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

rgesrn ivan malý © prague spring – > 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. He is known for a number of precious autographs and facsimiles of Martinů period with elemental grandiosity. Creative ‘under - books, articles and studies on modern and con tem - works (e.g. Symphony No. 4), which the Bohuslav ground forces’ began appearing back in 1951, the time porary music (e.g. György Ligeti, Edgar Varese, Martinů Foundation purchased at Sotheby’s in the first movement of the symphony came to life. Yet George Enescu), and is an ardent admirer and November 2013. In addition to visiting the Bohuslav it took another two years to complete the symphony, connoisseur of J. S. Bach’s œuvre. Martinů Institute in Prague, Harry Halbreich has which came across as a volcanic explosion.” ❚

[IMC NEWS) Martinů was cut from a totally different cloth. For me, he above all represents sophistication. He understood the oscillations of the human heart jakub hrůša no less than Janáček did, yet he approached them with discretion. Perhaps this was a reflection of his soul, although I assume that Martinů revered on martinů this approach as the artistic credo he had set for himself. The clue to Martinů may be his conviction My dear colleague and friend Aleš Březina asked that music (and art in general) should refine the me to reflect on Bohuslav Martinů every month. human and make him more noble-minded. Not to I really like ruminating over things and people divert him from life’s certainties but to shift these that mean a lot to me, so I find such a task highly certainties in a refined manner (very often joyously agreeable and absolutely natural. My relationship background of my ideas… and melancholically)… to Bohuslav Martinů is virtually life-long, one In my travels around the world, striving to pass We need both of these poles of the creative determined by ample experience both as a listener on the torch burning with the flame of passion nature. The Czech musical world is replete with the and conductor (and even as a player, when I was for Czech composers, I have, much like all my male and female principles alike. And both Janáček a child and student). compatriots, encountered the naturally limited and Martinů embrace the world with the art of love One factor, however, is incongruous. At the popularity of both Janáček and Martinů. Unlike – here with the fervent glow of fire, there with the moment, when it would be appropriate to start Dvořák and many of his works, and Smetana warm kind embrace. Here the world of torrential somehow with general premises, Martinů is not and his My Country (which for many audiences drama, infinite tragedy and burlesque, there an part of my current workload, nor is his music fea - is synonymous with “Vltava”, or, more often, oasis of imagination, sonic magic, a plethora of tured in my forthcoming performances. I am writing “Moldau”), in many places Janáček and Martinů are colours and shapes, and pure spirituality. this at the Finnish National Opera in Helsinki, still composers for those in the know. The former, Both of the artists remained forever inspired by where we are getting ready for the second perform - however, has the advantage of being firmly their native land. One of them towered over it so ance of Janáček’s Jenufa. On Friday 24 January established in operatic terms – after all, the realm as to enrich and transcend it, the other pined for we premiered a fantastic new production of this of the stage is evidently where he felt most at home. it since he could not return to it. Yet both of them masterful work as conceived by the director Olivier Janáček was (and is) a man of great life stories and were filled with and loved it. Tambosi, with the title role portrayed by the daz - gestures, the direct and uncompromising journey Helsinki, 27 January 2014 zling diva Karita Mattila, with whom – to my infinite inside the human heart. A man who astonished and joy – I have become friends. Janáček is a great love shook the certainties and placid drowsiness of life. This text was written by Jakub Hrůša, president of mine, yet he is also an almost perfect opposite If the “regular” and “tame” music-lover finds of International Martinů Circle, on January 2014. to Martinů. Not many nations of our size can boast Janáček difficult to cope with, it is quite often We are looking forward to reading his new texts every two composers who are so different yet so great. because of his direct emotional naturalism and month on www.martinu.cz in the section NEWS. Perhaps this awareness should be the motif in the harshness.

4 | martinůrevue12014 M R b ]d MARTINŮ REVUE (formerly Bohuslav Martinů Newsletter) is published by the International Martinů Circle in collabo ra - tion with the Bohuslav Martinů Institute in Prague with the financial support of the Bohuslav Martinů Foundation. incirclenews Jakub Hrůša, Magdalena Kožená, Published with the financial support President of IMC IMC Patron of the Ministry of Culture of Czech ON 14 DECEMBER 2013, the Board of the International Martinů Circle (IMC) met Republic, code No. MKCRX006Z32Y at the premises of the Bohuslav Martinů Foundation in Prague. The agenda in- Editors cluded discussion of the nature of the IMC, plans for the future of the organisa- Zoja Seyčková & Lucie Harasim, tion, and strategies for enlargement and retention of its membership. The Board International Martinů Circle Bohuslav Martinů Institute considered what the IMC can actually offer those interested in Martinů’s music GENERAL INFORMATION Justin Krawitz (English language editor) and how its operation could be extended. Robert Simon, chairman of the Board, began a discussion about establishing and clarifying the mission of the IMC, Members receive the illustrated Publisher’s Office Martinů Revue published three times International Martinů Circle, o.s. which will take further consideration. Moreover, new IMC projects were men- a year plus a special limited edition CD IČ: 22688846 tioned, the most significant of which is the preparation of several publications. containing world premieres, historic Bořanovická 14, 182 00 Praha 8-Kobylisy, A new book about Martinů’s addresses in Paris is being prepared by former Board Czech Republic member Patrice Chevy, and IMC member Patrick Lambert is preparing a mono- performances and archival recordings e-mail: [email protected] graph on historical Martinů recordings. The Board also dealt with the IMC’s pres- from the annual Martinů Festival not www.martinu.cz ence on Facebook, the possibility of disseminating information on Martinů and obtainable commercially. The IMC is supported by the Bohu - Translation Hilda Hearne the IMC itself by means of other social networks, and integration of the IMC website within the new conception of www.martinu.cz. It was noted that finding slav Martinů Foundation and Bohuslav Photographs Martinů Institute in Prague. The Bohuslav Martinů Foundation’s new members of the Board is a major organisational challenge. Geoff Piper, and Institute’s archive, collections of the a long-time member of the Board, announced his resignation, which we accepted MEMBERSHIP & SUBSCRIPTION Bohuslav Martinů Center in Polička with regret (in the next issue we will publish a brief profile). In addition to his in- INFORMATION valuable organisational work, Mr. Piper has recruited many superlative musicians Graphic Design David E. Cígler > as IMC members. He also financially supported a concert that took place on the YEARLY SUBSCRIPTION: Printing BOOM TISK, spol. s r.o. same day at 2.30 pm. A recording of the performance given by Roman Janál and 25 EUR / 30 USD / 18 GBP / 450 CZK The Martinů Revue is published Ivo Kahánek will be available on YouTube and the IMC’s Facebook page. The de- > SUBSCRIPTION FOR CORPORATE three times a year in Prague. bate and concert were filmed by Mr. Es van Kees, an IMC member, who has also MEMBERS: 100 EUR Cover made the short film “Martinů’s Muse” (http://youtu.be/mMt0GhMJi-E). includes 10 copies of each Revue Mirandolina in Ostrava, 2013. PLUS 3 copies of the special limited Martin Gurbal, Kateřina Kněžíková and [BOHUSLAV MARTINŮ DAYS 2014 ) edition CD Josef Moravec. Photo: Martin Popelář > PRAGUE PREMIERE AT BOHUSLAV MARTINU DAYS 2014: The program of the SPECIAL RATE for music students ISSN 1803-8514 2014 edition of the Bohuslav Martinů Days will feature concert performances of under 25 years of age: MK ČR E 18911 the very rarely performed Martinů opera What Men Live By, H 336. The concerts 10 EUR / 250 CZK will held on 17, 18 and 19 December 2014 at the Rudolfinum in Prague, performed > SINGLE COPIES OF THE REVUE: www.martinu.cz by the Czech Philharmonic Orchestra under the baton of Jiří Bělohlávek. The per- 80 CZK / 3 EUR / 4 USD + postage formance will make use of the original English language libretto, as in the first time in its television premiere in New York in 1953. The performance will be For further details and for single copies recorded and the resulting world premiere recording will be commercially re- of the Martinů Revue contact: leased. For tickets, please visit the web-site http://www.ceskafilharmonie.cz/en/ Jana Honzíková tel.: +420 284 691 529, [2014 SUBSCRIPTION PAYMENTS ) +420 731 419 873 e-mail: [email protected] WE WOULD REQUEST members to forward their 2014 subscription pay- ments through their usual channels. A list of our international contacts: The International Martinů Circle, o.s. Bořanovická 1779/14 > Phillip C. Boswell (Great Britain), [email protected], 3 Warren Croft, 182 00 Praha 8-Kobylisy, CZ Storrington, RH20 4BE Great Britain

