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

JULIETTE AT THE BARBICAN, LONDON THE SPRING FESTIVAL 2009 martinůMAY—AUGUSTrevue 2009 VOL.IX NO. 2 CONFERENCES / EXHIBITIONS LIST OF MARTINŮ’S WORKS / PART VI NEWS / EVENTS ∑ exhibition THE BOHUSLAV contents MARTINŮ CENTER IN POLIČKA 3 Martinů Revisited Highlights —Visit the newly opened 4 Incircle News permanent exhibition GREGORY TERIAN dedicated to the composer’s life and work (authored by 5 International Martinů Circle Prof. Jaroslav Mihule) 6 martinů revisited —We offer visitors a tour of the reconstructed classroom —Exhibition – The Martinů Phenomenon attended by Martinů as a schoolboy and a musical hall —Journée Martinů in Paris where one can listen to recordings or attend film screenings and specialised lectures. 7 Hommage à Martinů in Budapest Ballet Productions in www.cbmpolicka.cz [email protected] 8 Juliette at the Barbican Centre in London PATRICK LAMBERT

9 In a Forest of Giant Poppy-Heads BOHUSLAV MARTINŮ opera LENKA ŠALDOVÁ H.341 11 special series —List of Martinů’s Works VI 1953, comic chamber opera from the play by Nikolai Gogol 12 news / conferences / original creation by Pamela Howard autographs Jakub Klecker (Conductor) 14 review NATIONAL THEATRE BRNO / REDUTA THEATRE —Martinů Revisits Prague Spring 4 October 2009 > premiere GRAHAM MELVILLE-MASON 5 & 7 October 2009 16 interview www.ndbrno.cz —Alan Buribayev – A Rising Conducting Star MARTINA FIALKOVÁ

18 events 19 news —New Publications, CD ∑

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 and abroad have prepared music productions at which the composer’s works will be performed. Considerable attention is also being devoted to the artistic and cultural-political context of Martinů’s oeuvre.

When I left after the funeral for Vieux concert in polička Moulin with my niece and her husband, I was exhausted. What had been the THE 50TH ANNIVERSARY OF MARTINŮ’S DEATH reason, the joy, the splendour, and the meaning of my life, had passed away. SMETANA’S LITOMYŠL FESTIVAL I looked at all that we both had loved Friday 28 August 2009 Polička, St. James Church / 7.00 pm so much and I asked myself: In collaboration with the town of Polička “How shall I endure life without him?” The Opening of the Springs H.354 I thought about my dear departed Selanka from the cycle Bouquet of Flowers H.260 husband and suddenly I had the Field Mass H.279 impression that I heard a familiar The Nativity of Lord from The Miracles of Mary H.236 chord. It was as if he had touched me Ivan Kusnjer (Baritone) Kühn Mixed Choir, Marek Vorlíček (Choirmaster) softly. I said to myself: “I shall not Pardubice Chamber Orchestra, Marko Ivanović (Conductor) be completely alone because his music will remain with me.” www.smetanovalitomysl.cz CHARLOTTE MARTINŮ

opera NATIONAL THEATRE PRAGUE THE MIRACLES OF MARY H.236 29 October 2009 > premiere / 2, 7, 29 November 2009 / 14 December 2009 Musical preparation: Jiří Bělohlávek . Conductor Jiří Bělohlávek / David Švec . Director Jiří Heřman Orchestra, Choir & Ballet of the National Theatre Opera . Prague Philharmonic Choir & Kühn’s Children Choir www.narodni-divadlo.cz

martinůrevue22009 | 3 members of the Louisville Orchestra which under its conductor Robert Whitney commissioned and gave ≤rst performances of Martinů’s Intermezzo, H. 330 and Estampes, H. 369, the composer’s incirclenews last orchestral work. Of all the American orchestras Martinů’s closest association was with the Boston Symphony and its conductors Serge Koussevitzky and Charles Munch. The orchestra gave ≤rst performances AMERICAN of some of Martinů’s most important orchestral works ranging from La Bagarre, H. 155 in 1929 CONNECTIONS to the Parables, H. 367 (1959). The orchestra has always enjoyed close ties with the adjacent

/ GREGORY TERIAN brooke photo walter New England Conservatory of Music, the latest of the institutions to join the Martinů Circle. OF LATE WE HAVE BEEN welcoming a growing Mannes College staged the American premiere of the The Conservatory chorus performed and made , H. 247 in 1951 which led to number of American educational institutions recordings with the orchestra under Munch, as a revival of interest in the work. Here the composer to the Martinů Circle, subscribing through their is seen with the stage director Ralph Herbert and the did the famous Glee Club from nearby Harvard respective music libraries. conductor Carl Bamberger prior to the performances University which boasts a thriving musical life First to join was Mannes College Music School which took place on May 28 and 29. in its own right. in New York where Martinů held the position of The Yale University Glee Club took part in the Professor of Composition in the early 1950s. Einstein and dedicated the Five Madrigal Stanzas, American premiere of the Field Mass, H. 279 at During his tenure the school staged a production H. 297 to the great man who was a good amateur Tanglewood on 7 July 1956 under the conductor of the Comedy on the Bridge, H. 247 which led violinist and who performed the work with the Hugh Ross. to a revival of interest in the work. The parents pianist Robert Casadesus. The membership of Northwestern University association commissioned a work for the school The Cleveland Institute of Music has tradi- led to Robert Simon discovering that the music orchestra and the little Overture, H. 345 of 1953 tional ties with the Cleveland Orchestra with library held a copy of the score of the Cello Con- resulted which has recently been enjoying a suc- members of the orchestra serving on the teaching certo No. 1, H. 196 bearing annotations in the cession of performances in Europe. faculty. The Cleveland Orchestra gave world composer’s hand, a signi≤cant ≤nd. We are also Martinů took up a teaching post at Princeton premieres of three Martinů works including the delighted to have in the fold the Children’s University during 1948-51. He enthused over Symphony No. 2, H. 295 and the Rhapsody- Orchestra Society of New York and the Arthur their music library where he found the score of -Concerto for Viola and Orchestra, H. 337 written Friedheim Library at the Peabody Institute of Haydn’s Sinfonia Concertante for wind instruments for Jascha Veissi, a one-time concertmaster of John Hopkins University. We look forward to which was to inspire his own work of that title. the orchestra. In like manner, the teaching faculty a continuing association and interchange with At Princeton he became acquainted with Albert at the University of Louisville has drawn on all these institutions. ❚

BLANCHE HONEGGER WILL CELEBRATE HER After settling in the United States in 1949, 100th birthday on 23 September 2009. the Moyse Trio was involved in the creation of Her involvement with the music of Martinů dates the Marlboro Music Festival where works by back to the 1930s. In 1936 she partnered Marcel Martinů featured prominently. Forced by a bow- Moyse in the ≤rst performance of the Concerto -arm ailment to give up the violin, Blanche went for Flute, Violin and Orchestra, H. 252, awork on to forge a distinguished career as a conductor, which Martinů had written for them. specialising in the performance of the choral Recalling preparations for the performance music of Bach. She established the Brattleboro 70 years later, Blanche remarked to the composer Music Centre, near her home in Vermont, where that he had not given the violin enough to do, a gala concert in her honour is due to take place in response to which he promptly added a very on 4 October 2009. dif≤cult cadenza passage. Her autograph of the Blanche Honegger must surely be the last score, held by the Brattleboro Music Centre, was survivor of the performers known to Martinů generously donated to the Bohuslav Martinů in the 1930s and we congratulate her on her Institute in 2006. anniversary. She was awarded the Bohuslav A year later he composed the Sonata for Flute, Martinů Foundation medal in 2006 for her Violin and Piano, H. 254, for the Moyse Trio. services in promoting the cause of the composer. A studio session led to the sonata having the Blanche Honegger will celebrate her 100th birthday distinction of becoming the ≤rst Martinů work in September. She was awarded the Bohuslav Martinů Gregory Terian Foundation medal in 2006 to be recorded for the gramophone.

