently said in an interview with has become part of Basel’s cultural life, which the Swiss magazine Musik und Theater, he was thanks to him has extended its international THE FESTIVAL’S ACCLAIM so enthusiastic about the concerto that he appeal. The signifi cance of this fact was also IN MUSIC CIRCLES has decided to explore further Martinů works. emphasised in a speech given by the President The high acclaim of the festival, especially among Zimmerman and the Academy of St. Martin in of the City Council of the Basel-Stadt canton, music circles, is manifested in the number of the Fields Chamber Ensemble were undoubtedly Mr Guy Morin. internationally renowned interpreters who the greatest attractions of this year’s festival. The strong media coverage and presence accept invitations to perform in Basel every However, other internationally renowned inter - of many prominent personalities from both year. Their interest in the composer has been preters excelled there too. The Stuttgarter Switzer land and abroad brought special satis - constantly growing; today Martinů is no longer Radio-Sinfonieorchester, conducted by Neeme fac tion to the festival’s initiator and artistic a marginal composer and his works are becom - Järvi, dazzled at the opening concert, while director, the pianist Robert Kolinsky. Established ing ever more frequently part of the core reper - at the concluding concert the Czech bassist 14 years ago, the Musikfesttage has long culti - toire of many orchestras and soloists. The Miroslav Vitouš recalled of how great a pen - vated an excellent reputation on the inter na - Academy of St. Martin in the Fields Chamber chant Martinů had for jazz. tional music scene and now occupies a firm Ensemble, for instance, has for a considerable position in the cultural life of Basel. period of time regularly had Martinů composi - IMPLICIT PRESENCE OF MUSIC Festival performances had always met with tions in its repertoire, while the violinist Frank Through his emotional and concurrently tense glowing reviews and visitors came from far and Peter Zimmermann performed a Martinů violin interpretation of Violin Concerto No. 2, H. 293 wide, but for a long time this festival remained concerto for the first time, after Robert Kolinsky Frank Peter Zimmermann gave the approxi -

6 | martinůrevue12010 AND RELENTLESS ACTIVITY photos benno hunziker (basel)

y Academy of St. Martin in the Fields Chamber Ensemble, 8 November 2009

EUROPEAN PREMIERE BROADCAST IN 40 COUNTRIES Martinů’s friend and patron, the Swiss con duc - The IMBM programme reflects the endeavour tor Paul Sacher, once said of the composer: to show the entire wealth of this Martinů’s “In all my life I have never met a man so simple, work. Bordering on modernism, it is charac - so direct, so impressive.” terised by a rich stylistic variability which makes It was obviously this very directness that Martinů’s voice so distinctive. The declared caused Martinů never to feel superior and objective of the artistic director, Robert always allowed him to remain totally devoid of Kolinsky, is to fulfil this endeavour every year. prejudice against the musical trends of his time. The spectacular success of the most recent Owing to this, insight into Martinů’s music festival proves that Mr Kolinsky certainly mately 1,300 concert visitors in the large hall can only be complete once we have acquainted attained his goal in 2009. of Stadtkasino Basel a moving insight into ourselves with all the facets of his versatile For many years, recordings from Martinů Bohuslav Martinů’s musical wealth. œuvre, ranging from simple folk and children’s concerts in Basel have been included in the Following the concert, many of those in songs through works inspired by popular cultural programming of the Swiss radio station attendance expressed astonishment at how music, jazz and film music to grand symphonies DRS2. This time, two television stations are they had been previously unaware of this and, finally, extremely compact chamber com - additionally broadcasting the concerts, includ - magnificent music. The reason for the great positions. ing the French TV channel Mezzo, whose reception to Martinů’s music was explained by The International Bohuslav Martinů Days aim programmes are broadcast in 40 countries Giselher Schubert, Director of the Hindemith to put at the centre of attention the com poser’s worldwide. Institute in Frankfurt. In his introductory words lesser known works too. On this occasion it was Kolinsky’s objective was and still is to convey to the chamber evening, he said: “This music the opera “The Marriage”, based on Gogol’s Bohuslav Martinů’s extensive and variegated intrigues with its implicit presence, immediate eponymous comedy, which Martinů wrote in the œuvre to a wider audience and let it gain the forcefulness; it wins us over completely at the 1950s for the NBC television station. At the recognition it deserves. first impression, without us having to learn time the work was very popular, but it later on The attention that has been paid to Mar - how it is drawn up in detail. These works have fell into obscurity. The NBC footage was long tinů’s music in Basel and throughout Europe survived in the repertoire of musicians simply considered lost, yet with Kolinsky’s unstinting owes much to the relentless activity of Robert because they need them and because again and determination he eventually tracked it down in Kolinsky and his able team, who have supported again they verify in them sheer sonic presence. the Library of Congress. The fact that it was his efforts with the utmost engagement. provided to the festival for its European pre - That is also why it is fitting and historically apt www.martinu.ch that they are put at the centre of attention in miere is testimony to the reputation and trust Translated by Hilda Hearne Basel.” the festival organisers enjoy internationally.

martinůrevue12010 | 7 UNDERSTANDING interview MR MARTINŮ’S CIPHER & MAKING ITSING

ALEŠ BŘEZINA Timpani, the Toccata e Due Canzoni, and the Frescoes of Piero della Francesca, among others. INTERVIEWS CONDUCTOR JIŘÍ BĚLOHLÁVEK How do you perceive the change in the public’s approach to Bohuslav Martinů’s music over the period of your own musical activity – What role does the music of Bohuslav both here and abroad? Martinů play in your life, both professionally It is indisputable that the public’s reception and and personally? appreciation of Martinů’s music has undergone I first encountered the Martinů phenomenon a substantial and positive evolution, and I am as a young boy in the Kühn Children’s Choir – certain that it is precisely the level of attention at the time we were participating in concert that performers are devoting to the composer’s performances and a recording of Otvírání rich legacy that is the determining factor under - studánek (The Opening of the Springs) under lying the change in the public’s perception. Last the direction of Mr Kühn, with Jiří Baar as the year’s and this year’s double anniversaries con - baritone soloist, Miloslav Doležal as the capti - tributed to this trend by motivating many self- vating narrator, and Mrs Markéta Kühnová at contained projects all over the world, and the the piano at the Rudolfinum and in the record - successful grouping of these individual con tri - ing studio in Domovina. That multifac eted butions under the umbrella of the “Martinů experience was sensational and prophetic. Revisited” project imbued all these efforts with From then on any time as a student that I had tremendous relevance. a chance to acquaint myself with a Martinů composition, I would jump at the opportunity, Which are your favourite B. Martinů operas at the National Theatre in Prague in 1984, and whether it was an intimate piano composition, and when and where have you presented I returned there to do a new production of or later on, one of his cello sonatas or con - them? it three years ago. In the interim, I conducted certos. A logical progression of this interest I think I love Řecké pašije (The Greek Passion) a concert version in Edinburgh at the festival was becoming familiar with and eventually best – this was assigned to me for my debut there. Naturally, I also have a very close rela tion - performing his symphonic works and operas.

