THE BOHUSLAVMARTINŮ FOUNDATION THE BOHUSLAVMARTINŮ INSTITUTE THE INTERNATIONALMARTINŮCIRCLE MR bohuslav martinů january—march 2019 / vol.XIX / no.1 days 2018 martinů festtage 2018 martinů on wikipedia martina janková new sources at martinů institute highlights operas contents

Juliette (The Key to Dreams), h 253 2 highlights 5 June 2019 / 6.30 pm Antonín Dvořák Theatre, Ostrava, Jana Šrejma Kačírková obituary National Moravian-Silesian 3 Theatre, Ostrava, CZ graham melville-mason David Radok (Director, Set Design) Jakub Klecker (Musical Director, Conductor) Jana Šrejma Kačírková (Soprano) – Juliette imc news SKUTR (Directors) Magnus Vigilius j.h. (Tenor) – Michel 4 Robert Kružík (Conductor) yukiko sawa Kateřina Kněžíková / Doubravka Součková Staged in French with Czech and English subtitles (Soprano) – Juliette More information: www.ndbrno.cz 5 imc news Jorge Garza / Luciano Mastro (Tenor) – Michael Performances: 14 June 2019 / 7.00 pm – premiere 6 festival 16 June 2019 / 7.00 pm bohuslav martinů days 2018 25 June 2019 / 7.00 pm VOJTĚCH JOUZA 26 June 2019 / 7.00 pm

The Miracles of Mary, h 236 8 festival martinů days 2018 2 June 2019 / 21.30 pm PATRICK LAMBERT Castle Courtyard, Litomyšl, Czech Republic review Soloists, choir and orchestra of the Janáček 10 Kateřina Kněžíková Opera of the National Theatre Brno a philharmonic with two choirs Josef Pančík (Chorus Master) and a violinist PETR VEBER Three Fragments from the opera Czech Academic Choir Juliette, h 253a Michal Vajda (Chorus Master) Brno Children’s Choir 12 festival 14 June 2019 / 7.00 pm Valerie Maťašová (Chorus Master) martinů festtage 2018 Janáček Theatre, Brno, CZ Jiří Heřman (Director) Jakub Klecker (Conductor) (together with Francis Poulenc: The Human Voice) 14 news Marko Ivanović (Musical Director) More information: www.smetanovalitomysl.cz festival gradus ad parnassum ELIŠKA NOVOTNÁ

16 news concert bohuslav martinů on wikipedia KATEŘINA NOVÁ Concerto for Two Pianos and Orchestra, h 292 17 interview 2 May 2019 – premiere martina janková 3 May + 4 May 2019 on martinů’s songs David Geffen Hall, Lincoln Center, New York City, USA 18 news New York Philharmonic Orchestra new sources found in 2018 Semyon Bychkov (Conductor) Katia & Marielle Labèque MARTIN LEDVINKA, MAREK PECHAČ Katia Labèque (Piano) Marielle Labèque (Piano) eliška nováková turns 90 JARMILA MRÁČKOVÁ More information: www.nyphil.org

2 | martinůrevue12019 graham melville-mason

1933–2019 An important part of this focused effort has

obituary always been the music of Martinů. Graham’s lectures on Czech music have given Martinů his due and prominent place. In addition, he has CZECH MUSIC has lost one of its firmest sup - written about Martinů’s works for publications porters abroad. The British musicologist Graham of the Dvořák Society. In 1990, he successfully Melville-Mason, an expert on Czech classical proposed to the Edinburgh Festival that the music and a friend and proponent of Czech programme that year should reflect the cente - composers and musicians, died on 2 February at nary of Martinů’s birth. At around the same the age of 85. For decades, the scholar, writer, time, when the British-based company Chandos and promoter served as the unobtrusive initia - issued a series of recordings of Martinů sym - tor of much of Britain’s interest in Czech com - phonies, concertos and other works performed positions and musician ship. He was active in by the Czech Philharmonic conducted by Jiří the British Dvořák Society for Czech and Slovak Bělohlávek, it was Graham who wrote the liner Music. He stood at its helm for years and notes placing Martinů’s music in its Czech and remained its patron even in his retirement. international context. It was at a Martinů The society, which was established in the weekend festival organised by the BBC at the Year of Czech Music 1974 and numbers some Barbican in 1998, where the BBC Symphony 700 members, holds lectures, meetings, and Orchestra under Bělohlávek’s baton had per - discussions with Czech musicians all over formed several works, that Graham made the Britain; it organises concerts of young Czech first public statement that further recordings musicians studying in Britain and provides might be made by this team – something which Czech and Slovak students with a scholarship came triumphantly to pass a number of years for the prestigious Dartington International later.

