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

BALLET ŠPALÍČEK IN PRAGUE AT GARSINGTON martinůSEPTEMBER—DECEMBERrevue 2009 VOL.IX NO. 3 MORAVIAN AUTUMN FESTIVAL 2009 MARTINŮ’S CORRESPONDENCE WITH H.H.STUCKENSCHMIDT LIST OF MARTINŮ’S WORKS / PART VII NEW PUBLICATIONS / CDs ∑ contents

3 Martinů Revisited Highlights 4 incircle news —Vintage Martinů GREGORY TERIAN 5 International Martinů Circle 6 reviews —British premiere 13 + 16 December 2009 of Bohuslav Martinů’s Mirandolina 1 January + 26 February + 5 April 2010 KATEŘINA MAÝROVÁ 30 May 2010 8 martinů revisited / / —Better dancing to this than hip-hop National Theatre Prague CZ PETR KADLEC 9 BOHUSLAV MARTINŮ —Final concert ofthe Czech EUPresidency THE MIRACLES OF MARY H.236 ALEŠ BŘEZINA —The Wise and Foolish Virgins 10 news —Mariken of Nimégue 11 special series —The Nativity —List of Martinů’s Works VII —Sister Paskalina 12 research Musical preparation Jiří Bělohlávek —Two letters of Bohuslav Martinů Conductors Jiří Bělohlávek / David Švec Director Jiří Heřman to the German music critic Hans Heinz Stuckenschmidt Stage design Pavel Svoboda JANA HŘEBÍKOVÁ Costumes Alexandra Grusková Chorusmasters Pavel Vaněk / Lukáš Vasilek 14 reviews Choreography Jan Kodet —The delights of the Moravian Dramaturgy Ondřej Hučín Autumn festival Chorus master of the Kühn’s Children’s Choir Jiří Chvála PATRICK LAMBERT Lighting Daniel Tesař 16 www.narodni-divadlo.cz — premieres in Brno SCOTT ENGLUND 17 news 18 events 19 news —New CDs, Publications ∑

highlights

IN 2009 THE CULTURAL WORLD commemorates the 50th anniversary of Bohuslav Martinů’s death (28 August 1959). In anticipation of this anniversary year, many organisers in the Czech Republic and abroad prepared music productions at which the composer’s works are performed. Considerable attention has been also devoted to the artistic and cultural-political context of Martinů’s oeuvre. > www.martinu.cz > www.czechmusic.org ‹vOPERAS–&–BALLETS—› Bohuslav Martinů Days 2009 14+15+16 January 2010 6 December 2009 > Theater am Stadtgarten MARTINŮ HALL / HAMU / Malostranské nám. 13 / PRAGUE Winterthur, Switzerland Concert of Prize-winners from the 2009 Martinů www.theater.winterthur.ch Foundation Competition in the VIOLIN Category , H. 255 b Harald Siegel (Conductor)

16 December 2009 20 January 2010 NATIONAL THEATRE / PRAGUE / CZ / www.narodni-divadlo.cz > Conservatoire de Lyon The Miracles of Mary H.236 Alexandre bis H. 255 Jiří Bělohlávek (Conductor) 13 March 2010 17+18 December 2009 > Wuppertaler Bühnen, 1 Wuppertal, Germany RUDOLFINUM / PRAGUE / CZ / www.ceskafilharmonie.cz www.wuppertaler-buehnen.de , Cantata for , Male Choir & Orchestra H.279 Greek Passion, H. 372/II Orchestra Hilary Griffiths (Conductor) Tomasz Konieczny (Baritone) • Manfred Honeck (Conductor) 9+11+14+15+17+20 April 2010 > War Memorial House San Francisco, USA www.sfballet.org Dance program, Rush, BBC Symphony Orchestra set to music by Martinů Sinfonietta La Jolla for Piano / / BARBICAN HALL LONDON UK and Chamber Orchestra, H. 328 Jiří Bělohlávek (Conductor) Christopher Wheeldon (Choreographer)

19 February 2010 24+26+28+30 June 2010 Symphony No. 4 H.305 > Atelier Lyrique de l’Opéra National de Paris, France 19 March 2010 Mirandolina, H. 346 Symphony No. 5 H.310 Marius Stieghorst (Conductor) 17 April 2010 Symphony No. 3 H.299 8 May 2010 Symphony No. 6 (Fantaisies Symphoniques) H.343 www.bbc.co.uk/orchestras/symphonyorchestra

martinůrevue32009 | 3 incirclenews VINTAGE MARTINŮ / GREGORY TERIAN

always brought to performances of new works ONE OF THE LONG STANDING MEMBERS of the by up-and-coming composers. The Martinů Martinů Circle is Dr Karl Miller. Over the years, concerto was well received and critics likened it as Curator of the classical music archive at the to the form of a Bach concerto and predicted University of Texas at Austin, he has built up a successful future for Martinů. It was the first a vast collection of sound recordings including performance in France of an orchestral work a considerable number featuring performances by the composer. of works by Martinů, a composer for whom he The young Lucette Descaves was at the has a particular affection. beginning of her career and achieved a big One of the rarest items in the archive is success with this performance. She was a French Radio recording of the Piano Concerto described as a pianist of the future with an No.1, H.149, dating from circa 1950, per- assured and beautiful technique and charming formed by Lucette Descaves with l’Orchestre tone. Martinů had fond memories of the event National under Ernest Bour, made for trans- which took place at a time when performances mission by radio networks in the USA. Descaves Pierné was a composer/conductor and friend of his works in France were few and far had given the French premiere of the work at and contemporary of Debussy and had given between. Descaves continued to perform his the Théâtre du Châtelet in Paris on 11 February the first performance of Iberia. It was said that piano works throughout her career. Several of 1928 with l’Orchestre des Concerts Colonne his interpretation of the Martinů Concerto was the current generation of French pianists were conducted by Gabriel Pierné. both intelligent and sympathetic, qualities he her pupils. ❚

MORE RECENTLY Dr Miller discovered a world performances we have become accustomed to, premiere recording of the Symphony No.2, allowing greater freedom of expression. H.295 given by the Cleveland Orchestra Obviously the sound quality does not match under Erich Leinsdorf in October 1943. Most modern standards, but it has remarkable clarity of us had long since given up any hope of such which more than compensates for the technical a recording emerging. This particular copy was shortcomings. It allows us to enjoy the work originally destined for transmission in South as the composer heard it 66 years ago. America and was recently purchased by Kevin In 2000 Dr Miller founded the Pierian record Mostyn, a collector of rare recordings. label which specialises in vintage recordings Recordings of first performances of Martinů’s and unusual repertoire. The first release was orchestral works in the United States have of Debussy performing Debussy taken from particular value. As in this case, they were a Welte-Mignon piano roll. The discs have preceded by rehearsals at which the composer achieved wide critical acclaim. was present, adding significant authority to We are grateful to Karl, and also to Kevin these surviving sound documents. The premiere Mostyn, for providing copies of these rare performance of the 2nd Symphony is more Martinů recordings for the Martinů Institute relaxed and less hard driven than some of the archive. ❚

THE BOHUSLAV MARTINŮ INSTITUTE has re- the basis that copying of this historic recording following day. Part of that latter concert was cently added a recording of the Martinů Sym- is strictly forbidden. The recording can be heard broadcast by the American Broadcasting Com- phony No.3, H.299, performed by the Boston by those visiting the Institute for study purposes. pany but the Martinů work was not included. Symphony Orchestra conducted by Serge I understand that the Koussevitzky perform- One can only surmise that the ABC sound Koussevitzky to its archive of historic record- ance is taken at a more deliberate pace than engineers made an unauthorised recording of ings. This recording was acquired courtesy of that to which we have become accustomed in the symphony. There are no announcements the New York Public Libraries which holds the more recent times. The origins of the recording accompanying the recording. More than half original 16-inch transcription discs which bear remain obscure. Koussevitzky conducted the a century later one can only commend those no identifying label. We were able to secure the world premiere in Boston on 12 October 1945. concerned for their initiative in preserving this agreement of the BSO to this arrangement on It was followed by a second performance on the historic document. ❚ / continued on page 7

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MARTINŮ REVUE (formerly Bohuslav “≠INTERNATIONAL MARTINŮ CIRCLE≠] Martinů Newsletter) is published “] by the International Martinů Circle PATRON MAGDALENA KOŽENÁ in collaboration with the Bohuslav Martinů Institute in Prague. THE INAUGURAL GENERAL MEETING of the International Martinů Circle With ≤nancial support of the Bohuslav took place at the Reduta Theatre in Brno on 4 October 2009. A resolu- Martinů Foundation Prague.

