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January–April 2014/ Vol.XIV / No.1 THE BOHUSLAV MARTINŮ FOUNDATION THE BOHUSLAV MARTINŮ INSTITUTE THE INTERNATIONAL MARTINŮ CIRCLE MR martinů in oxford january–april 2014 / vol.XIV / no.1 jakub hrůša on martinů martinů in prague & basel mirandolina in ostrava essay on the ballet the strangler events / news review martinůinoxford contents / MARK TODD used in my recent performance with the OU Sinfonietta, has an impact on performances of The chapel of Exeter College of Oxford University works by composers such as Martinů, writing 3 was the venue for an enterprising concert on in the earlier part of the 20th century. Players FESTIVALS / OPERAS the evening of Thursday 5 December 2013 who are now steeped in what we surmise to be organised by a group of students, the Oxford 17th and 18th century norms may bring these University Sinfonietta. The programme was idiomatic approaches to their playing of contem - designed to display the qualities of the harpsi - porary works, so as performers it could be argued 4 chord in different periods, and for the concert that we are now challenged with playing these HARRY HALBREICH the OU Sinfonietta had arranged the participation pieces authentically. LUCIE BERNÁ of Jane Chapman, harpsichordist based at the ‘On the flip side, I feel that as harpsichordists Royal College of Music and London and other today, we have a wide range of approaches to JAKUB HRŮŠA ON MARTINŮ places, a pupil of Ruth Dyson and Ton Koopman choose from, and that new interpretations keep and recently described by the Metro newspaper music alive and fresh. Rather than trying to as ‘the hippest harpsichordist around.’ The first religiously recreate the past, be it recent history – 5 half of the concert included solo and concerto 1935 – in the case of Martinů Harpsichord works by J. S. Bach. In the second half Martinů’s Concerto, or music from 300 years ago, this fusion Concerto for Harpsichord and Small Orchestra, of styles can be quite liberating, and may bring H 246, was the main work, followed by a short out latent musical possibilities, of which the 6 BOHUSLAV MARTINŮ DAYS 2013 solo piece by Ligeti. composer hadn’t even been consciously aware. IVAN ŠTRAUS ROBERT SIMON JIŘÍ TEML 8 19TH MARTINŮ FESTTAGE BASEL SEVERIN KOLB y Jane Chapman 10 Ed Whitehead > MARTINŮ: THE STRANGLER & the Oxford University LUCIE DERCSENYIOVÁ Sinfonietta The contrasts between the two halves of the ‘Martinů writes copious dynamic markings 13 programme were fascinating as well as instruc - throughout the concerto, which would be hard MARTINŮ: ARIANE / PART II tive. The young players threw themselves into to realise literally on any kind of harpsichord, PAVEL SÝKORA their tasks, clearly directed by their student so a player has to use all their skill and imagi - conductor, Ed Whitehead. There have not been so nation to help convey their musical intention. many opportunities for British audiences to hear The balance of orchestra, piano and harpsichord the work since the premiere by Lionel Salter shows Martinů’s ingenuity as a composer, creating 15 in the 1950s, so it’s wonderful to have had two real integration of musical texture, whilst still MIRANDOLINA IN OSTRAVA performances in recent months, a broadcast from allowing the harpsichord to have a clear identity Maida Vale by Mahan Esfahani and the BBC and pres ence. It’s a shame that the Concerto is PETR VEBER Symphony Orchestra conducted by Jiří Bělohlávek only for hire direct from the publishers. It should and this Oxford one by Jane Chapman and the be in all music college libraries, and available Oxford University Sinfonietta conducted by Ed to buy!’ 16 Whitehead, particularly notable for the fun all the Following the success of the performance performers found in the piece and the enjoyment in Exeter College chapel, Jane Chapman MARTINŮ ON WAGNER / PART II they appeared to have in putting it across to the and two members of the OU Sinfonietta will audience, with no compromise on accuracy. be including more Martinů in a concert to be After the concert Jane Chapman commented given on 24 May 2014 in the Holywell Music 19 on factors she had been considering in preparing Room, Oxford, dating from 1748 and said to be for the performance: the oldest room specifically built for musical PUBLICATION ‘Historically informed ideas of performance performance in Europe. The work will be NEW AUTOGRAPHS practice, such as approaches to touch, articulation Promenades, H 274 with Jaymee Coonjobeeharry and the subtle use of rhythm, have taken hold on the flute and violinist Makoto Nakata, who had since the 1970s. The switch from playing the performed Bach solo lines beautifully in the first revival harpsichord with multiple pedals for half of the Exeter College concert. ❚ changing registration, to historic copies such as my own Blanchet dating from the 18th century, 2 | martinůrevue12014 19 June 2014 > Smetana House, Litomyšl highlights The Strangler, H 317 PRAGUE SPRING MUSIC FESTIVAL 2014 Balet of National Theatre Ostrava www.festival.cz 25 June 2014 13 May 2014 > Litomyšl