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

GREEK PASSION IN PALERMO AUTOGRAPHS FROM MAY—AUGUST 2011 VOL.XI NO.2 ALPHONSE LEDUC IN PARIS MARTINŮ VOICES NEW PUBLICATIONS & CDs EVENTS NEW CDs

ERNEST ANSERMET contents COLLECTION Martinů: Symphony No. 4, H. 305 Orchestre de la Suisse Romande, 3 highlights / events Ernest Ansermet (Conductor) Recorded on 15 March 1976 RSR Geneve 4 incircle news Cascavelle VEL 3127, 2011 6 review Palermo. The Ascension of Manolios the Shepherd RUDOLF ROUČEK 8 research Bohuslav Martinů Autographs BEETHOVEN, SMETANA, from Alphonse Leduc in Paris MARTINŮ ALEŠ BŘEZINA Sinfonietta La Jolla, H. 328 Laureates’ Concert Czech Chamber Philharmonic at the Spring Orchestra Pardubice Tomoko Asahina (), 10 Marko Ivanović (Conductor) news A Martinů Portrait – In Tel Aviv! Recorded 2010 / ARCODIVA, UP 0136-2131, 2010 Veronique & Igor Firkušný visit the Bohuslav Martinů Institute 11 special series List of Martinů’s Works XII

MARTINŮ 12 interview Chamber Music with Flute Martinů for Voices – Interview Sonata for Flute, Violin and Piano, H. 254 with the Choirmaster Lukáš Vasilek Sonata for Flute and Piano, H. 306 Sextet for Piano and Woodwinds, H. 174 14 review Trio for Flute, Cello and Piano, H. 300 The Six Symphonies/Jiří Bělohlávek Fenwick Smith (Flute), Sally Pinkas (Piano), ONYX John Ferrillo (Oboe), Thomas Martin (Clarinet), 15 memoirs Richard Ranti, Suzanne Nelson (Bassons), Haldan Martinson (Violin), Rhonda Ryer (Cello) 16 obituaries Recorded 2002–2007 / Jan Kapusta, Dietfried Bernet, Naxos 8.572467, 2010 18 events 19 new publications / cd events highlights (FESTIVALS)

BOHUSLAV MARTINŮ DAYS 2011 17th MARTINŮ FESTTAGE 2011 13 November—26 November 4 December 2011 / Martinů Hall / Academy of Performing Arts in Prague / Basel, Switzerland Malostranské nám. 13 / Prague www.martinu.ch Concert of Prize-Winners Artistic Director: Robert Kolínský from the 2011 Martinů Foundation Competition in the Category of Piano Titular Patronage: Didier Burkhalter – Federal Councillor, Václav Havel – Ex-President 7 December 2011 / Martinů Hall / HAMU / Malostranské nám. 13 / Prague of the , Josef Suk †, Violinist th Concert to the 5 Anniversary of Viktor Kalabis’ Death 13 November 2011 Piano recital – Jiří Kollert > the bird’s eye jazz club KALABIS Allegro impetuoso for Piano / Three Polkas for Piano / III. Sonata, Op. 57 Opening concert – JAZZ MARTINŮ Butterflies and Birds of Paradise, H. 127 «Marti-new» Rolf Zielke (Piano) / Three Czech Dances H. 154 / Sonata, H. 350 Stephan Braun (Cello) Stephan Abel (Saxophone) 21 & 22 December 2011 / Dvořák Hall / Rudolfinum / Alšovo nábřeží 12 / Prague Adaptions of works by Bohuslav Martinů CZECH PHILHARMONIC CONCERT and Georg Friedrich Händel BEETHOVEN Concert for Piano & Orchestra No.5 E flat major op.73 “Emperor” 16 November 2011 MARTINŮ Intermezzo, H. 330 > Museum Tinguely TCHAIKOVSKY The Nutcracker, Suite from the Ballet Family concert «MARTINŮ, the sounding biography» > Czech Philharmonic Orchestra, Piers Lane (Piano), Concept and direction: Bernhard Dittmann Petr Altrichter (Conductor) ac Narrator: Kurt Aeschbacher Musicians: Price winner of the musical schools www.ceskafilharmonie.cz / www.martinu.cz Basel-Land

20 November 2011 > Stadtcasino Basel, Festsaal Chamber concert INTERNATIONAL MARTINŮ CIRCLE Sept arabesques – études rythmiques BOARD MEETING & CONCERT IMC NEWS pour violoncello et piano, H. 201 Nocturnes – four etudes for violoncello 15 October 2011 / beginning of the concert at 3 pm / IMC / Bořanovická 14 / Prague 8 and piano, H. 189 STAMITZ Trio Sonata in F Major, Op. 5 No. 4 for Oboe, Clarinet, Basoon and Piano Variations on a Theme of Rossini for cello an piano, H. 290 MARTINŮ Two Songs, H. 213bis / Sonatina for Clarinet and Piano, H. 356 Hélène Grimaud (Piano) / Madrigals Nos 2 and 3 for Oboe, Clarinet, Basoon, H. 266 Jens-Peter Maintz (Cello) KŘIČKA Albatros and U skandinávských skal from Northern Nights, op. 14 Introduction: Prof. Giselher Schubert

GRETHEN Three on a Rerun for Oboe, Clarinet and Bassoon 22 November 2011 > In modo camerale (IMC members) – Daniel Wiesner (Piano), Jana Brožková (Oboe), > Stadtkino Basel Ludmila Peterková (Clarinet), Jaroslav Kubita (Bassoon) Cinema «KEEP THE BEAT!» Eva Garajová (IMC member) – Mezzo- Documentary film about the educational project The concert is sponsored by Mr. Geoffrey Piper of MusicEnterprise, Luxembourg, member of the IMC “Špalíček” directed by Olga Sommerová with a choreography from Eva Blažíčková SCREENING of the documentary Drž rytmus! (Keep the Beat!) (with German subtitles) educational project “Špalíček” by Olga Sommerová 26 November 2011 > Martinskirche CZECH PHILHARMONIC CONCERT Final concert – orchestra 13+14 October 2011 / 7.30 pm Intermezzo, H. 330 Dvořák Hall / Rudolfinum / Alšovo nábřeží 12 / Prague Concerto for Cello and orchestra No. 1, H. 196 III MARTINŮ Concerto for Piano and Orchestra No. 4 Deutsche Kammerphilharmonie Bremen “Incantation”, H. 358 ef Heinrich Schiff (Conductor) > Igor Ardašev (Piano), Eliahu Inbal (Conductor) Christian Poltéra (Cello)

martinůrevue22011 | 3 which included works by Biber and Zelenka. i Flautisti will be giving concerts in Austria, Switzer - land and the Czech Republic during the summer and will be returning to the UK to participate in the Leamington Music programme on 12–14 October. incirclenews THE NAXOS CD (8.572588) of first recordings of Martinů’s unpublished early songs has now been released. The performances by Jana Wallinge rová ) INTERNATIONAL and Giorgio Koukl are splendid with recorded sound to match. Giorgio Koukl deserves the highest MARTINŲ CIRCLE NEWS praise for his endeavours in getting these songs / GREGORY TERIAN performed and recorded for our enjoyment. (It has been brought to my attention that apart THE ONYX ALBUM of the six Martinů symphonies from many typographical errors, especially in the as performed by the BBC Symphony Orchestra Czech texts, and inaccuracies over the accreditation of conducted by Jiří Bělohlávek is now available i Flautisti Karel Janovický’s translations, the CD label and notes (ONYX 4061). Those who attended the Barbican wrongly list the order in which song no. 30 appears con certs or heard the Radio 3 broadcasts from H. 365. One of the performers on that disc, Danielle on the disc. Hopefully Naxos will quickly rectify these which these recordings are derived will need no Jalowiecka, has since joined with Kerstin Kubitschek, faults via their related website.) reminding of the exceptional quality of the per form - Jitka Smutná and Ilona Veselovská – friends from ances secured by Bělohlávek. They include his their student days at the Royal College of Music – first recording of the Symphony No. 2. Bělohlávek’s to form i Flautisti – the Recorder Quartet. ON 27 SEPTEMBER 2011 Second Movement Opera Martinů goes from strength to strength and the BBC They have already achieved critical acclaim with will be staging a concert at the Grosvenor Chapel, Symphony Orchestra makes an ideal partner in this successful appearances at the Brighton Festival, London W.1. The programme will include Martinů’s enterprise. This set will surely stand as the bench - Grassington, St Martins-in-the-Fields and on BBC Opening of the Springs, H. 354 con ducted by mark for future aspirants. The three discs come Radio 3. Nicholas Howard and the String Quartet No. 3, in a handsome folding album and include a booklet They gave a very enjoyable concert at the Czech H. 183 performed by the Germini ani Quartet. The with notes by our member Michael Crump, author Embassy in London on 23 June 2011. In a varied and concert is being given to promote the forthcoming of the highly praised Martinů and the Symphony entertaining programme, they included another Olympic commission Zatopek!, the mini opera com - recently published by Toccata Press. The CD trans- performance of the Martinů work which continues posed by Emily Howard which will be receiving its fers have been expertly done. Audience applause to delight audiences. Danielle was joined by Jitka world pre miere in Liverpool on 15 June 2012. The has been edited out. Onyx has a facebook page and in that performance. The major event of the evening keenly anticipated Second Movement production of would welcome any comments posted. was the world premiere of a three movement Martinů’s The Three Wishes, H. 175 will follow in Quartet for Recorders specially composed for the November 2012. The venue will be a working film group by Karel Janovický. This engaging work fully studio in East London. One cannot imagine a more MEMBERS MAY RECALL the Martinů Foundation exploits the technical brilliance and youthful élan appropriate setting for the British premiere of this 2007 CD which included the world premiere record - of the players. It received an enthusiastic reception innovative film-opera. (More information from ing of the Martinů Divertimento for two recorders, from the audience, as did the entire programme, [email protected])