THE PREVIOUS ISSUE > Gert Floor (Netherlands), [email protected], +31725095262, Gortersweg 6, 1871 CC Schoorl, Netherlands WELCOME NEW MEMBERS > Robert Simon (USA), [email protected], mobile number 216-973-7716, > Zuzana Bařinková, CZ THE BOHUSLAV MARTINŮ CENTER 322 E Colfax Ave #103, South Bend, IN 46617, USA > Beijing Feng Ran Culture & Art, IN POLIČKA > Jaroslav Šonský (Sweden), [email protected], +4611318475, offers an interesting, inter - Li Wei, China Knopgatan 6, 603 85 Norrköping, Sweden actively conceived exhibition on the com - > Karla Hartl, Canada > Lucie & Clemens Harasim (Germany), [email protected], +49 152 581 668 32 poser’s life and work. The modern display of > Ivo Kahánek, pianist, CZ Bohuslav Martinů’s life and work is located Members from BELGIUM, LUXEMBOURG, FRANCE and SWITZERLAND please > Stephen Yusko, Library of Congress, in the historical building of the former pay for the meantime via: USA council school, which Martinů attended – IMC Paypal account at: www.martinu.cz, section International Martinů Circle, as a child. Consequently, the project also subsection Membership comprises a reproduction of Martinů’s – or directly via bank account in Prague (the number you can find at the same NEWS classroom, complete with period painting web page – section. All CDs from the Bohuslav Martinů and furniture. The centre also contains – or you can use the Regional member for Germany (see above). Days from the years 1997–2010 can an audio-visual hall and study room. PLEASE ADD YOUR NAME WHEN YOU PAY VIA BANK TRANSFER, SO WE CAN now be obtained for just the cost of the Bohuslav Martinů Center IDENTIFY YOUR PAYMENT. postage. For further information and Tylova 114, 572 01 Polička Members who pay their subscriptions via the Dvořák Society should continue to order, please see our new e-shop: tel.: +420 461 723 857 to do so. Those wishing to pay in Czech currency or by cash should contact us at http://eshop.martinu.cz/ www.cbmpolicka.cz [email protected] ❚

martinůrevue12014 | 5 festivals bohuslavmartinůdays bohuslav martinů prize / IVAN ŠTRAUS

ON 29 AND 30 NOVEMBER 2013, the Bohuslav Martinů Foundation held a competition for the Bohuslav Martinů Prize in the Category of Violin. The competition is open to musicians up to the age of 26 from the Czech Republic and Slovakia, as well as to foreign students attend ing educa - tional establishments in these countries. Twelve contest ants participated. The jury, made up of Prof. Ivan Štraus (Chair, Academy of Performing Arts, Prague), PhDr. Ludvík Kašpárek (Czech 2nd prizes: Lucia Kopsová (Bratislava) sonatas by W. A. Mozart and Martinů’s con - Chamber Music Society), Prof. František Novot - Barbora Valečková (Academy of Performing temporaries (Stravinsky, Ravel, Britten, etc.). ný (Janáček Academy of Music and Per forming Arts, Prague) The awards came with an invitation to Arts, Brno), Prof. Peter Michalica (Janá ček 3rd prize and prize for the best performance perform at a Czech Chamber Music Society Academy of Music and Performing Arts, Brno; of Viktor Kalabis’s Sonata: Jakub Marek concert during the 2014/15 season. The prize University of Performing Arts, Brati slava) and (Academy of Performing Arts, Prague). for the best performance of a Kalabis work was Mgr. Leoš Čepický (Academy of Per forming Arts, Honourable mention went to Markéta provided by the Zuzana Růžičková and Viktor Prague), made the following awards: Vokáčová, Pavla Mazancová, Markéta Kalabis Foundation. 1st prize and prize for the best performance Janoušková and Jan Zrostlík. The jury was truly impressed by the contest - of a Bohuslav Martinů work: Olga Šroubková The competition’s programme was conceived ants’ artistry. Even though they were allowed (Prague Conservatory) as a juxtaposition of Martinů works with to play a 20th-century composition and

dazzling Kateřina Kněžíková who was a perfect mirandolina & the bohuslav martinů days Mirandolina: as charming and beautiful as she is confident and strong. / ROBERT SIMON of a 1960s lounge, complete with padded armchairs and cat eye glasses. Marko Ivanović Back in Prague, the annual Bohuslav Martinů THE YEAR OF CZECH MUSIC 2014 began early led the orchestra in a wonderful performance, Days continued with a concert on December 9th with a new production of the opera Mirandolina, bringing the warmth, beauty, and humor of by the Martinů Quartet (Lubomír Havlák, Libor H 346 (see also p. 15 in this issue – Mirandolina Martinů’s Italian opera buffa to life. Kaňka, Zbyněk Paďourek, and Jitka Vlašánková) in in Ostrava) that opened in Ostrava 5 Decem- The cast was excellent overall, both in their the Sál Martinů at HAMU. It was given in honor ber 2013 at the Divadlo Antonína Dvořáka. musical interpretation and stage presence. of the late Viktor Kalabis (1923–2006), the com - Director Jiří Nekvasil should be well-known It was a toss-up as to what kept me laughing poser and longtime president of the Martinů to the Martinů community from his previous the hardest: the rivalry between the Marquis Foundation. The Quartet performed two of stagings of Juliette (2009, Brno), The Three (Martin Gurbal’) and the Count (Josef Moravec), Kalabis’s quartets: the Second (op. 19) and the Wishes (2007, Rostock), and The Greek Passion or the antics of Ortensia (Eva Dřízgová-Jirušová) Sixth (op. 68), composed in memory of Martinů; he (2006, Prague); film versions of The Voice of and Deianira (Anna Nitrová). writes “A sincere affinity and respected inspired the Forest (2001), Tears of the Knife (1999), I’m afraid that the audience in Ostrava didn’t this work… there is no citing or paraphrasing of and The Amazing Flight (1999); as well as the react as positively, however – it seemed as if Martinů’s works, nor do I try to emulate his style. documentary films Martinů and America (2000) the comedy was lost on them at times. Yet that It is the sunny, human quality, the genuine purity and Out of Exile (1998). didn’t stop them from offering rousing applause of both his work and his person, which was at The sets of Daniel Dvořák and costumes by and demanding numerous curtain calls from the core of my inspiration.” Kalabis was an ardent Simona Rybáková combined to create the feel the singers. The star of the evening was the supporter of Martinů’s music throughout his

6 | martinůrevue12014 a concert marking the 90th anniversary of viktor kalabis’s birth 2013 9 December 2013, Prague, Liechtenstein Palace / JIŘÍ TEML a Martinů Sonata from the score (the Mozart was composed in 1988 and premiered by the pieces had to be delivered from memory), all AS PART OF THE Bohuslav Martinů Days 2013, Martinů Quartet in 1989. Although Kalabis their performances were thoroughly prepared. a concert marking the 90th anniversary of did not imitate Martinů’s style nor work with The contestants were able to deal with their Viktor Kalabis’s birth took place on 9 December quotations from his music, the opening stage fright in a manner that did not under mine at the Martinů Hall of the Academy of Per - syncopated bars are reminiscent of the latter’s © zdeněk chrapek their year-long preparation. A great surprise forming Arts in Prague. The renowned Czech musical language. The musical current flows was the performance of the winner, Olga composer was an ardent champion of Martinů, dramatically, creating a row of harmonic Šroubková (granddaughter of Karel Šroubek, whose music he also promoted as long-time clusters. The entire piece manifests Kalabis’s former concert master of the Czech Philhar - President of the Board of Trustees of the tendency towards greater brevity of expression monic Orchestra), who set aside the sheet Bohuslav Martinů Foundation. and works with elliptical motivic material in music and played both Arthur Honegger’s The first half of the concert was devoted to a cogent juxtaposition. Dramatic areas fraught Sonata and Martinů’s difficult to memorize works by Viktor Kalabis. The Martinů Quartet, with urgency alternate with a meditative Sonata No. 3 without the slightest vacillation. comprising Lubomír Havlák, Libor Kaňka, cantilena, often within solos or duets with Šroubková’s immaculate per form ances met Zbyněk Paďourek and Jitka Vlašánková, extremely inventive colouring. with standing ovations. The other prize-winners opened the performance with String Quartet The concert concluded with Bohuslav were superb too – Kopsová dazzled with Ravel’s No. 2, Op. 19, dedicated to Kalabis’s father. The Martinů’s String Quartet No. 5, H 268. The work Sonata, Valečková with Stravinsky’s Suite piece, written in the summer of 1962 for the was written in 1938, an agitated period of his Italienne. Remarkable, too, was Marek’s Vlach Quartet, is made up of three movements, life that was influenced by the composer’s negotiating of the structurally complex Kalabis with the allegro “Drama” of the second unusu - emotional attachment to his pupil Vítězslava Sonata. ally wedged in between the slow “Prologue” Kaprálová. The realisation of the work by the Next year’s Bohuslav Martinů Foundation and “Epilogue”. The first two movements in Martinů Quartet met with a tremendous Competition will be open to participants in particular are characterised by sharp, forcible response. The quartet again confirmed that the piano trio and string quartet categories. contrasts, whereas the expressively balanced they are indeed worthy of bearing Bohuslav third movement proceeds to the end without Martinů’s name. The concert afforded the The review was reprinted from the magazine notable disruption, evidently reflecting the audience an unforgettable musical experience. Hudební rozhledy No. 2, 2014, impending death of the composer’s father. with their kind permission The review is reprinted from the Czech music The ensuing String Quartet No. 6, Op. 68, magazine Hudební rozhledy No. 2, 2014, page 19, dedicated to the memory of Bohuslav Martinů, with their kind permission