How long have you been performing his symphonies and how many times have you conducted them by now (and is there one that you have conducted most often)? I have consistently presented the master’s works since 1979, when I conducted his Fourth symphony for the very first time in the German city of Cologne – we had arranged to do a radio recording with the WDR Symphony Orchestra. This is the symphony that I have prepared most often, and as of today I have performed it a total of 97 times with 45 different ensembles. Similarly with the Phantaisies symphoniques (Symphony No. 6), and after that, to a signifi cantly lesser degree, come perform - ances of the First and Third Symphonies, and finally the Fifth and Second Symphonies, which I have conducted only a few times. That said, on the back burner of my mind there are still other orchestral works that interest me, such Jiří Bělohlávek and Jaroslava Pěchočová, Bohuslav Martinů Days 2007 photo zdeněk chrapek as the Double Concerto for Strings, Piano and

8 | martinůrevue12010 ship with Hry o Marii (The Plays of Mary) – I first recorded this opera for Supraphon with the Prague Symphony (1983), after which LITURGICAL I led a production at the Janáček Opera in Brno, and finally last fall I did a produc tion review with the members of the National Theatre MASS IN PRAGUE in Prague. With Juliette I have also had experiences / MILAN ČERNÝ obligatory “figurines” round out individual with both staged and concert performances – tableaux, all unfolds before the viewer’s eyes in at the Opera Bastille in Paris, at London’s THE NATIONAL THEATRE in Prague presented the manner of splendid frescoes. The musical Barbican Hall with the BBC Symphony the Plays of Mary, H. 236. The work originated preparation of Jiří Bělohlávek, a great connois - Orchestra and Magdalena Kožená in the title during the period that the composer spent in seur and proponent of the composer’s work, role, and two years from now we will be also fit beautifully into the overall conception. preparing it in Geneva. He agreed not only with Heřman’s direction, A delightful experience was taping the but even with the acoustical distribution of the one-act operas Slzy nože (Tears of the Knife) chorus among the audience, which resulted and Hlas lesa (The Voice of the Forest) with the in the creation of an inimitable and, indeed, Prague Philharmonia – we made this recording com pelling atmosphere. Naturally in this format once again for Supraphon, and later on it was the opera came across as more of an oratorio, used in a TV production. which due to the showy effects lost its original stylistic simplicity. But this is also a viable path, What do you feel are the chances for and a director is entitled to work with material Martinů‘s solo concertos on international according to his own ideas. It is just a pity that concert stages? in this final configuration the visual, and The solo concertos are alive, or else eking out towards the end the rather tiresomely megalo - their living completely dependent on the maniac dogma, overpowered the purity and interest of soloists – I would say that the intelligibility of the form. Perhaps the expla na - works that have the greatest hope for tion lies in the fact that the staging grew out photo petra hajská a lasting presence are the Concerto for Violin of a collaboration with the Polish opera house and Orchestra No. 2, which is now coming to The Plays of Mary in the National Theatre, Prague in Wrocław. the attention of young violinists; the Concerto Reprinted from the fortnightly A2 No. 1/2010 for Violoncello and Orchestra No. 1, which Paris in the 1930s, when he was enchanted by with their kind permission is a very gratifying piece; and perhaps the the world of folk drama and liturgical dramatic Translated by Veronique Firkušný-Callegari Concerto for Piano and Orchestra No. 4, texts, with their optimistic and inspiring charac - “Incantations”. Personally, it surprises me that teristics. The final form of four miniature operas the Rhapsody-Concerto for Viola and Orchestra, was something that the composer had thought which is highly original and offers beautiful through very precisely. The two mini-dramas – BOHUSLAV MARTINŮ music as well as a wonderful opportunity for the opening Wise and Foolish Virgins, which solo viola, isn’t more popular. draws on an old French miracle play, and the FOUNDATION pastorale of the third part, The Nativity – come COMPETITION 2009 For a conductor, what is the most gratifying across with regard to the whole as contrasting 3–4 December 2009 aspect of Martinů’s music and, conversely, sections, countering the more exalted miracles IN THE CATEGORY: VIOLIN the most difficult? of Mariken of Nimégue and Sister Pascaline. Jiří B. Martinů’s music always offers a challenge – Heřman’s directorial vision for this new National 1st prize MICHAL SEDLÁČEK its structure is not always easy to grasp right Theatre production contradicted this notion, 2nd prize BARBORA VALEČKOVÁ away, the score does not preclude the pos - unifying the disparate parts into a compact KRISTÝNA KOČOVÁ sibility of misunderstanding a phrase, it is operatic tetralogy. The director and his team 3rd prize MAGDALÉNA MAŠLÁŇOVÁ always necessary to carefully study the form. transformed the folklorically simple and inti - ONDŘEJ PUSTĚJOVSKÝ It doesn’t reveal itself easily. Of course it mately conceived pageant that Martinů had Award for the best interpretation holds the magic of adventure, and further - intended into a full-blown spectacle in the guise of Bohuslav Martinů’s work: more, an utterly sweet reward if we succeed of a ceremonial mass. The wings of an altar MICHAL SEDLÁČEK in accurately understanding and deciphering open up before the viewers and in a play of Honourable mention: Martinů’s cipher and making it sing. colourful costumes, shadows and stylized MARIE HUJEROVÁ choreographic elements the story of the Virgin Translated by VÍT CHUDÝ Veronique Firkušný-Callegari Mary is told. Overall the production makes a powerful impression. Heřman has an exquisite Josef Hercl Society Award: sense for theatre replete with symbolism; the ONDŘEJ PUSTĚJOVSKÝ

martinůrevue12010 | 9 In addition to similar fates and aesthetic the printed guide “Through Polička in the Foot - opinions, the exhibition will present the two steps of Bohuslav Martinů”. A special tourist artists in opposite roles – Martinů as a visual route will be presented for the first time within artist and Zrzavý as a music lover. Families with the traditional night-time sightseeing of the events children and organisers of school excursions town on 5 June and will lead Polička visitors not exhibitions& will relish the exhibition’s interactive section only to the well-known places but also to the entitled “Come and play with the painter”, while house in which the young Martinů took his con nois seurs of Zrzavý’s creation will have the violin lessons and the royal lane where he liked BOHUSLAV MARTINŮ opportunity to see an artwork lent by the taking walks. YEAR IN POLIČKA National Gallery in Prague. The year-round programme will be supple - All year round the Bohuslav Martinů Center mented by numerous concerts and competi - 2010 offers a guided tour of four new permanent tions, which will again be joined by the Polička LUCIE JIRGLOVÁ displays, the town ramparts and the room Music School as a performer and organiser,

photo naděžda šauerová THE STRAINS of the final concert of the 2009 Bohuslav Martinů with all the senses Bohuslav Martinů Year in Polička have barely died away and now we have entered another in the church tower where the composer as well as by the participants in Ameropa 2010, anniversary year. In co-operation with other was born. After several years of hard work, the 17th International Chamber Music Festival organisations, the Municipality of Polička has on 8 February 2010 the Saint James Church and Courses. Visitors can also look forward prepared a bounteous cultural programme was finally declared a Czech national cultural to concerts held to commemorate the anniver - dedicated to the work of its native son. monument. Inclusion on such a prestigious list saries of Martinů’s birth and death. One of the events aimed at promoting Martinů has great significance for this beautiful Neo- www.muzeum.policka.net among the general public was a special gastro - Gothic structure since these monuments have www.tyluvdum.cz nomic evening entitled “Bohuslav Martinů a better chance of attaining finance within with all the senses”. On 10 March 2010 the restoration programmes and getting into the The author is working as a musicologist visitors had the opportunity to savour eight awareness of the wider public. The Bohuslav in the Bohuslav Martinů Center, Polička courses from four periods of the composer’s Martinů Center is also preparing for this season Translated by Hilda Hearne life. Potato pancakes with crackling represented the food of ordinary people in the Vysočina region. The Paris period was represented by ●● frogs’ legs, while the American sojourn found PEEPH LE expression in roast duck (a delicacy Martinů’s INTO THE BOHUSLAV MARTINŮ compatriots would prepare for him). The feast was rounded off by Italian macaroni according CENTER IN POLIČKA to the recipe from Marie Martinů’s cookery- FERDINAND MARTINŮ, probably with the assis - book. The successful evening replete with the tance of his son Bohuslav or František, made aromas of delicious fare was accompanied by a sophisticated and elegant model of Polička’s a music programme performed by pupils of the St. James Church. In 1908 he donated it to Polička Music School. the Museum Society. The Bohuslav Martinů Center (CBM), newly The Martinů family was closely linked with opened after reconstruction, has renewed the this building; it has been ascertained that the tradition of spring exhibitions, each focused com poser’s grandfather František Klimeš, on a certain aspect of the composer’s life and a joiner, co-created its interior (church benches). work. The theme of this year’s exhibition, which Bohuslav Martinů honoured the church with on 15 May 2010 will open the 13th edition of his Hymn to St. James, H. 347, which he wrote the Bohuslav Martinů Fest, is Martinů’s artistic in July 1954 in Nice. The com position was friendship with the painter Jan Zrzavý. The two premiered in Polička on 31 July 1955 with Vysočina natives and Francophiles have more Jaroslav Maděra conducting.