tion was adopted confirming in office the Board members who have served in port photo david Editors an interim capacity since the Martinů Circle was established, together with GENERAL INFORMATION Zoja Seyčková & Lucie Berná two additional members. The permanent Board now consists of Gregory Members receive the illustrated Bohuslav Martinů Institute Terian (Chairman), Aleš Březina (Vice-Chairman), Philip Boswell, Patrice Chevy, Justin Krawitz and Scott Englund Martinů Revue published three times (with special thanks) Gert Floor, Jarmila Gabrielová, Justin Krawitz, Graham Melville-Mason, Geoff a year plus a special limited edition CD Publisher’s Of≤ce Piper, Petra Richter, Robert Simon, Zoja Seyčková, Jaroslav Šonský and Mari containing world premieres, historic International Martinů Circle, o.s. Tokuda. A full report on the General Meeting will be posted on the internet performances and archival recordings IČ: 22688846 www.martinu.cz to coincide with publication of this edition of the Martinů from the annual Martinů Festival not Bořanovická 14, 182 00 Praha 8-Kobylisy, Revue. Jana Honzíková, Secretary, International Martinů Circle obtainable commercially. Czech Republic The IMC is supported by the e-mail: [email protected] Bohuslav Martinů Foundation and www.martinu.cz [≠CD BOHUSLAV MARTINŮ 2010≠” Bohuslav Martinů Institute in Prague. Translation Hilda Hearne THE FORTHCOMING CD will contain a performance of the Martinů Cello MEMBERSHIP & SUBSCRIPTION Photographs Sonata No. 2, H. 286 performed by the winner of the Martinů Days 2008 INFORMATION The Bohuslav Martinů Foundation’s Competition. The disc will also contain one remarkable novelty in the shape > YEARLY SUBSCRIPTION: and Institute’s archive, collections of the 20 EUR / 25 USD Bohuslav Martinů Center in Polička of the world premiere recording of the delightful Divertimento for Two > Recorders, H. 365. Our London members may recall with pleasure the series SUBSCRIPTION FOR CORPORATE Graphic Design David E. Cígler MEMBERS: 100 EUR / 65 of all Martinů concerts staged by Janet Hilton at the Royal College of Music £ Printing BOOM TISK, spol. s r.o. includes 10 copies the each Revue in association with the IMC which included performances of the Diverti- Price CZK 50 PLUS 3 copies of the non-commercial The Martinů Revue is published mento. They have now very kindly agreed to create a first recording for the CD recording from the Bohuslav three times a year in Prague. CD which is due to be published in the Spring. It is also hoped to include Martinů Days Festival in Prague > Cover photo selected scenes from an archival recording of The Greek Passion, H. 372/II, SINGLE COPIES OF THE REVUE: The ballet Špalíček (Prague, 2009) made in 1962 by Czech Radio in Brno. 50 CZK / 2 EUR / 3 USD + postage Photo M. Pásek For further details and for single copies ISSN 1803-8514 [≠MARTINŮ REVUE NO.1 / 2010≠” of the Martinů Revue contact: MK ČR E 18911 Jana Honzíková OUR FIRST EDITION OF2010 will contain features devoted to Jiří Bělohlávek, e-mail: [email protected] always a devoted champion of Martinů’s music. He has prepared a new pro- The International Martinů Circle, o.s. duction of the Miracles of Mary, H. 236 which was premiered at the National Bořanovická 1779/14 Theatre in Prague on 29 October. He has already embarked on the complete 182 00 Praha 8-Kobylisy cycle of Martinů Symphonies with the BBC Symphony Orchestra in London. WELCOMES NEW MEMBERS (in alphabetical order) > Jean-Francois Ballevre, Beaugency, [≠2010 SUBSCRIPTION PAYMENT≠” France WE WOULD REQUEST members to make their 2010 subscription payments > Keith Brumpton, Glasgow, UK through one of our international contacts listed below. > Drs Neville and Kathleen Cartwright,

THE PREVIOUS ISSUE > Gregory Terian (Great Britain), [email protected], +441625523326, Dunbartonshire, UK 18 Broadway, Wilmslow, SK9 1NB UK, Great Britain > Scott Englund, Island Lake, USA > Patrice Chevy (France), [email protected], +33675620321, > Jean Fonda-Fournier, Geneva, THE BOHUSLAV MARTINŮ CENTER 11 Résidence FOCH, 923 80 Garches, France Switzerland IN POLIČKA offers an interesting, inter- > Mari Tokuda (Japan), [email protected], +81 339 393 395, > Newton Friedman, Ventura, USA actively conceived exhibition on the com- +81 359 990793 > Eva Garajová, Bratislava, Slovakia poser’s life and work. The modern display of > Geoff Piper (Belgium, Luxembourg and Austria), [email protected], > Světlana Jahodová, Praha, CZ Bohuslav Martinů’s life and work is located +352-474269, 24, rue des Cerisiers, Luxembourg, L – 1322 Luxembourg > Marylin Lawrence, Monroeville, USA in the historical building of the former > Gert Floor (Netherlands), [email protected], +31725095262, > Ludmila Peřinová, Tábor, CZ council school, which Martinů attended Gortersweg 6, 1871 CC Schoorl, Netherlands > Irene Schwalb, Köln, Germany as a child. Consequently, the project also > Robert Simon (USA), [email protected], mobile number 216-973-7716 > Tim Shuker, Glastonbury, UK comprises a reproduction of Martinů’s , 2531 Jackson Ave. Apt 1E, Evanston, IL 60201, USA > René Slezák, Praha, CZ classroom, complete with period painting > Jaroslav Šonský (Sweden), [email protected], +4611318475, > Chantal Soria, Paris, France and furniture. The centre also contains Knopgatan 6, 603 85 Norrköping, Sweden > David Wright, Ryde, UK an audio-visual hall and study room. > Petra Richter (Germany), [email protected], Furtstraße 46, > Royal Conservatory of Music 73770 Dekendorf, Germany Bohuslav Martinů Center (Karson Jones – librarian), Toronto, Tylova 114, 572 01 Polička Those who pay their subscriptions via the Dvořák Society should continue Canada tel.: +420 461 723 857 to do so. Those wishing to pay in Czech currency or by cash should contact > Panocha Quartet (Jiří Panocha), ❚ www.cbmpolicka.cz us at [email protected] Praha, CZ

martinůrevue32009 | 5 BRITISH PREMIERE OFBOHUSLAV reviews GARSINGTON / THE MANOR HOUSE

/ KATEŘINA MAÝROVÁ lost none of its onomatopoeic character in the The Garsington Orchestra under the conduc- English translation by Jeremy Sams, which tor Martin André acquitted itself admirably, I WAS TRULY ENCHANTED by my first visit easily coalesced with the music. concerning itself overwhelmingly with the to the Garsington Opera Festival, which for The overall tone of the sets created by the coloristic effects and shifting rhythms which 20 years has presented three works from British set designer Francis O’Connor colourfully characterize the score. the music theatre repertoire to opera-loving accented the light, comedic playfulness of the The opera’s central character, the innkeeper audiences at the beginning of the summer. opus, visually underlining the course of events Mirandolina, is a role as though tailor-made for And not merely due to the fact that the on the stage. the Columbian singer Juanita Lascarro. She performances took place in the beautiful As the erudite reader of these lines probably captivated the audience with her feminine charm gardens, amid early Baroque architecture knows, the basic dramatic trajectory of the and grace, adroitly sidestepping all the dramatic (The Manor House) and the 1915 and 1926 opera buffa Mirandolina is the artifice of the pitfalls of portraying a saucy seductress and

sculptures from the workshop of Philip and beautiful innkeeper Mirandolina, who enchants breaker of male hearts. Her soft, euphonious Lady Ottoline Morrell, placed ingenuously and then dupes her suitors one after another – soothed the ears of the audience in around the gardens in the vicinity of a small the Marquis di Forlimpopoli, Count d’Albafiorita, a simply impeccable performance. artificial Italian lake. the sardonic knight di Ripafratta – and The performers of the other female characters The organisers of the Garsington’s musical eventually offers marriage to her faithful and – the Irish soprano Mary Hegarty in the role of feasts have revived the fine Bayreuth tradition ever-obedient waiter Fabrizio. In Act II this Ortensia and the mezzo-soprano Jean Rigby as of Wagner performances: the three operatic basic plot is somewhat spiced up by the Dejanira – also strove primarily to accentuate works – Beethoven’s Fidelio, Rossini’s La humour of two elderly actresses, Ortensia and the humorous aspect of the plot and it was clear Cenerentola and Martinů’s Mirandolina, H. 346 – Dejanira, pretending in vain to Mirandolina that that both thoroughly enjoyed their comedic roles. were divided by an intermission during which they do not belong to the upper echelons of The four male singers – the Daniel the guests could discuss the production’s fortes society. Norman in the role of Fabrizio, the -baritone and failings over a glass of chilled wine while The conversational, comedic wit is further Andrew Slater as the Marquis di Forlimpopoli, nibbling on the delicacies which most of them developed in the musical dialogues between all the tenor Mark Wilde as Count d’Albafiorita had brought in beautifully arranged baskets. the characters. The opera, written by Martinů in and the baritone Geoffrey Dolton as the knight The Garsington Opera Festival prepared for 1954, revels in musical esprit. It must be said di Ripafratta – evidently relished their roles too, its visitors a veritable operatic picnic, seasoned that with the impressive staging by London with the latter providing the most convincing by the first-ever British staging of Bohuslav director Martin Duncan, commendable vocal performance. Martinů’s Mirandolina (in English) to mark the performances and high level of musical By and large, Martinů’s Mirandolina did not 50th anniversary of the composer’s death. The interpretation the British premiere was truly cause an uproar among the reserved, conser- original Italian libretto, created by Martinů after a great event marking the composer’s vative British audience, nor indeed displeasure: Carlo Goldoni’s play “La Locandiera”, surprisingly anniversary. with its light, merry, serene mood and music

6 | martinůrevue32009 MARTINŮ’S MIRANDOLINA

sparkling like champagne, it provided the ideal dramaturgical component of an opera evening which shimmered in the haze of a warm summer night and delighted all those present.