entire career and regardless of the opinions of for Two String Orchestras, Piano and Timpani, government officials. He guided the Martinů H 271, and Bruckner’s Symphony No. 9. Foundation from a part of the state-controlled I attended the Thursday night concert, which Czech Music Fund to an independent entity and was enjoyable, but I found Nagano’s tempos intitated the creation of the Martinů Institute too quick. The first movement in particular in 1995. We owe Viktor Kalabis a great deal for felt hurried and lacked the power from a more his work, and also for the stunning music that restrained pace. Timpanist Michael Kroutil was he wrote, and which the Martinů Quartet per - treated as a concerto soloist rather than the formed excellently. Kalabis’s widow, renowned subtle part that Martinu wrote, though he harpsi chordist Zuzana Růžičková, was present certainly did an excellent job! Václav Mácha at the concert and congratulated and thanked admirably navigated the difficult piano part, the musicians following the first half. and I wished that I could have heard him more Martinů’s stormy String Quartet No. 5, Kent Nagano © petra hajská over the strings. Regardless of my few minor H 268, concluded the program and was complaints, the Double Concerto shone and again handled deftly by the Martinů Quartet Andante from Martinů’s String Quartet No. 7 kept me riveted to the jarring final chords. musicians who perhaps know this repertoire “Concerto da camera”, H 314. It was a perfect Mirandolina continues through June in better than any other group. For their encore, end to a wonderful concert. Ostrava and I would encourage you to attend cellist Jitka Vlašánková announced that the if in the Czech Republic! ❚ concert had been so emotionally draining (for The next three nights saw famous maestro the audience as well!) that they would conclude Kent Nagano lead the Czech Philharmonic in with something completely different: the lovely performances of Martinů’s Double Concerto

martinůrevue12014 | 7 th reviews 19 martinů fest family concert – of who was the most important of them all. Finally, they learn that they all need each other la revue de cuisine in order to prepare a delicious meal. Unfortunately, the lids of the pans remain untraceable and detectives wearing sunglasses,

on 20 november © benno hunziker coats and torch lights were set on them, / SEVERIN KOLB accompanied by the music of „Pink Panther“ – a surprising insertion, stylistically so different IT IS HARD TO THINK of a more suitable place from Martinů’s music in spite of their common for a ballet with dancing kitchen utensils than denominator „Jazz“. Luckily, they tracked down one which is dedicated to Jean Tinguely, the lids, who had fallen into a duct. For the a Swiss artist, tinkerer and an expert at making reconciliation, all of the kitchen utensils inanimate artefacts come alive. Some of his prepared a festive meal together, reasonably quirky constructions cast bizarre shadows onto themed: „It is our differences that gives our the stage and the wooden construction which meal a complete flavour“. Bettina Merkelbach separated the massive entrance hall from the led the young dancers, all between four and rest of the Museum Tinguely in Basel. twelve years old. While the younger dancers grandparents of the performing children. For the performance of the La Revue de often tugged at each other’s sleeves to get into The result was applause after each short piece cuisine, H 161 in this extraordinary setting, its the right position and were focussed on the or movement in spite of the request not to plot was entirely changed and did not have a lot loudly counting leader most of the time, some applaud before the end of the performance. in common with the seductive salaciousness of the older children performed quite complex Playing children and proud parents busied of Martinů’s ballet. It became much more choreographies. themselves finding the best spots for taking the story of the reconciliation of the kitchen The performance was sold out and the room pictures. All in all, it was lively, sometimes noisy, utensils who had fallen out over the question was full of brothers and sisters, parents and but adequate for the nature of the event.

Nachtmusik“. He forewent orchestra concert the appellation at the request of his publisher on 23 november Schott, who did not like the obvious nod towards / SEVERIN KOLB Mozart. Fittingly, Mozart’s „Kleine Nachtmusik“ was FROM OLD TO NEW, from new to old. In the performed as well. Roussel first half of the 20th century, many composers, is also closely linked to today often labelled as the „neo-classicists“, Martinů’s Serenade as the were inspired by different musical styles of work’s dedicatee. Beyond different epochs. So, too, was Bohuslav Martinů, that, his Concerto for Small who had a well-documented interest in early Orchestra, Op. 34, was, music, mainly madrigals, the concerto grosso, like the Serenade, first but also Mozart, whose chamber works always performed by Walter remained a model for Martinů’s own works. Straram, an early supporter of Martinů’s music those two works. The evening came to an end So, in a way, it is hardly surprising to combine in Paris. with the “Paris” Symphony in D major, KV 297, works by Martinů, his teacher Roussel and As a counter-piece to the Serenade, by Mozart. The young Mozart wrote the sym - Mozart. Yet, the programme of the symphony Martinů’s Concerto for Oboe and Orchestra, phony for the „Concerts Spirituels“ in Paris and concert, which rounded up the Martinů H 353, from 1955 was performed. This work so it, too, is linked with the city which was to Festtage Basel 2013, was especially skilfully represented Martinů’s late style. It made become the home of Roussel and Martinů curated. The centre-piece was Martinů’s apparent how varied Martinů’s œuvre is and 150 years later. Serenade for Chamber Orchestra, H 199, how much his personal style changed during In his introduction, Bernhard Dittmann from 1930, which he himself called his „Kleine the two turbulent decades that lie between brilliantly coped with the balancing act between

8 | martinůrevue12014 10 november/ tagebasel /23 november 2013 listening to the sound regardless of age and social background. collages rising upwards to Once in a while, the children’s charmingly out- the tower from the parades of-tune singing made for unintended laughter. in the town. After his arrival Apparently, they had a lot of fun with this in Paris, he had the chance production, which was quickly passed over to to hear Jazz music and to the audience. Yes, it really was a lively and study with Albert Roussel, intriguing evening amidst the constructions which finally resulted in the of Tinguely. composition of the Revue de cuisine. A permanent loose FAMILY CONCERT «REVUE DE CUISINE» contact of the microphone Wednesday, 20 November, Museum Tinguely had an impact on the Pupils of the ChronosMovement Dance Studio comprehensibility of the and the St. Johann Youth String Orchetra narration but at the same Bettina Merkelbach (Artistic Direction and Management), Stefano Mariani (Musical Direction), time lifted the spirit of the Fabio Costacurta (Reciter) audience. However, it kept Mirka Šcepanovic, Violin Luckily, it did not prove difficult to find the children at the edge of their seats. From Dorothee Mariani, Violoncello something to supplement the short Revue de time to time, the story was interrupted by Francesco Negrini, Clarinet Johannes Joeri, Bassoon cuisine. Before the ballet was performed, Fabian tunes of the like of “Frère Jacques” and some Jan Wollmann, Trumpet Costacurta, the narrator, gave an account of of Czech folk origin, played by the St. Johann Sayaka Sakurai, Piano Martinů’s vicissitudinous and interesting life Youth String Orchestra and musicians of the Set Design – Zoë Ramirez Costumes – Antje Biniasch with all its fairy-tale-like myths and anecdotes. Chamber Orchestra Basel, the latter of whom Starting from his youth in the steeple of Polička, performed the Revue de cuisine consummately. he portrayed Martinů as a sickly boy, who loved Martinů’s music is still able to fascinate