) BLANCHE HONEGGER MOYSE / 1909–2011 WE WERE SADDENED TO LEARN of the death of the Concerto, recounting: “I remember saying to Blanche Honegger Moyse on 15 February at the Martinů after the first performance that he had age of 101. She was the last survivor of the group not given the violin enough to do. So he added of Martinů’s friends from the time of his stay in a cadenza which was very difficult! – as was every - Paris in the 1930s. thing he wrote.” Born in Geneva in 1909, Blanche began her violin The Moyse family left Europe after the war and studies at the age of eight. She became a protégé of eventually settled in . In 1951 they joined Adolf Busch, the eminent violinist of the inter-war with Adolf and Herman Busch and Rudolf Serkin to years. During her early concert career Blanche also establish the Marlboro Festival which continues to came to know the legendary flautist . flourish to this day. The music of Martinů featured When she moved to Paris to continue her studies, prominently in the Festival programmes. she resided with the Moyse family. Marcel created In the 1960s Blanche was obliged to give up the Moyse Trio in 1933 with Blanche and his son performing as a violinist due to bowing arm stress. Louis. Blanche and Louis later married. She turned to conducting and embarked on a suc - The Moyse Trio came to be celebrated inter na - cess ful new career, specialising in the performances tion ally as one of the pre-eminent chamber of the choral music of Bach. Another of her many ensembles of their era. They made some notable achievements was the founding of the Music Center recordings for the HMV label, including that of at Brattleboro where she lived. She conducted her the Sonata for Flute, Violin and Piano, H. 254 last concert there in 2004. which Martinů composed for them. It was the first Blanche was awarded the Bohuslav Martinů recording of a work by the to receive Medal in 2006 and only recently accepted our international acclaim.* Martinů also composed the invitation to become one of the Founding Members beautiful Concerto for Flute, Violin and Orchestra, of the International Martinů Circle. Blanche Honegger Moyse H. 252 for Marcel and Blanche. They gave the world A memorial service was held at All Souls Church, premiere of that work in Paris in December 1936. Brattleboro on 21 May to honour the life and * This recording appeared on the Martinů Foundation With kind help from her daughter Dominique, achieve ments of a celebrated musician of the CD “Bohuslav Martinů Days 2005” (Promo 10), I was able to contact Blanche in 2005. She recalled 20th century. copies of which are still available to subscribing an amusing incident relating to the premiere of Gregory Terian, Chairman members of the IMC.

4 | martinůrevue22011 he ie yearinPrague. three timesa published The MartinůRevue is Republic, codeNo. MKCRP000Q857. theMinistryofCultureCzech of Published withthefinancialsupport the Bohuslav MartinůFoundation Prague. in Praguewiththefinancialsupportof tion withtheBohuslav MartinůInstitute collabo International MartinůCirclein the publishedby Martinů Newsletter)is MK ČRE18911 ISSN 1803-8514 Photo Franco Lannino Passion, Teatro Massimo, Palermo, Italy Staging ofMartinů’s operaTheGreek Cover Printing Graphic Design MartinůCenterinPolička Bohuslav the collectionsof Institute’sarchive, and The BohuslavMartinůFoundation’s Photographs Translation www.martinu.cz e-mail: [email protected] Czech Republic Praha8-Kobylisy, Bořanovická 14,18200 22688846 IČ: International MartinůCircle, o.s. Publisher’s Office Justin Krawitz(withspecialthanks) Bohuslav MartinůInstitute Zoja Seyčková&LucieHarasim, Editors MARTINŮ REVUE

www.cbmpolicka.cz tel.: +420461723857 Polička Tylova 114,57201 Bohuslav MartinůCenter andstudyroom. audio-visualhall an and furniture.Thecentrealsocontains classroom, completewithperiodpainting reproductionofMartinů’s comprises a child. Consequently, theprojectalso a as council school,whichMartinůattended in thehistoricalbuildingofformer Bohuslav Martinů’slifeandworkislocated poser’s lifeandwork.Themoderndisplayof actively conceivedexhibition onthecom - IN POLIČKA THE BOHUSLAV MARTINŮ CENTER THE PREVIOUS ISSUE BOOM TISK,spol.sr.o. b Hilda Hearne offers aninteresting,inter - David E.Cígler (formerly Bohuslav ra - [2011 SUBSCRIPTIONPAYMENTS) [IMC BOARDMEETING&CONCERT) [RETIREMENT OFCHAIRMAN) [JAKUB HRŮŠA-THEFIRSTIMCPRESIDENT) (Programme seeonpage3) bers oftheIMCwhowillbeinPragueatthistimearealsocordiallyinvitedtoattend. ( tion withJakubintheyearstocome. longandhappyassocia- bution tothecontinuingsuccessofIMC.We anticipatea ) contact [email protected]. tinue todoso.Thosewishing pay inCzechcurrencyorbycashshould Members whopaytheirsubscriptions viatheDvořákSocietyshouldcon- > > > > > > > > listofourinternationalcontacts: through theirusualchannels.A memberstoforwardtheir2011subscriptionpayments WE WOULD REQUEST 8at Prague a OCTOBER 2011 THE MEETINGON15th newchairman. tober willconsidertheappointmentofa toppriorityfortheBoard.ThemeetingofBoardon15Oc- regards thisasbeinga who arefullycommittedtothecontinuingenlargementofIMCmembership.He Board willbebestservedbytheintroductionofsomenewmemberswithfreshideas effect from28September2011,thedateofhis80thbirthday. Hebelievesthatthe GREG TERIAN An interviewwithJakubHrůšabyAlešBřezinawillappearinthenext editionoftheRevue) 37 Denkendorf,Germany 73770 Knopgatan 6,60385Norrköping,Sweden 3055 WEastwoodAve #3,Chicago,IL60625,USA Gortersweg 6,1871CCSchoorl, L–1322Luxembourg +352-474269, 24,ruedesCerisiers,Luxembourg, 1Résidence FOCH,92380Garches, 11 Croft,Storrington,RH204BEGreatBritain Warren 3 Petra Richter (Germany) Jaroslav Šonský(Sweden) Robert Simon(USA) Gert Floor(Netherlands) Geoff Piper(Belgium,Luxembourg andAustria) Mari Tokuda (Japan) Patrice Chevy(France) Boswell(GreatBritain) Phillip C. ] small concert INCIRCLE 3 p.m. a indicatedhisintentiontostanddownasChairmanoftheIMCwith has in theHallofBohuslavMartinůFoundation inBořanovická14, Members oftheCzechMartinůSocietywillbeinvited.Anymem- etn h rsdnyadlosfradt aigafullcontri- cepting thePresidencyandlooksforwardtomakinga Czech Republicandabroad.Hehasexpressed hisdelightinac- performances ofthecomposer'sorchestralworks,bothin love forthemusicofMartinůandhasgivensomememorable great viable internationalreputation.Mostimportantly, hehasa the youngergenerationofconductorsandisfastbuildinganen- Members willknowthatheisoneofthemosthighlyregarded President oftheInternationalMartinůCircle. Hrůša haskindlyacceptedourinvitationtobecomethefirst AMHAPPYTO INFORM I NEWS , [email protected],mobilenumber216-973-7716 [email protected] 8 3 9 9,+139990793 359 395,+81 393 339 , [email protected],+81 hv.arc@rnef,+33675620321, , [email protected], [email protected],Furtstraße 46, , , [email protected],+31725095262, , [email protected], +4611318475, , new e-mail: ❚ will beginat members thattheconductorJakub d [email protected], , [email protected], 10 a.m. Jana Honzíková,secretary Gregory Terian, Chairman It willbefollowedby > > INFORMATION MEMBERSHIP &SUBSCRIPTION InstituteinPrague. Martinů slav MartinůFoundation andBohuslav obtainable commercially. from theannualMartinůFestival not performances andarchivalrecordings containing worldpremieres,historic speciallimitededitionCD yearplusa a Martinů Revue Members receivetheillustrated GENERAL INFORMATION > BernhardMohr, Switzerland > Ray Latham, GreatBritain > NicolasDerny, Belgium > AlanBuribajev, Kazakhstan (in alphabeticalorder) WELCOMES NEWMEMBERS PAYMENT.YOUR THAT WECANIDENTIFY SO VIABANK TRANSFER PAY YOU YOUR NAMEWHEN ADD PLEASE DEAR MEMBERS, > > 8 0 Praha8-Kobylisy, CZ 182 00 Bořanovická 1779/14 The InternationalMartinůCircle, o.s. e-mail: tel.: +420 Honzíková Jana of theMartinůRevue contact: For furtherdetailsandforsinglecopies photo zdeněk charpek edition CD 3copiesofthespeciallimited PLUS includes 10copiesofeachRevue MEMBERS: 25 EUR/30USD18GBP 80 CZK/3EUR4USD+postage 10 EUR/250CZK yearsofage: under 25 SUBSCRIPTION FOR CORPORATE YEARLY SUBSCRIPTION: SINGLE COPIESOFTHEREVUE: SPECIAL RATE formusicstudents The IMCissupportedbytheBohu International MartinůCirclePatron +420 [email protected] 731 419873 284 691529, 100 EUR published threetimes martinů Magdalena Kožená – revue 2 2011 | - 5 THE review PALERMO ASCENSION / RUDOLF ROUČEK

