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

PRAGUE SPRING FESTIVAL 2010 THE LOST SCORE martinůrevueMAY—AUGUST 2010 VOL.X NO. OF THE CONCERTO No.1 2 AUTOGRAPHS IN MARTINŮ & HIS EARLY VOCAL MUSIC

Scratch me on my back. It’s too salty. Oversalty.

Just politely! Like in Spain.

On the backs of the waves. < For more information see pages 6 and 7 (article by Gregory Terian The Lost Score – contents Pierre Fournier and the Martinů Cello Concerto No.1) 2 news 3 Martinů Revisited Highlights 4 martinů revisited Martinů Fifty Years Later ALEŠ BŘEZINA 5 International Martinů Circle 6 research The Lost Score – Part 1 GREGORY TERIAN 8 festival Spring Revisitings PATRICK LAMBERT 10 festival Incantations with Garrick Ohlsson y Print of page 10 from the solo cello part of Martinů’s Cello Concerto No.1 IVANA TABAK as originally published by Schott. It shows the performance markings by Pierre Fournier relating to version 2 and composer's subsequent annotations leading to version 3. 11 special series List of Martinů’s Works IX NEW GIFT NEWTON FRIEDMAN, MEMBER of the 12 research International Martinů Circle, has recently Martinů’s Autographs in Paris donated to the Bohuslav Martinů ALEŠ BŘEZINA Institute a handsome portrait photograph of Martinů. The historic photograph bears 14 reviews a French dedication in the composer‘s Concert, hand to his friends the Speyers and Frescoes in Chicago, Gilgamesh in Paris is dated 1943. Louis Speyer was the PETRA RICHTER, ROBERT SIMON, first oboist of the Symphony. A prominent figure in Boston, Massachusetts, he was renowned as a great orchestral player and oboe 16 recordings teacher. Martinů and Speyer met in Martinů’s Unpublished Songs Berkshire in 1942. ❚ PATRICE CHEVY, GIORGIO KOUKL

18 events / news 19 new CDs

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highlights

IN 2010 AGAIN 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

MARTINŮ FESTTAGE 2010 17 November — 1 December 2010 Basel,

OPENING CONCERT 17 November 2010 Introduction Camerata Bern – Carolin Widmann/violin Partita, H. 212 19 September 2010 Concerto da Camera for Violin and String Orchestra with Piano and Percussion, H. 285 OPERNHAUS / BADISCHES STAATSTHEATER KARLSRUHE / GERMANY The Greek Passion / H. 372/II CONTEMPORARY DANCE 19 November 2010 Christoph Gedschold (Conductor & Music Director) Martinů Performing Arts Project Georg Köhl (Director) PIANO RECITAL Florian Etti (Costumes, Scene) 21 November 2010 Martin Stadtfeld, piano www.staatstheater.karlsruhe.de Fantasy and Toccata, H. 281

CINEMA 23 November 2010 Cleopatra – Frescoes – Ecstasy Works by Berlioz, Martinů and Skrjabin Les Fresques de Piero della Francesca, H. 352 1 October 2010 Video, directed by Arthur Spirk / / WROCŁAWSKA WROCŁAW POLAND CHAMBER MUSIC – Duo Plays of Mary / H. 236 27 November 2010 Renaud Capuçon & Gautier Capuçon www.opera.wroclaw.pl Duo for Violin and Cello, H. 157 Duo for Violin and Cello in D major, H. 371

JAZZ – Trio 28 November 2010 Günter Wehinger/flute & friends 22 & 24 September 2010 FAMILY CONCERT NATIONAL THEATRE / PRAGUE / CZ 1 December 2010 Who is the Most Powerful in the World?, H. 153 / H. 370 – concert performance clair-obscur saxophone quartet Simona Houda-Šaturová (), Aleš Jenis (), Ondrej Mráz (), Speaker: Wolfram Berger Based on the ballet by Bohuslav Martinů, Richard Samek (), Zdeněk Plech (Bass), Aleš Voráček (Tenor), arranged by Christoph Enzel Tomáš Netopil (Conductor) Choir & Orchestra of the National Theatre Opera Programme subject to change. www.narodni-divadlo.cz

martinůrevue22010 | 3 MARTINŮFIFTYYEARS LATER ≠

/ ALEŠ BŘEZINA ≠ MANNES COLLEGE STUDENTS JOIN THE INTERNATIONAL MARTINŮ REVISITED PROJECT

THE AMERICAN COMPONENT of the Martinů Revisited project was joined by the Mannes College The New School for Music*), where Bohuslav Martinů taught composition between 1948 and 1956. Among his most famous pupils from this institution is the Chinese -American Michael Beckerman composer Chou Wen-Chung (*1923). Martinů’s association with the then Mannes School of Music also had deep roots in his friendship with 20 years. In the case of the Quartet for Oboe, the institution’s founders, David and Clara Violin, Cello and Piano, H. 315, the programme Mannes, and especially with their son Leopold was linked with the history of Mannes College – Mannes, for whose Martinů wrote the piece is dedicated to the Leopold a couple of works. Moreover, the school played Mannes, who premiered it on 12 January 1949 a significant role in championing Bohuslav with the members of his trio, violinist Vittorio Martinů’s operatic œuvre in the USA, beginning Brero and cellist Luigi Silva, and with the oboist with a student performance of Comedy on the Mitchell Miller. Sources have previously given Bridge, H. 247, staged in 1951 to mark the com - the date of the quartet’s premiere as November poser’s 60th birthday. This production later 1947, but the New York Times review dated went on to receive the annual award of the 13 January 1949 explicitly states that the Music Critics Association for the best opera performance of the previous day was a pre - performed in the previous year in New York. miere. Further, the review emphasises that the Following the composer’s death, the Mannes performance was part of the inaugural concert School held a memorial concert on 28 Novem - of the Mannes Trio. The accepted chronology ber 1959 at which , Lillian and of the work’s genesis is evidently in need of Joseph Fuchs, Artur Balsam and other artists revision. Seventy years later the quartet was appeared. The proceeds of the event were used performed by Ryan Walsh (oboe), Yi-Chun Lin to establish the annual Martinů Award. The (violin), Yu-Han Chen (cello) and Shuai Zhao recipients of this award from 1960–63 were (piano). The Sonata for Flute and Piano, H.306, David Tcimpidis, David Loeb, Gregory Proctor was played by Emily Schneck and Dimitri and Ned Bragni. In 1964–65 no awards were documentary Martinů and America (Czech Tele - Glivinsky. The piano version of Act 2, Scene 3 made and in 1966 the private list of Peter vision, 2000). Thanks to the partici pa tion of of Juliette, H. 253 C, in Rudolf Firkušný’s Pindar Stearns, a former student of Martinů’s another three distinguished persona lities – authorised arrangement was performed by the and later long-time professor of composition Marcel Sauer, former director of the Bohemian pianist and musicologist Erik Entwistle, who at the Mannes School of Music, bears the note National Hall in New York, Michael B. Becker - at the conclusion of the evening accompanied “No funds.” man, professor of musicology at New York Daria Titova in the Variations on a Slovak Folk From the very first preparatory meetings with University, and Susan Lucak, president of the Song for Cello and Piano, H. 378. the present dean, Joel Lester, in October 2006, Dvořák American Heritage Association – it was The entire event was an appropriate it was clear that the tribute to Martinů would possible to move the concert from the originally reminder of the distinguished position Bohuslav take the form of a chamber concert fea tur ing planned Mannes College concert hall to the Martinů held within American musical life of the composer’s works and performed by Mannes historically significant Bohemian National Hall. the mid-20th century. ❚ College students. Later on, it was de cided that On 23 October 2009 a sizable audience heard a lecture would be given by the author of this text a representative selection of Martinů’s chamber *) Mannes School was the first American Institution and there would be a screen ing of Jiří Nekvasil’s works dating from the composer’s final to join the International Martinů Circle.