early music. But at the same time, he has interpretation was very modern in its applica - studied, performed and even edited much music tion of performance practice research. At this from the 20th century, which was composed point, the fronts between „modern“, and „early“, in dialogue with the music of bygone times. „new“, and „old“ blur. That was the major © benno hunziker Hogwood focussed on the transparency and achievement of this worthy final performance the audibility of each individual voice. Not only of the Martinů Festtage 2013 in Basel. for Mozart’s music, but also for the composi - tions by Roussel and Martinů, he brought out CAMERATA SALZBURG – CHRISTOPHER HOGWOOD the polyphonic structures of the compositions. FRANÇOIS LELEUX – OBOE Similarly, the spirited string soloists of the Saturday, 23 November, Stadtcasino Basel Camerata Salzburg interpreted Mozart’s „Kleine Albert Roussel: Concerto for Small Orchestra, Op. 34 Nachtmusik“ with the influence of their knowl - Wolfgang Amadeus Mozart: Serenade No. 13 in G, KV 525 „Eine kleine Nachtmusik“ edge of period performance practice. The result Bohuslav Martinů: Concerto for Oboe and was far from traditional euphony, with orna - Orchestra, H. 353 men tation used in lieu of excessive vibrato. It’s Bohuslav Martinů: Serenade for Chamber analytical and entertaining journalistic pas - hard to praise the soloist of the Oboe Concerto, Orchestra, H. 99 – „Eine kleine Nachtmusik“- „A monsieur Albert Roussel“ sages. His main goal was to offer help to the François Leleux, enough. He performed with Wolfgang Amadeus Mozart: Symphony in D Major, listener by giving advice on what one could a breathtaking breadth of expression and KV 297 „Paris“ focus on for each movement of each piece, technique, with crystal-clear runs and wonder - be it crucial compositional techniques, motivic ful swells on sustained notes, especially in the strands or harmonic twists. solo cadenza parts. Not surprisingly, Christopher Hogwood’s Interestingly enough, Hogwood’s Mozart was interpretation was shaped by his lifelong a long way from the Mozart that Martinů could experience with the performance practice of have heard in the Thirties because Hogwood’s

martinůrevue12014 | 9 martinů / the strangler/ H 317 research a ballet ahead of its time / LUCIE DERCSENYIOVÁ Judith Ann Mabary identified them: “Martinů supplemented four BOHUSLAV MARTINŮ composed the ballet woodwinds with a significant The Strangler,1 subtitled A Rite of Passage, in number of percussion instruments, May 1948, when he had been living in New York including authentic Mexican and for seven years. While still in Paris, he had pon - metal instruments (cochiti, deer- dered the possibilities of presenting his music hooves, cocoon rattle, wood-blocks), and gaining recognition in the USA, as is evident without specifying the reasons for from his correspondence with Miloš Šafránek. using them.”6 In a letter written in the French capital on Martinů added his own pictures 18 April 1939, he reckoned with being commis - to the instruments’ names on the sioned in America to compose “for soloists, first page; the score also includes for instance, or theatre, something smaller, for Robert Fitzgerald’s text in English films.”2 He also gave consideration to creating and, in parallel beneath it, French. something in conjunction with the Czech artist By 1948, Martinů had created Jiří Voskovec, who had arrived with his associ - some 13 bal lets. When writing ate Jan Werich in the United States in early The Strangler, he had no idea that 1939. Moreover, Martinů envisaged stag ing it would be his final one. And – as a performance of his opera Juliette, as he men - his close friend the pianist Rudolf tioned in a letter from Paris dated 2 June 1939: Firkušný pointed out – he did not “Would it be possible to place an opera? But which attach significance to the work’s one? Do you think it could be Juliette? Wouldn’t negative reviews, being instead it be a bit much for the audience to swallow? rather amused by the critical In Chicago, it would be possible to make Špalíček.” response.7 The autograph of the He returned to these deliberations again, in 30-minute ballet has 58 pages, a letter written on 15 February 1940: “Juliette concluding with Martinů’s sig na - would be a bit much, perhaps Špalíček instead – ture and the date 16 May 1948. I would have to rework it into a simpler form.” The title page of the autograph score of the ballet The Strangler Martinů composed the music All these plans, however, ultimately fell deposited at the Bibliothèque nationale de France to a text by Robert Fitzgerald, through and Martinů was only afforded the whom Hawkins had asked to write opportunity to get down to a stage work in pany. Although Hawkins paid out of his own verse based on the choreographer’s ideas, his 1948, when he was commissioned to compose pocket, he was able to offer Martinů a fee of own version of the Oedipus myth. Fitzgerald was the ballet The Strangler. Two years previously, USD 300. In one of his final interviews, Hawkins known for his translations of Sophocles’s Oedipus on 25 July 1946, Martinů had suffered a serious recalled: "I didn´t have that much money, I just rex and Antigone and Euripides’s Alcestis. The injury as a result of falling from an unfenced had to scrape it up. But Martinů accepted. I don´t production thus com bined modern dance and terrace at the Great Barrington estate, where remember any question about it."4 metaphorical poetry, which was presented he was teaching summer composition classes Hawkins could not remember when precisely as a spoken dialogue between the three lead held there by the Boston Symphony Orches tra. he had first heard Martinů’s music – perhaps characters: the Chorus, Oedipus and the Sphinx. The consequences of the accident lasted far at a concert in New York given by the Boston At the premiere, Hawkins portrayed Oedipus longer than anticipated, with Martinů spend ing Symphony Orchestra conducted by Serge in the solo dance part, while the narrative roles five weeks in hospital and subse quently fac ing Koussevitzky. Even though he was not overly were performed by the actors Joseph Wiseman problems with keeping his balance, suffering familiar with the composer’s works, he surmised and Anne Meacham.8 The Strangler was first from headaches and being overly sensitive to that Martinů would do an excellent job.5 presented on 22 August 1948 9 in New London, loud sounds.3 His health problems notwith - Hawkins’s one and only requirement was Connecticut, within the American Dance Festival, stand ing, he continued to compose and in 1948, that Martinů use the authentic unique Aztec which ran for six weeks (from 13 July to 22 Au - after completing Piano Concerto No. 3, H 316, percussion instruments which he had heard in gust) and featured performances of the most he tarted writing a ballet commissioned by the Carlos Chávez’s pieces at performances held distinguished modern dance companies, as well dancer and ambitious choreographer Erick at the Museum of Modern Art. On the basis of as workshops for up to 120 students guided by Hawkins from the Martha Graham Dance Com - Martinů’s notes and sketches in the score, the participating choreographers.

10 | martinůrevue12014 Production of the ballet at the National Theatre in Ostrava © martin popelář

Three performances of The Strangler were the naked human being, and the three-legged fleeting, limited to one-sentence evaluations. scheduled to be given at the festival, yet ulti - image of the physically creative man. His name Robert Sabin wrote for The Dance Observer: mately two were cancelled owing to the im Greek is a euphemism Swollen Foot. Those who had expected a shocker from disputes that broke out during the rehearsals THE CHORUS, a single figure, speaks as the the title, somewhat in the manner Jack the between Hawkins and Louis Horst, the manager internal everpresent witness of every drama; at Ripper, were disappointed for the central figur and music director of the Martha Graham times for himself, and at times for Oidipous at this of The Strangler turned out to be Oedipus and Dance Company, which had provided the moment of his initiation into manhood. The scene the argument was the hero´s discovery of his choreographer with a space in which he could is the ritual dancing-place in a stony pass on the own manhood and victory over Sphinx and her unashamedly experi ment. In the programme for road from Delphi as it approaches Thebes. riddles.The choreography consisted of about four the premiere, Hawkins explained his conception Oidipous is a sleep.“ basic movements, repeated in no apparent logical as follows: “THE SPHINX, half lion and half sequence at least a score of times before the long woman, represents the father and mother in the Despite Hawkins’s description of his vision, and turgid piece had reached its conclusion.They primal scene; her wings are the symbol of the the New York critics slated the production of may sound like harsh words, but Mr. Hawkins has physical extasy of the parents, and her name, in The Strangler for its explicit choreography and had the opportunity in two previous works to Greek meaning the Strangler, refers to the danger overly innovatory conception of the Oedipus learn from experience that pretentious texts and of parental fixation or domination. OIDIPOUS myth. In their opinion, Hawkins’s interpretation ambitous psychological programs cannot save overcames the Sphinx by discerning in her the of the legend as a metaphor for a maturing a fundamentally weak dance from being boring. child’s phantasy of the primal scene and by young man was simply too graphic. The Oedipus is sleep, and apparently riding bicycle in deciphering her riddle to mean the four-legged majority of the reviews were penned by dance his dreams… Anne Meacham was a voluptuous being of the primal scene, two-legged image of critics, with the mention of the music being Sphinx and Joseph Wiseman spoke his lines clearly