THE TEATRO MASSIMO in Palermo had a pleas ant surprise in store for us. It had included in its dramaturgical plan one of Bohuslav Martinů’s key operas – The Greek Passion, H. 372 I (1957). The theatre chose the until recently unknown first (London) version of the work, which was revised and prepared for performance by Aleš Březina, a vigilant custo dian and tireless champion of the creative legacy of the world-class Czech composer who spent most of his life abroad yet never severed his emotional ties with his homeland, especially his native Polička. Even though this Martinů work has yet to occupy the place it so rightly deserves in the repertoire of concert halls and opera houses, it has evidently been taking ever deeper root in the awareness of music-loving audiences worldwide. The increasing regularity with which the work is performed on opera stages bears witness to this, as does the psychological realism. Each scene quivered with version. Naturally, the question arises as to the enthu siastic – at times wildly so – response dramatic tension and emotional opalescence. role of the narrator (Elias Schilton). Although from audiences. Michieletto was duly supported by the set I would prefer there not to be one, as is the The opera’s first version is compositionally design (Paolo Fantin), with the basis of the case in the later version, the narrator was well more loosely constructed; it may be said that it pageant being a multi-storey light-grey building, integrated. reflects Martinů’s personal theatrical concept, standing on a turntable. The numerous spaces A far as soloists are concerned, there are which he had presented in all of his previous allowed for variability, thus proving to be ideal many characters, large, medium and small. And works and which essentially espouses an for the work’s episodically fragmented form. all were portrayed brilliantly. Sergey Nayda, in operatic aesthetic different to that represented The building became a sort of labyrinth through the lead role of Manolios, created a monolithic by the classical form. Musical numbers do not which all the characters pass and squeeze their character, his scenes with Katerina bursting culminate in dramatic high-points, taking effect way on their thorny journey. Of course, it is with extreme passion, those with his fiancée rather through the linking together of lyricism rather a sort of a palace that has little in com - Lenio pulsating with self-torment and remorse; and inwardly charged drama, as well as through mon with the village and the rural pattern of his struggle to fulfil his fate and the newly set the combination of a peculiar humour with life. The majority of the rooms in which individ - life objective was quite arduous, replete with melan choly and the tragic lot it expresses. ual scenes take place are fitted with furniture quest and fumble, he goes through a real Calvary This version also uses a children’s choir in and lots of chairs, which gives the impression before arriving at the idea of self -sacrifice and a functional way, with the children cast as of a conference room, and many of the scenes redemption of all sinners. His performance was angels who at the end, follow ing Manolios’s do not seem to fit here. Yet this localisation truly magnificent and admirably supported the death, witness his ascension. This ascension has to be accepted, otherwise we would fail to work’s underlying concept. corresponds to The Greek Passion’s musical understand the production’s moral ethos, which The most striking performance among the catharsis and is the consum mation of the is strong indeed and manages to intensify the Czech singers was that of Jan Vacík, who por - production. work’s social and religious ideas. trayed Yannakos (with whom he was familiar The stage director Damiano Michieletto Now for the musical execution. The con - from the Zurich version) and in each phrase evidently possesses the happy gift of intuitively ductor Asher Fisch very precisely captured the man aged not only to expose the character’s sensing each situation’s lyricism, its dramatic specific quality of the work, which arises from social background, but also express the trans - tension and the inner collision of individual the co-existence of dramatic, lyrical and mys - formation of the greedy pedlar into an apostoli - phrases. This applies not only to the main char - teri ous elements. He also worked in afunctional cally minded Christian. His phrases enhanced ac ter but the peripheral ones too. Michieletto manner on the prose, which at many junctures the work’s tension, while never being devoid of appropriately blended the symbolic level with is dramatically much weightier than in the later humour. Another Czech singer, Martin Šrejma,

6 | martinůrevue22011 OF MANOLIOS THE SHEPHERD photos franco lannino / teatro massimo franco lannino / teatro photos

excelled as Michelis. Although appearing in (Old Man) warrants special mention for the great satisfied me but also confirmed the opera’s a minor role, he made use of each phrase to conviction with which he enacted the death inherent quality. It was an extremely convincing ren der the inner thoughts of the young man. scene with the blessing of the newly established performance. Thank you, Palermo! Noteworthy too were the outstanding perform - village. The orchestra, chorus (chorus master: ances of Mark S. Doss (Grigoris) and Louis - Andrea Faidutti), as well as the children’s choir

-Ottavio Faria (Fotis), as well as Judith Howarth (choir master: Salvatore Punturo), gave profes - B. MARTINŮ: The Greek Passion, H. 372/I (Katerina), who above all dazzled in an ex - sionally refined, concentrated and highly Teatro Massimo, Palermo, Italy tremely lyrical scene, and Beatriz Diaz (Lenio), animated perform ances. 29 April 2011 – PREMIERE who brilliantly depicted emotional conflicts and All in all, the production – the very first www.teatromassimo.it sexual hunger. When it comes to the episodic staging in Italy – was a great success. It met Reprinted from Harmonie, No. 6/2011 characters, the performance of Jeremy Milner with an enthusiastic response, which not only with their kind permission

A PROTEST AGAINST A WORLD GONE HAYWIRE AN OPERA ADDRESSING OUR TIMES: […] When Manolios, embodying Christ, leit mo - PALERMO SINGS ABOUT THE REFUGEE tivi cally sings his image of human Good, his PROBLEM melody, resembling a soundtrack to a Holly - wood blockbuster, almost comes across as THE OPERA ENSEMBLE on the stage of the schmaltzy. Yet that which makes this opera Teatro Massimo in Palermo foregrounds the a true artistic masterpiece is the breathtaking current socio-political situation. The experi - end of the action with the pentatonic scale of mental director Antonio Cognata did not have Orthodox liturgy and recourse to Czech folk to be in possession of extraordinary prophetic music in the best Janáček style. The conductor qualities to include Martinů’s The Greek Passion, Asher Fisch, who knows all about the fates of H. 372 I in the season’s repertoire, since this exiles and Israeli refugee camps, admits that work about obstinacy and, at the same time, he has been fascinated by Martinů’s opera for compassion for refugees fleeing war-ravaged years. Ably supported by the inspired Teatro regions unfortunately is and looks set to remain Massimo orchestra, he skilfully managed to an opera of the day. faced constant problems owing to their revive this Martinů piece – replete with rhythm, […] Bohuslav Martinů, a Czech who himself socialist (Kazantzakis) and democratic (Martinů) earthiness, as well as tender intimacy. spent half of his life abroad and after 1938 opinions, joined forces at the height of the cold Dirk Schümer lived in exile in Switzerland and the USA, was war in a cry for help. They expressed it in a sung Reprinted from Frankfurter Allgemeine instantly addressed by the humane theme of protest against the haywire world of post-war Zeitung, 4 May 2011, shortened his contemporary Kazantzakis. Two old, distres - Europe with its millions of uprooted souls and photo franco lannino / teatro massimo sfully uprooted men, who in the 20th century displaced persons.

martinůrevue22011 | 7 BOHUSLAV research MARTINŮ AUTOGRAPHS / ALEŠ BŘEZINA The archives of music publishers sometimes conceal treasures of which not IN THIS REGARD, even the archivists themselves are aware. Because of this, we do not make the Bohuslav Martinů Institute has managed do with just a card index when seeking Bohuslav Martinů autographs, but to establish a very close rather, on the basis of much experience, ask more extensive and specific and truly exemplary ques tions to help locate any relevant material. For example, we enquire co -operation with the about the archives of production departments (which conceal, among other Paris-based publishing things, copies for photographers or nearly forgotten proofs), materials from house Alphonse Leduc, lending libraries (sometimes, they surprisingly even contain autograph parts, and with Mr. Jean Leduc in particular. The direct Alphonse Leduc either written by the composer himself or proofed in his own hand) and descen dant of the com - correspondence archives (containing, among other things, lists of proofs pany’s founder is linked with Martinů through and other valuable information). It is of particularly great help to us that numerous personal bonds: he actually met the publishers are willing to let us browse their archives and divert their staff composer on several occasions, and his aunt, from more pressing tasks. the famous pianist Germaine Leroux, was the wife of renowned Martinů biographer Miloš Šafránek. Through these connections Leduc available to the Institute. A com plete list of having written almost 200 works, including feels a special emo tional affinity to the com - the facsimiles is given in the appen dix to this operas, ballets and orchestral pieces, the poser. Mr. Leduc understood the importance of report on page 9. reputedly easily composing Martinů felt the both Martinů’s musical and non-musical sources Of the array of extremely precious scores, need to draft a continuous sketch for a task as for our institute, especially with regard to the one of the most noteworthy is seemingly the simple as an instructional duo for two violins! ongoing work on the complete critical edition. least substantial: the draft of several parts of This finding, together with the discovery of Last winter, he has had all the autographs the cycle Études faciles, H. 191 (1930). What a large collection of particells and fragments of Martinů compositions from the Alphonse is so extraordinary about these two sheets of at the Paul Sacher Foundation, completely dis - Leduc archives photographed and made them paper? They demonstrate that in 1930, after proves the formerly wide-spread notion that REVIEW) LAUREATES’ CONCERT AT THE PRAGUE SPRING / PATRICK LAMBERT young players, it was immediately apparent that they love this music and they brought to FOLLOWING THE BROAD exposure of Martinů’s it a refined sense for its special nuances and music over the last two years, it is perhaps an engaging joie de vivre. understandable that he should receive rather They were followed by the Quartetto di Gioia less attention in this year’s Prague Spring (recently renamed as Korngold Quartet), who International Music Festival. Therefore it was won first prize in the Quartet category and Orbis Trio a special delight to catch a recital given on the also an award for the best interpretation of morning of 14th May 2011 in HAMU’s Martinů a Martinů work. They charmed us with a lovely trained at the Brno Conservatoire, brought out Hall by the winners of the Bohuslav Martinů performance of the String Quartet by Ravel, those qualities in an admirably judged and com - Competition, which took place last November. a composer whom Martinů admired almost municative account, enhanced by beautifully The programme opened with Martinů’s as much as Debussy. In an article published integrated sonority and fine ensemble – they Piano Trio No. 2, H. 327, played by the Orbis in 1929, Martinů wrote: “With Ravel we do not truly listened to one another, the first principle Trio, winners of the second prize in the Piano find explosive emotion, passionate exaggeration of chamber playing. Trio category as well as one of the recipients of of dynamic pathos, but we always encounter Finally, we heard the winners of the first prize a special award for the best interpretation of polished form … his expression is always pure, in the Piano Trio category, the Puella Trio – a work by Martinů. Listening to these excellent clear and precise.” These four young musicians, something of a misnomer, since their present