4 | martinůrevue22009 b ] d incirclenews

MARTINŮ REVUE (former Bohuslav THE SOUND OF MARTINŮ was the title of the ≤nal tribute concert THE INTERNATIONAL Martinů Newsletter) is published given at the Royal College of Music in London on 12 May to mark the MARTINŮ CIRCLE by the International Martinů Circle GENERAL INFORMATION in collaboration with the Bohuslav 50th anniversary of the composer’s death. Members receive the illustrated Martinů Institute in Prague. Six varied works were performed ranging from the Quartet for Clarinet, Martinů Revue published three times With ≤nancial support of the Bohuslav a year plus a special limited edition CD Martinů Foundation Prague. French Horn, Cello and Side-drum of 1924 through to the Stowe Pastorals and Chamber Music No. 1, dating from the last year of the composer’s life, containing world premieres, historic Editors archive performances and recordings Zoja Seyčková & Lucie Berná works which have not been heard in London for many years, if at all. Also from the annual Martinů Festival not Bohuslav Martinů Institute obtainable commercially. Justin Krawitz (with special thanks) on the programme were the Sonata for Flute, Violin and Piano and the Sonatina for Trumpet and Piano. The IMC is supported by the Publisher’s Of≤ce Bohuslav Martinů Foundation and International Martinů Circle, o.s. The concert drew some ≤ne performances and all were delivered with Bohuslav Martinů Institute in Prague. IČ: 22688846 an infectious enthusiasm and freshness, some thirty young musicians Bořanovická 14, 182 00 Praha 8-Kobylisy, MEMBERSHIP & SUBSCRIPTION Czech Republic participating. A memorable evening was rounded of in rousing style with INFORMATION e-mail: [email protected] a performance of Les Rondes, warmly received by a good-sized audience > www.martinu.cz YEARLY SUBSCRIPTION: with a representation of Martinů Circle members. It would be hard to en- 20 EUR / 25 USD Translation Hilda Hearne visage a more varied and imaginative programme in this anniversary > SUBSCRIPTION FOR CORPORATE Photographs year; all credit to Janet Hilton, director of woodwind at the College, who MEMBERS: 100 EUR The Bohuslav Martinů Foundation’s includes 10 copies the each Revue and Institute’s archive, collections of the devised this splendid event. Gregory Terian PLUS 3 copies of the non-commercial Bohuslav Martinů Center in Polička CD recording from the Bohuslav Graphic Design David E. Cígler [≠2009 SUBSCRIPTION PAYMENT≠” Martinů Days Festival in Prague Printing BOOM TISK, spol. s r.o. > SINGLE COPIES OF THE REVUE: 50 CZK / 2 EUR / 3 USD + postage Price CZK 50 WE WOULD REQUEST members who have not yet paid their 2009 subscrip- The Martinů Revue is published tions to do so now through one of our international contacts listed below: For further details and for single copies three times a year in Prague. > Gregory Terian (Great Britain) [email protected], +441625523326, of the Martinů Revue contact: Jana Honzíková Cover photo 18 Broadway, Wilmslow, SK9 1NB UK, Great Britain e-mail: [email protected] Pavla Vykopalová > Petra Richter (Germany) [email protected], Furtstraße 46, (Juliette, National Theatre Brno, 2009) The International Martinů Circle, o.s. Photo Jana Hallová 73770 Dekendorf, Germany Bořanovická 1779/14 > Geoff Piper (Belgium, Luxembourg and Austria) [email protected], ISSN 1803-8514 182 00 Praha 8-Kobylisy MK ČR E 18911 +352-474269, 24, rue des Cerisiers, Luxembourg, L – 1322 Luxembourg. > Robert Simon (USA) [email protected], mobile number 216-973-7716 , THE IMC CORDIALLY WELCOMES 2531 Jackson Ave. Apt 1E, Evanston, IL 60201, USA THE NEW MEMBERS > Patrice Chevy (France) [email protected] +33675620321, > Terry J. Barfoot, Portsmouth, UK > Ian Bailey, Sidcup, UK 11 Résidence FOCH, 923 80 Garches, France > Jacques de Coo, Leiden, Netherlands > Mari Tokuda (Japan), [email protected], +81 339 393 395, > Sharon Choa, Norwich, UK +81 359 990 793 > Raymond Chobaz, Gainsville, USA > Gert Floor (Netherlands), [email protected], +31725095262, > Barbara Hall, Luxembourg Gortersweg 6, 1871 CC Schoorl, Netherlands > Gordon Hand, York, UK > Jaroslav Šonský (Sweden) [email protected], +4611318475, > Karel Janovicky, London, UK Knopgatan 6, 603 85 Norrköping, Sweden > Andrew Knowles, Hartford, UK

THE PREVIOUS ISSUE > Henry Larsson, Solna, Sweden Those wishing to pay in Czech currency or by cash should contact us ❚ > Pascal Loison, Vincennes, France at [email protected] > Alex Ogle, Brattleboro, USA THE BOHUSLAV MARTINŮ CENTER > Wicher van Vreden, Amsterdam, IN POLIČKA offers an interesting, inter- [≠IMC≠GENERAL≠MEETING≠” Netherlands actively conceived exhibition on the com- > Dr Karl and Mrs Marian Werner, poser’s life and work. The modern display of THE FIRST GENERAL MEETING of the International Martinů Circle will London, UK Bohuslav Martinů’s life and work is located > Brigham Young University, Harold in the historical building of the former take place at Theatre Reduta in Brno on Sunday 4 October at 2 pm. BLee Library, Provo, UT, USA council school, which Martinů attended It will be followed by a presentation by Aleš Březina about the Mar- > Martinů Quartet, Prague, as a child. Consequently, the project also tinů Revisited project and some new related video material. In the Czech Republic comprises a reproduction of Martinů’s evening the world premiere of Pamela Howard’s new English language > New England Conservatory of Music, classroom, complete with period painting Spaulding Library (Jean A. Morrow), and furniture. The centre also contains production of Martinů’s comic opera The Marriage will take place at Boston, USA an audio-visual hall and study room. the Theatre Reduta. Would members hoping to attend the general > Stamitz Quartet, Prague Bohuslav Martinů Center meeting please email [email protected] accordingly. > Yale University, Gilmore Music Library Tylova 114, 572 01 Polička The general meeting will be preceded by a meeting of the board of (Helen Bartlett), New Haven, USA tel.: +420 461 723 857 the Martinů Circle at the same place commencing at 10.30 am. ❚ www.cbmpolicka.cz

martinůrevue22009 | 5 EXHIBITION IN PRAGUE ≠ THE MARTINŮ PHENOMENON photo zdeněk chrapek

THE OPENING CEREMONY of the exhibition The Martinů Phenomenon was held on 11 May 2009. Dagmar Fialová, director of the Czech Museum of Music, welcomed representatives from the Czech Ministry of Culture and other partnering institutions. The exhibition presents interesting archival and photographic material, musical works, and works of visual art including designs for sets and costumes. The exhibition will run at the Czech Museum of Music until 26 October 2009.

More information: www.nm.cz S The opening festivities included performances of music by Martinů – pianist Ladislav Doležel Project director: Dagmar Fialová playing Fantasy for Piano, H. 281 Exhibition author: Kateřina Maýrová Co-author: Taťána Součková N First part of the exhibition – Martinů’s birthplace Exhibition commissioner: Polička Jana Vojtěšková Production: Daniel Dvořák W Showcase on the theme ‘Juliette and Surrealism’ and Karel Kut Graphics: Jaroš

concert was complemented by the ≤rst public screening of the ≤lm H. 136: Le mystère de JOURNÉE MARTINŮ la partition retrouvée, directed by O. Segard. IN PARIS The ≤lm takes as its subject Martinů’s String Trio No. 1, H. 136, which in 2005, after many / EVA VELICKÁ years in obscurity, was discovered and prepared for publication by Eva Velická from the Bohuslav ON 9 APRIL the Conservatoire de Paris hosted Martinů Institute. An exhibition at the Con- Journée Martinů. The event comprised a series servatoire, prepared by the Czech Museum of workshops, during which members of the of Music, provided a ≤tting backdrop to the Ensemble Calliopée worked with students on proceedings of Journée Martinů. The primary pieces from Martinů’s chamber music output. achievement of the project is undoubtedly its The day culminated in a public concert per- fostering of interest in Martinů’s music among formed by both students and teachers. The Order at: www.fugalibera.com young performing artists. ❚