Garsington Opera Festival – Bohuslav Martinů: Mirandolina, H. 346. Conductor: Martin André, stage director: Martin Duncan, sets: Francis O’Connor. Premiere at The Manor House on 18 June 2009. Review of the performance on 28 June 2009.

Reprinted from music magazine Hudební rozhledy No. 9/2009 with their kind permission

photos johan perrson, garsington opera

VINTAGE MARTINŮ / continued from page 4 / OVER THE YEARS IMC members have com- gave a little background on how the project counterpoint. By the end of the rehearsal I was mented on the pleasure they have derived came to be realised: Meeting Martinů for so thrilled that I looked into all the repertoire from the recording of Martinů’s delightful the first time!!! that he might have written for clarinet. I knew Stowe Pastorals made by Michele Zukowsky and “I play with the Los Angeles Philharmonic of his Sonatine and Le Revue but never had even her Bohemian Ensemble. This world premiere and on our concert, the guest conductor played them. Ten years after recording much recording appeared on the Summit label and Frans Welser Most programmed Martinů’s for clarinet and Martinu I am still thrilled as if it remains unchallenged in the CD catalogues. 5th symphony. After practicing it a little and were the first time I heard this music that has The recording came into existence through the thinking–oh–another ordinary contemporary never sounded like anyone else. For me it is like dedicated efforts of Michele who was recently 20th century piece, I became captivated by the taking musical prozac!!!!“ in contact in this anniversary year and kindly richness of his orchestration and his brilliant Gregory Terian

martinůrevue32009 | 7 review ONTHE CHAPBOOK DAN “BETTER DANCING TO THIS THAN HIP-HOP”

/ PETR KADLEC

IMAGINE IT IF YOU CAN. An ordinary Prague morning. You are travelling on the metro escalators somewhere deep underground. With characteristic resignation, you observe the faces going by – languid, sleepy, weary. Now and then the moving steps squeak madly. Then suddenly, a “ta-ta-ta- taa-dada, ta-ta-ta- taa-dada” is heard from among a group of school kids in front of you. If you are at all familiar with Bohuslav Martinů’s œuvre, you prick up your ears and then most likely begin swaying away. The teenagers are merrily singing a passage from Martinů’s The Chapbook! It is hard to imagine a more surreal situation, yet those who were lucky enough were able to experience something like it this June.

CLASSICAL? I TURN THE DIAL IMMEDIATELY... Prague. A small part of the dance group was just shouting at each other. The kids at each Eliška Lesniaková, an energetic teacher of formed by professional dancers and pupils of other, and I at them, trying just to calm them Czech and music appreciation, recalls the very the Duncan Centre Conservatory. down a little. I was totally consternated...” beginnings of the CHAPBOOK project: “About “In the beginning, perhaps no one really Prior to the first rehearsals, the pupils had two years ago I was approached by the head- enjoyed it”, one of the pupils of the Chmelnice several weeks’ training in the basic movement master, who asked whether I and the then Primary School admits openly. “I was into it elements: how to stand straight, how to kneel 7A class wanted to participate in a project immediately!” his classmate retorts, adding: down, how to move backwards and forwards within which the pupils would perform “But when I heard Martinů’s music I told myself on the stage; some of them were not even able expressive dance. I agreed because I was it would probably be tough. I found it a bit to sit down normally since they were too fat intrigued by the idea.” At the time, the Bohuslav ridiculous...” And the overall relationship of or – in Blažíčková’s words – totally illiterate in Martinů Institute had extended its offer not heavy metal, death metal and hip-hop fans to terms of movement. only to the Chmelnice Primary School but also classical music? “I only hear it when the radio another three primary schools in Prague. tunes into it by mistake, and then I turn the THE DANCING PEDAGOGUE… A total of 90 pupils subsequently practised dial immediately.” Significant progress was made when a group of for a year and a half for a dance performance Entering such a fraught atmosphere was primary school pupils began creating their inner to Martinů’s music (mainly from the ballet none too easy for Eva Blažíčková, a choreogra- structure. “Over time, step by step, some of the The Chapbook, H. 214) and in June 2009 gave pher and director of the Duncan Centre Conser- children actually began enjoying it,” Blažíčková two performances at the Congress Centre in vatory. “At the first few rehearsals we were says. “At that point I felt a sense of relief: once a few fish are caught, more can be scooped up.”

THE CHAPBOOK IN A NUTSHELL / The Chapbook project was organised within the realm of Martinů Nevertheless, lack of interest was merely the Revisited. It was inspired by the Berliner Philharmoniker’s “Rhythm Is It” project, which was implemented first obstacle that had to be overcome. Several to the music of Stravinsky’s The Rite of Spring. The Chapbook project was a fusion of professional dancers others soon emerged. The overwhelming major- and students of the Duncan Centre Conservatory with pupils of Prague primary schools (Prague 3 and ity of the children were not used to moving in Prague 5). The choreography was prepared by Eva Blažíčková, a choreographer and director of the Duncan Centre Conservatory. The training took place from February 2008 to June 2009, when two performances rhythm and to the rhythm of music, let alone were given at the Congress Centre in Prague together with the Prague Philharmonia (conducted by Jakub dancing in a group. “One of the problems Hrůša) and the ensemble Bambini di Praga. The film director Olga Sommerová has made a documentary occurred when we were practising the polka,” about the Chapbook project which will be screened by Czech Television in December 2009. The project’s Lesniaková says. “The boys were quite clumsy, producer was the Arts Institute, Theatre Institute. It was implemented with financial support from the Ministry of Culture of the Czech Republic, the Municipality of Prague and the Bohuslav Martinů which made them feel bad. But when some of Foundation. More information can be found at www.spalicek.eu them did get it right, it served as a motivation

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for the others, who didn’t want to be left behind. Naturally, the adrenaline levels were also boosted by the fact that some of the rehearsals were being filmed by Olga Sommerová’s crew for a Czech Television documentary.” The Chmelnice pupils add: “When I was practising it with the others it was nice. And we all under- stood each other better” – “We made friends photos m. pásek there, and then we also began enjoying it” – “And the music too was quite nice. It’s defi- they were overwhelmed by these feelings. But they should be and what they should be doing.” nitely better dancing to this than to hip-hop.” by the time of the second performance they Nevertheless, and perhaps surprisingly for The pupils were motivated by their teacher already knew that they could pull it off and some, she has not given consideration to con- too. Lesniaková rehearsed together with the hence were far less tense and smiled more. tinuing the project: “My answer was a definite children right on the dance floor (“Why should By the way, in the final phase they were even ‘NO’. The entire process is over. The children, I watch them from a distance when I could do humming the music from The Chapbook on I think, were happy – they had experienced it directly on the dance floor?”) and, finally, also the metro escalators!” The group’s spirit also something deep, genuine, from the bottom of at the Congress Centre, which her pupils greatly changed during the course of the project. their hearts. Now they must starve for some- appreciated:“She was good! She’s a real fighter!” “When at the beginning of the training someone thing like that themselves and strive to find it. started messing about, the others laughed at it. In this respect, I consider apt Empedocles’ “THE HEADMASTER IS THERE” – But when someone did something similar near statement that ‘a pupil is not a vessel that “I HAVE MY MUM HERE!” the end, the children promptly told them off. should be filled, but a torch that must be “The premiere turned out splendidly,” Lesnia- A kind of collective responsibility and self- kindled.’ Perhaps, owing to The Chapbook, ková recalls. “The children were over the moon. discipline set in. Suddenly, everyone just we have succeeded in something like that.” They started embracing each other, broke down wanted the thing to succeed.” Blažíčková Here’s hoping that a similar project crops up in tears. Their parents in the hall stood up and explains: “By the end, the children were working again soon! applauded enthusiastically. The children had truly wonderfully. It was possible to engage Reprinted from music magazine Harmonie perhaps never experienced such high spirits and them more and more – they remembered where No. 8/2009 with their kind permission

FINAL CONCERT OF THE CZECH EU PRESIDENCY

THE CZECH PRESIDENCY of the Council of experienced performers. Both works are in entranced them. The packed hall applauded for the European Union symbolically concluded the core repertoire of the Czech Philharmonic many minutes, with the cries of “Bravo” and the with a gala concert on 11 June 2009 in Orchestra and the conductor Zdeněk Mácal has ovations ultimately passing into chanting. The Brussels. The programme included works performed Martinů’s Symphony No.1 more than performers duly rewarded the audience with by the Czech composers Antonín Dvořák 70 times – first in 1965 during his debut with a rendition of one of Dvořák’s Slavonic Dances. and Bohuslav Martinů, the 50th anniversary the Czech Philharmonic and most recently in Hence, a sense of satisfaction was enjoyed not of whose death is commemorated by the Budapest with the same orchestra just a week only by the audience but also by the official Martinů Revisited project. before the Brussels performance. The solo part representatives of the Czech Republic: the Coincidentally, both of the compositions per- in Dvořák’s Concerto for Cello and Orchestra was Ambassador, Vladimír Müller; the Minister of formed at the concert originated during their masterfully played by the exceptional Michal Culture, Václav Riedlbauch; the Director of the creators’ respective long-term stays in the USA. Kaňka. On the basis of the performers and the Administration of Czech Centres, Jaroslav Dvořák wrote the Concerto for Cello and Orches- selected works, Brussels’s Palais de Beaux-Arts Kantůrek; and dozens of other dignitaries. tra in 1894-95, while Martinů composed his decided to include the programme in its presti- When it comes to culture, the Czech Republic Symphony No.1, H. 295 some forty years later, gious European Gala concert cycle in nearby bade farewell to its Presidency of the Council of following his escape from occupied France. Bozar, which this season featured, for example, the European Union with standing ovations. The Czech Centre in Brussels and its director, Valeri Gergiev and Sir Simon Rattle. Aleš Březina Petr Polívka, the main organiser of the event, While Dvořák’s cello concerto enchanted ≠ managed to secure outstanding, highly the audience, the Martinů piece positively

martinůrevue32009 | 9 CONCENTUS MORAVIAE 2009 – CONCERT AT BRNO’S BESEDNÍ DŮM news