8 | martinůrevue22011 FROM ALPHONSE LEDUC IN PARIS

Martinů was a com poser who created one work after another without great deliberation and with the minimum of prepa ra tion. The example of the drafts of the Études faciles illustrates what every Martinů researcher realises in the course of time: that the very opposite was true. Martinů thoroughly thought over the scheme of every com postion – even the smallest – and only after completing a sort of a sketched piano score of the work, in which a clear idea of the concept was worked out, did he get down to the actual notation of the score. Naturally, given such a thorough prepa ration, writing out of the score took him a shorter time than is required in the case of a com po sition not well thought out in advance. The fact that at a certain time this detailed preparation resulted in his reputation for being a (too) quickly writing composer is one of the great paradoxes of the reception of 20th-century music. ❚

< Miloš Šafránek and his wife Germaine Leroux, Pleasantville, USA, 1941

<< Draft of Études faciles (Easy Etudes), H. 191

violinist is Roman Patočka, no girl at all! LIST OF PHOTOCOPIES BY JEAN LEDUC (status April 2011) I under stand that they have now changed BOHUSLAV MARTINŮ H. 195 Borová – Seven Czech Dances. 21 p. + 7 title pages. their name to the Eben Trio, and it was H. 161 A The Kitchen Revue – Suite from the H. 195 A Borová (Czech Dance No. 1) for Small with the Piano Trio by that they Ballet. 53 p. Orchestra. 13 p. + title page. demonstrated their virtuosity with a powerful H. 161 B The Kitchen Revue – Piano Version. H. 198 Sonatina for Two Violins and Piano. 25 p. + title page. sense of dynamism and drama. It suited well 26 p. + title page. H. 181 Eight Preludes for Piano. 35 p. + title page. the fraught and restless character of this H. 270 Windows to the Garden – Four Piano H. 184 Five Short Pieces for Violin and Piano. Pieces from the Holidays. piece composed in 1986, which, according 26 p. 12 p. + title page+2p. to the composer’s own testimony, arose H. 184 Five Short Pieces for Violin and Piano H. 356 Sonatina for Clarinet (B) and Piano. (violin part). 12 p. from the shock of the sudden paralysis of 19p. + title page + 2 p. H. 188 Vocalise – for Middle Voice and Piano. his daughter-in-law at a young age. H. 356 Sonatina for Clarinet (B) and Piano 3 p. + title page. All three performances were enthusias - (clarinet part). 6 p. H. 189 Nocturnes – Four Etudes for Violoncello H. 357 Sonatina for Trumpet (C or B) and Piano. tically received by a very attentive inter - and Piano. 24 p. + title page. 16. p. national audience and this event pro vided H. 190 Pastorals – Six Pieces for Violoncello a splendid showcase not only for the young and Piano. 35 p. + title page. NOTE: Moreover The Bohuslav Martinů Institute Czech musicians, but also for the activities H. 190 Pastorals – Six Pieces for Violoncello archive has got from the Leduc archive black and and Piano (draft). 3 p. of the Bohuslav Martinů Foundation. ❚ white copy of H. 182, Sonata No. 1 for Violin and H. 191 Easy Etudes for Two Violins.31p. Piano, 37 p. + title page, and photocopy of violin H. 191 Easy Etudes for Two Violins (draft).3 p. part of H. 182, 16 p. + title page from the recent H. 192 Miniature Suite – Seven Easy Pieces for time. Violoncello and Piano. 21 p. + title page.

martinůrevue22011 | 9 A MARTINŮ PORTRAIT IN TEL AVIV! news ADOLF HOFFMEISTER (1902–1973) was a very well known artist in his lifetime, as well as an author, diplomat, and librettist (he wrote the libretto to Hans Krása's Brundibár, performed in the Terezín concentration camp during the VERONIQUE & IGOR holocaust). But more than that, he was one of the best known painters of the time. FIRKUŠNÝ VISIT His biography had several very interesting parallels with that of Martinů: both lived THE BOHUSLAV in Paris through much of the 20's and 30's, both were anti-fascist and anti-Nazi and MARTINŮ INSTITUTE both escaped to the USA in 1940 and lived in New York. ON 16 MAY 2011, Veronique and Igor Hoffmeister and Martinů were acquainted, Firkušný, children of the famous pianist since both were members of the Czech (1912–1994), visited the communities in Paris and New York. Unlike Bohuslav Martinů Institute. They travelled Martinů, however, Hoffmeister was able from the USA to the Czech Republic in order to return to after the war, to attend the ceremonial handing over of becoming a diplomat and active artist. Poor Martinů never saw his homeland after 1938. Throughout his life Hoffmeister often drew his acquaintances. An exhibit consisting mostly of such drawings travelled from Prague to Paris, eventually arriving in a Tel Aviv art gallery. I was told that Hoffmeister's sons had decided to sell their collection, which included fine drawings of Charlie Chaplin, T. G. Masaryk, Pablo Picasso, Salvador Dalí and Franz Werfel, among others. When I visited the show, I was surprised to see a beautiful portrait of Martinů, signed “AH (19)46”. I think it captures Martinů's character as I imagine it from all I've heard and read of him. I don’t know the history of this portrait. Hoffmeister returned to Prague in August 1945, after the end of the war. Martinů was still in New York, so ostensibly the drawing was done from memory, or else based on a photograph. I decided that the portrait needed a new home – in my apartment. Yes, it was quite expensive, but after some haggling I acquired it, and it now hangs on my wall, alongside many recordings and books. the Rudolf Firkušný Award for the winner I know of one other Martinů portrait by Hoffmeister, dating from 1930 and presently of the piano category of the Prague Spring in Litoměřice. competition. This year’s prize, together with Now for a nice Janáček portrait. Any ideas? GIDEON FLUSSER a facsimile of the autograph of Martinů’s piano work Fantasy and Toccata, H. 281, went to Arta Arnicane (Switzerland) and ARTISTS ON MARTINŮ) Yoonji Kim (South Korea), who shared 2nd place (a first prize was not awarded). THE AUSTRIAN CONDUCTOR Franz Welser-Möst, long-time Music Director of the Cleveland The autograph of the Fantasy and Toccata, Orchestra and the new General Music Director of the Wiener Staatsoper, said of Martinů: which was dedicated to Rudolf Firkušný, “I am very fond of his music. I really like all his symphonies and frequently conduct the Fifth. was donated to the Bohuslav Martinů Foun - I find the Sixth a great challenge since it is completely different and exquisite in its impres sion - dation and Institute by Veronique and Igor istic colour ing. Iwas scheduled to explore the opera The Greek Passion in Zürich but the plans Firkušný in 2008 together with other auto - fell through. I did, however, then conduct Half-Time, inspired by a foot ball theme. His graphs and letters of Martinů. ❚ is wonderful too. I really like Martinů’s works.” From an interview with the magazine Harmonie, No. 6/2011, pp. 15–17

10 | martinůrevue22011 — LIST OF MARTINŮ’S WORKS XII Special s— CATEGORY/ Serie | CHAMBER MUSIC SUBCATEGORY/ | PIANO TRIOS / TRIOS WITHOUT PIANO