6 | martinůrevue22009 Hommage à Bohuslav Martinů / SANDRA BERGMANNOVÁ opened the exhibition on 29 March to mark THIS YEAR’S Budapesti Tavaszi Fesztivál the occasion of a concert given by the Czech (Budapest Spring Festival) saw many an artist Radio Symphony Orchestra. Besides works paying tribute to the ≤gure of Bohuslav by Bedřich Smetana and Antonín Dvořák, the Martinů. From 19 March to 6 April 2009 orchestra, conducted by Vladimír Válek, also festival-goers had the opportunity to visit an gave a splendid performance of Martinů’s exhibition about the composer’s life and work in Symphony No. 1, H. 289. The evening was the the foyer of the Palace of Arts. Using materials high-point of Czech music’s strong presence and a concept provided by the Prague-based in this year’s festival and was rounded off Bohuslav Martinů Institute, members of the by a gala banquet. Speeches were given by Bohemia Baráti kör (Friends of Bohemia Club) in Mr Szolt Hernádi, the festival’s main sponsor, conjunction with the Czech Centre in Budapest and the Czech Ambassador to Hungary, Jaromír created a stylish and well-arranged exhibition, Plíšek. Also presented at the festival were replete with a multimedia broadcast of the Eva Molnár and Sandra Bergmannová at the Palace Martinů’s chamber works – the Šonský-Bretas ballet The Kitchen Revue, H. 161 and several of Arts on 29 March 2009 Duo performed Sonata No. 3 for Violin and other documentary ≤lms. Special acknowl- Piano, H. 303 on 28 March in the Hungarian edgment should be accorded to Eva Molnár, Prague’s Bohuslav Martinů Institute, together Radio concert hall. ❚ who played a major role in the conception with her colleague Eva Velická, the Czech of the exhibition’s Hungarian version. The Ambassador to Hungary, Jaromír Plíšek, and exhibition’s creator, Sandra Bergmannová from the Director of the Czech Centre in Budapest, [BALLETS≠≠” THREE EXCEPTIONAL PRODUCTIONS AT THE NATIONAL THEATRE BRNO photos patricie částková photos patricie

/ LUCIE BERNÁ

ON 22 FEBRUARY AND 2 AND 4 MARCH 2009 the National Theatre Brno presented three of Bohuslav Mar- FURTHER PERFORMANCES: tinů’s one-act compositions within the Martinů Revisited project. 16 & 20 September 2009 The works were staged at Brno’s Reduta by the famous Czech theatre-maker Jiří Srnec, founder of the 2 October 2009 / 6.00 pm Theatre Reduta, Brno, CZ “black theatre” tradition, in collaboration with the choreographer Adéla Aster Srncová and young dancers www.ndbrno.cz from Bohemia Balet. The Kitchen Revue, H. 161 The production of the “jazz” ballet The Kitchen Revue, H. 161 was imaginative, gracious and witty, and met Tears of the Knife, H. 169 with an enthusiastic response. The jazz-tinged chamber opera Tears of the Knife, H. 169 is an attempt by The Amazing Flight, H. 159 Jiří Srnec (Director), Jakub Klecker Martinů to apply Dada in music theatre. The ballet The Amazing Flight, H. 159 was inspired by an unsucces- (Conductor), Bohemia Ballet and sful attempt to fly across the Atlantic. Martinů’s music and the mysterious story were accentuated by beauti- Ensemble of the Dance Conservatory ful props, costumes and sets with a video projection. ❚ Prague

martinůrevue22009 | 7 JULIETTE ≠ AT THE BARBICAN CENTRE IN LONDON / PATRICK LAMBERT

ON 27 MARCH THE LONG-AWAITED CONCERT performance of Martinů’s dream opera Juliette (The Key to Dreams), Lyric Opera in 3 Acts, H. 253, sung in French captivated a near capacity audience at the Barbican Hall, drawn there not only by the burgeoning interest in the Czech composer’s stage works in Britain but also by the strong line-up of musicians: Jiří Bělo- hlávek, the highly respected Chief Conductor of the BBC Symphony Orchestra and a cast headed by Czech mezzo soprano Magdalena Kožená in the title role and the American tenor William Burden as Michel. Moreover, this was the UK premiere of the composer’s French version reconstructed by and of the Urtext edition undertaken by Aleš Březina. The performance captured the elusive, surrealistic atmosphere of the piece to great effect, the concert staging being well managed by Kenneth Richardson with a light touch and minimal props. The only miscalculation was requiring Juliette, in the hushed aftermath of the pistol shot in Act II, to exit rather too noisily across the platform. William Burden, who had appeared as Michel photo petr veber in the Paris premiere in 2002, was obviously well inside the role, powerfully conveying not quite in such good voice as she had been having been cut (as also in the Paris production) the sense of the helpless bookseller slowly for the premiere of the Three Fragments from apparently on account of its length (only three succumbing to his dream. He adjusted well the Opera Juliette, H. 253 A in the Prague and half minutes, which would have brought to Martinů’s French text, which is directly based Rudol≤num last December – something to Act III to just under 40 minutes total, almost on Georges Neveux’s original unlike Bronislav the do with the unhelpful Barbican acoustic, exactly matching Act I) . Horowicz’s French language adaptation of perhaps. But her playing of the role was just The deeply engrossed audience, aided by the Czech text that Burden had sung in Paris. as convincing and she took part in the lovers’ surtitles in English, responded in lively fashion Commenting about his role during the interval quarrel in Act II (not included in the Fragments) to the absurdity of the situations in this of BBC Radio 3’s broadcast of the opera four with evident relish. strange, twilight world of forgetting. Jiří Bělo- days later (which could easily be missed, it Other singers deserving special mention were hlávek, who had conducted the revival of the was so inconspicuously billed in Radio Times), the mezzo Rosalind Plowright, splendidly larger- Paris production in 2006, guided his huge BBC Burden explained: “From a vocal standpoint than-life as the Fortune-Teller, the bass Frédéric Orchestra and the responsive BBC Singers it’s very text-based, so it’s not vocal in the Goncalves as Father Youth and a menacing with enormous skill and élan. However, I felt sense of perhaps belcanto, but it is incredibly Convict, the tenor Andreas Jäggi (who had also that the climaxes were sometimes held back vocal in that it has a direct relation to the text appeared in the Paris production) as Police Chief, a bit too much for fear of drowning the singers, and to the telling of the story, so it sits in the Postman and exasperated Clerk in the Central but at the expense of dramatic impact (for voice incredibly comfortably I ≤nd. And it’s truly Bureau of Dreams, the mezzo Anna Stéphany, instance, the encounter with the Fortune- a joy to sing. There’s something voluptuous shining as a vivacious Bell-boy and the bass -Teller). about the music.” For this performance of the Zdeněk Plech as the Old Arab and Old Sailor. In his excellent 30-minute pre-concert talk, complete opera, the part of Juliette seemed My one regret was that the Engine Driver was Aleš Březina ≤lled in the background to the to sit rather less comfortably for Magdalena missing, the episode (Act III, scene 7) with the opera and by way of preparation chose two Kožená and I had the impression that she was Orient Express (surely Martinů’s Paci≤c 231) very telling illustrations: the Prelude to Act I,

8 | martinůrevue22009 IN A FOREST OF reviews GIANT POPPY-HEADS in which he pointed out an allusion to the / LENKA ŠALDOVÁ Václav Kašlík and Josef Svoboda. Let us recall famous bassoon solo that opens Stravinsky’s yet another extraordinary Juliette: in 2000 Sacre du printemps – thus establishing the BOHUSLAV MARTINŮ HIMSELF designated three performances of the opera were given surrealistic atmosphere from the outset – Juliette, or the Key to Dreams, H. 253 as a new by the National Theatre in co-production and, with his second excerpt, planting in and fabulous thing when in the 1930s he with Opera North Leeds. David Pountney’s our memories Juliette’s haunting love song. offered it to the artistic director of the National production became one of the most remarkable In the interval of the broadcast, William Theatre Opera, Václav Talich. At the same time, juxtapositions of Czech opera theatre with Burden made some interesting observations the composer voiced his wish that it be staged the European context following the fall of the about the ending of the piece, which as (as his opera debut!) by Jindřich Honzl – the Iron Curtain in 1989. we know, Martinů changed from Neveux’s director who had the closest ties to Surrealist In the year marking half a century since original concept: “Michel actually makes theatre in our country and to the poetic, Bohuslav Martinů’s death, the National Theatre a very conscious choice to stay and live in his fantasy world created by the French poet in Brno is one of the only institutions to sys- fantasy. He chooses to stay where he knows Georges Neveux in his play. tematically devote itself to the composer’s Juliette is and, for the audience, that can mean many different things. In the context of this story, we are given to believe that he chooses to go insane, but he chooses so joyfully and is delighted at the end with the choice he’s made. And then the story simply begins again.” Perhaps Nikos Kazantzakis’s phrase “an ecstasy of tragic joy” would be the best description. Despite my minor reservations, this per- suasive account of Martinů’s key opera – described in BBC publicity as the ≤rst London performance for 30 years, which is to over- look the marvellous production by the Guildhall School of Music and Drama in March 1987 – will surely be seen as one of the highlights of the Martinů Revisited project, with Jiří Bělohlávek, hailed by the Financial Times as “the greatest living interpreter of Martinů’s music”, very much the hero of the evening. The programme booklet announces a further Martinů enterprise: Bělohlávek is 2nd act – forest of giant poppy-heads to conduct the BBC Symphony Orchestra in a complete cycle of the symphonies spread Whereas Frejka’s 1932 production of works. In co-operation with the Prague Dance chronologically through the next Barbican Neveux’s play Juliette, or The Key to Dreams at Conservatory, it has presented three of his Season from 3 October 2009 (Symphony the Estates Theatre did not meet with the one-acters at the theatre Reduta (The Kitchen No. 1) to 8 May 2010 (Symphony No. 6) audience’s understanding and more or less Revue H. 161, The Tears of the Knife H. 169, in a series of highly imaginative programmes. disappeared without trace, Honzl’s premiere of and The Amazing Flight H. 159). Most impres- A veritable feast, very much to be looked Bohuslav Martinů’s Juliette in 1938 is one of sive, however, has been its staging of Juliette. forward to and guaranteed to provide the landmark events of Czech interwar theatre. At the turn of the millennium, the production’s an eye opener to any remaining Martinů The German occupation, however, resulted in director, Jiří Nekvasil, made two documentaries doubters! ❚ the production being prematurely curtailed about Martinů (Out of Exile and Martinů and after just six performances. The lyrical opera America), as well as several remarkable tele- in three acts would return to the stage of the vision productions of his works from the end National Theatre only in 1963 – with no wane of the 1920s and the beginning of the 1930s in its success – in the fantasy production of (The Amazing Flight, The Tears of the Knife and