martinůrevue12014 | 11 < Poster from the production of the ballet at the National Theatre in Ostrava (CZ), with choreography by Nataša Novotná research though over portentously. Robert Fitzerald´s text the theme of The Strangler as a collision of fixed was confused and its choppy rhymed couplets ideas and reality. She created a consistent trivialized the theme. Bohuslav Martinu´s score production, actively employing the narrative was not one of his distinguished achievements. chorus, which in some passages joins the Its use of percussion coloring with the piano was actions of the three dancers. The female magical, but its basic materials was poor and the character of the Sphinx (Zuzana Majvelderová) end it descended to a Hollywood climax of vulgar meets Oedipus (Filip Staněk) and another male sonority.10 personage respond ing to avoice band – The critics responded negatively to Hawkins’s although Patrik Ulman is not mentioned as choreography and his re-interpretation of the the Chorus in the programme, it is he who Oedipus myth itself. Furthermore, the tone of reacts to the recited texts and it is in his some of the scathing reviews indicates that sequences that elements of street dance Graham’s choreographic style was considered appear. Novotná has managed to produce an to be an example by which one could judge her admirable rendering of Martinů’s score, which is company’s members. Hawkins, however, strove demanding as regards the rhythmic structure to seek new manners of dance expression, and and dissonances, and she draws attention to the outcome came across as controversial in its cacophonous elements. It would seem that 1948. The castigation of The Strangler ushered at some moments the music opposes dance, in one of the most painful periods of his career, yet Novotná has made use of this antagonism, and in 1950 he was ultimately forced to leave (e.g. Signs about Signs, Sacrebleu, The Firebird). with the piece’s certain ungraspability creating the Martha Graham Dance Company. Hawkins In Ostrava, she under took adifficult task. equally ephemeral, errant and restless dance said that he tried to “forget about the entire As John Martin wrote for the New York Times steps. We can perceive the flowing over of matter”, although he initially hoped that The in 1948, “it is extremely wordy, tough the words energy, which the dancers retain in a bold pose Strangler would be a scandal-fuelled success, are good, and it is far more literary then choreo - or let spill through their bodies into the outer comparable to that of Nijinsky’s Le sacre du graphic”.11 Yet Novotná duly succeeded in space. They are rather cautious in their out - printemps. But in the wake of the crushing overcoming these “handi caps” and presented pourings, as abstract as metaphorical poetry, criticism the work would remain forgotten for a long time to come. 1 “Strangler” is the meaning of the ancient Greek word “sphinx”. The mythical creature with the face of a woman, the body of THE STRANGLER ENTERS a lion, the tail of a snake and the wings of an eagle, guarding the entrance to the city of Thebes, would ask travellers the THE 21ST CENTURY following riddle: Which creature has one voice and yet becomes four-footed and two-footed and three footed? Those who failed to give the right answer were strangled and devoured. Oedipus solved the riddle, answering: Man – who crawls on all fours as a baby, then walks on two feet as an adult, and then uses a walking stick in old age. Void of her power, the Sphinx The Strangler was only revived in 1998, some threw herself from the rock and died. As to the accuracy of the title, Jaroslav Mihule wrote: “it is evidently not quite suitable in 50 years after its premiere. Choreographed this form in Czech, since it evokes certain notions other than the story’s central (female) character, to which it refers; it would by Maxine Braham, the ballet was staged by be possible to use the title behind which it is concealed, that is, the Sphinx.” This would, however, be misleading with regard to the fact that in New York in 1977, Glen Tetley presented the choreography Sphinx, for which he employed Martinů’s Double the London Guildhall School of Music and Drama Concerto for Two String Orchestras, Piano and Timpani, H 271, dating from 1938. together with Martinů’s one-act opera Ariane. 2 Šafránek, Miloš: Divadlo Bohuslava Martinů, Supraphon 1979, p. 89. The ballet was given its Czech premiere at 3 In a letter to Polička, dated 9 September 1946, Martinů described the accident as follows: “… I fell from a terrace, owing to the school’s negligence, in one spot, the terrace was not fenced and it appeared as though there were stairs there yet there was the 25th International Music Festival in Brno, nothing, and at night in the darkness it was not possible to anticipate there was just a void. My skull was fractured and in a production by Luboš Ogoun. I probably had concussion, bruised, not broken, ribs, the head injury was the most serious, that is why I was in hospital for The Strangler was most recently staged such a long time, and the doctor said I could easily have been entirely paralysed.” in Ostrava, as a premiere within the 2013/14 4 References to Hawkins’s statements are quoted here from the interview he gave to J. A. Mabary (5 October 1991); Hawkins died on 23 November 1994 at the age of 83 in New York. theatre season. The ballet was choreographed 5 Judith Ann Mabary explored the details of the history of the work and analysed it in detail in her thesis (Mabary, Judith Ann: for the Moravian-Silesian National Theatre The Strangler: A Rite of Passage. A Creative Synthesis of Modern Dance, Literature and Music – Erick Hawkins, Robert by Nataša Novotná, who, since her return Fitzgerald and Bohuslav Martinů. A Thesis. Washington University, St. Louis – Missouri 1992). 6 Šafránek, M., op. cit., p. 90. from the Nederlands Dance Theater in 2007, 7 Correspondence between J. A. Mabary and Rudolf Firkušný (4 January 1991). has worked mainly with the 420People dance 8 Only one of the critics, Doris Hering, stated the dancer Stuart Hodes instead of Wiseman. Cf. Hering, Doris: An American Dance company, setting its tone together with Festival. Dance Magazine 22 October 1948, No. 10. Václav Kuneš. Novotná is not only a superlative 9 Not on 16 August, as stated by Šafránek, op. cit. 10 Sabin, Robert: Review of American Dance Festival. The Dance Observer, August/September 1948, pp. 86-87. dancer (Thalia Award 2009), she has also 11 Martin, John: Martha Graham and Troupe Introduce Work by Hawkins at Dance Fete Finale. The New York Times, created several well-received choreographies 23 August 1948, p. 14.

12 | martinůrevue12014 the ritornello as a symbol of labyrinthine dance in which one can seek various com muni - cations or get lost in wordplay. Novotná has in bohuslav martinů’s ariane given the choreography her own rhythm and order, setting in motion a rite replete with peculiar dance intersections and pulsation. / PAVEL SÝKORA / part II sees the birth of tragedy in connecting The Sphinx stands against her fiercer male Continued from the last issue. Dionysian intoxication with Apollonian opponents, her arms gently waving with restraint,1 Martinů’s solution to the tragic fastidiousness. The Strangler’s visual aspects ELEMENTS of the Dionysian cult thus pervade situation inclines rather to the latter principle. (set design: David Bazika, costumes: Eva the very substance of Martinů’s opera to an Dionysian elements can be anticipated in the Brzáková, projection: Jan Tůma, Jindřich Ráftl extent much greater than it would seem during subtext, possibly in the Surrealistic (uncon - and Andrej Boleslavský) evoke illusory images, the initial reception of this “light comedy”. If scious) symbol, yet the whole tends toward while the vistas into the infinite universe we omit his early works adhering to the period harmony, the Classicist order. Martinů – like afford the stage action a dreamy magic. intoxication with decadence, such as The Angel Stravinsky – gives preference to the festive To date, Martinů’s The Strangler has had of Death, H 17 and Death of Tintagiles, H 15 conception of theatre, with its objective not four productions and it is evident that time has been kind to it: the longer since the world premiere the better. In 1948, Erick Hawkins’s treatment was deemed virtually unacceptable and too extravagant for its time. In 1990,

Luboš Ogoun furnished it with more academic © jaromír svoboda lines; in 1998 Maxine Braham had captured it in a physically extreme contem porary ballet expression (recordings of the two productions are available at the Bohuslav Martinů Insti - tute). The most recent produc tion, Nataša Novotná’s 2013 take on the work, is solid in both its conception and its dramatic scheme, and can be considered the one exhibiting the best understanding of Martinů’s half-hour ballet.