4 | martinůrevue22010 b ] d incirclenews

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 A MEETING of the Board of the IMC took place in Paris on 24 June. Among financial support of the Bohuslav matters considered was a proposal to raise the IMC subscription rates. The Mar- Martinů Foundation Prague. tinů Revue (formerly Bohuslav Martinů Newsletter) was first published more than photo david port david photo Editors ten years ago since when there has been no increase in subscriptions. In the Zoja Seyčková & Lucie Berná meantime production and distribution costs have increased considerably. We GENERAL INFORMATION Bohuslav Martinů Institute have sampled the views of a selection of members who have all agreed that an Members receive the illustrated Justin Krawitz (with special thanks) increase in subscriptions is justified and overdue. We will announce the new rates Martinů Revue published three times Publisher’s Office for 2011 in the next edition of the Revue. a year plus a special limited edition CD International Martinů Circle, o.s. containing world premieres, historic IČ: 22688846 performances and archival recordings Bořanovická 14, 182 00 Praha 8-Kobylisy, [OPERA NEWS FROM THE UK) from the annual Martinů Festival not Second Movement Opera, a recent newcomer to the Martinů Circle, is hop- obtainable commercially. e-mail: [email protected] ing to stage a production of The Three Wishes, H. 175 during 2011. As a prelude The IMC is supported by the www.martinu.cz and preview, they will be performing scenes from the opera with piano accompa- Bohuslav Martinů Foundation and Translation niment at the Tet a Tet Festival, Riverside Studios, Hammersmith on 14 & 15 Au- Bohuslav Martinů Institute in Prague. Veronique Firkušný-Callegari gust (box office 0208 237 1111). We wish them well in their efforts to proceed to Hilda Hearne MEMBERSHIP & SUBSCRIPTION a full production which would well rank as the first UK outing for this entertain- INFORMATION Photographs ing early opera from Martinů. > YEARLY SUBSCRIPTION: The Bohuslav Martinů Foundation’s 20 EUR / 25 USD and Institute’s archive, collections of the There is to be a screening of the Pamela Howard’s 2009 Brno production at the > Bohuslav Martinů Center in Polička Victoria & Albert Museum on Sunday 19 September commencing at 2pm as part SUBSCRIPTION FOR CORPORATE MEMBERS: 100 EUR Graphic Design David E. Cígler of the London Design Festival. The film will be introduced by Pamela who will be joined by the lead soprano Tereza Merklová. The set and costume designs will be includes 10 copies of each Revue Printing BOOM TISK, spol. s r.o. on view before and after the event which is supported by the Czech Centre in PLUS 3 copies of the non-commercial The Martinů Revue is published London. Admission will be by ticket available from the V&A (0207 942 2209). CD recording from the Bohuslav three times a year in Prague. Martinů Days Festival in Prague > Cover [BĚLOHLÁVEK CYCLE COMPLETED) SINGLE COPIES OF THE REVUE: Drawings by Bohuslav Martinů 50 CZK / 2 EUR / 3 USD + postage from his diary, 1918–1924 Jiří Bělohlávek and the BBC Symphony Orchestra completed their Martinů sym- For further details and for single copies © Bohuslav Martinů Centre, Polička, CZ phony series at the Barbican Hall on 8 May with a spellbinding account of the of the Martinů Revue contact: ISSN 1803-8514 Symphony No. 6, H. 343 (Fantaisies symphoniques). Soon after BBC Radio 3 re- Jana Honzíková MK ČR E 18911 broadcast the entire cycle over a five day period, which allowed us to fully appre- e-mail: [email protected] ciate the measure of Bělohlávek's splendid achievement. It was a landmark event The International Martinů Circle, o.s. which is unlikely to be surpassed in the future. Gregory Terian, Chairman Bořanovická 1779/14 182 00 Praha 8-Kobylisy, CZ [2010 SUBSCRIPTION PAYMENTS) WELCOMES NEW MEMBERS (in alphabetical order) WE WOULD REQUEST members who have not yet paid their 2010 subscriptions to > Teri Achmann, Canada do so as soon as possible through one of our international contacts listed below: > Graham Eskell, Great Britain > Gregory Terian (Great Britain), [email protected], +441625523326, 18 Broadway, > Delia Friesenhausen, Schweizerische Wilmslow, SK9 1NB UK, Great Britain Martinů Gesellschaft, Riehen, THE PREVIOUS ISSUE > Patrice Chevy (), [email protected], +33675620321, Switzerland 11 Résidence FOCH, 923 80 Garches, France > Hartmann Götz, Germany > Mari Tokuda (Japan), [email protected], +81 339 393 395, +81 359 990793 > Henkjan Klok, Netherlands THE BOHUSLAV MARTINŮ CENTER > Geoff Piper (Belgium, Luxembourg and Austria), [email protected], > Giorgio Koukl, Switzerland IN POLIČKA offers an interesting, inter - +352-474269, 24, rue des Cerisiers, Luxembourg, L – 1322 Luxembourg > Franklin Stover, USA actively conceived exhibition on the com - > Gert Floor (Netherlands), [email protected], +31725095262, Corporate member: poser’s life and work. The modern display of Gortersweg 6, 1871 CC Schoorl, Netherlands > Orchestra, Bohuslav Martinů’s life and work is located > Robert Simon (USA), [email protected], mobile number 216-973-7716 , Germany in the historical building of the former 2531 Jackson Ave. Apt 1E, Evanston, IL 60201, USA council school, which Martinů attended BOHUSLAV MARTINŮ DAYS 2008 as a child. Consequently, the project also > Jaroslav Šonský (Sweden), [email protected], +4611318475, New CD for IMC comprises a reproduction of Martinů’s Knopgatan 6, 603 85 Norrköping, Sweden members, more classroom, complete with period painting > Petra Richter (Germany), [email protected], Furtstraße 46, information: and furniture. The centre also contains 73770 Denkendorf, Germany www.martinu.cz an audio-visual hall and study room. Those who pay their subscriptions via the Dvořák Society should continue Bohuslav Martinů Center to do so. Those wishing to pay in Czech currency or by cash should contact us at ❚ Tylova 114, 572 01 Polička [email protected] tel.: +420 461 723 857 www.cbmpolicka.cz

martinůrevue22010 | 5 THE LOST SCORE research PIERRE FOURNIER &THEMARTINŮ CELLO

The second version of the Cello Concerto No. 1, H. 196 II, was for many years thought to be lost. Its origins and the circumstances of its premiere have long been the subject of controversy. The author's in-depth research between 2007–2009 has resolved the issues in question and allowed work to begin on the preparation of critical editions of all three versions of this splendid work.

/ GREGORY TERIAN / PART 1 Fournier’s Paris performance achieved an instant success and was received with enthu si - The Cello Concerto No.1, H.196 by Bohuslav Mar tinů asm by the critics. “Very difficult to play, difficult is amongst his most immediately appeal ing works to accompany and no easier to analyse, none the and one for which he had a particular affec tion. less the Concerto of Martinů is easy to under - The composer revised it on at least two occa sions. stand; it is a magnificent piece of music in which This was unusual in itself for a prolific com poser one is gripped by the rhythmic and melodic ardour, who seldom re-engaged with his earlier works. the atmospheric intensity and truth of expres - In its original form for cello and chamber or - sion…” reported La Revue musicale (February ches tra, it was likened to aneo- concerto - 1938). “… a particularly brilliant success for the Pierre Fournier, Paris 1939 -grosso. In 1955 it finally emerged as a full-blown cellist Pierre Fournier who exhibited command of late romantic concerto. Some aspects of its evolu - the highest quality in a very difficult but beautiful about deftly, and quirks are genial enough, but the tion from Version 1 to Version 3 have remained Concerto by Martinů…” noted Le Ménestrel ideas are too trivial to be worth attention. The obscure, in particular those surrounding the (February 1938). soloist manipulated his catchy part splendidly.” creation of Version 2. Hopefully what follows will It is probable that Martinů heard the broad - serve to clarify the picture. My enquiries have PERFORMANCE IN LONDON cast transmission from London but it is doubtful unearthed new material and revealed flaws in Following the Munich crisis and the looming threat whether he ever became aware of the somewhat previously published data. of war, there was a warming of the Entente jaundiced views of Mr Anderson. The original version of the concerto was com - between Britain and France. It was marked by posed in Paris in 1930 and published by Schott. a series of cultural and musical exchanges WORLD WAR II It was dedicated to the Spanish cello virtuoso between artists from the two countries. Šafránek (1964) refers to a performance of Version Gaspar Cassadò who gave the first performance Fournier came to London and on 27 February No. 2 having taken place at the beginning of World in Berlin on 13 December 1931. Bohuš Heran 1939 he gave a studio performance of the Martinů War II. No such performance has been identified gave the Czech premiere with the Prague Radio Cello Concerto with the BBC Symphony Orchestra and it must be born in mind that Šafránek was Symphony Orchestra under Otakar Jeremiáš and (section E) led by Lawrence Turner and conducted no longer resident in France at that time. subsequently performed it with, among others, by Julian Clifford. It was transmitted by the Fournier remained in France throughout the the Orchestra of the German Theatre in Prague BBC National Service at 10pm. The concert also German occupation when no performance of under and the included Berlioz’ overture Beatrice and Benedict any work by Martinů was permitted. After the Orchestra under Karel Šejna. and Ravel’s Tombeau de Couperin, giving some Liberation Fournier came under a cloud, accused indication of the orchestral forces employed. of “collaboration”, one of his misdeeds having PIERRE FOURNIER In contrast to its favourable reception in Paris, been to perform with the Berlin Philharmonic In 1938 the young Pierre Fournier took up the work. the critic W.R. Anderson was scathing in his review under Wilhelm Furtwängler. The penalty imposed Miloš Šafránek in his 1963 biography (followed by published in the Musical Times (March 1939). He was relatively mild; a ban on performing abroad Halbreich 1968) stated that the performance took wrote: “Martinů’s new cello concerto (26 minutes) for a period of six months. He was able to return place in 1939 and dated the first revision of the had its first broadcast with Pierre Fournier as the to London in 1946 and was later rehabilitated by score as having been made in that year. In fact soloist. The quick movements have his customary the French establishment with the award of the the first Fournier performance with the Orchestre excess of bustle and poverty of ideas. The slow Legion d’Honneur for his services to French music. de la Société Philharmonique de Paris under movement wanders attractively, part of the time, In 1946 Fournier re-launched the Martinů Charles Munch took place at the Salle Pleyel on in mediaeval style, forgetting most of the off concerto at the Théâtre des Champs Élysées in Thursday 27 January 1938. Halbreich (2007) centre harmony that but thinly disguises, in the one of a series of concerts in Paris marking the corrects the date of the first performance but rest of the work, a frank romanticism or a cheery inauguration of UNESCO. The orchestra was the retains 1939 as the year of the revision. cross-talking dialect. Martinů throws his harmony Czech Philharmonic conducted by Rafael Kubelík,