martinůrevue22009 | 9 > reviews IN A FOREST OF GIANT POPPY-HEADS photos jana hallová

Set design from the 3rd act Peter Berger (Michel) and Marika Žáková (Little Arab)

Voice of the Forest, H. 243). In terms of its sively sing, recite, and talk. Michel is an ordinary poetics, the new production of Juliette is aligned boy in a white shirt and sports jacket (the with Nekvasil’s TV projects, bearing witness young tenor Peter Berger’s lyrical voice to the director’s sense of the bizarre, in which manages to express quiet astonishment and reality blends with dream. I consider Juliette to a gentle disposition, as well as indignation and be one of Nekvasil’s ≤nest stage projects: just anger). And Maria Haan (alternated by Pavla as in the case of Burian’s Bubu of Montparnasse Vykopalová) is a truly frail Juliette: a dreamy girl and Březina’s Tomorrow There Will Be…, he is in a long blue dress, who is really still but a child sensitive to the ground-breaking nature of – a child who likes phantoms and understands Martinů’s Juliette and accordingly has refrained neither an “ordinary” memory nor Michel’s love, from imposing on the work extraneous concep- and who in a childishly dogged, even wicked, tual constructions or dressing it in a provoca- manner turns away from Michel as if from tively different garb. a discarded toy. The performances of all the Nekvasil and Dvořák’s Juliette is a surrealistic Peter Berger (Michel) and Pavla Vykopalová (Juliette) soloists and the chorus bear traces of the ≤rm collage – just like our dreams. It is a world hand of the conductor Tomáš Hanus – and we know from when we are awake, yet there behaviour, until he comes to learn that he the orchestra too plays admirably under his is something strangely alarming about it. In has found himself in a town where everyone guidance. Hanus’s musical conception of the small town where the bookseller Michel has lost their memory. Because of this they Martinů is extremely dramatic and expressive, has arrived in order to seek out the girl he childishly rejoice at Michel’s memory of a toy yet present too are moments of lyricism and once spotted in a window, people pass through duck he received when he was a child. They playfulness. (fabric) walls, and some houses (or rather, acquire from the matter-of-fact Dealer in The most impressive event of the Martinů photographs of houses) stand upside-down or Memories (Jiří Hájek) records of what they have anniversary year to date. ❚ sideways. Michel waits for his Juliette in an never experienced and pathetically delight amazingly poetic forest of giant poppy-heads, in their briefly recovered past – especially psychedelically illuminated blue, violet and Jana Iskrová (Grandmother) and Pavel Kamas National Theatre Brno – green. A traf≤c light flashes here, a grand piano (Grandfather). They forget who they were Bohuslav Martinů: Juliette. Tomáš Hanus (Conductor), Jiří Nekvasil with a female pianist sails by inaudibly and just a while ago – like the ostentatiously self- (Stage Director), Daniel Dvořák (Set Designer), as inaudibly sails backstage. In the ≤nal Act the important Commissioner, subsequently the Josef Pančík (Chorus Master). world of the awake and the world of eternal Postman (Petr Levíček). Premiere 27 March 2009 at the Janáček oblivion is divided by the neon river Styx. Each character in Nekvasil’s production is Theatre, Brno. In this fantastic world, people mostly look a simply rendered, interesting personality, and (Review of the performance on 7 April) altogether normal at ≤rst sight – the stage all the performers (Marika Žáková, Jan Hladík, Reprinted from the Czech theatrical director does not stylise them. All the greater David Nykl, Marek Gurbaľ and Zoltán Korda, journal Divadelní noviny No. 10 (2009), then is Michel’s astonishment at their in addition to those mentioned above) expres- with their kind permission.

10 | martinůrevue22009 — LIST OF MARTINŮ’S WORKS VI Special s— CATEGORY/ Serie | CONCERTOS SUBCATEGORY/ | PIANO CONCERTOS

IN THIS ISSUE of the Revue we continue Premiere: 20.11.1949, Dallas,Texas,USA with our publishing of the complete list of CONCERTINO FOR PIANO Archive: Národní muzeum. České muzeum SINFONIETTA GIOCOSA Bohuslav Martinů’s works.We began with AND ORCHESTRA H. 269 hudby (depozitum NBM), Czech Republic FOR PIANO AND SMALL the operas and have since considered the Publisher: Český hudební fond, Praha, ORCHESTRA H. 282 ballets, incidental music and film music, Durata: 22' ČHF 445, 1960 works for large orchestra, symphonies, Place of composition: Paris (France) Copyright: Panton International Praha Durata: 28' works for chamber orchestra and suites Date of composition: 1938 Place of composition: Aix-en-Provence (France) and abstracts of the incidental works.The Performing forces: 2222-4220-timp.-batt.-archi Date of composition: 1940 next subcategory are the piano concertos Dedication: Juliette d’Arányi Performing forces: Piano solo, 2202-2000-archi (listed in alphabetical order).The basic data Performer(s) of premiere: Orchestr CONCERTO FOR PIANO Dedication: Germaine Leroux on the works listed here have been taken Slovenského rozhlasu, L. Fuchsová (pf.), AND ORCHESTRA No. 4 Performer(s) of premiere: National Orchestra, from the online catalogue of Martinů’s œuvre O. Pařík (cond.) (INCANTATIONS) H. 358 G. Leroux (pf.), L. Barzin (cond.) at www.martinu.cz, which is continuously Premiere: 30.3.1947, Bratislava, Slovakia Premiere: 16. 3. 1942, New York, USA updated as issues from the latest research Archive: Centrum Bohuslava Martinů Durata: 18'30" Archive: Centrum Bohuslava Martinů, Polička, are documented by the staff of the Bohuslav v Poličce, Polička, Czech Republic Place of composition: New York (USA) Czech Republic Martinů Institute. Publisher: Český hudební fond, Praha, ČHF Date of composition: 1956 Publisher: Boosey and Hawkes, In the next issue you will find a list of Martinů 025, 1956 Performing forces: 3222-4230-timp.-batt.-ar.- London–NewYork, B&H 17151, 1953 Concertos for Violin and Violoncello. Copyright: Panton International Praha archi Copyright: Boosey and Hawkes, Performing forces: 2222 3332-4331-timp.- Dedication: “Commisioned by Fromm Music London–NewYork batt.-ar.-pf.-archi Foundation” Abbreviations/ Performer(s) of premiere: Symphony of the Air, ar. harp L. Stokowski (cond.) archi string section Premiere: 4.10.1956, New York, USA batt. battery CONCERTO FOR PIANO Archive: Národní muzeum. České muzeum cel. celesta AND ORCHESTRA No. 1 IN D H. 149 hudby (depozitum NBM), Czech Republic cl. clarinet Publisher: Bärenreiter Kassel, Kassel, B.A. cmp. chime-bells Durata: 27'15" 4318, 1965 cond. conductor Place of composition: Polička (Czech Republic) Copyright: Bärenreiter Kassel cor.ing. English horn Date of composition: 1925 fg. bassoon Performing forces: 2220-2210-archi (44322) picc. piccolo Dedication: Jan Heřman pf. piano Performer(s) of premiere: Czech Philharmonic, CONCERTO FOR PIANO AND tamb. tambourine J. Heřman (pf.), R. Manzer (cond.) ORCHESTRA No. 5 (FANTASIA tamt. tamtam Premiere: 21.11.1926, Praha, Czech Republic CONCERTANTE) IN B H. 366 timp. timpani Archive: autograph missing tr. trumpet Publisher: Panton International Praha, P 767, Durata: 23'30" trbn. trombone 1968 Place of composition: Schönenberg – Pratteln vl. violin Copyright: Panton International Praha (Switzerland) xlf. xylophone Date of composition: 1958 Performing forces: 3222-4230-timp.-batt.-xlf.- archi CONCERTO FOR PIANO Dedication: Margrit Weber Commentary/ AND ORCHESTRA No. 2 H. 237 Performer(s) of premiere: RIAS- “Archive” – gives the information as to Orchester, M.Weber (pf.), E. Lessing (cond.) where the autograph orchestral score is Durata: 23' Premiere: 31.1.1959, Berlin, Germany deposited. Place of composition: Paris (Malakoff) (France) Archive: Paul Sacher Stiftung, Basel, Date of composition: Day / Month / Year Date of composition: 1934 Switzerland Premiere: Day / Month / Year Performing forces: 3222-4230-timp.-batt.-archi Publisher: Universal Edition,Wien, Only accessible information is stated. If data Dedication: Germaine Leroux U. E. 12839 LW, 1959 on the publisher are missing, the work has Performer(s) of premiere: Czech Philharmonic, Copyright: Universal Edition yet to be published and is available as R. Firkušný (pf.),V.Talich (cond.) material that can be lent. Premiere: 13.11.1935, Praha, Czech Republic Archive: Centrum Bohuslava Martinů v Poličce, Polička, Czech Republic DIVERTIMENTO (CONCERTINO) Publisher: Český hudební fond, Praha, P 113, FOR PIANO LEFT HAND 1960 AND ORCHESTRA IN G H. 173 Copyright: Panton International Praha Durata: 20’ Place of composition: Paris (France) Date of composition: 1926-1928 CONCERTO FOR PIANO Performing forces: 1212-1000-archi AND ORCHESTRA No. 3 H. 316 Dedication: Otakar Hollman Performer(s) of premiere: Prague Symphony Durata: 25' Orchestra (FOK), O. Hollmann (pf.) Place of composition: New York (USA) Premiere: 26. 2. 1947, Praha, Czech Republic Date of composition: 1948 Archive: Národní muzeum. České muzeum Performing forces: 2222-4231-timp.-batt.-archi hudby, Praha, Czech Republic Dedication: Rudolf Firkušný Publisher: Český hudební fond, Praha, Performer(s) of premiere: Dallas Symphony ČHF 091, 1957 Orchestra, R. Firkušný (pf.),W.Hendl Copyright: Panton International Praha (cond.)