PRODUCTIONS OF THE BALLET THE STRANGLER 22 August 1948 — Choreography: Erick Hawkins, premiered within the American Dance Festival The opera Ariane at the National Theatre Prague in 1975. Naďa Šormová (Ariane), Václav Zítek (Théseus) in New London, Connecticut, sets and costumes: Arch Laterer. the composer’s theatre poetics show an being to draw the audience into the drama 30 September 1990 — Choreography: Luboš Ogoun, 25th International Music Festival in Brno. orientation which is by no means unilaterally and cause them inner trauma. Conversely, 15 January 1998 — London’s Guildhall School of Dionysian, with is principles of mania, exuber - the creators strive to highlight that the events Music and Drama staged the ballet at its festival ance and melancholia. We should, however, on stage are not real, that it is a mere play. in a mixed bill with Martinů’s one-act opera take note of the fact that Ariane’s despair is The theatrical substance, however, by no means Ariane, H. 370; choreography: Maxine Braham. 21 November 2013 — Choreography: Nataša overcome by the Dionysian motif of inebriation. hampers the work’s dramatic effect. Novotná, Moravian-Silesian National Theatre, Love of Theseus prevails over hatred. And the In this regard, we can also apply Johan within the triptych Návraty domů musical expression of this inebriation with love Huizinga’s interpretation of dance to the dance (Homecomings): Martinů’s The Strangler, 2 Smetana’s Trio in G minor and Janáček’s is the dance ritornello and its metamorphoses. ritornello in Ariane. In his theory, Huizinga On an Overgrown Path. The cult of Ariane on Naxos is related to the places emphasis on such attributes as nobility, cult of Dionysus. Nevertheless, as has been timelessness, ceremoniousness and, in par - In November 1989, CBC Montreal broadcast pointed out above, Theseus danced on Delos ticular, order, whereby every instance of play a radio version of the work. The piece was most recently performed in around Apollo’s altar. Accordingly, the myth of unfurls on the basis of fixed rules. These rules concert in 2004 at the Martinů Festtage in Basel. Ariane blends the Apollonian and Dionysian do not in any way limit the scope for creative principles – similarly to the case of, for instance, imagination; rather, they underestimate the the myth of Orpheus. If Friedrich Nietzsche creative element. Huizinga finds identity

martinůrevue12014 | 13 < The soprano Jana Jonášová as Ariane, Prague National Theatre, 1975 research © jaromír svoboda

between dance and play, and cannot be answered within the present study. deems dance a perfect form Nevertheless, the work’s conciliatory of play.3 Through the prism of denouement provides an appeasement far Huinzinga’s conception, Mikhail greater than that of the open ending of Druskin analyses the ballets of Juliette, which draws upon the same artistic Igor Stravinsky.4 And Martinů’s (Surrealist) basis with the motif of a railway music falls within these con - employee, who strikingly resembles Kafka’s ceptions too. If we unravel doorman. Huinzinga’s thorough analysis of In conclusion, we may state that Martinů dance, it becomes clear that he combines in Ariane mythological sources and mainly sees the play principles in the quotidian feelings of ordinary life. In the the circular, whirling and figure spirit of Surrealism, these are suppressed dances. On the other hand, the into the unconscious, thereby making human couple dance, which is a product behaviour seem illogical in nature. Their true of more recent cultures, dimension is ultimately formed by the music, allegedly suppresses the playful which comes across as a sort of fourth wall. nature of dance forms. The This in turn gives rise to a tension between labyrinthine dance, danced by the music and the Surrealist transformation Theseus and his companions, is of the myth. Consequently, in the spirit of a collective dance. And this form modern art, the clear diatonic character of the of dance is also evoked by the use of the dance using intellectual means, the more lost we classicising music, which is manifested in, for ritornello in Ariane and its relationship to the become.6 If Martinů markedly secularises Ariane instance, the ritornello we have reflected upon, drama (e.g. the rowing motif). – according to mythology, Ariane is a sort on the one hand demythologises the original One of the strengths of Martinů’s music of human Aphrodite – he also highlights the model while, on the other, elevating the every - is the fact that his Ariane can be perceived irrational aspects of her behaviour. These are day event to the level of myth. ❚ on several semantic and expressive levels. determined not only by the original Surrealist The present study deals with its mythological play but also by the sheer victory of love over substance, but we do not deny the possibility hatred, for which the heroine has rational 1 Nietzsche, Friedrich: Die Geburt der Tragödie aus dem Geiste that a visitor to a performance of the opera reasons. The definitive solution is given by the der Musik (1871). may receive it as a mere love story with nature of the music and, above all, the mystery 2 Huizinga 1971. 3 Ibid., p. 151. beautiful music and a forcible concluding aria. of the work of art, which answers oppressive 4 Druskin 1981, p. 111. Knowledge of the myth or Surrealist literature questions only by managing to depict them in 5 Hocke 2001, p. 443. is not primarily necessary, yet it certainly does a beautiful form. Therefore, the question posed 6 Ibid., p. 447. enrich the artistic experience. The title charac - ter has both mythological and purely operatic dimensions in the sense of the requirements BIBLIOGRAPHY that have been placed on opera characters — Druskin, Mikhail Semyonovich: Igor Stravinskij, osobnost, dílo, názory. Editio Supraphon, Praha l981. — Dürrenmatt, Friedrich: Labyrint. Hynek, Praha 1998. since the very inception of the genre. Who — Fukač, Jiří: Problém prostoru a času v díle Bohuslava Martinů. In: Hudební rozhledy, XLIV (1991), actually is Ariane? If we follow her mythologi cal Issue No. 2, pp. 83–85. background, she certainly appears to be — Geiss, Heinz: Starověký Knóssos. Vyšehrad, Praha 1985. — Graves, Robert: Odeon, Praha 1982. an ambivalent being. As the daughter of King Řecké mýty I. — Hocke, Gustav René: Svět jako labyrint. Manýrismus v literatuře. Triáda / H&H, Praha 2001. Minos, she was born a human, yet following — Huizinga, Johan: Homo ludens. O původu kultury ve hře. Mladá fronta, Praha 1971. her marriage to Dionysus she assumes a divine — Mihule, Jaroslav: Martinů. Osud skladatele. Charles University in Prague, Karolinum, Praha 2002. dimension. In this connection, Hocke even — Pečman, Rudolf: Hudební divadlo Bohuslava Martinů a jeho vztah ke světu antiky. In: Opus musicum, XIV (1982), Issue No. 10, pp. 292–295. 5 mentions the dualism of the divine and human. — Stahmer, Klaus: Ironizace banálního. Několik myšlenek o pozoruhodných pasážích v díle Bély Bartóka. Ariane’s human aspect enhances the belief In: Opus musicum, II (1970), Issue No. 2, pp. 45-49. that a human being can prevail over a maze. — Stravinsky, Igor: Rozhovory s Robertem Craftem. Editio Supraphon, Praha – Bratislava l967. Svoboda, This victory, however, cannot be attained in Ludvík (ed.): Encyklopedie antiky. Academia, Praha 1973. — Šafránek, Miloš (ed.): Divadlo Bohuslava Martinů. Editio Supraphon, Praha l979. a rational way, since the more we strive to gain — Vysloužil, Jiří: The Ariane of Bohuslav Martinů. Notes on the Genesis, Style and Ideas of the Work. our bearings in the labyrinth (of the world) In: Rudolf Pečman (ed.): The Stage Works of Bohuslav Martinů. Praha 1967, pp. 195–203.

14 | martinůrevue12014 review mirandolina

/ PETR VEBER Goldoni’s comedy La locandiera to music in the on stage. Luciano Mastro, in the role of Fabrizio, 1950s in a congenial and masterful manner. was a credible, authentic Italian gallant, Josef “OSTRAVA!!!” – This form of logo and slogan is In the Ostrava production, the effective cre - Moravec and Jan Štáva gave a satisfactory apposite indeed. Over the past few years, the ative tandem of Jiří Nekvasil (stage director) rendition of the ridiculous wooers, the young Moravian-Silesian National Theatre has been and Daniel Dvořák (set designer) have attained singer Michal Křístek was a good cavalier di able to boast one of the most interesting an appropriate balance between hyperbole and Ripafratta and Eva Dřízgová-Jirušová and Anna programmes of any opera stage in the Czech stylisation, realism and suggestion, playfulness Nitrová were evidently relishing their roles as Republic. Such titles as Hindemith’s Cardillac, and sincerity, somewhat drawing near the spirit high-flown actresses. The conductor Marko Giordano’s Fedora, Stravinsky’s The Rake’s of commedie dell’arte, remaining in the colourful Ivanović, the Moravian-Silesian National Progress or Dvořák’s Armida, scarcely performed and sunny Italian milieu and not coming up Theatre Orchestra and the chorus did a good in this country, speak volumes. Since the with superfluous ideas that could have jeopard - job, performing the score with the appropriate beginning of December, Bohuslav Martinů’s ized the stylishness. The centrepiece of the cadence and wit, sonic proportions and style. Mirandolina, H 346, is yet another reason why stage is an organically used door, with only The Ostrava production is the first in this it is worth travelling to Ostrava. The wonderful a few other items present, though it is appro - country in which Mirandolina is performed in the new production ushered in the Year of Czech priate that, for instance, real laundry finds its original Italian, and it was certainly the right Music on 7 January 2014 with a guest perform - way on stage in the scene in which ironing is decision. ❚ ance in Prague. The idea to produce the opera done. Given that Mirandolina is a conversational was all the more inspired given that, since its opera, it is not necessary to overplay emotions The review is reprinted from the Czech 1959 world premiere in Prague, Czech theatres and situations. As such, the director led the music magazine Harmonie No. 1/2014, have only staged it five times, most recently singers on stage in a traditional way. On the with their kind permission. back in 1990. opening night (5 December 2013), which was Mirandolina is a splendid work, a fresh and recorded for radio broadcast, the title role nimble Neo-Classicisal comedy replete with was portrayed by the Czech soprano Kateřina musical invention, uplifting and entertaining, Kněžíková; in the second performance yet lyrical rather than whacky or eccentric. (7 Decem ber 2013), Mirandolina was performed The lead character, the vivacious inn-keeper by Poland’s Agnieszka Bochenek-Osiecka, Mirandolina, leads on several vainglorious a regular guest in Ostrava. Although the latter wooers, but ends up marrying the humble was a little less charismatic than the former as waiter Fabrizio, who truly loves her. And an actor, she was sufficiently well disposed in everything turns out well! Martinů set Carlo terms of her vocal performance and movement