6 | martinůrevue22010 CONCERTO No.1 making their first post-war tour. Paris was suffering from post-war privations including a lack of heating, but the concert generated much warmth and attracted glowing reviews. A special repeat performance of the concerto was arranged for Prague and took place on 8 December 1946 when it again made a big impact. The programme note refers to the re-orchestration of the work for a large orchestra in 1939 and its dedication to Pierre Fournier as its exclusive interpreter. Thereafter Fournier regularly included the concerto in his concert programmes. One such performance was due to have taken place in Baden-Baden on 1 June 1947 with the Süd - deutscher Rundfunk Symphony Orchestra. However, in rehearsal the visiting conductor Otto Klemperer experienced such difficulty with the orchestral score that Fournier tactfully suggested substituting the Haydn concerto, a change which of the new Martinů Cello Concerto No. 3 (sic) – me note provides a further clue relating to Version was eagerly accepted by the conductor. The both soloist and composition being heard in No.2. It states that following Fournier’s first per - young Hans Werner Henze was a witness to this Manchester for the first time. The concerto’s formance of the work in Paris in 1938, Martinů event (Hayworth: Otto Klemperer – his life and syncopated rhythms and dissonance suggesting re-orchestrated the work and that all the revised times, vol. 2 p. 161). The omission of the Martinů modern American influence, form a large part of parts were presented to Fournier. concerto from this programme ultimately had one a work of startling vitality. M. Fournier played the Writing in the New York Times, Olin Downes beneficial effect, as will be seen. lightning double stopping on the upper register reported that in its present form the concerto with superb smoothness; tone and phrasing was a considerably different work to the original. AT THE HALLÉ 1948 in the slow movement were exquisite”. He remarked on the suggestion of American jazz Fournier brought the work to Manchester and on The critic of the Manchester Guardian had influence in the first movement and, like Barbirolli, 17 March 1948 performed it with the Hallé Orchestra some reservations: “New music here last night drew the parallel with Dvořák. Downes continued: conducted by John Barbirolli. The concert took was a violoncello concerto by the Czech composer “The writing is first-class for the cello and offers place at Manchester’s Albert Hall, the Free Trade Bohuslav Martinů. It is a work containing much the skilled executant all sorts of uncommon Hall having been destroyed in a wartime air raid. that is admirable but it suffers from an excessive opportunities. Mr Fournier availed himself notably The programme notes relating to the concert use of polytonality. With his crowded textures of these, to the vast pleasure of the audience, are interesting in that they refer to the work as Martinů often diminishes the best features of his which heartily applauded and recalled him”. the Cello Concerto No. 3 and indicate that only highly individual style, and his dissonances sound Having failed to secure a performance of the one copy of the score existed. (The only reference formidable because of the rich complications of Cello Concerto in 1947 due to difficulties with work relating to Martinů available at that time harmonic patterning. The vigorous movements are the conductor Otto Klemperer, Süddeutscher was the Šafránek biography of 1946 which vividly coloured and each section of the concerto Rundfunk again invited Fournier to perform the erroneously refers to a Cello Concerto No. 3). includes fine lyrical stretches. The extremely work, this time with Ernest Bour who had previous Barbirolli had been the conductor of the New difficult solo part was magnificently played by experience of conducting works by Martinů. York Philharmonic until 1942 and had been Mr Pierre Fournier”. On this occasion the performance went without involved with the American Friends of Czecho - hitch. Bour later became the permanent con duc - slovakia. He is quoted in the programme notes AMSTERDAM AND NEW YORK 1952 tor of the orchestra. as saying: “Martinů’s sojourn in America has Fournier continued to feature the Martinů con - To be continued in the Martinů Revue 2010 No.3 coloured his style and the influences are apparent. certo in his concert programmes. In January 1952 © THE AUTHOR Although highly individual, the idiom is worked out he joined again with Rafael Kubelík to perform in a way that rather suggests the same impact the work, this time at the Concertgebouw in Acknowledgements: that America had on Dvořák”. Barbirolli appears to Amsterdam. The programme notes drew attention With special thanks to Jean Fonda-Fournier have been unaware that the concerto pre-dated to the 1939 revision for a large orchestra with Eleanor Roberts (Hallé Orchestra Archivist) the composer’s arrival in the . more transparent textures. Richard C. Wandel (New York Philharmonic Associate Archivist) Stadsarchief Amsterdam The performance received a very positive re - On 30 October 1952 Fournier gave the New Rachel Lawson (BBC Written Archives Centre) view in the Manchester Evening News (18 March): York premiere with the Philharmonic-Symphony Zoja Seyčková (Bohuslav Martinů Institute) “…Pierre Fournier gave a remarkable performance Orchestra under Dimitri Mitropoulos. The program - Patrick Lambert and Aleš Březina

martinůrevue22010 | 7 festival PRAGUE SPRING / PATRICK LAMBERT

KNOWING THAT I would be unable to attend the National Theatre’s designated Festival performance of Hry o Marii (Plays of Mary), H. 236 conducted by Jiří Bělohlávek (30 May 2010), I was happy to catch an earlier performance under the baton of assistant conductor David Švec (12 May 2010, coinciding with the The 65th Prague Spring International Music Festival’s opening concert).

I confess to having had misgivings about quite what to expect from my evening at ‘The Golden Shrine’, since I had been warned that Jiří Heřman’s production of Martinů’s extra ordinary went on to compose The Greek Passion… True, I understand that these Prague Spring four-part opera was controversial, even there are aspects of the production that border performances, two on the same day (16 May), misguided. Having witnessed his recent Rusalka on kitsch – a clichéd costume for the Virgin were a partial revival of a successful stage with its fornicating palace guests and penchant Mary with golden crown and robes as if she had production with choreography by Ladislava for surrounding protagonists with semi-naked stepped from the high altar, and overenthu si - Košíková, director of the Hradišťan dance male dancers, I feared the worst. However, it astic amplification of bells, organ and chorus ensemble, given at the 2007 Smetana Festival turned out to be one of the most gripping and in the final Dona nobis pacem. Nevertheless, in Litomyšl. In the programme booklet Košíková moving theatrical experiences that I have ever I found that such was the power of the encountered. An experience greatly enhanced spectacle, one was simply compelled to suspend 2 Plays of Mary, Sister Paskalina, by wonderfully committed singing and playing disbelieve (in the religious sense also) and 30 May photo ilona sochorová and by the decision to surround and immerse surrender to the colourful stage events. For me, the audience in sound, with the chorus place the high point was the Nativity, with Mary’s 4 Maurice Bourgue with conductor in balcony boxes on both levels – the leaflet charmingly apocryphal Ondřej Kukal, 24 May photo zdeněk chrapek boasted of more than 200 performers being encounters with involved. David Švec, a fiery young reddish a blacksmith preoccupied haired conductor, held it all together in masterly with fashioning nails for the fashion, bringing out the beauty of the music cross and with his crippled as well as its power, which seemed to increase daughter whom, with progressively with each play, achieving by the a touch, the Holy Mother end immense accumulative impact. miraculously restores to health. I too was touched, It could be argued that the staging – a co - eyes welling with tears. -production with Wrocław Opera – over empha - sises the religious aspect, ignoring the com - My next Martinů experience poser’s reservations about changing a piece was also at the National ‘into a Mass’ and transforming the theatre ‘into Theatre: a stage a Cathedral’. At the time of the premiere in Brno presentation of Kytice in 1935, Martinů declared: “As far as belief goes, (Bouquet of Flowers), H. 260. This folk cantata writes: “For me, Kytice gives out a fragrance. I think it does not play a big role in this, started life as a distinctly non-scenic piece – The scent of man and life. I have tried to grasp I myself am not pursuing any religious aim and it was written for Czech Radio, so any visual and draw some of these eternal life-motives, I chose these subjects more because they are element was left entirely to the listener’s to empathise with Martinů’s music, to be at well suited to my music, i.e. to do them in a folk imagination, though I do recall seeing an one with the blossoms of his Kytice, whose manner… “. However, by way of justification, effective, pastel-shaded Czech TV ballet fragrance has not evaporated and whose seeds the present staging enjoys the benefit of adaptation from 1980 (choreographer: are forever full of spiritual strength, even for hindsight: an awareness that Bohuslav Martinů Pavel Šmok; director: Eva Maria Bergerová), present-day man.”