> LIST OF MARTINŮ’S WORKS VI > Category CONCERTOS > Subcategory PIANO CONCERTOS u martinůrevue22009 | 11 [CONFERENCE≠” BOHUSLAV MARTINŮ – WERK UND WIRKUNG CONFERENCE IN DRESDEN ≠ No.1, H.136 (E. Velická, Prague). The paper’s / SANDRA BERGMANNOVÁ author introduced the work in terms of the turn THIS JUBILEE YEAR is signi≤cant for Bohuslav in Martinů’s compositional thinking following his Martinů’s work not only because his music has departure for Paris (1923). She emphasised [NEWS≠” been made a centrepiece of cultural events that, in contrast to the earlier works, which both in the Czech Republic and abroad but also absorbed various influences and as a result can NEW PERFORMANCE because is has received increased scholarly sound quite fragmentary, this Trio is stylistically attention. Numerous musicological conferences uniform – indicating a true breakthrough in OF REDISCOVERED in 2009 have been entirely devoted to the com- Martinů’s musical thinking. The symphonic WORK poser. The ≤rst of these was the symposium music was also examined during the course of held in Dresden on 1 and 2 May 2009, entitled the symposium. Martinů’s symphonies were / ALEŠ BŘEZINA Bohuslav Martinů – Werk und Wirkung. The dealt with by W. Rathert (Munich), while the AT A PRESS CONFERENCE held by the Prague organiser, the Institut für Musikwissenschaft American period was given attention in a paper Spring Festival, which this year (and next at the Hochschule für Musik Dresden, produced on the Memorial to Lidice, H. 296 (K. Döge, year also) is devoted to the work of Bohuslav the event in co-operation with the Czech Munich), which explored the work in semantic Martinů, Petr Jiříkovský gave the modern Centre in Dresden and the Bohuslav Martinů terms and drew attention to motivic elements premiere of the Victory March of the R.U.R. Institute in Prague. reminiscent of Beethoven’s “Fate” Symphony or Sports Club in Polička, H. 129 bis a hitherto The ten papers presented at the symposium the Saint Wenceslas Chorale. The symposium’s totally unknown piano composition by Martinů spanned various topics. Aside from contempla- participants also heard a paper on the virtually from the summer of 1921. Of course this is tions of Martinů’s musico-historical placement unknown early symphonic works (S. Bergman- an occasional piece, but in genre and subject (A. Březina, Prague) and of his works’ reception nová, Prague), explaining the stylistic influences matter it anticipates the use of jazz elements in Bohemia during the composer’s lifetime of the time and the manner in which Martinů and the topic of sports in works from Martinů’s (J. Gabrielová, Prague), papers focused primarily integrated these into his own musical language. Parisian period. The conclusion of the piece is on the instrumental music. An exception, though, Another interesting paper considered the role appropriate to the idea of sports events with was a paper on the dramaturgy of Martinů’s of the piano in Martinů’s orchestral works a large audience, ending with a cheer (marked operas (M. Blahynka, Bratislava). Bohuslav (D. Philippi, Mainz), as illustrated by two concer- with an eleven-fold forte!) in which most of Martinů’s quartets were juxtaposed with Igor tante pieces from the Paris period (Jazz Suite, those attending the press conference partici- Stravinsky’s music (S. Weiss, Hanover). Truly H. 172, and Double Concerto for Two String pated. Both Czech Radio and the publishing remarkable was the insight into the piano works Orchestras, Piano and Timpani, H. 271). Both house Editio Bärenreiter Praha immediately given by S. Mauser (Munich), who put forward days of the symposium were rounded off by expressed interest in the piece. ❚ the hypothesis that, given the sheer volume of evening concerts at which works by Martinů pieces he composed, Martinů had certain deep- were performed. The papers will be published (More info about this recently discovered work rooted compositional techniques he frequently in proceedings issued by the Munich publisher see also Martinů Revue No. 1, January–April, applied in various compositions. Also presented Richard Boorberg Verlag in the series titled 2009, page 19) was a recently discovered piece, String Trio “Musik-Konzepte”. ❚ [≠AUTOGRAPHS≠” MARTINŮ’S LETTERS TO JOSEF SUK

THE VIOLINIST JOSEF SUK has donated to the written between 1929 and 1934, document Bohuslav Martinů Foundation ≤ve letters from the relationship of Martinů the “grateful pupil” the probate estate of his grandfather. The to his “dear master” Josef Suk: “I have a nature composer Josef Suk gave the young Martinů that, owing to the dif≤cult circumstances in which advice and support in preparing for the state I grew up, has become very withdrawn and does exam for private teaching of music. Although in not often reveal itself. But for you, master Suk, 1911 Martinů failed the state exam, Josef Suk I have in≤nite admiration which I do not conceal acquainted himself with his compositions and in the slightest, and I will never forget your warm gave him occasional composition lessons. From reception and the words of encouragement and 1922 Martinů briefly attended Suk’s composi- fortitude you have given me. […] You have always Josef Suk, 1906, Photo: Atelier Langhans tion master class. The ≤ve donated letters, guided me, perhaps without even knowing it