martinůrevue12014 | 15 martinů’stexts martinůonwagner / Part II THE MIRACLES OF MARY. disciplines blend and struggle for their place ON THE BRNO PREMIERE in the sun. Naturally, we are interested in the Continued from the last issue. most recent epoch, still actually present, the Bohuslav Martinů epoch of Romanticism, the Wagnerian and post- AUTOBIOGRAPHY (1941) I Wagnerian epoch, which has held its own and The Miracles of Mary cycle is actually a direct been sustained by all possible means up to the “In his stage works, he [Martinů] stands in continuation of the ballet Špalíček. Yet its form present day. An epoch particularly favourable opposition to Wagner’s principles. As far as is is more rigorous and its style quite different for theatre, whose main spokesman, Wagner, possible, he reduces the musical drama and to that of opera or music drama to which we employed everything possible and steered the dynamism (which is expressed solely through the power and rumble of the orchestra, and thus [is] superficial); he also lessens the impassionedness (often empty and impervious) and replaces it with a logical development of the subject, governed by musical consider - ations. For him, theatre is theatre, a work that is performed; he does not aim to create the impression of reality, wittingly accentuating that the work is played as theatre, thus not violating the rules of the stage but accepting them. Nor does he aim to attain a coalescence of all the arts, letting each component evolve independently. He applies neither “leitmotifs” nor “moods” for depicting scenes, possessing instead a constructive musical plan for the entire opera. He chooses the texts himself and regulates them in a manner that precludes the actors from applying familiar gestures, poses and styles of singing. The individual texts are Martinů drawing: What happens when the first bugler stops with Lohengrin often not even coherent, everything depends on the musical content and structure, which he have become accustomed (perhaps too much). staged music drama to a height never dreamt determines himself according to the libretto’s Therefore, I would like to explain my relation of previously. His principles overwhelmed plan (The Miracles of Mary, Theatre Behind the to this work. everything that stood in the way and dictated Gate, in which the text is merely a succession of My principle is basically very simple: not to further development in a relentless manner. songs to folk lyrics). He places great emphasis make use of music to express something that It was neither possible to avoid nor pass by, on the text’s comprehensibility in vocal parts, cannot be expressed by music. When applying it was necessary either to accept or fight yet the text is not recited, forming instead the term “express”, which actually is flawed, against it. And there are precious few who a sort of mélopée, a melody depending on the I do so only to bring the definition closer to the fought against it, even fewer who brought general meaning of the phrases. Of primary understanding of contemporary operatic style, something different of value. Accordingly, importance for him is the stage itself, not as it were. Yet in principle, I knowingly recede Wagner undoubtedly signified a step forward the orchestra. This makes him more akin to from this “expression” by music. And this is and, at the same time, a great danger. This Mozart’s theatre, and his stage works may precisely what I will try to explain here. danger was heightened not so much by be termed rather chamber-like.” Just like any other artistic formation, opera – Wagner’s œuvre itself as by its exponents and should it not perish – has to adapt to the minor prophets. But the vitality of a work Tempo – Listy hudební matice, changing demands of the times. Throughout cannot be coerced by psychological, symbolical Prague, February 1935, Vol. XIV, history, there has been clear evidence of this, or literary expositions if there is none there in Issue 5–6, pp. 141–151 (141–145) bearing witness to the remarkable viability of the first place. And the vitality of music can this formation, which at first glance appears to only be real when the music remains within be a sort of a monster in which various artistic its discipline. The vitality of Wagner’s music

16 | martinůrevue12014 Today, the cult of post-Wagnerian opera and of Wagner himself is a certain social convention, carefully prepared by some aestheticians, to whom Wagner provided a dangerous weapon and who utilise it with a passion verging on the abnormal. I would like to make it clear: I do not aim to belittle Wagner’s significance, and my criticism does not preclude my admiring both his works and the unyielding and uncompro - mising effort with which this reform was carried Martinů drawing: Tanhäuser. The pilgrims' procession out, or my praising the new possibilities and advantages it brought about. Wagner himself, in his reaction, vehement and vital as every - thing he undertook, created a totally novel and anti-operatic œuvre, anti-operatic in the sense of his responding to the state of opera at the time, opera in decline. He fought against it by means of all possible weapons, being afforded bold support from the powerful upswing of Romanticism. If we can criticise the outcomes of Romanticism today, we can also deal with the Wagner case and examine whether we can accept everything with our eyes closed. All the major values of Wagner’s reform will only come out of it augmented, and his merit is nowise reduced by stating that many segments of his œuvre do not fully agree with us and leave us harbouring doubts. In our country in particular, the system of aesthetics surrounds a great Martinů drawing: Der Ring des Nibelungen. Siegfried composer or artist with such a nimbus that it is deemed imperative to approach him with only is indisputable, yet we cannot resist pondering greatest lyrical passages. The musical form sacred reverence, with the slightest criticism its principle, as well as the system of its thus adheres to the manner or motion of the or doubt being considered an offence, a dere - expounders and epigones. We still cling to this sentiment, thus creating the infinite melody, liction. As a result, a composer’s person and legacy, in the conception of the musical current, a form filled with music too, but on the basis work move away from rather than get closer expressing, or striving to express, the tremors of formulae different to the logic of the to the soul of the audience, who despite all of the soul and following these tremors step development of musical forms; it is a kind of systems preferably stick to their “civil” opinion, by step in their slightest nuances: endeavouring literary/musical and expressionist form. In which is not always, contrary to what we are to capture in the tiniest detail possible some - opera, a complicated formation in which the told, wrong in itself. After all, a robust work thing that music often is not able to capture. literary aspect makes up one of the most does not need careful preservation, a robust The function of the orchestra and singing has powerful components, this is to a certain extent work lives its own life itself, irrespective of been changing, the orchestra’s role is strength - logical, almost necessary, and in the epoch of positive or negative com ments. Yet if it ening as compared to that of the stage, the Romanticism it was the one and only possible becomes “taboo”, untouchable, it rather gives function of parts is diminishing in terms of solution. Yet, without condemning this principle, rise to our doubt. When it comes to Wagner, he singing but increasing as regards declamation we have to point out that it was widely abused, passed through a fiercer firestorm of criticism and dramatic expression. Consequently, the in post-Wagnerian opera in particular. Our than anyone else, without it compromising the action is no longer solely scenic but descending experience reveals that the form of this opera positive values of this œuvre. Starting with his to the orchestra, which depicts emotion and has come to a dead-end and we must draw the contemporaries and ending at the present time, affection better than gestures and acting, on conclusion that there is something unhealthy Wagner’s system has been analysed and the basis of the recited text, only sung in the in this solution. criticised, and today everything is no longer