/ LUCIE BERNÁ process, which lasted over a year, was From Martinů’s own output, the concert characterised by the artist’s seeking her included Partita, H.212 from 1931 – a work THE FOURTEENTH EDITION of the Concentus own form of expression, as well as by fierce foreshadowing in places the inspired Concerto Moraviae International Music Festival (30 May debate with her friend and teacher Martinů. Grosso, H.263. The highlight of the concert – 27 June 2009) bore the subheading “Ladies The work’s resultant form is coloured by this was the orchestral Sinfonietta La Jolla, H.328 First”. The programme of the 11 June concert creative quest. In juxtaposition with the other (1950). The solo piano part was played by Karel at Brno’s Besední dům acknowledged the compositions on the program, Partita sounded Košárek, a renowned interpreter of Martinů’s important Martinů anniversary. This concert, the least distinct within the orchestra’s other- piano œuvre. which formed part of the Martinů Revisited wise outstanding performance. In the case of the Martinů compositions, project, included compositions not only by Jan Novák encountered Bohuslav Martinů the conductor Kaspar Zehnder selected tempos Martinů but also his Czech pupils Vítězslava in New York during his study stay in 1947. which were rather fast, yet utterly convincing. Kaprálová and Jan Novák. Capriccio for Cello and Orchestra (1958) is one In places, these tempos were managed with Poland’s Sinfonietta Cracovia, the Swiss of his most significant and successful compo- less grace by brass instruments in their solo conductor Kaspar Zehnder and the soloists sitions from the 1950s. The three-movement entries. By and large, the orchestra’s individual (the cellist Michaela Fukačová and the pianist work featuring a bold configuration of percus- sections excelled in bringing out the colourful Karel Košárek) gave sterling interpretations sion and predominant jazz elements (with the sonic gaiety for which these Martinů works are of Czech music. cello conceived in the spirit of a solo jazz im- noted. The concert opened with Partita (1939) provisation within a “jazz band”) was performed Reprinted from music magazine by Vítězslava Kaprálová. The compositional splendidly by the soloist Michaela Fukačová. Harmonie 8/2009 with their kind permission

THREE FRAGMENTS WINS GRAMOPHONE AWARD

ON OCTOBER 2, 2009, Supraphon’s recording French play by George Neveux. In the Three of Martinů’s Three Fragments from the Opera Fragments Martinů reverted to the French, Juliette, H.253 A took home the Gramophone hoping that this would make the work more award for best recital album of 2009. The accessible to listeners should it find radio award-winning album features the talents of placement: Martinů was envisaging broadcasts mezzo-soprano Magdalena Kožená, tenor Steve on Radio France. Unfortunately, it would take Davislim, and Sir leading the considerable time for these selections to find Czech Philharmonic. Martinů extracted these placement, for the award-winning performance three portions to represent the opera’s overall on December 11, 2008 during Martinů Days dramatic and musical character. Martinů festival marks the world premiere. originally composed Juliette using a Czech libretto which had been adapted from the Scott Englund & Justin Krawitz

BBC SYMPHONY HOSTS MARTINŮ STUDY DAY IN A SERIES OF SIX CONCERTS starting on Each performance is broadcasted on BBC October 3, 2009 and ending May 8, 2010, the Radio 3 following the live performance. BBC Symphony Orchestra, under the direction In addition to the complete cycle of sym- of Jiří Bělohlávek, is performing the complete phonies, the BBC Symphony, in cooperation Martinů’s symphonies. Each night of the series with the Institute of Musical Research, will Sharon Choa, Michael Crump, , pairs one symphony with other great classical hold a Study Day on February 6, 2010 with Jan Smaczny, Paul Wingfield, and is chaired repertoire culminating to a performance of presentations from leading Martinů experts by Christopher Cook. Tickets are free and Symphony No.6 “Symphonies Fantaisies“, at 10 a.m. and an interactive panel in the available now for reservation. Scott Englund which will close the ‘09–’10 BBC SO season. afternoon. Panelists include Aleš Březina, www.bbc.co.uk

10 | martinůrevue32009 — LIST OF MARTINŮ’S WORKS VII Special s— CATEGORY/ Serie | CONCERTOS SUBCATEGORY/ | VIOLIN CONCERTOS / CELLO CONCERTOS