12 | martinůrevue22009 [CONFERENCE≠” CONTINUITY OF CHANGE. BOHUSLAV MARTINŮ IN 20TH-CENTURY MUSIC HISTORY INTERNATIONAL MUSICOLOGICAL CONFERENCE, PRAGUE, 29–31 MAY, 2009 / EVA VELICKÁ TO MARK THE 50th anniversary of Bohuslav Martinů’s death, the Bohuslav Martinů Institute organised a conference at the end of May on the composer’s work and its reception. Entitled Continuity of Change. Bohuslav Martinů in 20th-Century Music History, the conference was supported by the Ministry of Culture of the Czech Republic, the City of Prague, the Bohuslav Martinů Foundation and the Prague Spring International Music Festival. Fundamental to the conference’s thematic framework was the thesis that the unifying element in Martinů’s diverse musical legacy, originating over the course of half a century, is were ful≤lled since the papers and subsequent instrumentation; Francis Maes – the relation constant transformation of musical language. discussions dispelled unjustly rooted notions between music and its visual inspiration; Jens Some twenty-two scholars from various coun- about Martinů and his position in Czech history. Rosteck – French (exile) symphonic works; Lucie tries presented their papers at the conference. Vít Zouhar achieved this, for example, in con- Berná – the ≤eld mass genre). In their papers, In addition to established Martinů scholars nection with Martinů’s choral pieces from the Michael B. Beckerman, Harry Halbreich, Ivana (Harry Halbreich, Michael B. Beckerman, Ivana 1940s and 1950s, while Sandra Bergmannová Rentsch and Aleš Březina outlined the possibi- Rentsch, Jarmila Gabrielová and members of the took on the early symphonic works. On a diffe- lities of newly de≤ning Martinů’s creative Bohuslav Martinů Institute team – Aleš Březina, rent note, the papers of Jarmila Gabrielová, methods beyond the current chronological Eva Velická, Sandra Bergmannová, Lucie Berná), Gabriele Jonté and Thomas Svatos were division of Martinů’s oeuvre. The conference several renowned scholars appeared who had devoted to Martinů’s reception and historical participants heard for the ≤rst time some not previously devoted their energies to Mar- position in America. Some scholars came up speci≤c names, works and theories in con- tinů. Thus, the conference provided a unique with novel analytical methods which can serve nection with Bohuslav Martinů. As such, the opportunity to gain new insights for Martinů as interpretational aids when approaching conference outputs mapped out new areas and research. Examples of new-comers to Martinů Martinů’s oeuvre (Michael Crump and Brian S. possibilities for future Martinů research, which research included Hans-Joachim Hinrichsen and Locke), others outlined new themes in Martinů was itself one of the conference’s themes. Giselher Schubert, who re-evaluated Martinů’s research and new contexts within which we can chamber oeuvre from the 1920s, and Arne view the composer (Tomi Mäkelä – the issue of The conference 2010 proceedings will be Stollberg, who reconsidered Martinů’s Half- nationalism; Eva Velická – humour; Gregor published within the Martinů-Studien series time, H. 142 within the context of sports circa Herzfeld – popular and jazz music; Daniela by Peter Lang Verlag. ❚ 1920. The conference’s intention and set thesis Philippi and Jürgen Maehder – the question of

yourself, and this cannot be forgotten.” So wrote Martinů expresses thanks for the support Martinů in a Christmas 1930 letter. Of interest the younger generation draws “from your are other statements too: in a letter dated 6. 2. artistic faith and perseverance”. The letters 1929 (Paris) Martinů thanks Suk for performing have been digitised and are available to his quintet (probably the String Quintet, H. 164) researchers in this form at the Bohuslav and assures him that he proudly presented him- Martinů Institute. ❚ self everywhere “as your pupil, and I am proud of it”. In a letter written in Paris (1. 1. 1932) Martinů sends his New Year’s greetings and seeks spiritual support in hard times from a representative of the epoch “that considered the arts and creative activity the very peak of life”. The letter dated 5. 4. 1932 contains congratu- lations on the anniversary of the Czech Quartet;

martinůrevue22009 | 13 ≠ MARTINŮ REVISI / GRAHAM MELVILLE-MASON

MARTINŮ CAME EARLY to Prague for this year’s Festival, presenting a strong visiting card announcing himself through his leading inter- preter of today, when Jiří Bělohlávek conducted Symphony No. 6 (Fantaisies symphoniques), H. 343 on 7 and 8 May in the Rudol≤num as part of the Czech Philharmonic season. These were ≤ne performances with the Czech Philhar- monic delivering that for which their conductor asked – not something that they have always done in the past. This bodes well for the long awaited release of their recording together of Symphony No. 5, H. 310 and Symphony No. 6. The opening of the exhibition Martinů Phenome- non on 11 May at the Museum of Czech Music (reported elsewhere) also served to enhance the theme. Bohuslav Martinů Philharmonic Orchestra, Bohuslav Matoušek and Régis Pasquier (May 15, 2009) Jakub Hrůša opened Martinů’s of≤cial Festival visit on 15 May with an ebulient performance accomplished and forceful account of the symphonies are increasingly before the concert- of the Duo Concertant for Two Violins and Fantazie e Toccata, H. 281, perhaps too force- going and record-buying public, it was good to Orchestra, H. 264 in which the two soloists, ful at times, his youthful temperament still to be reminded that Martinů had contemplated Bohuslav Matoušek and Régis Pasquier, received come fully under control in the service of the writing a symphony as early as 1912 and made due acclamation from the audience. This con- music. In the evening Shlomo Mintz and Petr a ≤rst attempt in 1928 of which the Rapsódie cert by the Bohuslav Martinů Philharmonic Jiříkovský gave a recital which included the is the one surviving movement, originally titled Orchestra from Zlín opened with the Variations Five Short Pieces, H. 184 for violin and piano. Allegro symphonique, the premiere in Boston on a Theme of Bohuslav Martinů by Martinů’s While Jiříkovský’s contribution was excellent by Koussevitsky programmed as La symphonie. friend and long-term advocate, Zdeněk Zouhar. throughout, it has to be said that Mintz was The Luxemburg players gave a forthright, This was an attractive and well written piece disappointing in his apparent lack of commit- unsophisticated performance which neverthe- in which ten variations culminate in the theme ment to much of what he played. less showed that the work deserves occasional of “A little bird flew in from a foreign land” On 18 May the Janáček Chamber Orchestra performances rather that the current rare from the Songs on Two Pages, H. 302. From under Jakub Klecker opened with the string outings. the opening clarinet solo with gentle wind and orchestra version of the Sextet, H. 224 A and The next day saw a delightful concert by the brass support, the atmosphere of the Vysočina two days later Zdeněk Mácal gave one of the Kühn Children’s Choir under the joint choir- was conjoured up to pervade much of what corner stones of Martinů’s output, the Double masters, Jiří Chvála and Světlana Tvrzická in followed. A beautiful variation for solo harp led Concerto for Two String Orchestras, Piano and a programme of twentieth century Czech music, to variations for all sections of the orchestra, Timpani, H. 271 with the Czech Philharmonic of which the senior representative was Martinů including a very effective one for tuba, two Orchestra, in a performance which was forceful in his Petrklíč (Primrose), H. 348. Of the two piccolos and percussion. Finally the strings but lacked the overwhelming sense of forebod- hundred talented young children, a select majestically sang out the original song theme, ing which infuses the interpretations of Ančerl group of thirty sang these duets for sopranos the wind contributed and then the full orches- and Kubelík (and even Bělohlávek, who was not and altos with violin and piano accompaniment, tra declaimed the song in a triumphal and alive at the time of the Nazi threat over Europe so freshly and charmingly presented here. moving conclusion. I am sure Martinů would which so influenced Martinů in writing this The second Saturday young artist matinée was have been delighted with Zouhar’s sincere work). On 21 May the Orchestre Philharmonique given by Martina Bačová and Alexandr Starý, homage. du Luxembourg under Emanuel Krivine per- concluding their programme with a very well The ≤rst of the Saturday morning concerts formed the Rapsódie (Rhapsody-Allegro sym- considered and dynamic account of the Violin at the Academy of Music Martinů Hall, devoted phonique) for Large Orchestra, H. 171, the Sonata No. 3, H. 303. The evening concert to young artists, was given by the talented ≤rst of the Martinů “rarities” heard during this was given by the South Bohemian Chamber pianist Ladislav Doležel. He gave a technically Festival. At a time when Martinů’s six ≤ne Philharmonic under its conductor Stanislav

14 | martinůrevue22009 TS PRAGUE SPRING The Romance of the Dandelions H. 364, Mikeš of the Mountains H. 375 and The Opening of the Springs, H. 354, all delighfully sung by the Kühn Mixed Choir under Marek Vorlíček, with Alena Hellerová, Sylva Čmugrová, Václav Lemberk and Roman Janál as soloists. On 31 May the Basel Chamber Orchestra, for whose predecessors it was written, performed the Toccata e due canzoni, H. 311 in a concert conducted with youthful enthusiasm by Kristjan Järvi. It has to be said that his reading lacked the emotional understanding and clarity we experienced when Jiří Bělohlávek conducted it in the same hall a few years ago. The ≤nal Martinů contribution was another special event and rarity in the concert hall. In the penulti- photos © prague spring festival – zdeněk chrapek & ivan malý – zdeněk chrapek & ivan photos © prague spring festival mate concert of the Festival on 2 June, Jiří Kout conducted the Prague Symphony (FOK) Orches- From the left: Adriana Kohútková, conductor Jiří Kout, Štefan Kocán, Jaroslav Březina (May 2, 2009) tra and the Prague Philharmonic Women’s Choir,