martinůrevue12014 | 17 martinů’stexts

accepted without reservation, even in Germany audience. It is precisely the stage, its life, ca - notwithstanding. Everyone feels that they are, itself. (I do not bear in mind the contemporary dence, lay-out. The intention and effect, the as is said, wide of the mark.) Symphonies per - moment, when Wagner’s music and reform volition and fruition, receive a harsh and merci - formed at concerts and the symphonic trend serve purposes other than purely artistic.) Since less resolution. Of course, it also depends on in theatre are two different things. that time, the development of music has moved the audience’s maturity and the epoch’s taste. Hence, it is necessary to distribute the forward considerably, and we can observe Even here, the music, if sufficiently forcible and libretto’s story and action and its scenic layout composers bold enough not to adhere so powerful, rescues an old libretto or poor set in a manner that allows for exploiting as many precisely to Wagner’s formulae. design. Yet it cannot be reckoned with. Never - musical possibilities as possible, without im - I will now get back to my play and, giving theless, it does manifest the fact that it was pairing the unity and balance of the entire work. a few examples, will show in which respects my mainly owing to the musical stimulus, the musi - I would like to point out that this can be done conception differs from operatic conventions. cal idea, that the composer decided to work on the basis of a mere action scheme, without One more obstacle is raised here: certain on a weak libretto. His theatrical or staging previously writing a single word of the text. conventions of theatre and opera, which are instinct was overwhelmed by the musical idea, This, however, is not a seeking of some self- difficult to overcome successfully since opera otherwise he would not have set himself such contained numbers or a place for “Stimmung”. itself is a polymorphic and artificial formation, a task. We should also note that virtually up to It entails inquiring into the equilibrium and inner to a certain extent unnatural. the present day the librettist was overlooked (and outer) rhythm of the entire work. As I have The point thus is to make the most of each and ousted by the composer, who somehow said above, I have abandoned the “expressing” of the arts which together shape the theatrical assumes full responsibility. The liter ary value method, one so dear to Romanticism, and now form, in its own sphere. The fact that for of librettos is subject to discussion too. seek a solution that would make it possible to a musician the basis and main objective is We can observe how the stage dictates its highlight the poetic, not dramatic, descriptive, music in the first place is self-evident, with the requirements, which are often governed by the content of the action. Dramatic music, which musical impulse being at the beginning of the audience’s opinion and taste. In all epochs, both today we often hear in contemporary operas entire work in almost all cases, which in turn in opera and drama, artists have taken this fact throughout three long Acts, does not really determines the entire subsequent schedule into account, respecting contemporary circum - oblige to anything and is usually very easy to of work, with greater or lesser success. This stances, without the outcome being works of create. I have already referred to the distinct initially musical impulse also held true with diminished artistic value (the Elizabethan Age, predilection among aestheticians for observing Wagner. He himself wrote of the origination of Italian opera.) Accordingly, we have to square spiritual nuances, but it is by and large work Der fliegende Holländer: “I remember very clearly up to the dictatorship of the stage, and are left that possesses very little musical content. that before I began bringing Der fliegende to cope with the dictatorship of music. Much It is perfectly suited to the interpretation of Holländer into effect, I wrote the text and discussed, and with endearment, is the sym - literature, yet a musician would close the score composed the music for Senta’s ballad in Act II. phonic treatment of opera. This term, referring with dissatisfaction. Subconsciously, I put into the piece the the - to the style of symphonic music in general, can matic elements of the full score. It is a com - lead to many errors. If we want to make II pendious picture of the entire drama, as it theatre, we have to write theatrical, not sym - Contrary to Romantic music, my objective is not appeared in my idea. When I proceeded to the phonic or chamber, music. The two genres have to unleash passions or dramatic situations but, composition itself, this thematic picture spread their own, purely musical, laws; the formation of I would rather say, to streamline and hem them by itself throughout the work. So as to acquire themes and the inner structure is very different into musical forms. Accordingly, I do not seek the musical picture of the work’s main lyrical to that of dramatic creations, where at almost a stage buffeted like in a storm (musically too), situations, it was sufficient for me to expand every turn the development is shaped by the but a stage that is also dramatic yet more the ballad’s themes to the respective places.” literary element or the stage. No one would disciplined, I would say plainly, static. (Both of (We can also observe here a subconscious use write for a concert hall a composition made up the two short plays.) In other words: I place of the leitmotif, whose conscious system was of orchestral recitatives, just as we do not carry emphasis on the lyrical component, which is created later on.) A musical idea, which has out staged versions of Beethoven’s Symphony adherent to music. So I reject a high number of a rather abstract nature, leads us to a very No. 9. Beethoven’s symphonic production in scenes, whereby the expressive and descriptive rigorous and sensitive specificity, i.e. the actual particular certainly does have a highly dramatic elements in depicting emotions afforded great stage itself, which de facto forms the work’s cadence, yet it does not occur to us to stage it. possibilities to the Romantics, while at the effect and meaning, absorbing all the con cur - (Of late, Les Ballets Russes have danced to same time taking heed of the requirements of rent components. There is no doubt as to which various symphonies, yet this applies other the drama itself; the requirements of the stage, of these formations, united into a single whole, intentions, with the result being bland, all the that is, theatre. is responded to most by the majority of the technique and imagination of the ensemble […] (Prepared by Marek Pechač)

18 | martinůrevue12014 news also briefly analyses other key Martinů works dating from the 1940s and 1950s (Memorial to Lidice, Toccata e due canzoni, The Opening gabriele jonté of the Springs). Accordingly, the book is not only devoted to the symphonies themselves but also bohuslav martinů provides comprehensive information about Martinů’s life, and his time in Prague and Paris. in den usa The author worked with the standard Mar - tinů literature, as well as many other sources Seine Symphonien im Kontext which have not previously been taken into der Exiljahre 1940–1953 consideration. The most valuable of these Bockel Verlag come from the Dallas Public Library, Dallas Sym - Neumünster 2013 phony Orchestra archives, Library of Con gress, ISBN 978-3-932696-96-1 and Jewish music, and Jonté thematically California State University in San Diego and the extends the series to Czech music produced Boosey and Hawkes archives. Jonté also closely THE GERMAN-LANGUAGE Martinů literature overseas during World War II. The book is collaborated with the Bohuslav Martinů Center has been augmented by a new title: in 2013, based on the thesis that the author wrote in Polička and the Bohuslav Martinů Institute Bockel Verlag published a book by the German at Hamburg University. in Prague. musicologist Gabriele Jonté focused on the Gabriele Jonté treats all of Bohuslav The reviews published in the American press composer’s symphonies. It is the 17th volume Martinů’s sym phonies in terms of the specific are quoted in English, while Martinů’s notes of the series “Musik im ´Dritten Reich´ und im con ditions of the com poser’s exile. To what and letters are presented in the original French. Exil” (Music in the ‘Third Reich’ and in Exile), extent do the pieces reflect Martinů’s subjec - Of great value is a summary of articles about which, as the title indicates, features studies tive personal motives and to what extent was the composer’s symphonic works from the on music in the period of Nazi rule in Germany. his music influenced by external trends? 1940s and 1950s. The previous publications pertained to German In addition to the six sym phonies, the author / Lucie Berná new autographs

AT A SOTHEBY’S auction in November 2013, the Bohuslav Martinů Foundation pur - chased two out of three Martinů autographs that were originally in the pos session of Harry Halbreich: the 1st version of the violin concerto Suita Concertante and fragments of the score of The Greek Passion. In the case of the Suite Concertante, H 276 I, it is the only extant autograph of the piece’s still unpublished first version. This version of the work has as yet been recorded only by the violinist Bohuslav Matoušek with the Czech Philharmonic Orchestra conducted by Christopher Hogwood (released within the four-part set entitled “The Complete Music for Violin and Orchestra” by Hyperion in 2008, CD No. 3). The second purchase are fragments of the score (reproduction of the autograph) of The Greek Passion, H 372 I extensively annotated by the composer and supple - mented by his deletions, additions and corrections written in red crayon and pencil. Copies of the material, which Harry Halbreich provided to the Bohuslav Martinů Institute back in the 1990s, served Aleš Březina as the basis for the reconstruction of the first version of the opera, which was premiered in 1999 at the Bregenz Festival. The third autograph that was auctioned off at Sotheby’s was a fac simile of Martinů’s Symphony No. 4, H 305. It was not purchased by the Bohuslav Martinů Foundation but by Mr. Robert Owen Lehman. At the present time, the autograph is held in the Robert Owen Lehman Deposit Collection at the Morgan Library & Museum in New York. Reproduction of the autograph of The Greek Passion, Act I >

martinůrevue12014 | 19 BOHUSLAV MARTINŮ FOR SALE

BUY / From 8 December 2013, publications, brochures, sheet music and other BOHUSLAV materials relating to Bohuslav Martinů can be purchased via a new e-shop.

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MARTINŮ SONGS ON NAXOS

The Months is the latest ALSO AVAILABLE release in Naxos’ dedicated survey of Bohuslav Martinů’s complete songs.

This volume includes many texts from Czech poets on themes of life and love, expressed by Martinů in songs both lively and luminous.

More popular genres include 8.572588 the sophisticated cabaret cycle ‘A fi rst class and very generous Red Seven. collection…this is a most rewarding disc, throwing new 8.572310 light on its composer’ Gramophone

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