8 | martinůrevue22010 THE 65TH PRAGUE SPRING INTERNATIONAL REVISITINGS MUSIC FESTIVAL 2010 and backcloth pro jected At the start of the evening, before the curtain with mainly abstract, rose, Martinů’s early and beautifully scored colourless pat terns. Nocturne No.1, H.91, recently edited by Sandra Of course, Mar tinů’s music Bergmannová, had served as a charming and contains plenty of colour in unexpected prelude. itself, but I must admit that I longed for a warmer visual My final Martinů encounter was a brilliant element, inspired perhaps concert given by the Prague Chamber Orchestra by images from Zrzavý, under the baton their former leader, the multi - the dedicatee of the work. talented Ondřej Kukal (24 May). Having braved a downpour to reach the Rudolfinum, a large audience of international music lovers was 184 Kytice, 16 May rewarded by a well devised programme that photos zdeněk chrapek brought a welcome breath of Spring. It was

1 František Novotný and conjured up by an ensemble that showed itself Clara Novakova, 24 May to be in fine fettle, sounding simply wonderful photo zdeněk chrapek in the splendid acoustics of the Dvořák Hall, with especially beautiful string tone.

The stark presentation was For the opening item, Clara Novakova was the redeemed by the excellence highly musical soloist in a composition for flute, of the musicians. This time, strings, celesta and harp specially written for the orchestra was the hard her by her father, who had been a pupil of working Prague Philhar mo - Martinů in America: Jan Novák (1921–1984). His nia, which a few days earlier three movement piece, Choreae vernales (Spring had opened the Festival with Dances), was conceived under Italian skies performances of Má vlast in 1977 and inspired by lines from the Latin Concerning the staging and designs, I was on three successive evenings, conducted by poet Horace, celebrating the return of Spring – in two minds as to whether they added or Jakub Hrůša. Here they were under the baton “the snow is melting, grass growing and trees detracted from the music. Perhaps in reaction of yet another talented young conductor coming into leaf… Grace, naked, leads the dance to the colourful folkloristic treatment of former Roman Válek, who directed proceed ings with of nymphs and sisters”. This Arcadian image times, director Alena Vaňáková was intent on great verve and rhythmic vitality. By the end, was beautifully evoked by the pastoral pipings pursuing a severely stylised, minimalistic and the audience was again surrounded by the of the soloist and by the subtly scored rather monochrome approach: costumes grey, chorus: the magnificent, rejuvenated Prague accompaniment. Martinů would surely have black or white with just a touch of blood-red, Philharmonic Choir. approved.

martinůrevue22010 | 9 > PRAGUE SPRING REVISITINGS THE 65TH PRAGUE SPRING INTERNATIONAL MUSIC FESTIVAL 2010 festival

Further Spring warmth was conveyed by as an ‘Andante by Martinů’, which had me rack - Martinů’s own sun-drenched Concerto for ing my brains as to its source. Afterwards, a little Oboe and Small Orchestra, H. 353 (according bird informed me that it was an arrange ment to legend, the instrument of the faun) written of the middle movement of the Diverti mento in May 1955 in Nice for fellow émigré Jiří for two recorders. (Premiere recording of this Tancibudek. Here, Maurice Bourgue was the work was included on B. Martinů Days 2008 CD.) distin guished soloist, well known in the Czech Republic as music director of the Sándor Végh The concert was rounded off with a fine render - International Academy of Chamber Music, ing of Haydn’s “Surprise” Symphony, conveying based in Brandýs nad Labem. Perhaps his tone well what Martinů himself detected in the seemed a little strained in the opening move - music of his illustrious predecessor – “joy and ment, but it became noticeably more rounded that humble, unassuming attitude, the sign of Kytice, 16 May photo zdeněk chrapek by the time he reached the meditative middle a simple and great man”. Kukal’s lively upbeat movement, and the scurrying finale with its lent such a spring to the rhythms that there pastoral warblings was dispatched with utmost and Orchestra, H. 252. They proved a perfect was really no need for the sudden thwack on virtuosity. match, bringing out the lyricism and Gallic the kettledrum to keep the highly enthusiastic elegance of this music, composed in Paris in 1936 audience awake! Despite the inclement weather, After the interval, Clara Novakova joined forces for Marcel Moyse and his daughter-in -law I feel certain that almost all of us emerged into with František Novotný for a bright eyed per - Blanche Honegger. As an encore, the soloists Prague’s damp night air in sunny mood. ❚ form ance of Martinů’s Concerto for Flute, Violin played a delightful little duet, announced simply

INCANTATIONS WITH GARRICK OHLSSON & THE CZECH PHILHARMONIC ORCHESTRA CONDUCTED BY ZDENĚK MÁCAL / IVANA TABAK

30 MAY 2010 WAS an eventful evening on the The performance Prague musical scene. Maestro Pierre Boulez, of Martinů’s Piano one of the biggest stars of this year’s Prague Concerto No. 4 was Spring Festival, conducted his orchestra characterised by Ensemble Intercontemporain, while Martinů’s an overwhelming joy, The Plays of Mary received its last perform ance with excellent com - of the season. Nevertheless, a third concert at munication between Zdeněk Mácal & Garrick Ohlsson, 30 May 2010 photo ivan malý the Smetana Hall of the Municipal House was the con ductor, almost sold out. This concert featured Milan orchestra and pianist. This was especially impressive in the impressionistic colours of Slavický’s Symphonic Vision for Large Orchestra apparent in parts that had a chamber character the melodies, which effectively contrasted “Porta Coeli”, Bohuslav Martinů’s Piano Concerto and in sections where the piano played as an with a powerful orchestral sound. No. 4 (Incantations), H. 358 and Gustav integral part of the orchestra. Owing to this The performers managed to capture the Mahler’s Symphony No. 5 in C sharp minor, tight ensemble-work, the rapid emotional and magical atmosphere of this composition. Their performed by the Czech Philharmonic Orchestra timbral transformations of this concerto were understanding of the colouristic elements in the under the direction of Zdeněk Mácal. Many had most convincing. work supported Martinů’s eschewing of a static, been looking forward to Martinů’s Incantations This was Ohlsson’s fifth performance of traditional piano concerto form. A less fussy, with American pianist Garrick Ohlsson, who this concerto, revealing a deep study of the more virtuoso treatment of presto passages by achieved popularity with Prague audiences piece and a thoroughly considered conception. the pianist would have made for an even more already in his youth. The solo piano passages in particular were satisfying experience. ❚

10 | martinůrevue22010 — LIST OF MARTINŮ’S WORKS IX Special s— CATEGORY/ Serie | CHAMBER MUSIC SUBCATEGORY/ | DUOS FOR VIOLIN AND PIANO