in common than it would seem at first glance. Lucie Jirglová photo jiří hájek

10 | martinůrevue12010 — LIST OF MARTINŮ’S WORKSVIII Special s— CATEGORY/ Serie | CONCERTOS SUBCATEGORY/ | CONCERTOS FOR OTHER SOLO INSTRUMENTS AND ORCHESTRA / | DOUBLE, TRIPLE, QUADRUPLE CONCERTOS

IN THIS ISSUE of the Revue we continue Premiere: 27.12.1936 Performer(s) of premiere: Dallas Symphony with our publishing of the complete list of CONCERTO FOR OBOE Archive: Kassel, Germany Orchestra, G. Beal (vl.), W. Beal (vl.), Bohuslav Martinů’s works. We began with AND SMALL ORCHESTRA H. 353 Publisher: Bärenreiter, Kassel, B. A. 3910, 1961 Walter Hendl (cond.) the operas and have since considered the Copyright: Bärenreiter, Kassel Premiere: 14.1.1951 ballets, incidental music and film music, Durata: 16' (17'30'') Archive: Bohuslav Martinů Center in Polička, works for large orchestra, symphonies, works Place of composition: Nice (France) Czech Republic for chamber orchestra, suites and abstracts Date of composition: 1955 CONCERTO FOR PIANO TRIO Publisher: Bärenreiter, Kassel, B. A. 3842, 1962 of the incidental works, piano concertos, Performing forces: 2021-2100-pf.-archi-ob. WITH STRING ORCHESTRA H. 231 Copyright: Bärenreiter, Kassel violin and cello concertos. The next sub- Dedication: Jiří Tancibudek category are the Concertos for Other Solo Premiere: 8. 8. 1956 Durata: 21' Instru ments and Orchestra and Double, Triple, Archive: Bibliothèque national de France, Place of composition: Paris (France) CONCERTO FOR VIOLIN, Quadruple Concertos (listed in alphabetical Paris, France Date of composition: 1933 PIANO AND ORCHESTRA H. 342 order). The basic data on the works Publisher: Max Eschig, Paris, M. E. 7094, 1960 Performing forces: vl.-vlc.-pf.soli-archi listed here have been taken from the Copyright: Max Eschig, Paris Performer(s) of premiere: Lucerne Festival Durata: 29'30'' online catalogue of Martinů’s œuvre at Strings, Rudolf Baumgartner (cond.) Place of composition: New York (USA) http://katalog.martinu.cz/martinu/catlist.php Premiere: 31.8.1963 Date of composition: 1. 12. 1952 – 10. 3. 1953 RHAPSODY-CONCERTO Archive: Paul Sacher Foundation, Basel, Performing forces: 2222-4231-timp.-batt.-archi- Abbreviations/ FOR VIOLA AND ORCHESTRA H. 337 Switzerland vl.-pf. ar. harp Publisher: Max Eschig, Paris, M. E. 7674, 1965 Dedication: Benno Rabinof, Sylvia Rabinof archi string section Durata: 18' Copyright: Max Eschig, Paris Performer(s) of premiere: San Antonio batt. battery Place of composition: New York (USA) Symphony Orchestra cel. celesta Date of composition: 1952 Premiere: 13.11.1954 cl. clarinet Performing forces: 2222-4200-timp.-tmb.-rull.- CONCERTO FOR Archive: Bohuslav Martinů Center in Polička, cemb. harpsichord archi-vla. WITH ORCHESTRA H. 207 Czech Republic cmp. chime-bells Dedication: Jascha Weissi Publisher: Bärenreiter, Kassel cond. conductor Performer(s) of premiere: Cleveland Orchestra, Durata: 18'30'' Copyright: Bärenreiter, Kassel cor.ing. English horn Jascha Weissi (vla.), George Szell (cond.) Place of composition: Paris (France) fg. bassoon Premiere: 19.2.1953 Date of composition: 1931 picc. piccolo Archive: Bärenreiter Verlag, Kassel, Germany, Performing forces: 2222-2220-timp.-batt.- DUO CONCERTANT FOR TWO pf. piano B. A. 4316, 1962 archi,-2 vl.-vla.-vlc. VIOLINS AND ORCHESTRA H. 264 rull. tenor drum Publisher: Bärenreiter, Kassel Dedication: Quatuor Pro Arte tamt. tamtam Copyright: Bärenreiter, Kassel Performer(s) of premiere: London Philhar - Durata: 16' timp. timpani monic, Quatuor Pro Arte, Malcolm Sargent Place of composition: Nice (France) tr. trumpet (cond.) Date of composition: 1937 trbn. trombone Premiere: 10.10.1932 Performing forces: 2222-2210-timp.-ptti.-pf.- vl. violin DOUBLE, TRIPLE, QUADRUPLE Archive: Schott, Mainz, Germany archi-2vl. xlf. xylophone CONCERTOS Publisher: Schott, Mainz, Nr. 3314, 1932 Dedication: Georges Desarzens, Victor Copyright: Schott Söhne, Mainz Desarzens Commentary/ Performer(s) of premiere: Orchestre de la Suisse “Archive” – gives the information as to CONCERTINO FOR PIANO TRIO Romande, Ernst Ansermet (cond.) Georges where the autograph orchestral score AND STRING ORCHESTRA H. 232 CONCERTO FOR TWO PIANOS Desarzens (vl.), Victor Desarzens (vl.) is deposited. AND ORCHESTRA H. 292 Premiere: 10.2.1938 Date of composition: Day / Month / Year Durata: 20' Archive: Bärenreiter, Kassel, Germany Premiere: Day / Month / Year Place of composition: Paris (France) Durata: 24'30'' Publisher: Bärenreiter, Kassel, B. A. 4317, 1963 Only accessible information is stated. If data Date of composition: 1933 Place of composition: New York (USA) Copyright: Bärenreiter, Kassel on the publisher are missing, the work Performing forces: vl.-vlc.-pf.soli-archi Date of composition: 1943 has yet to be published and is available as Dedication: Trio Hongrois Performing forces: 2222-2200-timp.-batt..- material that can be lent. Performer(s) of premiere: Basler Kammer- arch.-2 pf. SINFONIA CONCERTANTE orchester, Trio Hongrois (Tibor Harsanyi, Dedication: Genia Nemenoff, Pierre FOR VIOLIN, VIOLONCELLO, pf., Walter Kägi, vla., Richard Sturzenegger, Luboschutz OBOE, BASSON, ORCHESTRA CONCERTOS FOR OTHER SOLO vlc.), Paul Sacher (cond.) Performer(s) of premiere: Philadelphia AND PIANO H. 322 INSTRUMENTS AND ORCHESTRA Premiere: 16.10.1936 Orchestra, Genia Nemenoff (pf.), Pierre Archive: Bohuslav Martinů Center in Polička, Luboschutz (pf.), Eugene Ormandy (cond.) Durata: 21' Czech republic Premiere: 5.11.1943 Place of composition: New York (USA) CONCERTO FOR HARPSICHORD Publisher: Melantrich, Prague, M. 284, 1949 Archive: Schirmer Archive, New York, USA Date of composition: 1949 AND SMALL ENSEMBLE H. 246 Copyright: Bärenreiter, Kassel Publisher: Associated Music Publishers, Performing forces: 0020-2000-pf.-archi-vl.-vlc.- NewYork ob.-fg. Durata: 17'30'' Copyright: Associated Music Publishers, Dedication: Maja Sacher Place of composition: Paris (France) CONCERTO FOR FLUTE, VIOLIN NewYork Performer(s) of premiere: Basler Kammer- Date of composition: 1935 AND ORCHESTRA IN G H. 252 orchester, Paul Sacher (cond.), Petru Performing forces: 1001-0000-pf.-archi (3 vl., Manoliu (vl.), Louis Fest (vlc.), Alexander vla, vlc., cb.)-cmb. Durata: 19' CONCERTO FOR TWO VIOLINS Gold (ob.), Henri Bouchet (fg.) Dedication: Marcelle de Lacour Place of composition: Paris (France) AND ORCHESTRA NO.2 IN D H. 329 Premiere: 8.12.1950 Performer(s) of premiere: Marcelle de Lacour Date of composition: 1936 Archive: Bohuslav Martinů Center in Polička, (cmb.), Henri Tomasi (cond.) Performing forces: 1222-2100-pf.-archi-fl.-vl. Durata: 19' Czech Republic Premiere: 29.1.1936 Dedication: Marcel Moyse, Blanche Honegger Place of composition: New York (USA) Publisher: Boosey&Hawkes, London – Archive: Universal Edition, Wien, Austria Performer(s) of premiere: Orchestre de Société Date of composition: 1950 NewYork, B&H 17063, 1951 Publisher: Universal Edition, Wien, U. E. 12786 des Concerts du Conservatoire, Performing forces: 2222-4231-timp.-batt.-archi- Copyright: Boosey&Hawkes, London – LW, 1958 Marcel Moyse (fl.), Blanche Honegger (vl.), 2vl. NewYork Copyright: Universal Edition, Wien Philippe Gaubert (cond.) Dedication: Gerard Beal, Wilfred Beal