IN THIS ISSUE of the Revue we continue Premiere: 23.1.1942, Basel, Switzerland with our publishing of the complete list of Archive: Paul Sacher Stiftung, Basel, SUITE CONCERTANTE IN D FOR CONCERTO No. 1 FOR Bohuslav Martinů’s works.We began with the Switzerland VIOLIN AND ORCHESTRA H.276 II VIOLONCELLO AND ORCHESTRA and have since considered the ballets, Publisher: Universal Edition,Wien, U. E. 12273, 3rd VERSION H.196 III incidental music and film music, works for 1955 Durata: 22’40’’ large orchestra, symphonies, works for Copyright: Universal Edition,Wien Place of composition: New York (USA) Durata: 25’ chamber orchestra, suites and abstracts of Date of composition: 1944 Place of composition: Nizza (France) the incidental works and piano concertos. Performing forces: 2222-4231-timp.-batt.-archi Date of composition: 1955 The next subcategory are the violin CONCERTO No. 1 FOR VIOLIN Dedication: Samuel Dushkin Performing forces: 2222-4230-tim.-batt.-archi concertos and the cello concertos (listed AND ORCHESTRA H.226 Performer(s) of premiere: St. Louis Symphony Dedication: Pierre Fournier in alphabetical order).The basic data on Orchestra, S. Dushkin (vl),V.Golschmann Performer(s) of premiere: Bayerischer the works listed here have been taken from Durata: 25’ (cond.) Rundfunk, R. Kubelík (cond.) the online catalogue of Martinů’s œuvre Place of composition: Paris (France) Premiere: 28.12.1945, St. Louis, USA Premiere: 1955 at www.martinu.cz, which is continuously Date of composition: 1933 Archive: autograph missing Archive: British Library, London, UK updated as issues from the latest research Performing forces: 2222-4230-timp.-batt-archi Publisher: Schott, Mainz, Nr. 4644, 1955 Publisher: Schott, Mainz, Nr. 39 272, 1958 are documented by the staff of the Bohuslav Dedication: Samuel Dushkin Copyright: B. Schott Söhne, Mainz Copyright: B. Schott Söhne, Mainz Martinů Institute. Performer(s) of premiere: Chicago Symphony Orchestra, J. Suk (vl), G. Solti (cond.) Premiere: 25, 26.10.1973, Chicago, USA CELLO CONCERTOS CONCERTO No. 2 Archive: Library of Congress in Washington FORVIOLONCELLO Abbreviations/ AND ORCHESTRA H.304 ar. harp (Moldenhauer Collection), USA Publisher: Supraphon, Prague, H. 5798, 1979 CONCERTINO IN C archi string section Durata: 35’ batt. battery Copyright: Editio Bärenreiter, Prague FOR VIOLONCELLO, BRASS, PIANO AND BATTERY H.143 Place of composition: New York (USA) cel. celesta Date of composition: 1945 cl. clarinet CONCERTO No. 2 FOR VIOLIN Durata: 14’ Performing forces: 2222-4230-timp.-batt.-archi cmp. chime-bells Performer(s) of premiere: Prague Symphony cond. conductor AND ORCHESTRA H.293 Place of composition: Paris (France) Date of composition: 1924 Orchestra FOK, A.Večtomov (vcl), cor.ing. English horn Z. Košler (cond.) fg. bassoon Durata: 28’ Performing forces: 1221-1110-timp.-batt.-pf. Place of composition: New York (USA) Dedication: Frank Maurits Premiere: 25.5.1965, České Budějovice, picc. piccolo Czech Republic pf. piano Date of composition: 1943 Performer(s) of premiere: Czech Philharmonic, Performing forces: 2222-4331-timp.-batt.-archi I.Večtomov (vcl),V.Neumann (cond.) Archive: Associated Music Publishers, tamb. tambourine New York,USA tamt. tamtam Dedication: Misha Elman Premiere: 24.3.1949, Prague, Czech Republic Performer(s) of premiere: Boston Symphony Archive: Národní muzeum. České muzeum Publisher: Associated Music Publishers, timp. timpani New York, 1964 tr. trumpet Orchestra, M. Elman (vl), S.A. Koussevitzky hudby, Prague, Czech Republic (cond.) Publisher: Český hudební fond, Prague, Copyright: Associated Music Publishers, trbn. trombone New York vl. violin Premiere: 31.12.1943, Boston, USA ČHF 1423, 1964 xlf. xylophone Archive: Národní muzeum. České muzeum Copyright: Panton International Mainz hudby, Prague, Czech Republic SONATA DA CAMERA Publisher: Melantrich, Prague, M. 330, 1949 FOR VIOLONCELLO Copyright: Editio Bärenreiter, Prague CONCERTO No. 1 FOR AND CHAMBER ORCHESTRA H.283 Commentary/ VIOLONCELLO AND ORCHESTRA “Archive” – gives the information as to 1st VERSION H.196 I Durata: 26’30’’ where the autograph orchestral score CZECH RHAPSODY FOR is deposited. Place of composition: Aix-en-Provence (France) VIOLIN AND ORCHESTRA H.307 A Durata: 26’45’’ Date of composition: 1940 Date of composition: Day / Month / Year Place of composition: Polička (Czech Republic) Premiere: Day / Month / Year Performing forces: 1122-2000-archi – (10, Durata: 12’ – Paris (France) resp. 12 vl., 4 vla, 4 vlc., 2 cb.) Only accessible information is stated. If data Place of composition: Cape Cod, South Date of composition: 1930 on the publisher are missing, the work Dedication: Henri Honegger Orleans, Mass. (USA), arr. Jiří Teml, Performing forces: 2222-2220-pf.-batt-archi Performer(s) of premiere: Orchestre de has yet to be published and is available as Ivan Štraus Performer(s) of premiere: G. Cassadó (vcl) material that can be lent. la Suisse Romande, H. Honegger (vcl), Date of composition: 1945 Premiere: 13.12.1931, Berlin, Germany E. Ansermet (cond.) Performing forces: 2222-2200-timp-tamb.picc.- Archive: Schott Verlag, Mainz, Germany Premiere: 25.11.1943, Genf, Switzerland archi Publisher: Schott, Mainz, Nr. 1563, 1932 Archive: Bohuslav Martinů Center, Polička, Dedication: Fritz Kreisler Copyright: Schott Söhne, Mainz Czech Republic Archive: Bohuslav Martinů Institute, Prague, Publisher: Bärenreiter Supraphon, Kassel – VIOLIN CONCERTOS Czech Republic Prague, B.A. 4319, 1980 Copyright: Max Eschig, Paris CONCERTO No. 1 FOR Copyright: Bärenreiter, Kassel H 6691 VIOLONCELLO AND ORCHESTRA CONCERTO DA CAMERA 2nd VERSION H.196 II FORVIOLIN AND STRING SUITE CONCERTANTE IN D FOR VARIATIONS ON A SLOVAK ORCHESTRA WITH PIANO VIOLIN AND ORCHESTRA H.276 I Durata: 25’ FOLK SONG FOR VIOLONCELLO, AND PERCUSSION H.285 Place of composition: Paris (France) STRING ORCHESTRA AND PIANO Durata: 17’45’’ Date of composition: 1939 (HARP OR CIMBALOM) H.378 A Durata: 24’ Place of composition: Paris (France) Performing forces: 2222-4231-timp.-batt.-archi Place of composition: Edgartown, Mass. (USA) Date of composition: 1939 Dedication: Pierre Fournier arr. Jiří Teml (2004) Date of composition: 1941 Performing forces: 3222-4230-timp.-batt.-archi Performer(s) of premiere: Czech Philharmonic Durata: 10’ Performing forces: timp.-batt.-pf.-archi Performer(s) of premiere: S. Dushkin (vl), Orchestra, P.Fournier (vcl), R. Kubelík Place of composition: Schönenberg-Pratteln Dedication: Paul Sacher and Basler E. Itor-Kahn (pf) (cond.) (Switzerland), arr. Jiří Teml Kammerorchester Premiere: 7.4.1943, New York, USA Premiere: 30.10.1946, Paris, France Date of composition: 1959 (2004) Performer(s) of premiere: Das Basler Archive: private owner, Brussels (2009) Archive: Paul Sacher Stiftung, Basel, Performing forces: pf, archi Kammerorchester, G. Flügel (vl), P.Sacher Publisher: Schott, Mainz (under preparation) Switzerland Archive: Bohuslav Martinů Institute, Prague, (cond.) Copyright: Schott Söhne, Mainz Copyright: B. Schott Söhne, Mainz Czech Republic

> LIST OF MARTINŮ’S WORKS VII > Category CONCERTOS > Subcategory VIOLIN CONCERTOS / CELLO CONCERTOS u martinůrevue32009 | 11 TWO LETTERS OF BOHUSLAV research TOTHE GERMAN MUSIC CRITIC HANS / JANA HŘEBÍKOVÁ magazines, including 6 and 27 January 1959, document several Berliner Zeitung am Mittag, interesting events. The two men met in person HANS HEINZ STUCKENSCHMIDT the New York journal before World War II. In the first letter, Martinů (1901–1988) was a leading Modern Music, the Vienna recalls their first encounter, at the premiere German music critic and historian music magazine Der of the opera Juliette, H. 253 in Prague on who thoroughly documented and Anbruch, the German music 16 March 1938, and a meeting in Paris. Following evaluated the musical events of magazines Melos and the premiere of Juliette, Stuckenschmidt wrote his era. The focus of his lifelong Die Musik, as well as the a review, which was published in Boston News interest was contemporary music. Prague dailies Bohemia, (24 May 1938) and in which he expressed his Bearing witness to this is the Prager Tagblatt and the enthusiasm for the Czech composer. frequency with which he reviewed Prague German-language After World War II, Martinů and Stucken- and interpreted specific com- music magazine Der schmidt evidently did not meet again. They were, posers. In his articles he primarily Auftakt. In 1934 the Nazis however, in contact in 1958 and 1959, when dealt with Ferrucio Busoni, Maurice prohibited him from writing Stuckenschmidt was instrumental in getting Ravel, Igor Stravinsky and Arnold and in 1937 he emigrated Juliette staged at the Wiesbaden Opera. Schönberg. to Prague. During the war In the first letter, Martinů describes to Hans Heinz Stuckenschmidt Stuckenschmidt was born on years, Stuckenschmidt was Stuckenschmidt his joy over the fact that Juliette 1 November 1901 in Strassbourg. called up to work as an would be revived at the Wiesbaden Opera, with After studying composition, piano and violin, interpreter for the Wehrmacht. In 1946 he its second-ever production. He is infinitely glad he composed, played the piano and led concert returned from US captivity to Germany, where about it since he has always desired to see it series. First he worked in Berlin, where from he worked at the West Berlin radio station RIAS again. He asks Stuckenschmidt whether he will as early as 1920 he began corresponding for as head of the “New Music” department, wrote be able to come to Wiesbaden for the premiere the Prague newspaper Bohemia. As a music music reviews for Neue Zeitung, Neue Zürcher on 25 January 1959. He would be immensely journalist in Hamburg (1923/24), Vienna Zeitung, Frankfurter Allgemeine Zeitung and from pleased if they could meet there and recall “the (1924), Paris (1925) and Berlin (c. 1920–1937) 1948 taught music history at Berlin’s Technical Prague premiere and our encounter in Paris, when he met with renowned avant-garde composers, University. He died in Berlin on 15 August 1988. life was still beautiful”. He and Charlotte wanted painters, writers and other artists, primarily What does the correspondence bring to light to come there with Paul and Maja Sacher. from the Bauhaus circle. He wrote music about Stuckenschmidt and Martinů? Two In the second letter, Martinů thanks Stucken- reviews for numerous newspapers and music recently discovered letters of Martinů’s, dated schmidt for his letter, which, unfortunately has

once found international recogni- For the dream treatment Martinů tion in his work tor orchestra, “Half- has written a score which is like- time,” and in chamber pieces. Hav- wise fantastic, reveling in strange ing found his bearings by Stra- sounds, rhythms, and melodies. The vinsky, in a roundabout way through main weight of his music lies in the a synthetic impressionism he found coloristic, which he enriches through has way back to the Slavic folk an unusually sensitive and highly song. Several operas and ballets of modern orchestra technique of un- Prague, Czechoslovakia in this very union and conciliation his have aroused discussion, with- expected effects. The melodic mate- In the heart of Europe there is no of heterogeneous influences. Rus- out thus tar having been able to rial often inclines toward Slavic folk city the culture of which reflects sian, French, German, and Italian maintain themselves in the reper- songs. In rare mosaic Martinů fits more fully a combined picture of originals have had their effect upon tory of the Czechoslovak theater. together minute forms and impres- the whole world than that of the masters of Prague classicism and “” is in theme the most sions, tracing every emotion of the Prague. This cosmopolitan tradition romanticism. Even the advance original of Martinů’s works. The text hero, Michael. has manifested itself in architecture. guard has acquired this world- comes from the play of the same ∑ ∑ ∑ Side by side with the masterly embracing view. name by the French poet, Georges The performance under Vaclav buildings of the Carolingian Gothic ∑ ∑ ∑ Neveu. It is the story of a young Talich was on a high level. Orches- style, the charming facades of Italian One of the strongest works of man who falls in love with a wom- tra, chorus, and principals, particu- baroque, and the bizarre casemates this advance guard has Just been an’s voice, meets the owner of this larly Ota Horakova (Julietta) and of Slavic fantasy, rise the most produced by the Czech National voice in a dream, and then leads a Jaroslav Gleich (Michael) mastered modern dwellings in American Theater: Bohuslav Martinů’s opera, strange life which makes no definite this composition valiantly, in spite style, at the center of the city as “Julietta.” Martinů is today 47 years distinction between vision and ac- of its difficulty and subtlety of style. well as on the outskirts. And they of age. For a considerable time he tual experience. The action of the Jindřich Honzl built against the all combine in forming an im- has lived in Paris where, originally opera is laid in curious scenes in fantastic scenery of František pelling unity, magically woven into a pupil of Josef Suk, he completed cities, country, and interiors, ex- Musika an interesting stage produc- a whole by means of the atmosphere his studies with Albert Roussel. Even pressed by fantastic being and tion, surrealistic in pattern. It was of this unique city. early in his work he attracted at- dominated by a logic which has one of the most significant opera Paradoxically, the strongly na- tention by a particular style, radical nothing at all to do’ with our earthly evenings of the season. tional character ot Czech music lies in rhythm and harmony, which at casuality.