IN THIS ISSUE of the Revue we continue Archive: Bohuslav Martinů Center in Polička, Date of compostition: 1926 with our publishing of the complete list of CZECH RHAPSODY Czech Republic Performing forces: vl pf Bohuslav Martinů’s works. We began with FOR VIOLIN AND PIANO H. 307 Publisher: Hudební matice, Prague 1934 Dedication: Stanislav Novák, Karel Šolc the operas and have since considered the (H. M. 589) Performers of premiere: Nora Grumlíková ballets, incidental music and film music, works Durata: 12’ Copyright: Editio Bärenreiter, Prague (Violin), Jaroslav Kolář (Piano) for large orchestra, symphonies, works for Place of composition: Cape Cod, South Premiere: 30. 3. 1963 chamber orchestra, suites and abstracts of Orleans, Mass. (USA) Archive: manuscript missing the incidental works, piano concertos, violin Date of composition: 1945 INTERMEZZO – FOUR PIECES Publisher: Panton, Prague 1966 (P 536) and cello concertos, concertos for other Performing forces: vl pf FOR VIOLIN AND PIANO H. 261 Copyright: Panton International Mainz solo instruments and orchestra – double, Archive: Bohuslav Martinů Center in Polička, triple and quadruple concertos. Czech Republic Durata: 11’30” The next subcategory are the Duos for Violin Publisher: Max Eschig, Paris 1962 (M. E. 7188) Place of composition: Paris SONATA No. 1 and Piano (listed in alphabetical order). Copyright: Max Eschig, Paris Date of composition: 1937 FOR VIOLIN AND PIANO H. 182 The basic data on the works listed here Performing forces: vl pf have been taken from the online catalogue Archive: Bohuslav Martinů Center in Polička, Durata: 19’ of Martinů’s œuvre at ELEGY FOR VIOLIN AND PIANO H. 3 Czech Republic Place of composition: Paris http://katalog.martinu.cz/martinu/catlist.php Publisher: Melantrich, Prague 1937, later SHV Date of composition: 1929 Place of composition: Polička (H 5259) Performing forces: vl pf Commentary/ Date of composition: 1909 Copyright: Editio Bärenreiter, Prague Premiere: 5. 11. 1930 “Archive” – gives the information as to Performing forces: vl pf Archive: Alphonse Leduc, Paris where the autograph score is deposited. Dedication: Stanislav Novák Publisher: Alphonse Leduc, Paris 1930 Date of composition: Day / Month / Year Archive: The National Museum, Czech RHYTHMIC ETUDES (A. L. 17688) Premiere: Day / Month / Year Museum of Music, Prague, Czech Republic FOR VIOLIN AND PIANO H. 202 Copyright: Alphonse Leduc Only accessible information is stated. If data Copyright: Editio Bärenreiter, Prague on the publisher are missing, the work has Durata: 14’ yet to be published and is available as Place of composition: Paris SONATA No. 2 material that can be lent. FANTASY Date of composition: 1932 FOR VIOLIN AND PIANO H. 208 FOR VIOLIN AND PIANO H. 62 Performing forces: vl pf Archive: Schott, Mainz Durata: 13’ Place of composition: Polička Publisher: Schott, Mainz 1932 (Nr. 2224) Place of composition: Paris Date of composition: 1912 Copyright: Schott, Mainz Date of composition: 1931 DUOS FOR VIOLIN AND PIANO Performing forces: vl pf Performing forces: vl pf Premiere: 15. 7. 1912 Dedication: Hortense de Sampigny-Bailly Archive: manuscript missing ROMANCE Performers of premiere: Hortense ADAGIO Copyright: Editio Bärenreiter, Prague FOR VIOLIN AND PIANO H. 12 de Sampigny-Bailly FOR VIOLIN AND PIANO H. 33 Premiere: 20. 1. 1933 Place of composition: Smiřice, Czech Republic Archive: The National Museum, Czech Place of composition: Polička FIVE MADRIGAL STANZAS H. 297 Date of composition: 1910 Museum of Music, Prague, Czech Republic Date of composition: 1911 Performing forces: vl pf Publisher: R. Deiss, Paris 1932 (R. D. 7479) Performing forces: vl pf Durata: 12’45” Dedication: Josefa Vognerová Copyright: Éditions Durand–Salabert–Eschig, Archive: manuscript missing Place of composition: New York Archive: manuscript missing Paris Date of composition: 1943 Performing forces: vl pf ARIETTE Dedication: Albert Einstein SEVEN ARABESQUES – SONATA No. 3 FOR VIOLIN AND PIANO H. 188 A Archive: manuscript missing RHYTHMIC ETUDES FOR VIOLIN AND PIANO H. 303 Publisher: Associated Music Publishers, FOR VIOLIN AND PIANO H. 201 A Durata: 1’30” NewYork 1950 Durata: 24’30” Place of composition: Paris Copyright: Associated Music Publishers Place of composition: Paris Place of composition: New York Date of composition: 1930 Date of composition: 1931 Date of composition: 1944 Performing forces: vl pf Performing forces: vl pf Performing forces: vl pf Archive: manuscript missing FIVE SHORT PIECES Archive: manuscript missing Performers of premiere: A. Reyes, A. Balsam FOR VIOLIN AND PIANO H. 184 Publisher: R. Deiss, Paris 1932 (R. D. 7465) Premiere: 18. 12. 1945 Copyright: Édition Durand–Salabert–Eschig Archive: manuscript missing BERCEUSE Durata: 11’ Publisher: Associated Music Publishers, FOR VIOLIN AND PIANO H. 32 Place of composition: Paris NewYork 1950 Date of compositon: 1930 SONATA IN C MAJOR Copyright: Associated Music Publishers Place of composition: Polička Performing forces: vl pf FOR VIOLIN AND PIANO H. 120 Date of composition: 1911 Dedication: Miloš Šafránek Performing forces: vl pf Performers of premiere:T. Harsányi (Piano), Durata: 31’20” SONATINE Archive: manuscript missing O. Rithère (Violin) Place of composition: Polička FOR VIOLIN AND PIANO H. 262 Premiere: 5. 5. 1930 Date of composition: 1919 Archive: Paris Performing forces: vl pf Durata: 11’30” CONCERTO Publisher: Alphonse Leduc, Paris 1930 Dedication: Stanislav Novák, Karel Šolc Place of composition: Paris FOR VIOLIN AND PIANO H. 13 (A. L.17769) Archive: Bohuslav Martinů Center in Polička, Date of composition: 1937 Copyright: Alphonse Leduc, Paris Czech Republic Performing forces: vl pf Place of composition: Polička Publisher: Panton, Praha 1973 (P 1215) Archive: Bohuslav Martinů Center in Polička, Date of composition: 1910 Copyright: Panton International Mainz Czech Republic Performing forces: vl pf IMPROMPTU Publisher: Melantrich, Prague 1937, later SHV Dedication: probably Stanislav Novák FOR VIOLIN AND PIANO H. 166 (H 2172) Archive: The National Museum, The Czech SONATA IN D MINOR Copyright: Editio Bärenreiter, Prague Muzeum of Music, Prague, Czech Republic Durata: 6’ FOR VIOLIN AND PIANO H. 152 Copyright: Panton International Mainz Place of composition: Paris Date of composition: 1927 Durata: 17’ Performing forces: vl pf Place of composition: Paris

> LIST OF MARTINŮ’S WORKS IX > Category CHAMBER MUSIC > Subcategory DUOS FOR VIOLIN AND PIANO 2010 | ✂ martinůrevue2 11 research MARTINŮ’S AUTOGRAPHS / ALEŠ BŘEZINA

Valuable autograph materials from the late thirties have recently been discovered in a private collection in Paris. Following his stay with the Boucher family, Aleš Březina describes the manuscripts of some impressive chamber compositions and correspondence written by Martinů just a few years before his forced emigration from in 1941.

ANYONE WHO HAS READ Jiří Mucha’s novel, to Helena Pucová. Its publication date of 1957 Podivné lásky (Strange Loves), must surely would seem to indicate that it was also dis - remember the name of the well-known Czech covered by Miloš Šafránek in Pucová’s archive, entrepreneur Čestmír Puc and his wife, Helena, along with the other scores. who were among the most important patrons In 1939, Martinů dedicated his Dětské of Czech artists living in France in the thirties. hádanky (Children’s riddles), H. 227 to “Sacha Bohuslav Martinů expressed his appreciation Pucová, in remembrance of May 25, 1939.” Bohuslav Martinů, Paris 1932 © CBM for their many years of support by dedicating to them three com po sitions, composed in the late 1930s. For many years it was impossible to gain access to the originals and it was only through the books of Jaroslav Mihule that one knew of their exis tence. In the summer of 2008 I finally suc ceeded in making contact with the Puc’s daughter, Mrs. Alexandra Boucher. The most significant autograph in this collec - tion is the original score of the String Quartet No. 4, H. 256. This composition was written in Paris between April and May of 1937, and is dedicated to Mrs. Helena Pucová, in whose home it also received its first performance on June 13, 1938, by the Belgian ensemble Quatuor Lejeune. The concert was recorded and preserved in two copies. The cover of the autograph was illustrated by František Kupka who thereby turned the valuable original into a beautiful artifact, which the Puc family kept as part of their collection. From that moment the waters, so to speak, closed over the work until 1956, when Miloš Šafránek found it in String Quartet No. 4, autograph score – title page and cover illustrations by František Kupka the home of its dedicatee. In 1960 the work received its public premiere at a radio studio These are entertaining little compositions for in Basel, as performed by the children’s choral in Donaueschingen, performed by the Novák voice with piano accompaniment, each one group Sursee Kantorei. Quartet, and it was published three years later. ending with the sung question “What is it?” A no less important part of this collection The cycle of piano miniatures called Okna followed by a brief spoken answer to each con sists of some 22 written documents, namely do zahrady (Windows onto the Garden), H. 270 individual riddle. Mrs. Boucher was very moved letters written by Bohuslav Martinů to Mr. and was written in August 1938 in Vieux Moulin, the when, on October 31, 2009, she heard a con cert Mrs. Puc. There are several notes in which the birthplace of the composer’s wife, Charlotte. performance of this short cycle at the composer thanks his sponsors for their financial These pieces are among the finest ever written ceremonial unveiling of the commemorative assistance, others in which he expounds on his by Martinů for the piano. The cycle is dedicated Bohuslav Martinů plaque on the Stadtcasino compositions and their performances. The most