IN THIS ISSUE of the Revue we continue with our publishing of the complete list of PIANO TRIO No. 1 SONATA FOR TWO VIOLINS PROMENADES FOR FLUTE, Bohuslav Martinů’s works. We began with the (FIVE SHORT PIECES) H. 193 AND PIANO H. 213 VIOLIN AND HARPSICHORD H. 274 operas and have since considered the ballets, incidental music and film music, works for Durata: 11'30'' Durata: 12'30'' Durata: 7'30'' large orchestra, symphonies, works for Place of composition: Paris Place of composition: Paris Place of composition: Paris chamber orchestra, suites and abstracts of Date of composition: 1930 Date of composition: 1932 Date of composition: 1939 the incidental works, piano concertos, violin Performing forces: vl vlc pf Performing forces: 2 vl pf Performing forces: fl vl cemb and cello concertos, concertos for other solo Performers of premiere: Trio Filomusi Dedication: Mary Ramsay, Betty Lindesay Archive: National Museum. Czech Museum instruments and orchestra – double, triple Premiere: Paris, 14. 11. 1930 Performers of premiere: The Sonata Players – of Music, Prague and quadruple concertos and started the Archive: Schott Musik International, Mainz Mary Ramsay, Betty Lindesay Publisher: Bärenreiter, Kassel 1964 (B. A. 3327) chamber music category with duos for violin Publisher: Schott, Mainz 1931 (Nr. ED 2183). Premiere: London, 20. 2. 1934 Copyright: Bärenreiter, Kassel and piano, cello and piano, duos for other Copyright: Schott Music, Mainz Archive: Manuscript missing instruments. Publisher: R. Deiss, Paris 1933 (R. D. 7498) The next subcategory are the Piano Trios and Copyright: Alphonse Leduc, Paris SERENADE No. 2 FOR TWO Trios without Piano (listed in alphabetical PIANO TRIO No. 2 H. 327 VIOLINS AND VIOLA H. 216 order). The basic data on the works listed here have been taken from the online Durata: 16' SONATINA FOR TWO VIOLINS Durata: 7'30'' catalogue of Martinů’s œuvre at Place of composition: New York AND PIANO H. 198 Place of composition: Paris http://katalog.martinu.cz/martinu/catlist.php Date of composition: 1950 Date of composition: 1932 Performing forces: vl vlc pf Durata: 13'30'' Performing forces: 2 vl vla Dedication: Massachusetts Institute of Place of composition: Paris Performers of premiere: V.Hanousek, J. Šebek, Commentary/ Technology, Cambridge, Mass. (USA) Date of composition: 1930 A. Hyksa “Archive” – gives the information as to Performers of premiere: Klaus Liepmann (vl), Performing forces: 2 vl pf Premiere: Praha, 18. 4. 1939 where the autograph score George Finckel (vlc), Gregory Tucker (pf) Performers of premiere: Mary Ramsay, Archive: National Museum. Czech Museum is deposited. Premiere: Cambridge, Mass., 19. 5. 1950 Betty Lindesay of Music, Prague Date of composition: Day / Month / Year Archive: The Bohuslav Martinů Center Premiere: London, 1931 Publisher: Melantrich, Praha 1949 (M. 363). Premiere: Day / Month / Year in Polička Archive: Alphonse Leduc, Paris TP Melantrich Nr. 2. Editio Bärenreiter Only accessible information is stated. If data Publisher: Max Eschig, Paris 1961 (M. E. 6971) Publisher: Alphonse Leduc, Paris 1931 Praha (H 1502). on the publisher are missing, the work has Copyright: Max Eschig, Paris (A. L. 17909) Copyright: Editio Bärenreiter Praha yet to be published and is available as Copyright: Alphonse Leduc, Paris material that can be lent. PIANO TRIO No. 3 STRING TRIO No. 1 H. 136 IN C MAJOR H. 332 TRIO FOR FLUTE, VIOLONCELLO AND PIANO H. 300 Durata: 15'10'' TRIOS WITH PIANO Durata: 19'10'' Place of composition: Paris Place of composition: New York Durata: 17' Date of composition: 1923 Date of composition: 1951 Place of composition: Ridgefield, Conn. (USA) Performing forces: vl vla vlc BERGERETTES H. 275 Performing forces: vl vlc pf Date of composition: 1944 Premiere: Paris, 1924 Dedication: Leopold Mannes Performing forces: fl vlc pf Archive: Det Kongelige Bibliotek, Copenhagen Durata: 18'50'' Performers of premiere: Mannes Trio Performers of premiere: René Le Roy (fl), Publisher: Editio Bärenreiter Praha 2006 Place of composition: Paris Premiere: New York, 25. 2. 1952 Janos Scholz (vlc), Sidney Foster (pf) (H 7965) Date of composition: 1939 Archive: The Bohuslav Martinů Center Premiere: New York, 28. 2. 1945 Copyright: Editio Bärenreiter Praha Performing forces: vl vlc pf in Polička Archive: The Bohuslav Martinů Center Archive: manuscript missing, copy of Publisher: Max Eschig, Paris 1963 (M. E. 7108) in Polička manuscript in the Bohuslav Martinů Copyright: Max Eschig, Paris Publisher: Associated Music Publishers, STRING TRIO No. 2 H. 238 Institute NewYork 1950 Publisher: Southern Music Publishing, Copyright: Associated Music Publishers, Durata: 15'30'' NewYork 1963. Editio Supraphon Praha, SONATA FOR FLUTE, NewYork Place of composition: Paris 1989 (H 7444) VIOLIN AND PIANO H. 254 Date of composition: 1934 Copyright: Southern Music Publishing, Performing forces: vl vla vlc NewYork Durata: 16' TRIOS WITHOUT PIANO Dedication: Trio Pasquier Place of composition: Paris Performers of premiere: Trio Pasquier Date of composition: 1937 Premiere: Paris, 15. 2. 1935 MADRIGAL-SONATA FOR FLUTE, Performing forces: fl vl pf MADRIGALS H. 266 Archive: Bibliothèque nationale de France, VIOLIN AND PIANO H. 291 Dedication: Blanche Honegger Paris Performers of premiere: Blanche Honegger (Vl), Durata: 18'20'' Publisher: Heugel, Paris 1951 (H. 31297) Durata: 11' Louis Moyse (Pf.), Marcel Moyse (Fl.) Place of composition: Nice Copyright: Alphonse Leduc, Paris Place of composition: New York Premiere: Paris, 1. 7. 1937 Date of composition: 1938 Date of composition: 1942 Archive: Bärenreiter, Kassel Performing forces: ob cl fg Performing forces: fl vl pf Publisher: Bärenreiter, Kassel 1959 (B. A. 3326) Dedication: Trio d'Anches de Paris TRIO FOR FLUTE, VIOLIN Performers of premiere: Ruth Freeman (fl), Copyright: Bärenreiter, Kassel Performers of premiere: Trio d'Anches de Paris AND BASSOON (LOST) H. 265 Roman Totenberg (vl), Elly Bontempo (pf) Premiere: Paris, 1938 Premiere: New York, 9. 12. 1942 Archive: Max Eschig, Paris Place of composition: Nice Archive: National Museum. Czech Museum Publisher: Max Eschig, Paris 1951 (M. E. 6073) Date of composition: 1937 of Music, Prague Copyright: Max Eschig, Paris Performing forces: fl vl fg Publisher: Southern Music Publishing, Premiere: Paris, 14. 3. 1938 NewYork 1949 Archive: manuscript missing Copyright: Southern Music Publishing, Publisher: none NewYork Copyright: Bärenreiter, Kassel

> LIST OF MARTINŮ’S WORKS XII > Category CHAMBER MUSIC > Subcategory PIANO TRIOS / TRIOS WITHOUT PIANO 2011 | 11 ✂ martinůrevue2 interview MARTINŮ FORVOICES

A brand-new vocal ensemble bearing Martinů’s name appeared on INTERVIEW WITH 8 July 2011 at a concert within the Concentus Moraviae Festival. Owing to its outstand ing performance and interesting repertoire, thetwelve - THE CHOIRMASTER -member choir im me diately drew media attention and won recognition in LUKÁŠ VASILEK ABOUT Czech music circles. We talked to its founder, the choirmaster Lukáš Vasilek, about Martinů’s choral works, the difficulties pertaining to interpreting MARTINŮ VOICES Martinů compositions and the new ensemble’s ambitions.

Mr Vasilek, how did you perceive the Martinů name to clearly indicate that we primarily de - Martinů also quite often uses slightly different anniversary years 2009 and 2010 as vote to modern music. And “Voices” followed tempo notations with otherwise almost iden tical choirmaster of several Prague choirs? naturally, not because we needed something areas. The question is whether he actually The Martinů anniversaries above all markedly English but since it evokes a little bit the 1930s wanted the different tempos or it was the influenced the programme plans of the Prague atmosphere, which goes splendidly with Martinů, consequence of his “inconsistency”. It always Philharmonic Choir. Owing to our engagement including the jazz overlaps, and, what’s more, it requires a lot of careful consideration. at the National Theatre in Prague, we per - has the advantage of not needing to be either formed the choral part in the opera The Miracles translated or declined in Czech. What is your opinion of the quality of the of Mary (H.236). The premiere was in 2009 printed editions of Martinů’s choral scores? and the production is still in the repertoire. What is typical of Martinů’s music and Martinů Voices and I recently did the Five Czech The choir sings a lot in The Miracles of Mary; in what must the conductor watch out for? Madrigals. We are singing it according to the fact, the opera is based on large choral scenes. The Miracles of Mary in particular contains a lot first edition from Boosey and Hawkes, which is The Prague Philharmonic Choir doesn’t usually of potential pitfalls. For instance, Martinů is problematic in some respects. There are errors appear at theatres, and I fondly recall the demanding when it comes to the voice-leading; in the text and we have to consider carefully splendid co-operation with the conductor Jiří sometimes there are harmonic connections whether or not the composer really meant it in Bělohlávek and the stage director Jiří Heřman. or modulations that are not easy for a vocal the way it is written. A major role is also played In 2010 the Prague Philharmonic Choir also ensemble to practise. by the dialects, which differ in the case of each performed the complete Czech Madrigals (H.278) In Mariken of Nimégue (Part 2) there are three madrigal. When I was exploring the composi tion, at a concert to mark its 75th anniversary. choruses – two on the stage, one in the boxes Zdeněk Zouhar’s book on Martinů’s choral works And Martinů Voices sang the cycle of Five Czech amidst the audience. It is an extremely com - proved to be a great help. Madrigals (H.321) several times at its first, plicated placement of singers with regard to the The situation is better as regards the Czech “pre-debut” concerts in 2010. interplay, and every performance becomes very Madrigals. The Prague Philharmonic Choir and tense at this juncture. The choir in The Miracles I used Schott’s edition, which is really good. Why have you named your ensemble of Mary plays an extremely important role – I would, however, welcome more detailed edito - after Bohuslav Martinů? it comments on almost the entire action and rial notes in some disputable passages, so as to Because Martinů has plenty of wonderful music is even part of the action itself. We are de - be better able to decide whether it really is the for our small configuration – almost everything lighted that The Miracles of Mary will again be composer’s intention or just an error or misprint. he wrote for mixed chorus a cappella is ideal performed, three times, during the National When it comes to the Madrigals (H.380), for this line-up, or definitely very close to ideal. Theatre’s 2011/12 season. I have yet to do them in their entirety. The I like Bohuslav Martinů, I like doing his music In light of my own experience, I can say that problem is that, because they were printed by and actually have been doing it all the time – Martinů’s compositions often require from the Bärenreiter, they were issued only with a German with both choirs. performers certain interventions, revisions. text. This precludes Czech choirs from perform - In the choral pieces, for instance, Martinů ing the cycle from the printed edition. Madrigals Did you have to name yourselves after gives relatively few dynamic and articulation is the most difficult of all a cappella choral a Czech composer? markings. In this sense, some passages must cycles, in terms of both interpretation and We wanted to highlight the fact that we are be completed. As a result, significantly differing listen ing. Martinů Voices will definitely be per - from the Czech Republic and we wanted the interpretations of the same work originate. forming them at some point, probably from

12 | martinůrevue22011 I don’t know whether it is romantic, pragmatic or something else. And Martinů is simply Martinů. He encom - passes everything, often great romanticism too. And if it’s there, why shouldn’t it be played? Martinů’s music is very straightforward and does not withstand great pathos and styli sa - tion. It’s not a good idea to interpret Martinů in an overly complicated way and seek out that which is not there. In that case his music would lose its ingenious directness.