12 | martinůrevue32009 MARTINŮ HEINZ STUCKENSCHMIDT asked the Theatre Agency to send the piano score with a German translation to the address of Stuckenschmidt, to whom he had promised to deliver the score: “Please, as soon as the translation is finished, send the piano score to the address: Mr.H.H.Stuckenschmidt, Podbielskiallee 65, Berlin-Dahlem, to whom I promised the piano score and who can help us a lot, he is one of the most renowned critics and saw the opera in Prague at the premiere and will take care of it.” In another letter to the Theatre Agency in Prague, Martinů also mentioned Stuckenschmidt’s assistance in publicity and asked for the German translation: “Stuckenschmidt, it seems, keeps his word and publicises us, please hurry as much as possible with the German translation so that we can begin the project, which promises to be a success.” (Letter dated not been preserved. Martinů greatly regrets in a similar spirit. Martinů found that Juliette 27 February 1958.) In his letter dated 6 July that Stuckenschmidt couldn’t come to “has run wild” into the form of a dreadful 1958 Martinů was still asking the Theatre Wiesbaden on 25 January and depicts his dream, “real Kafka”. At the same time, he Agency in Prague about the progress in the impressions of the performance he has seen. explained to Šafránek that the Wiesbaden work on the materials and Juliette’s translation The premiere met with great success and he Opera had the right to its own conception of so as to be able to inform Stuckenschmidt. encourages Stuckenschmidt to attend the next the play, which, although different from that of Martinů’s esteem of Stuckenschmidt as performance, on 31 January. Stuckenschmidt the Prague premiere, ultimately convinced him. a leading music critic is also documented by would see that Juliette has changed a lot. Com- Georges Neveux’s Juliette is a nerve-wracking his letter to his family in Polička in which the pared with the charming Prague production, dream and Martinů brought the play through composer asked for the journalist’s reviews the Wiesbaden version fascinated him with the music into poetry. In Wiesbaden, however, the to be sent: “I don’t have those reviews from story’s dreadful and surrealistic nature. Martinů play was conceived in more dramatic terms. Stuckenschmidt, I will ask Šafránek to send them is surprised by the changed portrayal of all the Initially he was disappointed, yet he was won to me, they are important, he is one of the leading characters. Yet he was very satisfied with the over by the end. The actor portraying Michel critics in Germany, and since it concerns operas, performance: “You will see that poor Juliette has was excellent. Martinů was called up to the I need them here, perhaps someone could type changed a lot, has rather run wild and is kind of stage about 15 times. them and you could send them to me. Now things surrealistic. The performance is fascinating and The fact that Martinů was in contact with will start to move a little with Juliette at last.” very well done, I was really satisfied, and I was Hans Heinz Stuckenschmidt – either through (Letter dated 3 March 1958.) quite surprised how the character depiction was other letters, third persons or by phone – For the time being, it is not known whether changing with all the characters, it is no longer before 3 February 1958 can be deduced from there are any other sources documenting the a charming depiction but a dreadful story that several references found in Martinů’s corre- interaction between Martinů and Stucken- holds you from the beginning until the final chord.” spondence with Prague’s Divadelní jednatelství schmidt. ❚ It is interesting to add at this juncture that (Theatre Agency), with which the composer reproductions © archives of academy of arts Martinů described his impressions of the negotiated the stage materials for the Wies- / akademie der künste, berlin Wiesbaden performances to Miloš Šafránek baden Opera. On 3 February 1958 Martinů

martinůrevue32009 | 13 THE OFTHE review DELIGHTS / SAMPLED BY PATRICK LAMBERT characters published in her little concertina-designed IN RECOGNITION of the 50th anniversary leaflet. My main surprise was of Martinů’s death, the 2009 International that it was sung in English, Music Festival in Brno “Moravian Autumn” was despite the difficulties this strongly orientated towards his music and inevitably gave the Czech subtitled “Variations on the theme of Bohuslav singers. However, Pamela Martinů”. Programme leaflets were embellished Howard updated the action with the by now familiar photo of the composer and setting to New York clutching a cat in his large hands and gazing 1953, the year NBC broad- from behind an owlish pair of spectacles in cast the opera, with the a slightly bemused manner. On the arm of characters all belonging to his shirt is attached a green label “Martinů a colony of Russian émigrés revisited”, and this rather whimsical image, clinging to their old customs, emblazoned on huge billboards, could be so the singers’ very heavily accented English bridegroom: the conductor! He, Jakub Klecker, encountered across the Moravian capital. The was to be expected (Czech supertitles were having cast aside his top hat, proceeds to festival encompassed an attractive and diverse projected on the wall behind as an aid to local conduct his lively little orchestra – members of line-up of events spread over two weeks audiences, but not much help to international the Janáček Theatre playing Udo Zimmermann (2–16 October) of which I attended three. visitors struggling to catch the English words). and René Hirschfeld’s chamber version – with

From the opera The Marriage, 7 October 2009

I was fortunate to catch the final performance The performances were given in the intimate great precision and verve. Even the audience (7 October) of Pamela Howard’s colourful and surroundings of the Mozart Hall in Brno’s beau- feels itself a part of the performance and ingenious production of Martinů’s television tifully refurbished Reduta building with the the entire cast entered into the spirit of the opera The Marriage, H. 341 (Ženitba), based orchestra placed to the left, the action spread comedy most engagingly, singing with huge on Gogol’s comedy dating from the 1840s. along the window side, and the audience enthusiasm. A model of the stage set – she designed both skewed across the other corner. A very fifties scenery and costumes – had whetted my coat hanger with coloured plastic knobs marked Soprano Tereza Merklová as Agafya sang her appetite to see the production when I encoun- the division between the squalid abode littered brief arias so touchingly that she soon won tered it in May on display at the opening of the with pots and pans of Podkolyosin, the dis- over the sympathy of the audience in her Martinů Phenomenon exhibition at the Czech solute bachelor and would be suitor, and the futile search for a husband. Jakub Tolaš as Museum of Music in Prague. I was not disap- more respectable living quarters of Agafya, Podkolyosin played the nervous suitor with pointed. The production fully lived up to the the unmarried girl of uncertain age who has good humour, especially with his desperate chat series of beautiful sketches of the various secretly set her sights on an unobtainable up line “What brave people the Russians are!”,

14 | martinůrevue32009 MORAVIAN AUTUMN FESTIVAL

which found a special resonance with the Czech audience even before hearing the allusion to the Volga boat song in the orchestra. Another surprise was that Pamela Howard chose to omit the optional final scene in which Podkolyosin, returned to comfortable normality, idly sum- mons his servant Štěpán as the music returns to the opening. Instead, after he has fled the marriage ceremony in a panic, the two old servants from the respective households, who turn out to be married, count the admission money they have extorted from the suitors. These serfs are the only ones to have benefited from this sorry affair. Theatricality was the prime element in this entertaining production, which seemed to echo the composer’s own thoughts: “For him (i.e. B.M.) theatre is theatre, without wishing to create the impression of Duo Ardašev, 8 October 2009 photo petr francán reality, on the contrary emphasising the fact