> LIST OF MARTINŮ’S WORKS VIII > Category CONCERTOS > Subcategory CONCERTOS FOR OTHER SOLO INSTRUMENTS AND ORCHESTRA / DOUBLE, TRIPLE, QUADRUPLE CONCERTOS u martinůrevue12010 | 11 MARTINŮTREASURES research IN THE GERMAN RADIO ARCHIVES / GREGORY TERIAN

WE HAVE BEEN ATTEMPTING to assemble compre - hensive details of historic performances of works by Martinů retained in the various radio archives in Europe and America. Some archives have proved to be almost impenetrable but it came as no sur- prise to find that German Radio has preserved a substantial and well documented series of broad- casts of considerable historic significance from the post-World War II era. Of particular interest are performances by artists known to the composer in works which they never committed to disc. Prominent among this group is Rafael Kubelík. He first visited Germany in 1960 when his programme with the Köln Radio SO included Frescoes of Piero della Francesca, H. 352 and the Harpsichord Concerto, H. 246 with Stanislav Heller as soloist. The following year he took over the Bavarian Radio SO where he made many commercial recordings for the DGG label. These recordings included but a single work by Martinů. Among the wealth of Kubelík's performances held in the Munich archives, that of the , H. 279 (1968) stands out. He had premiered the work in Prague in 1946, but never recorded it. Also in the archives is his reading of © cbm the Symphony No. 6, H. 343 (1962). Rafael Kubelík Germaine Leroux with Bohuslav Martinů in Paris, 1934 Apart from Kubelík, the Munich orchestra also per- formed Martinů works with other notable conduc - A unique recording exists in the Süddeutscher Toccata e due canzoni, H. 311 under Victor tors of the time, including the Concerto Grosso, Rundfunk archives of Pierre Fournier performing Desarzens (1953) and the Sinfonia Concertante H. 263 with Rudolf Kempe (1964), and the Con - the second version of the Cello Concerto No. 1, No. 2, H. 322 conducted by Lawrence Foster certo for String Quartet and Orchestra, H. 207 H. 196 II with the SDR SO conducted by Ernest (1973), while Rudolf Baumgartner and the Lucerne with the Koechert Quartet and the American con- Bour (1953). This version of the concerto was Festival Strings delivered the Concertino for Piano ductor Dean Dixon (1969). Kurt Redel and Georg created in 1939 exclusively for Fournier. It contains Trio and String Orchestra, H. 232 (1963). Retyi-Gazda performed the Concerto for Flute, a prominent part for the orchestral piano and is Of particular interest among solo piano recitals Violin and Orchestra, H. 252 in 1964. Eva Berná- markedly different to the final version. No other are two dating from 1957 and 1963, given by thová visited Munich in 1971 to present the Con - recording is known to exist. Also in 1939, Martinů Germaine Leroux, the wife of the composer's certino for Piano and Orchestra, H. 269 with the composed the Cello Sonata No. 1, H. 277 for friend Miloš Šafránek and dedicatee of the Piano conductor Hermann Michael. It is a work with Fournier, who later made a commercial recording Concerto No. 2, H. 237 and the Sinfonietta Giocosa, which she had become closely identified having of the work with his son Jean Fonda for CBS. That H. 282. Among Martinůs works included in her made a recording for Supraphon before leaving recording has not been reissued on CD and the recitals were the Borová, H. 195 and Trois Czechoslovakia following the events of 1968. master tape is said to be lost. However, festival esquisses, H. 160. Among conductors one does not readily associate performances which the Fourniers gave in 1965/66 The legendary pianist Mieczslaw Horszowski, with Martinů, Hans Schmidt-Isserstedt and his have been preserved in the archives. Also retained a friend of Martinů from the New York years, Norddeutscher Rundfunk SO in Hamburg program- is a performance of the Cello Sonata No. 2, H. 286 included the Etudes and Polkas, Book 3, H. 308 med such works as the Concerto for Two Pianos given by Andre Navarra and Jacqueline Dussol in a 1962 recital for Westdeutscher Rundfunk. and Orchestra, H. 292 with Margaret and Claire in 1963. Charles Rosen who had been one of his com- Kitchin and the Double Concerto for Two String Some of the earliest preserved recordings come position student at Princeton, was another pianist Orchestra, Piano and Timpani, H. 271 (both from Henri Honegger, who commissioned and was to feature the composer's works in a recital in 1967). In 1958, the Concerto for Oboe and the dedicatee of the Sonata da Camera for Cello (SDR 1958). Orchestra, H. 353 was performed with its dedicatee and Chamber Orchestra, H. 283. He performed it at Jiří Tancibudek who left Czechoslovakia in 1950. the 1949 Edinburgh Festival and remained faithful Among compositions for wind instruments, we find Soloist and conductor had previously given the to the work throughout his career. Among surviving René le Roy performing the Trio for Flute, Cello world premiere of the work in . Christoph archive recordings are those with the Stuttgart and Piano, H. 300 with Jacques Fevrier and Roger von Dohnanyi, who would succeeded Schmidt- Radio SO under Hans Muller-Kray (1951) and the Albin (SDR 1953). He had taken part in the first -Isserstedt in Hamburg, con ducted the rarely heard Köln Radio SO under the Hungarian conductor performance of the work in New York in 1945. Also Suite Concertante with Thomas Brandis as soloist Lazlo Somogy in 1962. preserved is his performance of the Sonata for (1959). Among visiting conductors, Paul Sacher As with the networks in West Germany, the Radio Flute and Piano, H. 306 (1953). Elsewhere Jacques directed the Toccata e due canzoni, H. 311 (1963) in the American Sector of Berlin was active in Fevrier accompanies the cellist Maurice Gendron and Zdeněk Košler performed the Symphony No.6 promoting Martinů's music. Using their in-house in the Rossini Variations, H. 290, a popular encore (1970). RIAS Symphony Orchestra they broadcast the piece of the time.