12 | martinůrevue22010 IN PARIS

Bohuslav Martinů (in the middle), from the left Josef Páleníček, Rudolf Firkušný and Karel Šebánek, Piano composition Okna do zahrady Paris 1938 © CBM (Windows onto the Garden), 1938

were being per formed by top notch artists on chorus; a “scenic portfolio, sketches in collabo - the world’s most renowned stages. Among ration with A. Haas”; and a “promotional film them we find, for example, planned perform - about Czech music.” The entire listing ends ances of the in Prague, Paris and with the laconic statement, “Other activities London, the premiere of the (concerts etc.) as agreed upon with the promo - for Two String Orchestras, Piano and Timpani in tional committee.” Basel, Tre Ricercari in , Budapest, Boston, As is well known, during this politically Washington, Philadelphia and London, and many unstable time the composer wanted to enlist performances of Martinů’s chamber works in as a volun teer in the Czechoslovak legions in Paris, Brussels, Rennes, Amsterdam and other France, and was turned down only out of con - cities. The interpreters include Pierre Fournier, sideration for his age. Alongside the Martinů Rudolf Firkušný, Germaine Leroux, Paul Sacher, texts only recently made public by the Parisian Marcel Moyse, Samuel Dushkin, Quatuor Pro magazine Český boj (Czech Battle), this unique Arte, BBC Orchestra, Basel Chamber Orchestra, document illustrates his close connection with and conductors Charles Munch, Sergei pre-war Czechoslovakia and his matter-of-fact Koussevitzky and Ernest Ansermet, among and unassuming contribution to broadening others. Of parti cular interest to Martinů awareness about its significance and culture. scholars is the last section of this fascinating It is a cruel irony of fate that after the February document, headed “Other compositions that coup d'état, people, who during the course I wish to write.” From it we learn about the of World War II did nothing for their country, significant document is a two-sided overview composer’s intention to compose a “Prague labeled the composer a renegade and deserter of activities, with which Martinů hoped to raise Symphony for Large Orchestra,” with a supple - of his homeland. From this perspective as well, awareness of Czecho slovakia and its precarious ment titled “For America (Boston)”; his intended the discovery of Mrs. Alexandra Boucher’s situation during the difficult period around the series “Prague concerts for small chamber archive, and its being made accessible, is one Munich Agreement. He titled it simply “Promo - ensemble”; and “Czech dances for orchestra.” of the most significant accomplishments for tional plan,” and in it listed all actual perform - Martinů devotes a special section to composi - Martinů research in recent years. ❚ ances of his works, as well as their promotional tions “For the Czech army,” among which figure, potential. It is simultaneously a documentation alongside the Military March and Field Mass, translated by Veronique Firkušný-Callegari of the success of a composer whose works an offer to orchestrate national songs for male

martinůrevue22010 | 13 5TH CHAMBER MUSIC CONCERT IN STUTTGART, GERMANY reviews LEOŠ JANÁČEK, ERWIN SCHULHOFF, BOHUSLAV MARTINŮ / PETRA RICHTER

ON 28 APRIL 2010 members of the Stuttgart This was followed by Schulhoff’s Duo for State Orchestra performed an interesting array Violin and Violoncello (1925), which, in tech nical of works by Martinů, Janáček and Schulhoff at terms, is a very ambitious piece. It de manded the Liederhalle under the motto “Czech Music great virtuosity from the performers. The of the 1920s”. players Muriel Bardon (violin) and Jan Pas The concert opened with Martinů’s final (violoncello) demonstrated their mastery chamber work, the Variations on a Slovak in this famous composition. Folk Song, H. 378. Dating from 1959, this work The evening culminated in an outstanding was an exception to the otherwise thematic- performance of Martinů’s suite from the ballet chronological ordering of the program. This Kitchen Revue, H. 161 A (1927), which contains sophisticated composition, based on the Slovak elements of jazz and American dance music. folk song “If only I knew” demanded much The musicians revelled in the playing of this technical prowess on the part of the cellist. The composition and the audience was infected interpreters Jan Pas (violoncello) and Victoria by their enthusiasm. The interpreters received Hölzinger (piano) convinced the audience with hearty applause and the concert concluded a sensitive performance. The second work of with an encore of the third movement the evening was Janáček’s four-movement “Charleston”. Martinů’s suite provided an suite Youth (1924) for wind sextet, which takes impressive finale to this Czech evening in as its theme the childhood memories of the Stuttgart. ❚ com poser. It was performed with an impressive and playful ease. After a short break Janáček’s Concertino for Piano, Two Violins, Viola, Clarinet, Horn and Bassoon from 1925 received Cover of the concert programme, published by the State Opera Stuttgart 2010 an expressive performance.

LES FRESQUES IN CHICAGO / ROBERT SIMON

THE CHICAGO SYMPHONY ORCHESTRA gave Some of his tempo choices were much faster two performances of Martinů’s Les Fresques than I am used too, but they worked well de Piero della Francesca, H. 352 on May 6th and with the music. A problem with a lack of live 8th. In the United States we are rarely treated performances is that many people (myself to a major orchestra performing Martinů, included) often have only been exposed to one so it was wonderful to be in attendance. or two interpretations of Martinů's work and Les Fresques was composed in 1955 and thus have a fixed idea of what the composition dedicated to Rafael Kubelík who premiered sounds like. the work with the Philharmonic. The performance was exhilarating and I am Coincidentally, Kubelík had previously conducted always amazed the added energy and life the Chicago Symphony Orchestra from 1950 Martinů's work has in live performance. As Conductor Ludovic Morlot to 1953. This was the first time Les Fresques I looked around the hall, the audience seemed has been performed in Chicago. to be enlivened by music most of them have I echo his question and I am looking forward On the podium was Ludovic Morlot, who has never heard. John von Rhein, music critic for to more performances of Martinů in Chicago conducted several performances of Les Fresques the Chicago Tribune, spoke highly of the Martinů. and throughout the United States. as well as other of Martinů's works with many He closed his commentary with, "Now, when The Chicago Symphony Orchestra’s perform - prominent orchestras. He conducted with is the CSO going to venture one of the big ance will be broadcast on August 29th 2010 by obvious enthusiasm for the piece and brought Martinů symphonies? It's been a long while Chicago radio station WFMT and can be listened this colorful and picturesque work to life. since we've heard any of them downtown." to online at www.wfmt.com ❚

14 | martinůrevue22010 GILGAMESH IN PARIS / HARRY HALBREICH

MARTINŮ’S ONLY ORATORIO was performed and Beethoven (the diptych Calm Sea and a speaker. Of the three soloists, the Japanese in Paris in April 2010. Harry Halbreich Prosperous Voyage, on poems by Goethe which soprano Noriko Urata and the powerful French reviews the concert presented by a group later inspired Mendelssohn to write his familiar baritone Jean-Louis Sarre were outstanding, of young musicians under the baton of Overture). while the English tenor Simon Edwards (who German conductor Till Aly. The youthfulness of the members of the additionally performed the speaker’s part), was Europa Voce orchestra might have provoked also very good. The Europa Voce choir was not some fears as to quality of their performance, always strong enough despite its eighty singers, The Epic of Gilgamesh H. 351 is Bohuslav Mar - but this was due to the acoustics of the huge tinů’s only oratorio and one of the most power - church rather than any fault of the singers: ful of his late creations. The work, com posed the choir was placed behind the orchestra, directly before the Greek Passion H. 372 I, under the very high dome. Till Aly proved is masterly in its choral writing, and was himself to be an efficient and fiery young con - performed on the 10th and 11th of April thanks ductor, whose career is definitely one to be to the initiative of the Paris-based choir followed with attention. The work was per - “Europa Voce” and the young German con duc - formed in its original English version even tor Till Aly, whose main base is at the WDR though Czech, German and Italian versions in Cologne. also exist. The multiple language versions of The very large church of Notre Dame de the Epic of Gilgamesh illustrate the drama of la Croix de Ménilmontant, a rather unusual the exiled composer. concert venue in the popular district of Paris’s but it became clear that great effort and Gilgamesh is a major masterpiece amongst twentieth arrondissement, was filled to copious rehearsal time had been devoted to the the oratorios of the twentieth century. capacity by an enthusiastic audience. demanding Martinů score, in which it gave full Despite frequent performances in Martinů’s Since Gilgamesh lasts just under an hour, it satisfaction. Gilgamesh is undoubtedly a difficult home country and the availability of good CD was preceded by shorter and also rarely heard piece to master, with its elaborate choral recordings, it still deserves a larger worldwide items by Berlioz (the choral triptych Tristia, writing, its delicate balance between soloists exposure. ❚ culminating in the impressive Funeral March and tutti, and also the always problematic for the last scene of Shakespeare’s Hamlet) insertion of the brief passages allotted to

BOHUSLAV MARTINŮ: BOHUSLAV MARTINŮ: Œuvres pour piano / Piano works / Kuchyňská revue / / Klavierwerke Kitchen Revue, H. 161 Three Czech Dances, H. 154, Ballet pour six instruments Three Sketches, H. 160, Critical edition by The Dance, H. 177, Christopher Hogwood With One Finger, Piano Piece Editions musicales Alphonse for Three Hands, H. 185, Leduc, Paris, 2009 The Hounted Train, H. 258, AL 29 516 Dumka No. 3, H. 285 bis, Bagatelle, H. 323, www.alphonseleduc.com Barcarolle, H. 326, Sonata No. 1, H. 350 Revision by Jean-François Ballèvre Éditions Max Eschig, Paris © 2009 Editions Durand www.durand-salabert-eschig.com

martinůrevue22010 | 15 MARTINŮ’S UNPUBLISHED SONGS: recordings A GREAT PREMIERE SOON ON CD

/ PATRICE CHEVY

A NEW CD CONTAINING unknown and previously unpublished songs is expected to be released by Naxos towards the end of 2010. This achievement we owe to the tremendous efforts of Giorgio Koukl and financial support of Martinů fans around the globe!