Would you also like to conduct vocal works with an orchestra? The Bouquet of Flowers, the Epic of Gilgamesh… I haven’t really thought about it, but the answer is definitely yes. As a choirmaster, to date I have only got to the Bouquet of Flowers (H.260) and the Field Mass (H.279). The Prague Philharmonic Choir and I pre pared the Bouquet for the Prague Spring 2010 with the conductor Roman Válek. It is beautiful music with a lot of interesting, as well as tricky, passages; among other things, the male choir a capella. Very difficult too is the finale of the Field Mass, also male choir a capella, and it takes great alchemy to make it sound convincing. Un fortunately, I’ve yet to get around to Gilgamesh (H.351). Martinů Voices with choirmaster Lukáš Vasilek, Troja Chateau, Prague 2011 When do you intend to release your first CD? And in what configuration do you most a transcrip tion with aCzech text, if a good certainly get to, for example, the four cantatas frequently sing? printed edition hasn’t become available by then. from Vysočina, which are extremely variegated At the present time, we are in discussions over Yet my favourite are the Four Marian Songs in instrumental terms. a few recording projects and I look forward to (H.235). Although the edition from the publisher some of them coming to fruition. But I don’t Tempo Praha contains plenty of square brack - Do you sing in Czech? want to rush things. I’d like to have all the com - ets, and looks good at first glance, I don’t find If the original text is Czech, then we sing in positions that will feature on the first CD suffi - the editorial commentary sufficient. The text is, Czech. ciently settled and digested, I want all of them unfortunately, underlain in a badly arranged to have been “road-tested” at a concert. The manner – in some passages only between the Returning to the specificities of inter pre - choir now sings in the basic configuration of up alto and parts, such that the outer voices tation… Do you tend towards a romantic to twelve singers. When we do larger projects must read the text with difficulty. conception or rather place emphasis on the with chamber orchestras, we extend our num - rhythmic aspect? Do you perceive Martinů ber with permanent external collabo rators who To what extent are you focused exclusively as a romantic or rhythmic composer? are excellent singers too. on the a cappella repertoire? It differs with each composer. I interpret We sing the a cappella repertoire most Dvořák, Janáček and Martinů differently. If you What are your interpretational models? frequently, but we also perform compositions get sufficiently deeply into the work you are Which recordings do you consider exemplary? with instrumental accompaniment, as well as exploring, the composition itself will “tell” you The best interpretational model is always the pieces with chamber orchestra accompaniment. what it needs to make its content communi ca - score itself. If you study it attentively and As regards Martinů’s works, one day we will ble. I always strive for “genuine” interpretation. comprehend it you don’t need any “inter pre ta -

martinůrevue22011 | 13 > MARTINŮ interview FOR VOICES

tional model”. Yet it is always good to compare passes all musical periods, but its centre of your conception with the recordings available. gravity lies in 20th-century music. And Bohu - From time to time you realise that you’ve slav Martinů’s works are a significant part of it. missed something, or something crosses your The patrons of Martinů Voices are: Jiří Bělo - mind. When exploring Martinů, it is good to hlávek, Aleš Březina, Karel Fiala, Jiří Heřman, listen to Pavel Kühn’s and Josef Pančík’s Miroslav Košler and Rudy Linka. recordings. They have different approaches, At the present time, Lukáš Vasilek, the choir - and both of them are extremely inspiring. Even master of Martinů Voices, is also the main choir - though you ultimately take your own path. master of the Prague Philharmonic Choir (since 2007). He studied conducting at the Academy What are your current plans and objectives? of Performing Arts in Prague (graduating in I think that Martinů Voices and I have attained 2008) and musicology at the Faculty of Arts quite a respectable level; the ensemble is stable THE CHAMBER VOCAL ENSEMBLE MARTINŮ and Philosophy of (gradu - and the singers well co-ordinated. I hope that VOICES was founded at the beginning of 2010. ating in 2004). In 2005 he received the presti - we will continue to improve, rehearse regularly, All its members are professionals who gained gious accolade “Choirmaster Junior” from the give concerts, make recordings, and give joy their vocal education at conservatories and Czech Choirs Association. He has also worked both to ourselves and our audiences. music academies. with the opera chorus of the National Theatre The ensemble named itself after Bohuslav in Prague. Lukáš Vasilek and Martinů Voices Thank you for the interview. Martinů as an expression of admiration for the gave their gala debut concert on 26 March 2011 artistic legacy of the composer with a cosmo - at the Troja Chateau in Prague. Lukáš Vasilek was speaking to pol itan disposition yet faithful to his Czech www.martinuvoices.cz Lucie Harasim Berná origins. The ensemble’s dramaturgy encom - REVIEW) BOHUSLAV MARTINŮ: THE SIX SYMPHONIES/JIŘÍ BĚLOHLÁVEK series in the Barbican Hall from which these irresistible energy and an almost Dvořákian joy recordings are taken. – a true Czech spirit, which unsurprisingly Bělo - The word revelation is one that is somewhat hlávek understands down to the last note. over-used, but the present writer must confess With such a high quality set of performances to a kind of 'road to Damascus' conversion, it is difficult to highlight individual moments – brought about by the couple of those perform - but perhaps it is worth mentioning the sombre ances that I heard and these really rather Largo of the under-valued First Symphony, the wonderful recordings. Jiří Bělohlávek weeds out finale of the Third in which striking dissonant the most important lines from Martinů's busy chords put an end to its uneasy calm, and the textures and, in every case, the combination unrestrained elation of perhaps his best-known of clarity, rhythmic drive and outstanding symphony, the Fourth, which the BBCSO tears orchestral playing gives these works new life. into with particular vigour. IT’S STRANGE HOW one’s attitude to a com - After hearing these symphonies again, These are performances that I will want to poser changes over the years. Having listened I might even go so far as to say that Martinů go back to again and again – something I never to a lot of Bohuslav Martinů’s music I saw no has a unique orchestral sound – one might point thought I would say about music by Martinů. reason to change my mind that he is an over - to Stravinsky and Bartók and perhaps argue This is unquestionably a major recording event. -prolific, rather uninteresting neo-classicist, that he wouldn't have got that sound without DAVID WORDSWORTH whose music has too many notes! 2009 them, but the glittering harp and per cussion, marked the 50th-anniversary of the com - prominence of the piano and elegant writing Martinů. The 6 symphonies – Recorded Live BBC Symphony Orchestra, poser’s death and a chance to reassess this for wind instruments does give his music a very Jiří Bělohlávek (Conductor) shadowy figure. Central to that re -evaluation particular stamp. The slow move ments have Onyx Classics / ONYX4061 / 3CD

was this cycle of the six symphonies given by a tragic melancholy reflecting the composer’s Review originally written for and published on the BBC Symphony Orchestra in its concert longing for his homeland, the faster ones an The Classical Source, www.classicalsource.com

14 | martinůrevue22011 memoirs GERALDINE MUCHA

/ GREGORY TERIAN

READERS of the Martinů Revue may recall an article published in the October-December 2008 edition entitled ”Voices from the Past”. It related to the discovery of some wartime recordings made by Otakar Kraus and for BBC broadcasts to occupied Czecho slovakia. They included the first record ing of Martinů's Nový Špalíček, H. 288 songs. The article in question resulted in a fortu - itous contact with Geraldine Mucha (née Thomsen). She worked for the Czech Service during the war and her recollections of those Bohuslav Martinů and Jiří Mucha times make an intriguing story in their own (with unfamiliar girl), Paris, 1938 © cbm polička right. Born in London in 1917 of Scottish (Orcadian) Geraldine Mucha, circa 1944 descent, by the age of four she was showing The Mucha and Kraus couples shared a flat an ability to improvise at the piano. Impressed off the Edgware Road close to Marble Arch. by this creative talent, her father taught her the BBC Czech Service and, through these con - Jiří already knew Otakar and Manya (Marie) to write down the tunes which came forth. nections, Geraldine was engaged and came to Kraus from their time together as refugees In 1936 she obtained a composition scholarship work on a regular series of music programmes in Paris. As a BBC war correspondent, Jiří was at the , where her for the Czech Service along with the often away from London for extended assign - teach ers included , Otakar Kraus and the pianist/conductor Walter ments to North Africa, Italy and France. Kraus, and . Susskind – both refugees from Czechoslovakia. who was known as Karel Otakar to disguise his A chance meeting at a party in Leamington Susskind made all the instrumental arrange - true identity, was also frequently away on tour in 1941 led to her marriage to the Czech writer ments for the broadcasts while Geraldine with ENSA (Entertainments National Service Jiří Mucha. He was the son of the turn-of-the - under took the piano arrangements and also Association), the organisation which arranged -century artist , who had participated as an accompanist. She recalls that entertainment for the British forces at home settled in Paris and was famed for his poster some of the Czech and Slovak songs trans - and overseas. As a result, Geraldine and Manya portraits of the actress Sarah Bernhardt. Jiří mitted incorporated coded messages within became close friends. served with the Free Czech Army in France their texts destined for the Czech resistance Jiří (known as George Mucha at the BBC) was in 1939/40. In Paris he provided the composer movement, as was the case with BBC broad - a regular contributor to the evening War Report Bohuslav Martinů with the text for his Field casts to other occupied countries in Europe. broadcasts on the BBC Home Service from Mass, H. 279, intended for performance by the The programmes were recorded at Broad - June 1944 until the end of the war. He recorded Czech Army Band, whose director was Vilém casting House and later at Bush House when a graphic description of American forces enter - Tauský. Any prospect of a first performance was the Czech Service subsequently moved there. ing Aachen, the first German city to fall to the to be overtaken by events. Geraldine also recalls the occasion of Vilém Allied armies. In May 1945, with the battlefront Jiří had married his first wife, the young Tauský’s first conducting engagement for the disintegrating, Mucha drove his Jeep into composer Vítězslava Kaprálová, early in 1940. BBC. The work to be performed was Martinů's Prague ahead of the advancing American The marriage was to be tragically short with her Tre Ricercari, H. 267. Tauský arrived at the armies. German forces continued to resist there death in June of that year. Following the fall of recording studios in his Army battle dress with for several days after the official surrender. France, Jiří along with most of the Free Czech no time available for rehearsal. Everyone was In the weeks which followed Geraldine made Army succeeded in escaping to England. They aston ished by the results he was able to many attempts to join her husband in Prague, came to be based at Leamington. achieve. After the war Tauský settled in England but permits for civilians to travel in Europe im - Jiří was engaged as a war correspondent by and was much in demand as an orchestral and me diately after the war took alow priority. In the BBC, for which purpose he was transferred opera conductor. He gave some notable October Jiří finally managed to secure a passage to the Royal Air Force with the rank of Flying Martinů performances, including UK premieres for her on a military Dakota troop transport fly - Officer. He also participated in broadcasts by of the Field Mass and Symphony No. 6. ing from Paris to Prague with a French cultural