12 | martinůrevue12010 MARTINŮ review IN SCOTLAND One of the most intriguing archives is that accumu - / GREGORY TERIAN lated by the former East German Radio. During the bbc wartime years performance of Martinů's music was © forbidden in Germany. The newly established radio IN ONE OF THE MOST enterprising events of network in the Soviet zone was quick to acquire the 2009 anniversary year, the BBC Scottish one of the first Martinů recordings to appear after Symphony Orchestra staged a series of con - the war, a set of Ultraphon 78s with the Quartet of certs in Glasgow entitled Bohemian Rhapsodies the National Theatre in Prague performing the String Quartet No. 2, H. 150 made in October 1945. which featured performances of all five Martinů Thereafter broadcast performances of works by piano concertos, perhaps the first occasion on Martinů became a regular feature on East German which this has been done. Many of us heard photo simon butterworth Ilan Volkov Radio with the orchestras of Berlin Radio under the subsequent broadcasts on BBC Radio 3. Artur Rother and Leipzig Radio under Herbert Kegel delivering such works as the Tre Ricercari, The gifted young Czech pianist Ivo Kahánek H. 267 (1950) and Concerto Grosso, H. 263 (1957). opened the cycle on 12 November with a per - The 1960s and 1970s saw performances by con- form ance of the Piano Concerto No.3, H. 316, ductors one does not readily associate with Mar- tinů, such as Klaus Tenstedt in the Sym phony with Stefan Solyon conducting. They returned No. 6, H. 343 (1968). Remarkably, The Parables, two weeks later for the penultimate concert H. 367 appears to have been more popular in East with the Piano Concerto No.5 (Fantasia Germany than elsewhere. Surviving broadcasts Concer tante), H. 366. Martinů Circle members include those by the distinguished conductor Franz Konwitschny with the Berlin Staatskapelle who were present in Brno last October will (1961) and by the Leipzig Gewandhaus under recall Kahánek's impressive performance of the Václav Neumann who became the orchestra's 5th Concerto at the Moravian Autumn Festival. Garrick Ohlsson permanent conductor in the 1960s. It is also The Glasgow concerts certainly enhanced surprising to find Kurt Masur directing a perform - ance of the comic opera The Marriage, H. 341 with Kahánek's international standing and one can He also contributed his views on the concerto the Leipzig Radio SO (1962) given the American but hope that it will give impetus to further and demonstrated the difficulty of some of television origins of the work. Of pianists, perform ances of the somewhat undervalued Martinů's piano writing. The performance which Siegfried Rapp delivered his version of the Concertino for Piano Left-Hand, H. 173 with the 5th Concerto. followed confirmed Roscoe's sympathetic Leipzig Radio RSO under Ude Nissen (1962). It is The great novelty of the series came on approach to one of the most easily accessible said to differ significantly from the composer's 19 November with a performance of the Piano of Martinů concertos. The conductor was original. Rapp recorded it for the Eterna label. Concerto No.1, H.149, a work dating from the Tecwyn Evans. As might be expected, visiting Czech quartets performing Martinů were to the fore, including the early part of Martinů's Parisian stay with the The American pianist Garrick Ohlsson brought delivering the 7th Quartet, the evident influ ence of Roussel coming into play. events to a rousing conclusion on 3 December Janáček Quartet with the 3rd and 5th Quartets, The work is rarely heard in the concert hall and with the conductor Ilan Volkov in a perform - the Novák Quartet in the 5th and 6th, and the this was believed to be the first ever UK per - ance of the Piano Concerto No. 4 (Incantation), Prague Quartet with the 3rd Quartet. The Czech Nonet also appeared regularly. Martinů had dedi- formance. The Australian pianist Piers Lane H. 358. Ohlsson has adopted this concerto cated his 1959 Nonet No. 2, H. 374 to them and clearly em pathised with the spirit of this in recent times and immediately prior to the they almost invariably included it in their program- concerto which he delivered in winning style Glasgow concert had performed it on four occa - mes during the 1960s. The performances mentioned above are but with exuberance and delicacy to match its sions with the New York Philharmonic. His a small selection of the archival broadcasts which changing moods. The orchestra under Petr performance conveyed the power and drama of have been preserved in Germany. A striking feature Altrichter was fully com mitted to the concept Incantation in full measure. It must surely rank is the frequency of Martinů broadcasts in both East and gave lively and sym pathetic support. As among the finest performances to be heard and West Germany. Seemingly the composer's music bridged the Cold War divide. Certain of the heard over the radio, the audience response since the heyday of Rudolf Firkušný. Czech recordings are of outstanding historical significance. was highly enthusiastic. It makes one wonder audiences will have the opportunity of hearing One can but hope that they will attract sufficient why this concerto suffers such neglect. Ohlsson's interpretation during the forthcoming interest to merit eventual release on CD. Full details of all these surviving archive recordings are The Piano Concerto No. 2, H. 237 was International Prague Spring Festival. now retained by the Martinů Institute in Prague. accom modated within the BBC Radio 3 series All praise to Simon Lord, Senior Producer for (with special thanks to Andreas Rühl of Deutsches entitled Discovering Music, in which selected the BBC Scottish SO. This unique project was Rundfunkarchiv, Jutta Lambrecht of Westdeutscher Rundfunk works are analysed and discussed prior to his brainchild which, by enlisting a stimulating and Rüdiger Albrecht of Deutschlandradio) a complete performance. Martin Roscoe, who group of soloists from differing backgrounds, Patrice Chevy has obtained comprehensive details of historic hails from the North West and who studied reinvigorated our interest in these concertos. Martinů performances preserved in the French Radio archives and his article on the subject will appear in a future edition of at the Royal Northern College of Music in It was an outstanding event which will remain the Martinů Revue. Manchester, was a happy choice as soloist. in the memory as one of the highlights of 2009.

martinůrevue12010 | 13 review CZECH FESTIVALIN

/ PATRICK LAMBERT

SPANNING 19 DAYS (2–20 February), the Czech Festival 2010, jointly supported by the Czech Centre, Bohuslav Martinů Foundation and Bernard Beer, provided London audiences with a heart-warming respite after the cold and dreary winter weather, amounting to an ambitious musical feast, with the Czech National Symphony Orchestra and Schubert Ensemble in Cadogan Hall, the BBC Symphony Orchestra at the Barbican and the London Czech National Symphony Orchestra Philharmonic Orchestra at the Royal Festival Hall. Yet another event flying the Martinů Inconveniently earlier on the same day (12.30 which was devoted to “Martinů and the Sym - Revisited ensign, it offered plentiful delights – 2.30 pm), this concert was very appropriately phony”. Mounted by the London University’s for Martinů enthusiasts. prefaced by a screening of the fascinating Institute of Musical Research in association documentary “Martinů and America” (2000), with the BBC SO and masterminded by Sharon The opening concert on 2 February had as its introduced by Aleš Březina, who had sought out Choa (University of East Anglia), it brought centre-piece the rarely heard Concerto for Two and interviewed the composer’s surviving together from far and wide six musicologists Violins and Orchestra, H. 329 composed in New American pupils and friends. A pity the audience to speak about the many facets of Martinů’s York in 1950, which the writer of the publicity was rather sparse, but I suspect many were symphonic output. Considering its rather blurb in the Festival brochure confused with the deterred by the 5 hour interval between events, specialist appeal, the event drew a surprisingly famous Double Concerto, H. 271, from 1938 – the Cadogan Hall unfortunately being required large audience, also from far and wide (one “a dra matic and startling work… that will no for rehearsal in the afternoon. enthusiast informed me that he had made doubt make a great impact… ”. No such claims the journey from Cornwall, another from could be made for this American concerto, which Three days later, the much-admired Schubert Portsmouth). As Sharon, who chaired the first was designed primarily as a vehicle for the vir - Ensemble presented a programme of Czech session, promised – all six speakers were to tuosity of the talented young Beal Twins from music which opened with an immaculate approach this music from very different stand - Brooklyn, who commissioned the work. For this performance of Martinů’s Piano Quartet, points. perform ance the violin soloists were drawn H. 287, also composed in America but at the from the front desk of the orchestra. Certainly start of the composer’s stay (1942). Particu - Aleš Březina launched the day with a well- no twins, they were almost comically con - larly striking was the beautifully crafted central documented paper on the genesis, style and trasted in height, the tall Jiří Hurník towering Adagio, with its opening section for strings content of the Symphony No. 1, H. 289 – above his shorter colleague Antonín Hradil, alone and cadenza for piano. Here, the pianist “The beginnings of Martinů’s symphonic who was virtually hidden from view by his William Howard displayed effortless virtuosity invention” – revealing that it was Martinů large music stand. Under Libor Pešek’s flowing and I was sorry not to have been able to attend himself who in 1941 had proposed writing direction, they gave an entertaining account of his solo recital a week later “From Brno to a symphony for Koussevitsky. His conductor the music, though I am not sure I was alone in Prague”, which included a selection of Etudes friend had simply formalised the arrangement missing a true slow movement that would have and Polkas, H.308. by making this an official commission – with provided a contrast in Martinů’s lyrical vein. the added request that it should be dedicated Instead, a Moderato, taken here rather speedily Among the highlights of the Festival for those to the memory of his wife Natalia. and with a hint of ‘hillbilly’ influence, merges with a truly serious interest in Martinů’s music almost imperceptibly into the final Allegro con was the Study Day (Saturday, 6 February) held Next, Paul Wingfield (University of Cambridge) brio movement. in the Mozart Room at the Barbican Centre explored, with illustrations, “Martinů’s