This is a story to make you optimistic about what shared passions can achieve! After recording virtually all of Martinů’s works for solo piano, Giorgio Koukl spoke to me last year about a fascinating new project to record a CD devoted entirely to the composer's unpub lished songs. He also mentioned that he was experiencing great difficulty in raising the neces sary funds to complete the project. In my Martinů discographies I have drawn pieces for piano (Giorgio Koukl, Erik Entwistle), y Giorgio Koukl and Jana Wallingerová pictured attention to the fact that the songs account and for violin and piano (Bohuslav Matoušek, at the Korunní studio in Prague on 17 March 2010 for one of the biggest gaps in the Martinů violin, Petr Adamec, piano), have revealed some in the course of recording an album of unpublished Martinů songs for the Naxos label recorded repertoire. Recordings of the early real jewels of major interest. However, only BOHUSLAV MARTINŮ & HIS EARLY VOCAL MUSIC

/ GIORGIO KOUKL such an intervention had to be evaluated During 2008 the following songs were tran - twice due to harmonic extravagances which scribed: H. 6, 8, 10, 14, 22, 29, 30, 31, 41, 43, 44, DURING MY WORK TRANSCRIBING some of the young Martinů used so extensively. 57, 71, 72, 74, 74bis, 75, 81, 87, 94, 106, 110, 135, Martinů’s solo piano manuscripts, I encoun - Examination of the original poetry revealed 135bis, 146, 146bis, 273, 277bis. tered various fragments of vocal music casually another aspect of Martinů’s compositional During the ensuing research some more found in the archives. From the first moment it process: Martinů sometimes switched the details emerged: was clear that this music was intriguing, highly poet's words in order to accommodate his The first song of Tři ukolébavky, H. 146bis, “cantabile” and first class material for all desired rhythm. In these instances I maintained (called “Přede dveřmi strom”), is definitely singers. The natural flow of the melody and the composer's changes. a Czech translation of a poem by D. Liliencron. the rich harmony of the piano – even if never Some Halbreich numbers were wrongly Thanks to research as far afield as Russia, typically “Martinů-esque”, – were the decisive assigned, so for example Jaškova zpěvánka, and finally thanks to Prof. Mykola Mušinka, elements which compelled me to have a closer H. 37 is identical to Kráčím, kráčím, H. 74bis – it was possible to find the original folk song look after my piano solo and piano concerti this latter, despite its higher number, is simply Uvila jsem sobě, H. 135bis. It is a variation projects were finished. an earlier version. So too is Píseň o hubičkách, on the oldest existing notation of a Ukrainian The first great challenge was the quality of H. 27bis, a version of Pravý počet, song from song found in the Czech Grammar by Jan the autograph material, which was often quite the cycle Tři písničky, H. 34. Blahoslav (1561–72): “Dunaju, Dunaju, čemu difficult to understand and sometimes even smuten tečeš?” (The girl jumps into the Danube incomplete. On a few occasions I was forced to For this first project of vocal music, Naxos saying “Who reaches me, will be my lover”). complete a missing left hand part (fortunately, decided to participate and the excellent mezzo - Slavicists Karel and Zdeňka Horálkovi see enough parallel passages were found) or correct soprano Jana Wallingerová showed great just another version of this in a Slovak song: missing signs and obvious errors. Clearly every enthusiasm from the very first day we met. “Pri Prešpurku Dunaju.”

16 | martinůrevue22010 a few albums of Martinů songs have appeared, Až budeme staří H. 10, Než se naděješ H. 6, The CD is expected to be released by Naxos with those from Magdalena Kožená being Komárova svatba H. 75, Noc tebe každou drahá towards the end of 2010. Having received an especially commendable. The Naxos album by zřím H. 57, Kráčím, kráčím mezi vrchy H. 74bis, early down load, I can say that the listening Olga Černá and Jitka Čechová is complementary La Nuit from Three Songs to French Texts H. 88, experi ence hasbeen an utter pleasure. to the new one initiated by Koukl and offers Konec všemu H. 43, České hádanky H. 277bis, Jana Wallingerová is in fine voice and Koukl's six world premieres from the Paris period V noci H. 30, Stará píseň H. 74, Dvě písničky accompaniments are immaculate as one would (1930–40), even if the performances are not v národním slohu H. 14, Tři ukolébavky expect. The recording has achieved a perfect quite so attractive. H. 146bis, Píseň o hubičkách H. 27bis, Mrtvá balance between voice and piano. The songs Giorgio Koukl's project to record these songs láska H. 44, Dvě písně na ruskou poezii themselves are a delight. They add to our with the mezzo-soprano Jana Wallingerová H. 135bis, Dvě písně H. 3, Píseň na staro - understanding of Martinů's early “flowering lacked only the necessary funds to proceed. španělský text H. 87, Vím hájiček H. 273, of a genius” with a pure melodic gift reflective I raised the matter at the last International 3 dětské písničky H. 146. of the Czech soul. Martinů Circle Board meeting in Brno (October As far as I know the only work previously An assessment of Martinů's complete song 2009). Two members of the Board of the IMC recorded is the Goethelieder H.94, on a non - output is now possible. Most come from the subsequently offered financial guarantees to -commercial recording by Černá/Čechová dating early Czech period and the majority of them are cover the deficit. Other passionate members from 2004 and published by the Martinů Foun - either lost, extant only as sketches, or simply were quick to follow with support. Special da tion. All the remaining songs are new to the impossible to read. A few songs date from thanks are due to Graham Slater for coordinat - catalogue. The songs range from the very first the Paris period and only 2 cycles (H. 294 and ing donations via the internet and to Tony Pook Martinů song Než se naděješ, H. 6 dating from H. 302) date from the American period. That of the Dvořák Society for collecting and trans - 1910 to the Paris České hádanky, H. 277bis of most of the songs orginate in Martinů’s early ferring the funds. This proves that the IMC can 1939. This will obviously represent one of the Czech period may explain their neglect. During achieve great things, and we are proud of the most significant CD releases in this 120th an - visits to the Martinů Institute, Giorgio identified result! niver sary year of our composer. I have almost further unpublished songs which may lead no other information about these pieces. They to a second volume being recorded. I have You can judge below the ambitious scope are listed in the Halbreich cata logue which no doubt that we shall do everything to make of the recording: shows only the source of the manuscripts. that possible! A third CD could be devoted Drei Goethelieder H. 94, Šest prostých písní The recordings took place in March 2010 to the complete Nové slovenské písně, H. 126. H. 110, Jak milý čas H. 106, Štěstí to dost H. 81, at the Korunní recording studio in Prague. The For his outstanding services to the cause of Píseň prvního listopadu H. 72, Slzy (Vilmě) H. 41, Martinů Institute in Prague provided invaluable Martinů, Giorgio Koukl surely merits the award Náladová kresba H. 29, Dívčí sny H. 22, help with copies of the autograph scores. of the Martinů Foundation Medal. ❚

< The autograph of Jaškova zpěvánka, H.37, has been donated to the Bohuslav Martinů Foundation by Soňa Hendrychová

was found in Brno and has now been included (“March”, starting with words “Na naší studní ráno hvízdal kos”). Since it was clear that the existing material would be too much for a single CD, further discoveries were reserved for the next CD. Such discoveries include V zahradě na hradě, H.77 (actually it should be “…na hřadě,” changing de facto the meaning of the title), which was reported as missing but actually is found inserted in the autograph of Svitaj, Bože, svitaj, H. 76. The hope to find further unknown songs by Martinů is quite great. In this short survey I would like to mention just two more cycles of songs: Šest prostých písní, H. 110 and Tři ukolé bavky, H. 146bis. The music contained in these cycles is extraordinary One should bear in mind that even though The Karel Toman cycle Měsíce, H. 135, which and, once available, they are sure quickly to be - the Danube does not cross the territory of is very valuable from the musical point of view, come part of the world repertoire of singers. ❚ Ukraine, every larger river there is referred exists in a variety of sources. A few months All titles of the songs in English you can find at to as “Danube”. before recording, yet another song of this cycle http://katalog.martinu.cz