martinůrevue22011 | 15 > continues from page 15 delegation. Her recollections of Prague at that time are of a vibrant city with Ameri - JAN can and Russian soldiers intermingling obituaries on friendly terms with young Czech girls KAPUSTA prominent in national costume. Martinů, who had settled in America in Dr JAN KAPUSTA passed away on 7 May 2011. 1941, was expected to return to his home - Born on 7 December 1932 into a working-class land. Geraldine had always admired the family in Česká Třebová, he initially sought to composer and hoped to study with him in become a professional singer, but soon realised Prague, but this never came to pass. She that theory was closer to his nature. He went was, however, able to undertake trans - on to study musicology at the Faculty of lations of the Field Mass and the Nový Arts and Philosophy at Palacký University in Špalíček songs together with the Songs Olomouc, from which he graduated in 1956. on One Page, H.294 and Songs on Two Pages, He had two temporary jobs before being H.302. Her trans lations were incorporated appointed director of the Museum in Litomyšl in the published editions of those works. in 1960. In Czechoslovakia Geraldine established In the 1960s, while at the helm of the herself as a composer. Among the orches - Museum in Litomyšl, he attended to mapping tral compositions to her credit are a Piano the cultural life in the East Bohemian region, Concerto, Macbeth Suite, and Overture for wrote dozens of studies on various themes Shakespeare's Tempest. She has also com - and numerous forewords and texts for art posed numerous works for chamber ensem - exhibition catalogues. Moreover, he wrote bles and vocal and piano music. There have several monographs about forgotten regional been performances, broadcasts and record - and gave numerous lectures per - ings of her works in the Czech Republic, but taining to music and fine art. His 1972 study she virtually unknown in Britain. “Dechové kapely, sokolské pochody a František Geraldine continued to live in Czecho - Kmoch” (Brass Bands, Sokol Marches and slovakia, even when her husband was im - František Kmoch) became the benchmark because he refused to abide by the growing prisoned by the Communist regime because survey of brass music. communist dictates, the Memorial housed of his war time links with the West. Rather After 12 years, at the beginning of the hundreds of autographs of compositions and than going into exile after his release, he “Normalisation” period, the Communist Party written documents, from which it was possible remained in Czechoslovakia, believing that deemed him unreliable and he was dismissed to follow Martinů’s life virtually day by day, there was a better prospect of changing from his post at the museum. To Dr Kapusta’s as well as his opinions, either conveyed to his the regime from within. This became great fortune, however, the Polička museum family or declared in public (during his years in a source of disagreement with his friend was seeking a director at that very time and the French capital, Martinů frequently wrote the conductor Rafael Kubelik, who had Jan Kapusta was duly appointed to the post. articles about Paris musical life for the Prague settled in London. Over the 12 years of his tenure at the Municipal press). Accordingly, researchers had a copious Prior to his death in 1991, Jiří Mucha Museum in Polička he diligently worked to amount of material to explore, especially after was striving to promote the international preserve the artistic legacy of Bohuslav Martinů the revolution in 1989, when it was finally status of his father Alphonse Mucha. These and, among other things, established the possible to write freely about that which was aspirations were to be fulfilled by Jiří and Bohuslav Martinů Memorial, which became previously taboo. Geraldine's son John Mucha, who created a part of the museum. After moving to Polička, Jan Kapusta primarily the Mucha Founda tion and Gallery in His activity in Polička was mutually beneficial. focused his attention on Bohuslav Martinů, Prague devoted to the artist’s paintings. For his part, Kapusta was able to embark on and his diligent work bore many fruits of Geraldine continues to reside in the Mucha seeking the origin of the ritual of the opening historic significance. His greatest achievement, residence in Hradčanské náměstí next to of the springs, as reflected in Bohuslav Mar - however, is the extensive study titled “The Prague Castle. She regu larly visits tinů’s inspired composition. There was plenty unbelievable case of Martinů, or How it came each summer. of material to work on, since the composer’s to pass that on 17 August 1979 the remains Following his death in 1991, Geraldine widow, Charlotte Martinů, had donated all of the composer Bohuslav Martinů were composed the Epitaph In memoriam Jiří the posthumous effects of her husband to transported from far-away Switzerland to Mucha. It ends with a haunting evocation the Bohuslav Martinů Memorial. This body his native Polička”. The study documents the of the Skye boat song. That song has of material included autographs of Martinů’s events, negotiations and correspondence a particular reso nance for her. It was sung works, correspondence and photographic preceding the moment when 20 years after at the party in Leamington back in 1941 documentation. When after 12 years Jan his death the composer was able to return to when she first met Jiří Mucha. ❚ Kapusta was forced to leave the museum Polička and finally say through his alter ego

16 | martinůrevue22011 DIETFRIED JOSEF BERNET SUK from the cantata The Opening of the Springs: “I am home.” Jan Kapusta vividly depicts the tense atmosphere surrounding the return and burial of the composer’s remains, which was naturally also attended by representatives of the then state administration. In order to secure a smooth course of the ceremony, it was necessary to preclude all possible obstacles. And Jan Kapusta was one of the organisers of this complicated process. In his study, he describes in the finest detail the tactical procedures that had to be undertaken. ON 23 MAY 2011 the distinguished Austrian THE EMINENT CZECH VIOLINIST Josef Suk (One still gets the creeps when realising that conductor Dietfried Bernet (b. 1940) died on Wednesday, 6 July 2011 at the age a single wrong move could have resulted in the unexpect edly died. Bernet excelled primarily of 81. Mr Suk championed the concertos and ceremonial act ending up a fiasco.) Fortunately, as an inter preter of the German and Austrian sonatas of Martinů throughout his long career. everything turned out well, owing in large part repertoire of the 19th and 20th centuries. He gave the premiere of the Violin Concerto to Jan Kapusta’s tireless efforts. His long career began at the tender age of No. 1, H. 226 and made benchmark recordings Following the 1989 revolution, Kapusta 18 during his studies in Vienna with a guest of the Concerto for Violin and Orchestra No. 2, was offered the prestigious posts of mayor appearance at the Wiener Musikverein and H. 293 and the Rhapsody-Concerto for Viola of Litomyšl, director of the Czech Museum continued at the end of the 1960s through and Orchestra, H. 337 (first released in 1994 of Music in Prague and director of the his engagement at the Wiener Volksoper and on the Supraphon label). In 2008, Mr Suk kindly Philharmonic Orchestra in Hradec Králové. Yet later on the Wiener Staatsoper, as well as donated to the Bohuslav Martinů Foundation he turned them all down, mainly because he through collaboration with virtually all world- the Martinů’s autograph letters to his wanted to remain independent and continue renowned opera houses and orchestras. teacher, composer Josef Suk (1874–1935). fully devoting to his groundbreaking research – In 2001 Bernet (together with Aleš Březina) Throughout his solo career, he continually primarily that pertaining to the aforementioned created a new German translation of the performed chamber music. He was briefly first case. opera Juliette, H. 253, which he explored and violin of the Prague Quartet (1950–52) and For 18 years he was a prominent member conducted a year later at the festival for decades a member of the , which of the Board of Directors of the Bohuslav in Bregenz and recorded with the Wiener he founded in 1951. In 1961 he became a Czech Martinů Foundation, where he relentlessly Symphoniker and the then not widely known Philharmonic Orchestra soloist. He also had drew attention to the furtiveness of museum soprano Eva-Maria Westbroek for the Austrian a special affection for another string instru - regulations, possessing as he did a thorough label ORF (Edition Bregenzer Festspiele). Bernet ment, the viola, which his great-grandfather knowledge of them from his previous practice. had further Martinů plans that, unfortunately, Antonín Dvořák used to play. In 1981 he His opinions were always well thought through, did not reach fruition. Lovers of Bohuslav became artistic director of the Suk Chamber he possessed remarkable foresight and strove Martinů’s music have lost a devoted and Orchestra. for the greatest possible effectiveness in the sensitive interpreter of the composer’s works, During his career he recorded albums for Foundation’s promotion of Martinů’s work while those who knew Bernet personally will the Czech labels Supra phon, Panton and Lotos, beyond the main centres. always remember him as a noble friend. ❚ as well as for Decca, EMI, Erato, Columbia, Jan Kapusta worked on “The unbelievable Agricola, Koch and Nippon. case of Martinů” for 10 years, practically until He received numerous accolades for his out - the very day he died, yet he did not manage stand ing and long-term artistic achievements to prepare it for publication. It is thus up to his and propaga tion of Czech music both at home descendants and colleagues at the Bohuslav and abroad: the State Decoration of the Czech Martinů Foundation to bring the study to Republic – Medal of Merit of the 1st Grade publication. After all, it is the very least its (1999); the Antonín Dvořák World Prize from the author deserves. Masaryk Academy of Arts (2001); the highest Ivan Štraus French decoration – Chevalier de la Légion President of the Board of Directors, d’Honneur (2002); and an honorary doctorate Bohuslav Martinů Foundation from the Academy of Performing Arts in Prague (2003). ❚