14 | martinůrevue12010 FEATURES MARTINŮ LONDON IN AMERICA

Conductor Libor Pešek Study Day “Martinů and the Symphony”

manipulation of convention in the first symphony can be related to the hopeful news remarked: “Well, it can’t be proved, but I think movement in the Fifth Symphony”. Aided by of D-Day, noted down by the composer in the it’s intentional. It’s not so much a quotation as a handout, we were alerted to technical aspects manuscript. a reflection of a mood. It’s as if this is Martinů’s concerning tetra chords and key relationships. final accounting of himself…” (1) Then Sharon Choa brought to bear her expertise This was followed by a more general analysis both as conductor and musicologist on the com- After lunch, Petr Ruttner’s 43 minute film of “The Melodic style of Martinů’s Symphonies” plexities involved in creating a critical edition “The Certainties of Bohuslav Martinů”, from by Mike Crump, whose book “Martinů and the of the symphony that followed – “ ’America vs a year before the collapse of communism, was Sym phony” is about to be published by Toccata Prague’: an Evaluation of the Sources and Effects shown.(2) Despite moving moments, e.g. the Press (proof copies were available for inspec - in Performance of Martinů’s Symphony No. 4”. baritone solo from the Opening of the Springs, tion). Also with the aid of a handout, he demon - Her handout included very detailed tables of H. 354, it now comes across as very much strated how the composer’s thematic material the multifarious performances and recordings ‘of the period’, still promulgating the official could be distilled down to germ-cells, often and of the various sources. She argued that it is attitude towards Martinů’s music and drawing consisting of neighbouring tones, which fall possible to justify the existence of two different a veil over the reason for his continued exile into a number of categories, or families, performing versions of the score. after the war. e.g. auxiliary, reflexive, cadential, the ‘Juliette cadence’ among them. With time fast running out, Jan Smaczny To round off the day, a panel discussion with (University of Belfast) had to rather rush audience participation, was chaired by the After coffee, the second session, chaired by Aleš through his interesting exploration of the broadcaster Christopher Cook. It was especially Březina, opened with an examination of the Symphony No.6, H. 343 – “Martinů and interesting to hear from the six speakers their Symphony No. 3, H. 299 – “Martinů’s Tragic ‘Symphony Fantasy’”. Suspicious of program - diverse views on the merits of some of the Symphony” – by the biographer and cataloguer matic elements, he felt it safer to approach this recordings of the symphonies. Afterwards, Aleš of Martinů’s works . Having work as pure or absolute music. The remarkable Březina remarked to me with quiet satisfaction confessed that he had mislaid his prepared talk, similarity between one of the most prominent that this was surely the first time an entire day he preceded to explore, with beguiling charm motifs of the symphony with the famous had been devoted to the study of Martinů’s and just a few notes, the expressive power ‘memento mori’ motif from Dvořák’s Requiem symphonies. Certainly, this suggests that the of this exceptional work, which the composer (tellingly demonstrated by illustrations from tide of critical opinion has at last turned in himself referred to as “my pride – it is tragic both works) Jan regarded as a “red herring” favour of these fine works and it was gratifying in tone, and I was homesick when I wrote it”. and pure coincidence. But I recall that the to witness the evident enthusiasm for Martinů’s We learned among many other things that the conductor Jiří Bělohlávek, when asked about music displayed by not only by all six musico - lightening of mood towards the end of the this possible echo from the Requiem, once logists but also the people who attended.

martinůrevue12010 | 15 > CZECH FESTIVAL IN LONDON FEATURES MARTINŮ IN AMERICA review

However, my own feeling by the movement, rather denser, more opaque than is end of the day was that, while it perhaps ideal, making me think of Brahms, was fascinating to have explored a composer rather unexpectedly admired by the and analysed these scores in such young Bohuslav Martinů. However, on reaching musicological detail, to examine the the wonderful Largo movement, complete with brush strokes of the musical those prominent splashes of piano colour later canvases so to speak, it is the deleted by the composer, the music cast its power of the music itself and its powerful spell and the triumphant peroration effect on the listener that really of the Finale simply brought the house down. counts. It is worth recalling that I have to admit that an entire day spent Martinů himself declared analysing Martinů’s symphonies had in fact (in connection with his Second subtly enhanced my appreciation of their Symphony) that he had abandoned magical impact. ❚ analysing his works in detail: “A composition is a whole and the public should listen to it as a whole. Schubert Ensemble photo john clark To follow such details as motive, subject, counter-subject, development, etc., day of the festival (19 February), when Jiří doesn’t help very much, and explains nothing… Bělohlávek conducted the BBC Symphony it is not as a puzzle that I have composed the Orchestra in a stirring account the Symphony (1) Interview by Hilary Finch in The Times, 14 Jan. 1998 symphony; and I don’t want people to listen No.4, H. 305, a further instalment of the during the Martinů Weekend at the Barbican. to it as a puzzle.“(3) complete cycle that he and his orchestra are (2) The original Czech version: Jistoty Bohuslava Martinů: dokument o životě a díle, without voice-overs in rather giving in the Barbican Hall. Perhaps it was stilted English, used to be available as a Supraphon The opportunity of putting Martinů’s standpoint something to do with the acoustics of the hall, video cassette No. 14 0041-2 961. magnificently to the test presented itself or the choice of dynamics, but I found some of (3) Miloš Šafránek: Bohuslav Martinů: the man and his music. a couple of weeks later on the penultimate the orchestral textures particularly in the first Dennis Dobson Ltd., 1946. p. 89 “≠FESTIVALS] BOHUSLAV MARTINŮ DAYS 2009 INTIMATE FIELD MASS, REFRESHED TCHAIKOVSKY

/ PETR VEBER psalm, he maintained a harmonious balance the conductor backstage after the perform - with Petr Fiala’s Czech Philharmonic Choir ance. And indeed. This symphony contained no THE CZECH PHILHARMONIC’S contribution to Brno, sustaining beautiful, soft dynamics, unnecessary brooding, dark pathos, it came the Bohuslav Martinů Days 2009 at the Rudol - simplicity and authenticity. He then opened up across with freshness and resounded with finum (December 17) was brilliant, both in the Field Mass, broadening the spectrum from tremendous energy – similarly to Tchaikovsky’s terms of interpretation as well as program - a hush and devout prayer, to occasional popular, audience-pleasing ballet scores that mati cally. Choosing to honor the celebrant emotional defiance and military force. In the are rife with ideas and moods. With utter with his Field Mass, H.279, a piece rarely heard solos of Polish baritone Tomasz Konieczny, assurance and matter-of-factness, and no in symphonic concerts, was ingenious, and with a slightly nasal but very unusually placed forcing or exaggeration, Honeck concentrated opening the program with Arvo Pärt’s Pilgrim’s voice, one could best discern that in certain on agogics – and found in this symphony an Song was downright unexpected. Conductor places a more contemplative (that is to untold number of subtle shifts that were Manfred Honeck, whom we are always say slower) tempo would not have hurt. In emotive, exciting, and joy-evoking. delighted to welcome back to Prague, created Tchaikovsky’s Fifth Symphony, a stellar musical a real event by presenting these two scores – extempore on the second half of the program, Translated by Veronique Firkušný-Callegari with a total understanding of their intimate the brisk tempi were, on the contrary, advanta - Reprinted from the music magazine natures. In Pärt’s composition for strings and geous to the piece. “I find that the old German Harmonie No. 1/2010 with their kind permission male voices, set to the text of the 121st tradition doesn’t serve Tchaikovsky well,” said