State Castle – 2nd Courtyard > Rudolfinum, Prague Czech Rhapsody, H 118 Prague Spring International Music Competition, Czech Philharmonic Choir Brno, Prague Symphony final round, OBOE Orchestra FOK, Rastislav Štúr (Conductor) Concerto for Oboe and Small Orchestra, H 353 Prague Chamber Orchestra, Petr Louženský (Conductor) 6 July 2014 > Litomyšl State Castle – 2nd Courtyard 21 May 2014 Thunderbolt P-47, H 309 > Municipal House, Prague Czech Sinfonietta, Radek Baborák ( Conductor) Intermezzo, H 330 Moravian Philharmonic Olomouc, MARTINŮ FEST 2014 Petr Vronský (Conductor) POLIČKA 24 May 2014 The 17th annual > St Agnes' Convent, Prague 16–25 May 2014 Martinů Voices – Tribute to Jan Novák www.policka.org Czech Madrigals, H 278 Lukáš Vasilek (Choirmaster) 26 May 2014 > Rudolfinum, Prague Sonata No. 3, H 303 The Miracles of Mary, H 236 Julia Fischer (Violin), Milana Černjavska (Piano) 9+10 May 2014 © prague spring – malý ivan > Gulbenkian Centre, School of Drama, Music and Screen, 27 May 2014 University of Hull, Great Britain > Rudolfinum, Prague Robert Cheesmond (Director), Alexander Clark (Conductor), String Quartet No. 5, H 268 English translation: Pavel Drábek Julia Fischer Quartet: Alexander Sitkovetsky (Violin), Andreas Janke The Soldier and the Dancer, H 162 (Violin), Nils Mönkmeyer (Viola), 2+24 April, 13+23+27 May 2014 Benjamin Nyffenegger (Violoncello) > The Theatre of J.K.Tyl, Pilsen – Grand Theatre, CZ 31 May 2014 www.djkt-plzen.cz/en/ > Prague Academy of Music Tomáš Pilař (Director), Petr Kofroň (Conductor) Julia Fischer La revue de cuisine, H 161 Czech Nonet, Adam Ježek (Piano), Marek Zvolánek (Trumpet) Mirandolina, H 346 24 April, 4+18 May, 6 July 2014 1 June 2014 > Stadttheater Giessen, Germany > St Agnes' Convent, Prague www.stadttheater-giessen.de Piano Trio in D minor, H 327 Michael Hofstetter (Conductor) Trio Martinů SMETANA’S LITOMYŠL Juliette, H 253 > Theater Bremen, Germany www.smetanovalitomysl.cz www.theaterbremen.de 13 June 2014 29 March 2014 / Premiere > Litomyšl State Castle – 2nd Courtyard additional performances: 3, 8, 11, 19, 27 April 2014, Selection of arias from Czech operas, choruses and scenes 4, 7, 10, 16, 18, 24 May 2014, including Mirandolina, H 346 Clemens Heil (Conductor), Orchestra, chorus and ballet of the Opera Ensemble John Fulljames (Director) of the National Theatre in Prague Robert Jindra (Conductor) martinůrevue12014 | 3 [IMC FOUNDING MEMBERS) imc corner harry halbreich / LUCIE BERNÁ The fruits of Halbreich’s immense diligence and The name Harry Halbreich is known to everyone energy include extensive catalogues of the works who has ever taken an interest in Bohuslav of Olivier Messiaen, Arthur Honegger and Bohuslav Martinů’s music. Encountering this Martinů Martinů. The first edition of the Martinů catalogue, connoisseur is always a great experience because Bohuslav Martinů Werkverzeichnis, Dokumentation of the simply amazing eloquence with which und Biographie, was published back in 1968 in Halbreich speaks about Martinů’s works. He has Zurich by Atlantis Verlag. The second, extended and an uncanny ability to render in a few evocative revised version, Bohuslav Martinů Werkverzeichnis sentences the defining characteristics of a given und Biographie, was published by Schott in Mainz piece, and this gift extends to his discussions of in 2006 and prepared in close collaboration with the composer’s music in general. the Bohuslav Martinů Institute in Prague from Harry Halbreich with Lucie Berná, 2004 © david port The musicologist and pedagogue Harry Halbreich 2002. Harry Halbreich regularly visited the Czech was born on 9 February 1931 in Berlin. He studied capital, had numerous discussions with Aleš with Arthur Honegger and later on Olivier Messiaen Březina and subsequently added to the catalogue often studied sources in the extensive Paul Sacher at the Paris Conservatoire. In the 1970s, he taught the latest Martinů-related findings (also on the Stiftung archives in Basel. music analysis at the Royal Conservatory in Mons, basis of autographs deposited in the Polička The Bohuslav Martinů Revue wishes Harry Belgium. He worked on numerous radio broadcasts archives). Halbreich all the very best on his 83rd birthday, and co-founded the Belgian music magazine Even though Harry Halbreich was not lucky which he celebrated in February. We wish him good Crescendo, for which he has been major contributor, enough to meet the composer in person, he health and continued joy with Martinů’s music, and he has collaborated with the Kuhmo Festival. frequently visited his widow Madame Charlotte which Harry Halbreich is able to describe in a truly Halbreich primarily focuses on Czech (Bohuslav Martinů in Vieux Moulin, where he began working singular manner: Martinů and Leoš Janáček), English, Spanish, on the first edition of the Bohuslav Martinů “The Sixth Symphony, an entirely unexpected, French and Finnish music, as well as 20th-century catalogue. Until recently, Harry Halbreich owned exceptional piece, ushers in Martinů’s final creative music in general.
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