Conductor Emmanuel Krivine (May 20, 2009) Conductor Kristjan Järvi (May 31, 2009)

Vavřínek, ending this programme with the best from Hamburg, conducted by Christoph von with Adriana Kohútková, Jaroslav Březina and playing of the evening in a well rehearsed Dohnány, with Frank Peter Zimmermann as Štefan Kocán as soloists, to give us the balad performance of the Sinfonietta La Jolla, H. 328. soloist in an excellent performance of the Svatební košile (The Spectre’s Bride), H. 214 Sunday saw a welcome return of the Czech Violin Concerto No. 2, H. 293. On 28 May came which Martinů wrote in 1932 as the extended Nonet, now with a number of new and younger another of the special concert events with conclusion to his ballet Špalíček (The Chap- members. Martinů was represented by his late, a rare performance of Nipponari, H. 68, excel- Book), H. 214, but later created as a separate well-known Nonet No. 2, H. 374 and his most lently delivered by Dagmar Pecková with Jiří work which some may know from the 1985 attractive Paris Stravinskian Les Rondes, H. 200 Bělohlávek and his Prague Philharmonia. It Supraphon recording. Here it was vividly in which the “new” Czech Nonet demonstrated was also good to see on this occasion back brought to life by Jiří Kout with excellent singing that it continues the standard and unique in Prague, Harry Halbreich for the Martinů from the forty strong female choir and soloists, tradition of its illustrious past eight-≤ve years. Conference, held on 29 to 31 May. On 30 May thus providing a most ≤tting and satisfying On 26 May the AD Trio opened its programme was another great opportunity for Martinů ending to Martinů’s revisiting the 64th Prague with the Piano Trio No. 3 in C, H. 332. The next enthusiasts to hear the four cantatas – Legend Spring International Music Festival. ❚ day brought the NDR Symphony Orchestra of the Smoke from the Potato Fires, H. 360,

martinůrevue22009 | 15 — interview ALAN BURIBAYEV

On the premiere which we will also be playing music by Martinů (Concertino for Piano and Orchestra, H. 269 of Martinů’s with the Brazilian soloist Patricia Bretas). Fantaisies symphoniques But let’s go back to Fantaisies symphoniques. I am convinced that it is one of the most sig- in Norrköping ni≤cant symphonic works written after World War II in Europe and the New World. / MARTINA FIALKOVÁ I think that Martinů wanted to express in it all the sorrow he felt over Czechoslovakia’s ON 26 FEBRUARY 2009 one of the major destruction by the Communist regime. He also concerts of the Martinů Revisited project’s wanted to express what he felt as an emigre in foreign component took place in Norrköping the USA who could not go back home since the under the auspices of the Czech Ambas- Nazis had been succeeded by the Communists. sador to Sweden. The young yet already Given this situation, it was simply impossible for highly sought-after Kazakh conductor Martinů to return. I think it is a very personal Alan Buribayev, principal conductor of message of deep human grief. And the idea, the Norrköpings Symfoniorkester (SON), using the melody from Dvořák’s Requiem, says had prepared Martinů’s Symphony No. 6 a lot too. I guess that Martinů mainly wrote (Fantaisies symphoniques), H. 343 for its local this work for himself, but also for a world that premiere. Buribayev, for whom the concert would never be the same as it was before was also a personal Martinů premiere, World War II… demonstrated his mastery of the dif≤cult work and his approach met with an enthu- Where and when did you ≤rst encounter siastic response. In late November, the Martinů’s music? conductor and the Norrköpings Symfoni- I ≤rst encountered Martinů’s music at home, orkester will tour the Czech Republic and in Almaty, Kazakhstan. I heard the Moscow will also appear in Bratislava. Their trip Chamber Orchestra and Rudolf Barshai on an will culminate in two concerts at Prague’s old gramophone record. It was a rarely played Rudol≤num on 26 and 27 November 2009. opus called Divertimento (Serenade No. 4, Alan Buribayev This interview with Alan Buribayev, which H. 215). I immediately fell in love with this took place immediately after the Swedish sprightly, vivid and motoric music. I listened technical aspect and the ≤rst impression, premiere, aims to familiarise the Czech to this extremely positive work over and over I mostly prepare for a new season as early as audience with a rising star whose engage- again. Since then my interest in Martinů’s in the summer. Since I don’t have much time ment as the SON’s principal conductor has music has been constantly increasing. during the season, I must say that this com- recently been extended. position was part of my holiday. It is said that Fantaisies symphoniques is not What really fascinates me about this music Some concerts within Martinů Revisited, easy to perform – neither for the conductor is its rhythmicality. This symphony is very including the one at which you gave the nor the orchestra. I’ve heard that some rhythmical, and this should be the forte of both Swedish premiere of Martinů’s Fantaisies conductors have additional rehearsals prior the orchestra and the conductor. Until then symphoniques with the Norrköpings Sym- to its interpretation. What did you do before I hadn’t conducted any works by Martinů, so foniorkester, were selected by the Czech your premiere of this composition, which it was also a premiere for me. We had three Government as part of our Presidency’s was also the premiere for the Norrköpings rehearsals plus the dress rehearsal. I – and EU calendar. What made you choose this Sympfoniorkester? not only I – stressed to the musicians how particular Martinů masterpiece? Yes, it is a complicated piece of music; it is important this premiere concert was. Above all, I am very glad that this very concert not as accessible as perhaps Martinů’s other was selected by the Czech Government and symphonies. What then was your personal impression included in the EU calendar. It is a great honour It is not a work one can learn overnight, of today’s concert? Were you satis≤ed? for me and for the orchestra too. This is it needs time. Some works you even learn to Yes, I can say I was. It can always be better especially true now that we are planning our interpret all your life, returning to them with in technical terms, but it was good. And I am autumn tour of the Czech Republic, during new ideas. Yet when it comes merely to the above all satis≤ed with the impression aspect.

16 | martinůrevue22009 — A RISING CONDUCTING STAR

I think the orchestra did very well. I am really My mother played the cello in the Kazakhstan Later on, I discovered Smetana and his pleased since I was more worried about the State String Orchestra for ≤fteen years, and Bartered Bride and My Country, Dvořák’s sym- impression than the technical execution. It is they performed this piece on numerous occa- phonies and Rusalka. When I was working as above all your – Czech – music. And even sions. I remember when I was twelve whistling principal conductor at the Meiningen Opera in though I myself strove to understand and and singing the melody of the scherzo from the Germany, I conducted Janáček’s Jenůfa more grasp it as best as I could, it was still necessary quartet to my own lyrics: “My name is Alan”! than twenty times. It is a splendid opera! ❚ for the orchestra to get to grips with it – we cannot overlook the fact that this is a Swedish Norrköpings Symfoniorkester orchestra, with many musicians being of other nationalities too. A problem could have arisen as regards perception of the music, but this didn’t happen. The musicians told me they were deeply moved by Martinů’s music and

had strong impressions from its performance. photo son archives I could feel that they were playing the com- position with great absorption. Since I was conducting a piece by Martinů for the ≤rst time, from the very beginning I put into it my own imagination, thus it was a little bit like my own “symphonic fantasies”. It was a powerful experience for me too.