16 | martinůrevue12010 “≠NEWS] ÖSTERREICHISCHE MUSIKZEITSCHRIFT & THE AUSTRIAN CULTURAL FORUM FOCUS ON MARTINŮ

THE MOMENTOUS MARTINŮ anniversary is not and the co-operation of several organisations to Vienna and Austria was the subject of the only being commemorated by Czech Centres (the Bohuslav Martinů Foundation, the Bohuslav lecture given by the Director of the Bohuslav abroad. The composer’s oeuvre is also being Martinů Institute, the editorial staff of Öster - Martinů Institute, Aleš Březina. The editor-in- promoted by foreign cultural institutions located reichische Musikzeitschrift), a short lecture on chief of Österreichi sche Musikzeit schrift, Marion in the Czech Republic. On 9 February 2010 the the aesthetics of Martinů’s work was given Diederichs-Lafite, highlighted Martinů’s

Dr. Ivana Rentsch Dr. Florian Haug Prof. Marion Diederichs-Lafite photos petr buček for the austrian cultural forum, prague

Austrian Cultural Forum in Prague hosted a gala during the evening (Dr. Ivana Rentsch, Univer - significance within European and global music. evening to mark the publication of the issue of sity of Zurich). Martinů compositions were The texts included in the current issue of the journal Österreichische Musikzeitschrift performed live too. The laureate of the Bohuslav Österreichische Musikzeitschrift are thematically dedicated to Bohuslav Martinů (see page 19). Martinů Founda tion competition, the violinist focused on the status of Martinů research, The issue contains papers given at the Martinů Michal Sedláček, played the Sonata No.1 reception of the composer’s works and operatic Symposium in Vienna in June 2009. Thanks to for violin and piano, H.182, and Arabesques performance practice. the willingness and enthusi asm of the Director for violin and piano, H. 201 A (piano accompa - Lucie Berná of the Austrian Cultural Forum, Mr Florian Haug, niment: Maxim Averkiev). Mar tinů’s relation “≠CONFERENCE] MARTINŮ SYMPOSIUM VIENNA 2009

BETWEEN 15 AND 21 JUNE 2009 Vienna and of Martinů’s works during his Within the first panel discus sion, other cities in Austria hosted a week-long lifetime and after his death (Lenka guided by Aleš Březina, renowned festival showcasing the works of Bohuslav Křupková, Olomouc; Mikuláš Bek, represen tatives of artistic Martinů. It was one of the components of the Brno), individual stage works and practice presented their papers: Martinů Revisited project and was organised their produc tions (Gabriele Jonté, the present and former directors by the Universität für Musik und darstellende Hamburg; Jiří Kopecký, Olomouc; of the Bregenz Opera Festival Kunst and exil.arte (director Prof. Dr.G.W. Christopher Widauer, Vienna; Jakob David Pountney (Bregenz) and Gruber), the Department of Musi cology of the Knaus, Uetikon am See), as well as Alfred Wopmann (Vienna). Faculty of Arts and Philoso phy ofPalacký the com poser’s relationships with Invited to the second panel, University in Olomouc, the Bohuslav Martinů his peers and pupils, such as the “Terezín which was prepared and guided by Ivana Institute in Prague and the Czech Centre in composers” Viktor Ullmann and Gideon Klein Rentsch (Zurich), were the musico lo gists and Vienna. Within the festival, an inter national (Volker Ahmels, Rostock). The most distin - publishers Michael Wittmann (Berlin), Jarmila musicological symposium took place on 17 guished of Martinů’s pupils, Jan Novák and Gabrielová (Prague) and Miroslav Srnka (Editio and 18 June at the Universität für Musik und Vítězslava Kaprálová, were considered by Bärenreiter Prague). darstellende Kunst. In his opening lecture, Martin Flašar (Brno) and Josef Kaprál (Brno). The The Bohuslav Martinů Institute would like to Aleš Březina summed up the current status of symposium also comprised two panel discus - extend its thanks to the symposium’s manager, Martinů research. The following papers dealt sions which were devoted to “Martinů’s image Veronika Fousková, for her co-operation and with Martinů’s aesthetics (Tomáš D. Svatoš, in the 21st century” and to musico-analytical sterling implementation of the project. Famagusta), Martinů’s relations with the mem - and editing issues, respec tively. The latter was Lucie Berná bers of the Czechoslovak anti-fascist resistance essentially a roundtable on the preparation in France (Philippe Olivier, Paris), the reception of The Bohuslav Martinů Complete Edition. Translated by Hilda Hearne