martinůrevue22010 | 17 4 September 2010 Finnish Radio Symphony Orchestra 12 December 2010 > Gstaad Chapel, Ludovic Morlot (Conductor) > Suk Hall, Rudolfinum, Gstaad, Olli Mustonen (Piano) Prague, CZ Switzerland www.ceskafilharmonie.cz www.menuhinfestivalgstaad.ch 8 October 2010 Pastorales, Six Pieces Variations on a theme > Dvořák hall, Rudolfinum, for cello and piano H. 190 events by Rossini, H. 290 Prague CZ Intermezzo, four compositions Gunta Abele (Cello) www.ceskafilharmonie.cz for violin and piano, H. 261 Stefka Perifanova (Piano) Double Concerto for Two String Piano Quartet of the Czech Philharmonic Orchestras, Piano and Timpani, 30 September, 2010 H. 271 15 December 2010 (OPERAS & FESTIVALS) > Landestheater, Eisenach, Germany Czech Philharmonic Orchestra > Royal Festival Hall, www.theater-eisenach.de Sir (Conductor) London UK SEE PAGE 3 Concerto for String Quartet www.lpo.co.uk with Orchestra, H. 207 11 October 2010 Violin Concerto No. 2, H. 293 Landeskapelle Eisenach > Dvořák Hall, Rudolfinum, London Philharmonic Orchestra ( CONCERTS ) Carlos Dominguez-Nieto (Conductor) Prague, CZ Jukka-Pekka Saraste (Conductor) Diogenes Quartett www.ceskafilharmonie.cz Frank-Peter Zimmermann (Violin) 8 August 2010, 11.00 am String Quartet No. 6, H. 312 > Liechtenstein Museum, 30 September Pražák Quartet 22 & 23 December 2010 Vienna, Austria 1 & 2 October 2010 > Concertgebouw, www.gmjo.at > Berlin, Germany 26 November 2010 Large Hall, Amsterdam, Duo for Cello and Violin, H. 157 www.berliner-philharmoniker.de > Liège, Belgium Netherlands Ensemble of the Gustav Mahler Three Fragments from www.opl.be www.concertgebouworkest.nl Jugendorchester the Opera Juliette, H. 253 A Concerto for String Quartet Violin Concerto No. 2, H. 293 Berliner Philharmoniker with Orchestra, H. 207 Royal Concertgebouw Orchestra 25 August 2010 Sir Charles Mackerras (Conductor) Orchestre Philharmonique de Liège Mariss Jansons (Conductor) > Tallinn Town Hall, Magdalena Kožená (Mezzo-soprano) Fayçal Karoui (Conductor) Frank-Peter Zimmermann (Violin) Tallinn, Estonia www.plmf.ee/ 1 October 2010 9 & 10 December 2010 29, 30, 31 December 2010 /main_kava24_e.html > Herz-Jesu-Kirche, Munich, Germany > Dvořák Hall, Rudolfinum, > Dvořák Hall, Rudolfinum, Songs on One Page, H. 294 www.br-online.de/br-klassik/ Prague CZ Prague CZ Pavla Švestková (Mezzo-soprano) /muenchner-rundfunkorchester www.ceskafilharmonie.cz www.ceskafilharmonie.cz Markéta Janáčková (Piano) The Prophecy of Isaiah, H. 383 Rhapsody-Concerto for Viola Jazz for orchestra, H. 168 Munich Radio Orchestra and Orchestra, H. 337 Ion Marin (Conductor) 29 August 2010 Bavarian Radio Choir Czech Philharmonic Orchestra > Royal Albert Hall, Tobias Haaks (Tenor) Petr Altrichter (Conductor) The program subject to change London, UK Adrian Erod (Baritone) Tabea Zimmermann (Viola) www.bbc.co.uk/proms/2010/ Sian Edwards (Conductor) This is only a selection of Martinů’s Symphony No. 6 (Fantaisies 11 December 2010 performances all over the world. symphoniques), H. 343 1 October 2010 > Dvořák Hall, Rudolfinum, More events can be found at Czech Philhamonic Orchestra > Finlandia Hall, Helsinki, Finland Prague CZ www.czechmusic.org and Sir John Eliot Gardiner (Conductor) www.yle.fi/rso www.ceskafilharmonie.cz www.martinu.cz, Section ‘Bohuslav Concerto for Piano and Orchestra Sacred Songs, H. 339 Martinů’, Subsection ‘Calendar No. 3, H. 316 Kühn Children's Choir of events’.

JULIETTE WON! FILM ON DVD WITH MUSIC ON 11 MAY 2010 it was announced, that this year’s winner of the Royal BY BOHUSLAV MARTINŮ Philharmonic Society Music Award in the category Marijka nevěrnice / Opera and Music Theatre is the Concert performance Marijka the Unfaithful, H. 233 of the opera Juliette by Bohuslav Martinů, performed National Film Archive special DVD by BBC Sym phony Orchestra with Jiří Bělohlávek and collection. Magdalena Kožená! 1934, premiere 2 March 1934, 72 min. From a range of very high quality work, both large and Directed by the author Vladislav small -scale, the panel unanimously selected the BBC Sym - Vančura, story Ivan Olbracht, phony Orchestra’s revelatory concert staging of the rarely screenplay Karel Nový, Ivan Olbracht, performed French version of Martinů’s Juliette. Given in his director of photography Jaroslav Blažek, anniversary year this musically outstanding performance music Bohuslav Martinů. enhanced the reputation of both the com poser and the English and Czech subtitles, bonus clips work itself. (67 min.), photo gallery, contemporary Other nominations in the category: documents. Birmingham Opera Company: Othello Filmexport Home Video 2010 : Peter Grimes Orders: www.cdmusic.cz www.rpsmusicawards.com

18 | martinůrevue22010 NEW CDs ESSENTIAL DISCOVERY OF AN UNKNOWN OPERA BY MARTINŮ OF ALL NEW recordings released in 2010, the most significant one without question is the world premiere of the opera Den dobročinnosti (The Day of Good Deeds), H. 194, composed in 1930. Václav Nosek’s original idea was realized at his specific request by the conductor Milan Kaňák, who edited and prepared Martinů’s unfinished opera, and thereby rescued more than 70 minutes of the master’s music. The quality of this work is on a par with that of the contemporaneous ballet Špalíček, and in places the music brings to mind the cantata Kytice. The recording label Arco Diva brought this financially extremely challenging project to fruition in the year marking the 120th anniversary of the composer’s birth, thereby enriching the operatic repertoire with a fundamental work, which is certain soon to appear on some Czech or international stage. by ALEŠ BŘEZINA (translated by Veronique Firkušný-Callegari)

MARTINŮ: Complete Françaix, Martinů, Ibert / Violin Sonatas, Vol. 1 Novotný, Pospíchal, Kahánek Violin Sonatina, H. 262 Martinů: Promenades for Flute, Concerto for Violin and Piano, H.13 Violin and Harpsichord, H. 274 Violin Sonata in C major, H.120 Martinů: Sonata for Flute, Stephen Shipps (Violin), Violin and Piano, H. 254 Dmitri Vorobiev (Piano) Roman Novotný (Flute), Naxos, 8.572282 Jiří Pospíchal (Violin), Currently available for streaming and Ivo Kahánek (Piano, Harpsichord) download only. This recording will be Czech Philharmonic Orchestra issued on CDs at a later time. Chamber Series vol. 17 Physical Release: 04/2011 Recorded in 2009 / arteSmon AS731-2, 2009 s SU 3984-2 SU 4022-2 SU 4012-2 MARTINŮ / The Greek Passion DVOŘÁK / Symphonic Poems VOŘÍŠEK / Missa solemnis Opera in 4 Acts (Zurich version, 1959) Czech Philharmonic Orchestra TOMÁŠEK / Messa con Graduale Prague Radio Chorus & Symphony Orchestra Sir Charles Mackerras et Offertorio* Libor Pešek * World première recording Musica Florea Marek Štryncl

SUPRAPHON a. s. ● www.supraphon.com ● [email protected] Distributed and marketed in the UK by RSK ENTERTAINMENT ● www.rskentertainment.co.uk ● [email protected] Distributed and marketed in the U.S.A. by QUALITON IMPORTS Ltd. ● www.qualiton.com ● [email protected]

Live on the Web: A Czech Evening from the Philharmonie in Berlin

Berliner Philharmoniker / Deutsche Grammophon © KASSKARA Photo: Sir Charles Mackerras · Magdalena Kožená

Bohuslav Martinů: Three Fragments fromJulietta Antonín Dvořák: Symphony No. 7

Live webcast on Sat, 2 Oct, 8 pm (Berlin time) in the Digital Concert Hall of the Berliner Philharmoniker www.digital-concert-hall.com Photo: Clive Barda Clive Photo:

The only project of its kind worldwide, theDigital Concert Hall is where the concerts of the Berliner Philharmoniker have been broadcast live on the Web since 2008 – in HD quality and with the most up-to-date audio technology.

The start of the orchestra’s new season includes a very special concert: Sir Charles Mackerras and Magdalena Kožená, two of the most distinguished interpreters of Czech music, perform works by Martinů und Dvořák.

For only € 9.00, you can follow this unique concert live on the Web and at the same time discover one of the most exciting media projects in the world of classical music.