martinůrevue22011 | 17 12 October 2011 9 November 2011 > Suk Hall, Rudolfinum, > Dvořák Hall, Rudolfinum, (FESTIVALS) Prague, CZ Prague, CZ Sonata for Flute and Piano, H. 306 Concerto for Oboe and Small 17th MARTINŮ FESTTAGE 2011 Radomír Pivoda (Flute) Orchestra, H. 353 SEE PAGE 3 Halka Klánská (Piano) Prague Philharmonia, events Gaetano d’Espinosa (Conductor) BOHUSLAV MARTINŮ DAYS 2011 13 & 14 October 2011 Céline Moinet (Oboe) SEE PAGE 3 > Dvořák Hall, Rudolfinum, Prague, CZ 10 November 2011 TUCHLOVICE ORGAN FESTIVAL Concert for Piano and Orchestra > www.barbican.org.uk 28 September 2011 (OPERAS) No. 4. Incantation, H. 358 Rhapsody Concerto for > Tuchlovice, CZ Igor Ardašev (Piano) Viola & Orchestra, H. 337 Vigilie, H. 382 Eliahu Inbal (Conductor) BBC Symphony Orchestra, 15 September 2011 Seven Arabesques, H. 201 (selection) > Universitas Ostrava, Ostrava, CZ Jiří Bělohlávek (Conductor), J. Prokop (Organ) Maxim Rysanov (Viola) , H. 247 16, 17 & 18 October 2011 > Kölner Philharmonie, The Voice of the Forest, H. 243 FESTIVAL MUSICA Students of Faculty of Art Cologne, 12 November 2011 HOLEŠOV Germany > Roy Thomson Hall, 25 September 2011 www.guerzenich-orchester.de Toronto, ON, Canada > Zámek Holešov, (CONCERTS) Symphony No. 6 “Fantaisies Symphony No. 6 “Fantaisies Sala Terrena, Holešov, CZ Symphoniques”, H. 343 symphoniques“, H. 343 www.musicaholesov.cz/festival Cologne Gürzenich Orchestra, Toronto Symphony Orchestra, 14 September 2011 New Chapbook for Voice & Piano, H. 288 > Neuberinhaus, Markus Poschner (Conductor) Peter Oundjian (Conductor) Four Movements for Piano, H. 170 Reichenbach, Germany Roman Janál (Baryton) Symphony No. 5, H. 310 22 & 23 October 2011 13 November 2011 Karel Košárek (Piano) Vogtland Philharmonie, > St. John the Divine Episcopal Church, > Schlosskirche, Jiří Malát (Conductor) Houston, TX, USA Meiningen, Germany INDIAN SUMMER IN LEVOČA Toccata e due canzoni, H. 311 Nonet, H. 144 (Fragment) 1 October 2011 River Oaks Chamber Orchestra, Janusz Zydek (Violin), Alexander 16 September 2011 > Kaštieľ Péchy, Hermanovce > Vogtlandhalle, Mei-Ann Chen (Conductor) Lipkind (Viola), Oliver Schwieger (between Levoča and Prešov), Greiz, Germany (Cello), Karl-Heinz Rögner Slovakia, (Kontrabass), Ria Seyfart ( Flute), Symphony No. 5, H. 310 30 October 2011 www.lblfestival.eu Vogtland Philharmonie, > Stadttheater, Wiener Neustadt, Nicolas Wallach (Oboe), Hagen Biehler Madrigals Nos 2 & 3, Jiří Malát (Conductor) Austria (Clarinet), Wolfgang Mischi (French from Four Madrigals for Oboe, Sinfonietta La Jolla, H. 328 horn), Alexander John (Bassoon) Clarinet & Bassoon, H. 266 Niederösterreichisches 22 & 23 September 2011 In Modo Camerale, > Philharmonie, Tonkünstlerorchester, 27 & 28 November 2011 Carlo Jans (Flute) Grand Auditorium, Christoph von Dohnányi (Conductor) > Weimarhalle, Weimar, Germany Luxembourg, Luxembourg www.nationaltheater-weimar.de DVOŘÁK PRAGUE FESTIVAL Tre Ricercari, H. 267 2 November 2011 Les Fresques de Piero 14 September 2011 Orchestre Philharmonique > Congress Casino, Baden, Austria della Francesca, H. 352 > Suk Hall, Rudolfinum, du Luxembourg, Sinfonietta La Jolla, H. 328 Staatskapelle Weimar, Prague, CZ Jiří Bělohlávek (Conductor) Niederösterreichisches Markus Poschner (Conductor) www.dvorakovapraha.cz/en/ Tonkünstlerorchester, Sonatina for Clarinet & Piano, H. 356 Christoph von Dohnányi (Conductor) 25 September 2011 14 December 2011 Dmitry Rasul-Kareyev (Clarinet) > Mendelssohn-Saal, Gewandhaus, > Dvořák Hall, Rudolfinum, Michael Dussek (Piano) 2 November 2011 Prague, CZ Leipzig, Germany 19 September 2011 www.gewandhaus.de > Bethaniënklooster, Divertimento (Serenade No. 4) Amsterdam, Netherlands for Chamber Orchestra, H. 215 > Dvořák Hall, Rudolfinum, String Quartet No. 4, H. 256 Prague, CZ Reinhold Quartet Variations on the Slovak Folk Song Camerata Janáček, for Cello and Piano, H. 378 Jaromír Krygel (Conductor), Partita for String Orchestra Larissa Groeneveld (Cello), Martin Kasík (Piano) (Suite No. 1), H. 212 29 & 30 September 2011 Frank Van de Laar (Piano) Prague Philharmonia > Herkulessaal, Residenz, Munich Benjamin Wallfisch (Conductor) www.nationaltheater-weimar.de Symphony No. 6 “Fantaisies 2 November 2011 > Suk Hall, Rudolfinum, Symphoniques”, H. 343 Bavarian Radio Symphony Orchestra, Prague, CZ Jiří Bělohlávek (Conductor) Variations on the Slovak Folk Song for Cello and Piano, H. 378 Bledar Zajmi (Cello) 11 October, 2011 > Concertgebouw, Daniel Wiesner (Piano) Amsterdam, Netherlands Nonet, H. 144 (Fragment) 4 November 2011 Emily Beynon (Flute), > Musikverein, Brahms-Saal, Alexei Ogrintchouk (Oboe), Wien, Austria Jacques Meertens (Clarinet), Variations on a Theme Ronald Karten (Bassoon), of Rossini, H. 290 The program is subject to change N.N. (Horn), N.N. (Piano), Jakob Koranyi (Cello), Junko Naito (Violin), Simon Crawford-Phillips (Piano) This is only a selection of Martinů’s performances all over the world. Roland Krämer (Viola), More events can be found at www.martinu.cz, Section ‘Bohuslav Martinů’, Gregor Horsch (Cello) Subsection ‘Calendar of events’.

18 | martinůrevue22011 NEW PUBLICATIONS/CD BOHUSLAV MARTINŮ, THE COMPULSION TO COMPOSE MAŠEK / MARTINŮ by F. James Rybka “Although I had always been Scarecrow Press, Lanham, MD puzzled about Martinů’s Published May 28, 2011 personality, when I became 444 pages, 31 photographs a physician in 1961 and knew a little about autism, the notion F. James Rybka, now retired, that he had an autistic spec trum graduated from Cornell Medical disorder did not occur to me. School and became a plastic This did not happen until around surgeon. Bohuslav Martinů 2001, when the rising incidence was a close family friend. of Asperger syndrome captured In this book F. James Rybka the attention of the general offers a riveting and fully public. It was an electri fying documented explanation for revelation to me that this one Bohuslav Martinů Martinů’s remarkable output: innate neuro logical condition Piano Recital and Drawings he apparently had Asperger might explain a whole array Michal Mašek (Piano) syndrome. of Martinů’s aberrations – his failure at social Deluxe Book format contains some of com - reci procity; his ‘zoning out’ when walk ing around Rybka carefully explains how the synamics of poser’s best drawings. obsessed with music; his stolidity; his poor Asperger syndrome affected the composer’s Bonus track contains World Premiere Recording coordi nation and awkwardness in sports; his work, allowing readers to appreciate more – Victorious March of the R.U.R. Sports Club extreme shyness; his slow, terse answers and his deeply Martinů’s musical accomplishments and in Polička, H. 129 bis. lack of sympathy – among other traits, including legacy. Containing important letters and Special extended Commentary about Drawings his anxieties and phobias. It all began to fit like photo graphs, this book will inspire and inform and Pieces. those interested in the unique relationship a design.” between autism and music, and encourage readers not only to see Martinů in an entirely THE SCARECROW PRESS, INC. different light but appreciate the musical 85.00 USD, Cloth, 0-8108-7761-9 | genius that shone so brightly. 978-0-8108-7761-0, May 2011, 444 pp 85.00 USD, Electronic, 0-8108-7762-7 | The author: “In this book, I try not to issue 978-0-8108-7762-7, May 2011, 444 pp personal comments about the quality of For International orders, visit Martinů’s music, because these authors and www.scarecrowpress.com other skillful musicologists who know his music to find an outlet in your area. have already done this…”

Etudes and Polkas, H. 308 Sonata for Piano, H. 350 Butterflies and Birds of Paradise, H. 127 and encores: Album Leaf, H. 222 Borová, H. 195 Black Bottom, H. 165 Book design and layout – Ondřej Klos Book texts and drawings – B. Martinů Commentary – Lucie Jirglová Recorded in 2011 / produced by Morpheus Art s.r.o. EMI Classics ORDERS: www.cdmusic.cz Bohuslav Martinů with Frank Rybka and his two sons Boris and James (22 and 11 years old). USA, Keene Valley, summer 1947 © the bohuslav martinů center, polička www.masek-martinu.com/

martinůrevue22011 | 19 Czech Music for Strings

The Janáček Chamber Orchestra performs music by the Czech composers Janáček, Martinů, and Haas, all of whom were prominent figures in their country’s musical history during the early twentieth century. Janáček String Quartet No. 1 ‘Kreutzer Sonata’ (arr. for string orchestra) Suite for Strings Martinů Sextet for Strings (arr. for string orchestra) Haas Study for String Orchestra

CDs available from www.chandos.net and all good record stores MP3s, lossless and 24/96 studio quality downloads from www.theclassicalshop.net CHAN 10678