martinůrevue12010 | 17 23 May 2010/ 6.00 pm 6 May 2010 / 1.00 pm 10 June 2010 > St. James Church, Polička > Jan Deyl Conservatory > Fruchthalle, Concerto No. 2 for Violin Praha, Czech Republic Kaiserslautern, Germany and Orchestra, H. 293 www.kjd.cz www.drp-orchester.de B.Martinů Philharmonic Orchestra Zlín The Bohuslav Martinů Day Cello Concerto No. 1, H. 196 Bohuslav Matoušek (Violin) Workshop and Evening Concert German Radio Philharmonic events Stanislav Vavřínek (Conductor) Johannes Moser (Cello) 6 & 8 May 2010 Christoph Poppen (Conductor) JANÁČEK MAY > Symphony Center, OSTRAVA Chicago, USA 16 June 2010 www.janackuvmaj.cz www.cso.org > The Stables, Milton Keynes, UK ‹vOPERAS—› 25 May 2010 The Frescoes of Piero www.stables.org > Rothschild Castle, CZ della Francesca, H. 352 Nonet No. 2, H. 374 Sonata for Flute, Violin Chicago Symphony Orchestra Ensemble 360 30 May 2010 and Piano, H. 254 Ludovic Morlot (Conductor) > National Theatre, Ensemble Martinů 26 June 2010 Prague, CZ 8 May 2010 www.huddersfieldsingers.com www.narodni-divadlo.cz 7 June 2010 > Barbican Hall, The Primrose, H. 348 The Miracles of Mary, H. 236 > Janáček Conservatory Ostrava London, UK The Huddersfield Singers Chamber Music No. 1, H. 376 Jiří Bělohlávek (Conductor) www.bbc.co.uk/ Jiří Heřman (Director) Alexander Besa (Viola) orchestras/symphonyorchestra 2 July 2010 Jana Boušková (Harp) Symphony No. 6 (Fantaises > New Theatre Royal, Portsmouth, UK 4 June 2010 Karel Košárek (Piano) Symphoniques), H. 343 www.musicintheround.co.uk > Wuppertaler Ludmila Peterková (Clarinet) BBC Symphony Orchestra Nonet for Wind Quintet, String Trio, Bühnen, Vít Petrášek (Cello) Jiří Bělohlávek (Conductor) and Double Bass, H. 374 Wuppertal, Germany Jan Talich (Violin, Conductor) Music in the Round www.wuppertaler-buehnen.de 8–9 May 2010 The Greek Passion, H. 372 VIENNA FESTIVAL > Los Medanos College Recital Hall, 4 July 2010 / 8.00 pm (9 May—20 June 2010) Hilary Griffiths (Conductor) Pittsburg, USA 3 June 2010 / 11.00 am > Palais Garnier www.contracostachamber- (Opéra de Paris), France 24, 26, 28, 30 June 2010 > Musikverein, Großer Saal orchestra.org www.operadeparis.fr > Atelier Lyrique de l’Opéra (Wien, Austria) , H. 161 Nonet No. 2, H. 374 national de Paris, France Les Fresques de Piero della Contra Costa Chamber Orchestra Les Musiciens de L'Orchestre www.operadeparis.fr Francesca, H. 352 de L'Opéra National de Paris Mariss Jansons (Conductor) Mirandolina, H. 346 15 May 2010 Wiener Philharmoniker > National Museum of Natural History, 30 September, Washington, D.C., USA 1 & 2 October 2010 ‹vBALLETS—› SMETANA’S LITOMYŠL http://residentassociates.org > Berlin, Germany INTERNATIONAL Three Madrigals for Violin www.berliner-philharmoniker.de 8 May 2010 / 2.00 & 6.00 pm OPERA FESTIVAL and Viola, H. 313 Three Fragments > Estate Theatre, Prague 29 June 2010 / 9.00 pm from the Opera Juliette, H. 253 A www.narodni-divadlo.cz > Litomyšl, Castle – Audience Hall, CZ Berliner Philharmoniker La Revue de cuisine, H. 161 www.smetanovalitomysl.cz 15 May 2010 Sir Charles Mackerras (Conductor) Jiří Srnec (Director) Piano Trio No. 2 in D minor, H. 327 > Kunsthaus Tacheles Magdalena Kožená (Mezzo-soprano) Rosefield London Trio Adéla Srncová (Choreography) Berlin, Germany Bohemia Balet www.dso-berlin.de 1 October 2010 TORONTO Serenade No. 1 for Clarinet, Horn, > Herz-Jesu-Kirche, Munich, Germany SUMMER MUSIC Two Violins and Viola, H. 217 www.br-online.de/br-klassik/ ‹vFESTIVALS—› (20 July—14 August 2010) Serenade No. 3 for Oboe, Clarinet, muenchner-rundfunkorchester www.torontosummermusic.com/ Four Violins and Cello, H. 218 festival-events.html The Prophecy of Isaiah, H. 383 PRAGUE SPRING INTERNATIONAL Chamber Music Ensemble 25 July 2010 Munich Radio Orchestra MUSIC FESTIVAL of the Deusches Symphonie Bavarian Radio Choir String Trio No. 2., H. 238 see page 3 Tobias Haaks (Tenor) Tsuyoshi Tsutsumi (Cello) 2 & 3 June 2010 Adrian Erod (Baritone) Yasuko Ohtani (Violin) MARTINŮ FEST IN POLIČKA > Salle Pleyel, Sian Edwards (Conductor) Yoshiko Kawamoto (Viola) www.tyluvdum.cz Paris, France 14 May 2010 / 6.00 pm www.orchestredeparis.com > Tyl House, Polička, CZ ‹vCONCERTS—› The Frescoes of Piero della Three Czech Dances Francesca, H. 352 for Two Pianos, H. 324 Orchestre de Paris Duo Ardašev 2 May 2010 Paavo Järvi (Conductor) > International 18 May 2010 / 7.00 pm Coffee Concerts, 4 June & 6 June / 7.30 pm > Tyl House, Polička, CZ De Montfort Hall, Leicester, UK > Musikverein, Großer Saal Brigand Songs (selected songs www.demontforthall.co.uk (Wien, Austria) from the cycle), H. 361 The program subject to change Madrigals for Violin and Viola, H. 313 Les Fresques de Piero della QVOX – Male Vocal Quartet Pavel Fischer (Violin) Francesca, H. 352 This is only a selection of Martinů’s Graham Oppenheimer (Viola) 21 May 2010 / 6.00 pm Mariss Jansons (Conductor) performances all over the world. > St. James Church, Polička 5 May 2010 Wiener Philharmoniker More events can be found at Vigilia, H. 382 > Ilkley Concert Club, Ilkley, UK www.czechmusic.org and Pavel Černý (Organ) www.concertclub.ilkley.org www.martinu.cz, Section ‘Bohuslav Nonet No. 2, H. 374 Martinů’, Subsection ‘Calendar Ensemble 360 of events’.

18 | martinůrevue32009 NEW PUBLICATIONS

MUSIK-KONZEPTE SPECIAL ISSUE BOHUSLAV MARTINŮ WITHIN THE MUSIK-KONZEPTE series, the German publishing house Edition Text + Kritik has issued the proceedings from the Bohuslav BOHUSLAV MARTINŮ DAYS 2008 Martinů conference that took place in Dresden in May 2009. Sonata No. 2 for Cello and Piano, H. 286 Editor Ulrich Tadday. November 2009, 160 pages. Karel Chudý (Cello) ISBN 978-3-86916-017-7 / £ 20.00 Veronika Böhmová (Piano) The authors of the papers are: Sandra Bergmannová, Aleš Březina, Recorded in 2008 Klaus Döge, Jarmila Gabrielová, Daniela Philippi, Wolfgang Rathert, The Greek Passion, H. 372/II, selected scenes Ivana Rentsch, Eva Velická and Stefan Weiss. HISTORICAL RECORDING Václav Halíř, Vlastimil Šíma, Zdeněk Frgala, Zdeněk Soušek, Cecilie Strádalová etc. (Vocals) ÖSTERREICHISCHE The Janáček Opera Chorus and Orchestra Brno František Jílek (Conductor) MUSIKZEITSCHRIFT Recorded in 1962 BOHUSLAV MARTINŮ Divertimento for Two Recorders, H. 365 CONTAINS PROCEEDINGS from the Bohuslav Martinů conference WORLD PREMIERE RECORDING in Vienna in June 2009, Danielle Jałowiecka, Isobel Clarke (Recorders) Contributors: Mikuláš Bek, Aleš Březina, Martin Flašar, Recorded in 2009 Gabriele Jonté, Jakob Knaus, Jiří Kopecký, Lenka Křupková, Pavel Procházka, 2010, TT 44:58 Tomáš D. Svatoš. Non-commercial CD only for members of 11-12/2009 ÖMZ / ISSN 00 29 9316 International Martinů Circle orders: www.musikzeit.at

NEW CDs

Bohuslav Martinů Bohuslav Martinů Bohuslav Martinů Bohuslav Martinů Cello Concertos, Symphonies nos 5 & 6 String Quartets Sinfonietta Giocosa, H. 282 Cello Concertino Symphony no. 5, H. 130 String Quartet no. 6, H. 312 Toccata e Due Canzoni, H. 311 Concerto no. 1, H. 196 Symphony no. 6 (Fantaisies String Quartet no. 3, H. 183 Jazz Suite, H. 172 Concerto no. 2, H. 304 symphoniques), H. 343 String Quartet no. 1, H. 117 Claire Désert (Piano) Concertino, H. 143 Jiří Bělohlávek (Conductor) Pražák Quartet (no.6, no.3), Lidija Bizjak (Piano) Raphael Wallfisch (Cello) Czech Philharmonic Orchestra Zemlinsky Quartet (no.1) Pascal Verrot (Conductor) Jiří Bělohlávek (Conductor) Recorded in 2007 / Supraphon, Recorded in 2009 / Praga Digitals, Orchestre de Picardie Czech Philharmonic Orchestra SU 4007-2, 2009 PRD/DSD 250 254, 2009 Recorded in 2008 / Calliope, Recorded in 1991 / Chandos Classics, CAL 9394, 2009 Chan 10547 X, 2009

martinůrevue12010 | 19 BOHUSLAV MARTINŮ New performance materials

Early works for large orchestra

NOCTURNE I, H. 91 (Polička, 1915) o 2222-4030-ar.-pf.-archi | 6.20´| Cat. No. OM 1696

BALLADE (Villa by the Sea), H. 97 (Polička, 1915) 2332-4031-timp.-gr.c.-pf.-archi | 14.60´| Cat. No. OM 1697 o

remarkable early opuses by B. Martinů fi rst ever printed editions of works hitherto accessible only as autographs edition compiled by Sandra Bergmannová based on the autographs Autographs of Nocturne and Ballade /CBM Polička/ world premieres held in Prague and Brno in October 2009

B Editio Bärenreiter Praha www.ebp.cz | www.baerenreiter.com