tion of the evening was acknowledge the ovation. The second half the piece by Martinů’s pupil brought Paris influences: Germaine Tailleferre’s Jan Novák, which opened Jeux de plein air, Poulenc’s witty Sonata for Piano the recital: Variations on a Duet, and finally – a complete tour de force – theme of Bohuslav Martinů – three sections from Stravinsky’s Petrushka. no doubt the source of the A fine programme overall, magnificently played Festival’s motto. Martinů with exciting rhythmic verve and scintillating tended to be rather hard on finger work. his young pupil, calling him The final concert of the festival, given by the a ‘lazybones’, but this com- Brno Philharmonic conducted by Jakub Klecker, position, composed in 1949 was also characterised by carefully thought out a year after Novák’s return dramaturgy. It included the world premiere of from the U.S. to Brno, must one of Martinů’s early compositions Ballade: surely have made Martinů Villa by the Sea, H.97, the Concerto for Piano proud. The highly imagina- and Orchestra No. 5 (Fantasia concertante), photos jana hallová & petr francán tive keyboard writing, some- H.366 featuring the young pianist Ivo Kahánek times evoking the sound and, after the interval, the youthful, Debussy- that the work is acted in the theatre. Therefore, of bells – the theme is taken from the Field inspired A Dream of the Past, H.124 (Sen o minu- instead of violating the laws of the stage, Mass, H. 279 – was wonderfully articulated losti) followed by Debussy’s masterpiece La Mer. accepting them”. by the Ardaševs and even made Martinů’s own approach to the keyboard, heard in the Three The concert opened with another seascape The following evening (8 October), an equally Czech Dances, H. 324 that followed, seem Mendelssohn’s Overture: “A Calm Sea and enthusiastic audience gathered in the beautiful rather staid. The first part of the recital ended a Prosperous Voyage”. The orchestra made an hall of Brno’s Besední Dům to hear the locally with a composition from 2004 by Vít Zouhar, immediate impression with its fine discipline trained, internationally renowned Duo Ardašev whose father had been in close contact with and resplendent sound in the wonderfully clear in a programme of Czech, French and Russian Martinů during the Fifties. The title of this yet warm acoustic of the Janáček Theatre. The music. This hall has splendid acoustics, allowing interesting minimalistic piece Drásnění has Martinů premiere was truly a rarity – a ballad the fine grand pianos to be heard to their best something to do with the chiselling of wood, inspired by Böcklin’s painting “A villa by the sea”. advantage. Igor Ardašev played a Yamaha and according to the programme leaflet (in Czech Ballade: Villa by the Sea, H. 97 (Symphonic his wife Renata a Steinway. For me, the revela- only). The composer himself was present to Dance No.4), was composed in Polička when

martinůrevue32009 | 15 > THE DELIGHTS OFTHE MORAVIAN AUTUMN FESTIVAL review

Ivo Kahánek & Brno Philharmonic, 16 October 2009 photos petr francán

Martinů was in his twenties with no prospect that the microphones of Czech Radio were not brilliant fantasy vein. The beautifully scored of an actual performance. The present perform- present to document this unusual premiere; A Dream of the Past, H.124 – while redolent of ance was the first in Sandra Bergmannová’s though three days later, the Brno archive Debussy’s Prelude a l’ après-midi d’un faune, it is new edition of the score and she had been recording from 1967 of a heavily cut version still an amazing piece on its own merit – served on hand to advise during the rehearsal. It is conducted by Jiří Waldhans was broadcast. to heighten one’s admiration for La Mer, which strange, rather fascinating music, darkly The following Piano Concerto No.5, H. 366 received a refreshingly unimpressionistic romantic orchestral textures accompanying cor received a thoroughly committed performance performance – dull grey sea mists replaced anglais solos juxtaposed with solemn hymnic from both orchestra and soloist, reminding us by the sparkle of sunlight on water and the chordal passages on solo piano. What a shame what a fine piece this is, fully in Martinů’s most radiance of resounding brass. ❚

THE MARRIAGE PREMIERES IN BRNO / SCOTT ENGLUND FROM THE SMALL SCREEN to the stage, Pamela Howard breathed life into Martinů’s The Marriage, H. 341. Howard, director and scenographer, took on the comic two-act work photo petr francán which premiered in the Reduta Theatre in Brno on October 4 as part of the Moravian Autumn Music Festival. The Marriage was written as a television opera and was aired on NBC on February 7, 1953. Though adapted from Nikolai Gogol’s play set in St. Petersburg, the action is translated to take place in 1953 New York City. And while it was originally written in English, Howard’s production marks the first time a live performance of The Marriage kept the original The Marriage is much smaller in scale by com- the collection of set pieces is the collection of language. parison, but Howard was effective in avoiding characters that comedically fumble, stammer, No stranger to Martinů, Howard directed a diminuitive performance. Her “found object“ and sigh as they attempt to arrange a mar- and designed The Greek Passion, H. 372 I, aesthetic was complete from the paper bag city riage. The chamber orchestra (reduced version in 2005, which was performed in what once placed between the two New York apartments by Udo Zimmermann and René Hirschfeld) was a Byzantinne prison in Greece, Thessaloniki. to the hodge-podge assortment of chairs provided Martinů’s charming score, reminding The production was recieved with rave reviews. arranged for audience seating. But more than the listener of his whimsical side. ❚

16 | martinůrevue32009 DNI MUZYKI BOHUSLAVA MARTINŮ THE POLISH CITY of Krakow has participated too news in the commemorations of the Martinů anniversary. Between 18 and 23 October 2009 the local Music Academy (Akademia Muzyczna w Krakowie) hosted six evening concerts and two colloquiums. The organisers and implementers of the project were Jan Kalinowski and Marek Szlezer, pedagogues at the Music Academy (cello and piano). The pro- THE “LOST” SCORE grammes comprised Martinů’s chamber works for THE ORCHESTRAL SCORE of the 1939 (second) violin and viola, piano and cello. A novel aspect of version of Martinu’s Cello Concerto No.1, the festival was a jazz evening devoted to Mar- H.196 II, specially created for Pierre Fournier, tinů’s jazz-influenced compositions. The evening has hitherto been classified as “lost”. Extensive included students’ jazz improvisations on themes enquiries by Greg Terian over a prolonged period by Martinů. Performing at the concerts were have resulted in the discovery of the missing professors as well as final-year students. All the score together with other significant findings. Martinů compositions were performed at a very He has also identified what is probably high level indeed. The Martinů Days in Krakow the only extant radio recording of this version were co-organised by Prague’s Bohuslav Martinů of the Concerto which has not been heard Institute. www.dnimuzyki.art.pl Jan Kalinowski (cello) & Marek Szlezer (piano) for some 50 years. The music is markedly www.cracowduo.com different to that of the final version of 1955 with which we are all familiar. A full report on the discoveries will appear in 2010. STRING TRIOS IN JAPAN & UNITED KINGDOM ALL OVER THE GLOBE, audiences are introduced to new Martinů AMEROPA 2009 compositions. His String Trio No.1, TH H.136 (1923) is making its intro- 16 EDITION duction to audiences in two CONCERTS within the realm of the Ameropa regional premieres this season. International Chamber Music Festival and On October 13, 2009, the trio was Courses took place in Prague, Brandýs nad performed in Persimmon Hall in Labem and Polička (11 July–2 August 2009). Tokyo, Japan in a performance In addition to organized by the Martinů Society specialist classes, in Japan. The performers were the courses com- Kanako Endo (violin), Chika Omae Kanako Endo (violin), Chika Omae (cello) and Go Tomono (viola) prised lectures by (cello), and Go Tomono (viola). Prof. Ivan Štraus on In a second performance, the String Trio No. 1 saw its UK premiere performed by the Lendvai Bohuslav Martinů, String Trio on November 15, 2009. The performance was held in the Wigmore Hall in London. the 50th anniversary Scott Englund of whose death we are commemorating this year. NEW ARTICLE Within the REASSERTING the Centrality of Musical Craft: Martinů and his American chamber music Diaries, by Svatos, Thomas D (The Musical Times 2 (2009), 55-70. section more than 40 compositions were per- This article presents a summary of Martinů’s aesthetic priorities formed at the concerts – 11 of them by as found in the composer’s American Diaries. Topics explored include Bohuslav Martinů. Ameropa participants played Martinů’s refutation of hermeneutic and formal analysis; his views on four serenades in Polička at a promenade the creative process of composition; his views on musical epistemology; concert in the local park to a large number his views on musical reception; and his thoughts on performance of spectators. practice and compositional pedagogy. It seeks to challenge some com- The courses were attended by some 70 monly held assumptions about the composer, such as his purported active and passive participants from the Czech indifference to his own works. The article concludes with a reappraisal of Martinů’s creative legacy Republic, USA, Japan, France, Italy, Taiwan, in light of his desire to reestablish musical craftsmanship as the central premise in musical culture. Korea, Serbia and Spain. www.ameropa.org www.musicaltimes.co.uk/archive/0902/index.html