In conclusion, let us deviate a bit from Martinů. Can you recall what the ≤rst piece of Czech music you encountered was and what it invoked in you? My very ≤rst encounter with Czech music was with Dvořák’s American Quartet in F major.

with a diploma, this being a concert in the two so heavily charged works. Whatever SYMPHONY No. 6 ongoing ”Martinů Revisited” program. A reward the reason, during the ≤rst movement of / GÜNTER THIELE well deserved also for other reasons. The Martinů’s symphony my impression was that Symphony No. 6 – Fantaisies symphoniques, the orchestra mainly moved along the surface THE FIRST WORK at the concert with conduc- H. 343 was actually the fourth of Martinů’s of the music, technically accomplished but tor Alan Buribayev and Norrköpings Symfonie- symphonies performed by the SON since the without stirring the undercurrents in any orkester (SON) on 26 February 2009 featured jubilee 1990. In addition to that the orchestra substantial way. However, in the second Isabelle van Keulen in Beethoven’s glorious may be credited for a ≤ne performance of movement the potential of the music was Violin concerto. The Parables, H. 367 a few years ago, not to fully realised.We were presented with a truly I have her in fond remembrance since her mention some lesser works. This record is far fantastic and breathtaking magic wand of ≤ne performance of Martinů’s Rhapsody- more than any other Swedish orchestra could sound nobody present is likely to forget easily. -Concerto for Viola and Orchestra, H. 337 boast of during that period and leaves no room The performance of the third movement did during the annual Bohuslav Martinů Days in for doubt that the SON has an understanding not quite preserve this level of excellence, but Prague in 2004. This time her presentation and sympathy for Martinů’s idiom. But prior it was good enough to arouse the audience to of the solo part was the redeeming feature to the Fantaisies symphoniques this evening a standing ovation. Let’s hope the orchestra in an otherwise not particularly distinguished another masterpiece with a Czech connection will perform the two ”missing” symphonies performance of the Beethoven concerto. was performed; Mozart’s Prague Symphony. no 2 and 4 too before long. That would be After the intermission the Czech Republic’s I wonder if not more than a mere breathing something to look forward to. ❚ Swedish ambassador presented the orchestra pause would have been advisable between

martinůrevue22009 | 17 30 October / 7.45 pm FESTIVAL MORAVIAN AUTUMN for Large Orchestra, Op. 78 > The Anvil Basingstoke, UK 2—16 October 2009 B. Martinů: Concerto for Violin Estampes, H. 369 Variations on the Theme of Martinů and Orchestra No. 2, H. 293 Czech Philharmonic Orchestra More information: www.mhf-brno.cz/ B. Martinů: Symphony No. 6 Jakub Hrůša (Conductor) moravsky-podzim/cz/ “Fantaisies symphoniques”, H. 343 Neeme Järvi (Conductor), events DNI MUZYKI BOHUSLAVA Frank-Peter Zimmermann (Violin), ‹vOPERAS≠&≠BALLETS—› MARTINU W 50. ROCZNICĘ Radio-Sinfonieorchester Stuttgart ŚMIERCI KOMPOZYTORA 16 & 20 September 2009 KRAKÓW 2009 / Poland CINEMA 2 October 2009 / 6.00 pm 18—22 October 2009 The Marriage, H. 341 ‹vCONCERTS—› > Theatre Reduta, More information: Tuesday, November 3, 2009 / Brno, CZ [email protected] 7.00 pm www.ndbrno.cz > Stadtkino Basel 27 August 2009 The Kitchen Revue, H. 161 (Introduction) > Czech Museum of Music, Tears of the Knife, H. 169 15. INTERNATIONALE As part of the swiss-wide opera project Prague, CZ The Amazing Flight, H. 159 MUSIKFESTTAGE during the jubilee year we present www.nm.cz Jiří Srnec (Director) B. MARTINŮ for the FIRST TIME IN EUROPE: The Kitchen Revue No. 3 – Jakub Klecker (Conductor) 50. Anniversary “Bohuslav Martinů’s ‘The Marriage’ – Charleston, H. 161, Bohemia Ballet and Ensemble of Martinů’s death a quite unbelievable story” Les Jeux I, H. 205, of the Dance Conservatory Prague > Basel, Switzerland NBC Opera Theater Production (1953), Film en miniature, H. 148 Patronat: Václav Havel, John Bloch (director) Karel Košárek, piano 4 October 2009 (premiere) Moritz Leuenberger, Josef Suk 5 & 7 October 2009 / 7.00 pm Artistic Director: Robert Kolinsky CHAMBER MUSIC The Marriage, H. 341 5 September 2009 Sextet Jakub Klecker (Conductor) The International Music Festival > Rudol≤num, Prague, CZ Sunday, November 8, 2009 / The Parables, H. 367 Pamela Howard (Director) B. Martinů in Basel (Switzerland) is dedicated to the Czech composer 7.00 pm Czech Philharmonic Orchestra, > Hans-Huber Saal, Basel Eliahu Inbal (Conductor) 23 October 2009 Bohuslav Martinů, who spent the A. Schönberg: Trans≤gured Night > Theater Biel Solothurn, Biel, last years of his life in the Basel For other concerts of the season B. Martinů: String Sextet, H. 224 Switzerland region. with Martinů’s works see A. Dvořák: Sextet A-Major, Op. 48 www.theater-biel.ch Since 1995 the festival has taken www.ceska≤lharmonie.cz Academy of St. Martin in the Fields , H. 255 place every autumn, presenting Ensemble 10 September 2009 a high quality programme featuring 29 October 2009 (premiere) renowned artists and musicians. > National Theatre Prague, CZ FAMILY CONCERT > National Theatre Prague, CZ Václav Havel, violinist Josef Suk and www.narodni-divadlo.cz “Letters from Felix – www.narodni-divadlo.cz Swiss President Moritz Leuenberger Opening concert a little rabbit on a world tour” Additional are patrons of the festival. Under the of the new season Wednesday, November 11, 2009 / performances: artistic leadership of pianist Robert The Epic of Gilgamesh, H. 351 6.00 pm 31 October, 2, 7, 29 November, Kolinsky it has developed into an Eva Urbanová, Jaroslav Březina, > Museum Tinguely, Basel 14 December 2009, 1 January, institution unique on the Swiss music Aleš Jenis, Martin Gurbal’ (Soloists), Percussion Ensemble Kaiserstuhl – 26 February, 5 April 2010 scene. The press considers the festival David Matásek (Narrator) Groove Collective Allschwil – Tomáš Netopil (Conductor) The Miracles of Mary, H. 236 to be one of the smallest and ≤nest of its kind and its concerts are broadcast Friedemann Stert/Leitung on radio and TV each year. The oeuvre Musical Promenades through 19 September 2009 the continents of this world >Luxembourg, Centre de Neumunster, ‹vFESTIVALS—› of Martinů is at the centre of the Works for mallet instruments, Luxembourg programming and is combined with other works of various styles and eras. e-bass and percussion by B. Martinů, String Quartet No. 5, H. 268 KAMMERMUSIK FESTIVAL Besides classical concerts, the festival E. Kopetzki, H. Villa Lobos Kaprálová Quartet ALLEGRO VIVO 2009 / Austria establishes interconnections with 9 August—20 September 2009 cultural genres such as ≤lm, jazz and JAZZ CONCERT 8 & 9 October 2009 www.allegro-vivo.at modern dance – a diversity that is “Fantaisies symphoniques” > State Opera, 18 August 2009 much appreciated both by audiences Sunday, November 15, 2009 / Prague, CZ > Horn, Vereinshaus and the press alike. 7.00 pm www.opera.cz Trio for Flute, Cello & Piano, H. 300 > Museum Tinguely, Basel The Rock, H. 363 In 2009 – the 50th anniversary of 20 September 2008 Miroslav Vitouš & friends Aria of from the opera Martinů’s death – the festival cele- > Stift Altenburg, Bibliothek brates the composer with a top-class Improvisations on Symphony No. 6 Ariane, H. 370 “Fantaisies symphoniques”, H. 343 Czech Rhapsody, H. 118 Closing Concert programme and the unveiling of Concertino for Piano Trio and String a portrait at the Stadtcasino Basel by Bohuslav Martinů Soloists, choir and orchestra of the (In cooperation with the bird’s eye State Opera Orchestra, H. 232 where many of Martinů’s major works Eggner Trio have been premiered. Thanks to the jazz club) 20 October 2009 Tonkünstler-Orchester initiative of the festival, a number More information: www.martinu.ch > Foyer européen, Luxembourg, Niederösterreich, Bijan Khadem- of Martinů’s stage works are being Luxembourg -Missagh (Conductor) produced by the major opera houses Deux chansons, H. 213 of Switzerland during the jubilee year. THE JERUSALEM INTERNATIONAL Songs on One Page, H. 294 Eva Garajova (Mezzo-soprano), CHAMBER MUSIC FESTIVAL FESTIVE CEREMONY Paul Rhodes (Piano) 31 August—12 September 2009 & OPENING CONCERT www.jcmf.org.il Saturday, October 31, 2009 / The program subject to change 27 October 2009 / 8.00 pm 31 August 2009 7.00 pm > Main Auditorium, Dublin, Ireland Duo for Violin and Cello, > Stadtcasino Basel This is only a selection of Martinů’s 28 October 2009 / 7.30 pm H. 371 Festive Ceremony, 5:45 pm performances all over the world. > Bridgewater Hall Manchester, UK 5 September 2009 Inauguration of Martinů portrait More events can be found at The Kitchen Revue, H. 161 A. Dvořák: Symphonic Variation www.czechmusic.org

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