martinůrevue32009 | 17 30—31 January 2010 11 & 12 March 2010 THE 65TH PRAGUE SPRING > Nightingale Concert Hall, > Rudolfinum, Prague, CZ INTERNATIONAL Reno, USA www.ceskafilharmonie.cz MUSIC FESTIVAL www.renochamber Symphony No. 1, H. 289 Prague, 12 May–4 June 2010 orchestra.org Czech Philharmonic Orchestra 16 May 2010 / 4.00 + 8.00 pm Sinfonietta La Jolla, H. 328 Jiří Bělohlávek (Conductor) > National Theatre, Prague, CZ events Reno Chamber Orchestra Bouquet of Flowers, H. 260 Theodore Kuchar (Conductor) 13 March 2010 Prague Philharmonia > Einav Center, Roman Válek (Conductor) 2 February 2010 Tel Aviv, Israel Kateřina Kněžíková, > Cadogan Hall, www.israstage.com/venue Markéta Cukrová, London, Great Britain /EinavCultureCenter ‹vCONCERTS—› Tomáš Kořínek, www.cadoganhall.com Piano Quartet, H. 287 Adam Plachetka (Soloists) Concerto for Two Violins Israel Piano Quartet 9 & 10 December 2009 and Orchestra, H. 329 Prague Philharmonic Choir Lukáš Vasilek (Chorusmaster) > Concertgebouw, Czech National Symphony Orchestra 15 March 2010 Kühn Children’s Choir Amsterdam, The Netherlands Antonín Hradil & Veronika Novotná > Rudolfinum, Prague, CZ Jiří Chvála (Chorusmaster) www.concertgebouworkest.nl (Violin) www.pkf.cz 12 December 2009 Hradišťan Dance Company Libor Pešek (Conductor) Double Concerto for Two String > Barbican Center, Ladislava Košíková (Choreography) Orchestras, Piano and Timpani, London, Great Britain 4 & 5 February 2010 Alena Vaňáková (Director) H. 271 www.barbican.org.uk > Rudolfinum, Prague, CZ Prague Philharmonia 24 May 2010 / 8.00 pm 15 December 2009 www.ceskafilharmonie.cz Jakub Hrůša (Conductor) > Rudolfinum, Dvořák Hall, Prague, CZ > Musikverein, Symphony No. 5, H. 310 Concerto for Oboe Wien, Austria Czech Philharmonic Orchestra 1 & 2 April 2010 and Small Orchestra, H. 353 www.musikverein.at Vladimír Válek (Conductor) > Rudolfinum, Prague, CZ Concerto for Flute, Violin 18 December 2009 www.ceskafilharmonie.cz and Orchestra, H. 252 > Bozar Centre for Fine Arts, 25 & 26 February 2010 Symphony No. 4, H. 305 Prague Chamber Orchestra Brussels, Belgium > Rudolfinum, Prague, CZ Czech Philharmonic Orchestra Ondřej Kukal (Conductor) www.bozar.be www.ceskafilharmonie.cz Jaap van Zweden (Conductor) Maurice Bourgue (Oboe) Double Concerto for Two String The Frescoes of Piero della Francesca, H. 352 Clara Novakova (Flute) Orchestras, Piano and Timpani, 8—10 April 2010 Symphony No. 6 František Novotný (Violin) H.271 > Rudolfinum, Prague, CZ (Fantaisies Symphoniques), H. 343 Royal Concertgebouw Orchestra www.ceskafilharmonie.cz 30 May 2010 / 8.00 of Amsterdam Czech Philharmonic Orchestra Symphony No. 3, H. 299 > Municipal House, Smetana Hall, Sir John Eliot Gardiner (Conductor) Mariss Jansons (Conductor) Czech Philharmonic Orchestra Prague, CZ Concerto for Piano and Orchestra 4 & 5 March 2010 Tomáš Netopil (Conductor) 16 December 2009 No. 4, “Incantations”, H. 358 > Rudolfinum, Prague, CZ > Liederhalle Beethovensaal, Czech Philharmonic www.ceskafilharmonie.cz 14 April 2010 Stuttgart, Germany Zdeněk Mácal (Conductor) Double Concerto for > Lighthouse, Poole, UK www.liederhalle-stuttgart.de Garrick Ohlsson (Piano) Two String Orchestras, www.bsolive.com The Frescoes of Piero Piano and Timpani, H. 271 Symphony No. 6 della Francesca, H. 352 Czech Philharmonic Orchestra (Fantaisies Symphoniques), H. 343 Stuttgart Radio Symphony Orchestra CONCERTS OF INTERNATIONAL Eliahu Inbal (Conductor) Bournemouth Symphony Orchestra MARTINŮ CIRCLE MEMBERS Ludovic Morlot (Conductor) Marin Alsop (Conductor) 4, 5 & 7 March 2010 IMC member, The Stamitz Quartet, 19 December 2009 > Concertgebouw, 6 & 8 May 2010 opened the EuroArt festival in Prague > Rosengarten, Amsterdam, The Netherlands > Symphony Center, on September 8, 2009. The ensemble Mannheim, Germany www.concertgebouworkest.nl Chicago, USA joined with Valérie Hartmann-Clavérie www.rosengarten-mannheim.de The Frescoes of Piero www.cso.org on an Ondes Martenot to perform the The Frescoes of Piero della Francesca, H. 352 The Frescoes of Piero Fantasia for Theremin with Oboe, della Francesca, H. 352 Royal Concertgebouw Orchestra della Francesca, H. 352 String Quartet and Piano, H. 301. Stuttgart Radio Symphony Orchestra of Amsterdam Chicago Symphony Orchestra Also on the program was the String Ludovic Morlot (Conductor) Sir John Eliot Gardiner (Conductor) Ludovic Morlot (Conductor) Quartet No. 5, H. 268, which the quartet performed on November 9, 2009 22 December 2009 6 & 7 March 2010 8—9 May 2010 for the Society for Chamber Music > Slovak National Theatre, > Petronas Philharmonic Hall, > Los Medanos College in the Rudolfinum in Prague. Bratislava, Slovakia Kuala Lumpur, Malaysia Recital Hall, Panocha Quartet, also IMC www.snd.sk www.malaysian Pittsburg, USA member, is going to play on 4 February The Miracles of Mary, H. 236 philharmonic.com www.contracostachamberorchestra 2010 in Kaufmann Concert Hall, New Orchestra Chorus of Violin Concerto No. 2, H. 293 .org York City, USA, String Quartet No. 7 Slovak National Theatre Malaysian Philharmonic Orchestra , H. 161 (Concerto da camera), H. 314 by Jaroslav Kyzlink (Conductor) Isabelle Faust (Violin) Contra Costa Chamber Orchestra Bohuslav Martinů. ❚ Claus Peter Flor (Conductor) 7—9 January 2010 15 May 2010 9 March 2010 The program subject to change > Schermerhorn Symphony Center, > National Museum of Natural History, Nashville, USA > Petronas Philharmonic Hall, Washington, D.C., USA This is only a selection of Martinů’s www.nashvillesymphony.org/ Kuala Lumpur, Malaysia http://residentassociates.org performances all over the world. The Frescoes of Piero www.malaysian Three Madrigals for Violin More events can be found at della Francesca, H. 352 philharmonic.com and Viola, H. 313 www.czechmusic.org and Nashville Symphony Sonatina for Clarinet Members of the Emerson www.martinu.cz, Section ‘Bohuslav Giancarlo Guerroro (Conductor) and Piano, H. 356 String Quartet Martinů’, Subsection ‘Calendar String Trio Chamber Players of Malaysian of events’. Philharmonic Orchestra

18 | martinůrevue32009 WOULD YOU LIKE MICHAEL CRUMP: TO OBTAIN ALL THE MARTINŮ AND THE SYMPHONY ISSUES OF MARTINŮ THOSE WANTING to delve deeper into Martinů’s symphonic works should take note of Michael Crump’s upcoming book, Martinů and NEWSLETTER? the Symphony. It was released on November 2009 by Toccata MARTINŮ NEWSLETTER (since 2009 The Press. The book is written in English and provides a thorough analy- Martinů Revue) has been published three times sis of Martinů’s symphonies as individual works and as a standout a year since 2001. We can provide back collection of his total canon of compositions. Along with his issues of the Martinů Newsletter for the six symphonies, Crump covers Martinů’s The Frescoes of Piero prices listed bellow. della Francesca, H. 352 and The Parables, H. 367. Scott Englund MARTINŮ NEWSLETTER 2001–2007 978-0-907689-65-2 / c. 550 pages / Hardback: £ 50.00 approx. 1 volume (3 copies) – 5 Euro / 7 USD buy online from: www.toccatapress.com/books 2 volumes (6 copies) – 10 Euro / 12 USD 3 volumes (9 copies) – 12 Euro / 15 USD 4 volumes (12 copies) – 14 Euro / 16 USD MILOSLAV BUREŠ: CONTACT: Jana Honzíková, [email protected] THE OPENING OF THE SPRINGS Contents of the past issues can be found MILOSLAV BUREŠ’S poetic text, which later on served as the at www.martinu.cz, Section ‘Societies’, literary basis for Bohuslav Martinů’s cantata, is being published Subsection ‘International Martinu Circle’. in a new edition with illustrations by Pavla Pavlíčková by the publishing house Argo. The book is supplemented by a CD recorded with the participation of the Jitro Children’s Choir under Jiří Skopal and featuring the National Theatre soloist Luděk Vele. Recitation: Alfred Strejček. This attractive new publication can be purchased for CZK 180 from the Municipal Library in Polička, the Bohuslav Martinů Centre, selected information and tourist centres, bookshops and the internet bookshop Kosmas: www.kosmas.cz (Book + CD) published by ARGO and the Municipal Library in Polička

NEW CDs

Martinů: Piano Concertos Nos 2 & 4, etc. Martinů Martinů Complete Overture for Orchestra, H.345 8 Préludes, H.181 Piano Music No.7 Piano Concerto No.2, H.237 Les Ritournelles, H.227 A Fairy-Tale of Goldilocks, H.28 Piano Concerto No.4 “Incantation”, H.358 Marionnettes I, H.137 From Andersen’s Fairy-Tales, H.42 Les Fresques de Piero della Francesca, H.352 Marionnettes II, H.116 Ballade, Chopin’s last chords, H.56 Robert Kolinsky – Piano Marionettes III, H.92 Merry Christmas, H.286 Vladimir Ashkenazy – Conductor Paul Kaspar The Little Lullaby, H.122 and many others Sinfonieorchester Basel Recorded in 2009 / Tudor 7148, 2009 Giorgio Koukl Recorded in 2005, 2007 / Ondine, ODE 1158-2, 2009 Recorded in 2008 / Naxos 8.572025, 2009

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