Graham Melville-Mason zdeněk chrapek photo Summer School; it also initiated a collaborative effort with the Czech National Museum leading We have published already several texts on Mr. Melville-Mason, for example in Martinů Revue No.1 to the creation of an international database already as an employee of the BBC in London. (January-April 2018) by Petr Veber. On our web pages, of sources on Dvořák and started a foundation He devoted himself in full, both professionally you can also find Jitka Vlašánková’s recollections for the reconstruction of Dvořák’s Villa Rusalka and personally, to Czech classical music after of him: www.martinu.cz/en/news/1146-graham- in Vysoká near Příbram… One of its members 1989. He was also appointed as a consultant melville-mason-turned-85-this-year/ In the next issue, you will learn more about was the conductor Charles Mackerras. Graham for the Prague Spring Festival, which he was an Mr. Melville-Mason in a special article by Melville-Mason took an interest in Czech music inseparable part of for more than two decades. Aleš Březina. bohuslav martinů: nonet no.2, h 374 revıew

Bohuslav Martinů: Nonet No.2, H 374, for Flute, borders of tonality – how to create music that is Oboe, Clarinet, Horn, Violin, Viola, Cello and Double all one’s own, music full of inner light, but also of Bass (ed. Jitka Zichová), Kassel 2017, Bärenreiter- wit. He shows himself to be a master of instru men - Verlag, urtext edition, study score, TP 440, € 22,50. tation, too. The descending in triads in the horn part at the end of the outer movements – once This is a very beautiful urtext edition of a very in D major, then in E flat major – is so simple and beautiful work by Bohuslav Martinů, which was just fantastic. The lyrical final solo of the bassoon most likely one of his last. The edition is replete at the end of the 2nd movement is analogous. with an informative text. Of course, it would be going too far to analyse Martinů’s Nonet No.2 was created for the Czech the whole opus in this kind of review. First and Nonet in the space of two months at the end foremost, one should listen to it, and read along of 1958 and beginning of 1959. The composition from this fine study score. It's simply a pleasure. comprises three movements and charms the Furthermore: every nonet should perform it – listener with its ease, logic and expressive power. often! Certainly, even dance-like moments can be noticed FRANK MICHAEL in the last movement. And it is simply delightful Reprinted from TIBIA, Volume 1, 2019, how a composer shows here – even within the traslation into English: Josefine Matzig

martinůrevue12019 | 3 Czech music here. To my surprise, I found out how many the japanese people in Japan were already gathering in the name of Czech culture! You cannot imagine all of the places where I played Czech music in the 1990s! The soul and centre of all of this was Dr Hideo Sekine; he was my life mentor, an

imc news think again! amazing inspiration, and the guide for our annual trips to Bohemia. Besides organising dozens and dozens of con- certs and other events, we also co-authored the Japan- ese translations of all of Janáček’s operas – all of it pro THE PIANIST, teacher, and translator Yukiko Sawa bono! When the esteemed doctor died, it was obvious hails from Tokyo. She graduated from the piano at that the presidency of IMC Japan would fall to me. Not Musashino Academy in Tokyo and then completed just because no one else has personal knowledge of the a postgraduate course at the Music Faculty of membership base, but also for my admiration of Bohuslav the Academy of Performing Arts in Prague under Martinů’s works. By the way, the first composition by Prof. Josef Páleníček. This fact has made Yukiko Martinů that I performed was not a solo piece but the Sawa one of the leading proponents of Czech music Trio for Flute, Cello and Piano, H 300. Since then, I hardly in Japan. ever perform without at least one work by Martinů on Besides her frequent concert performances, she the programme. You would be wrong to assume that the is an active member of the Leoš Janáček Society Japanese neither know nor understand Martinu's music. in Japan, and after the death of Dr Hideo Sekine, The Tokyo music scene is unparalleled throughout the she has taken a leading cultural role in the Czech- world, because just at Suntory Hall they have concerts Japanese Society while also becoming president every day, where the best orchestras and best musicians of the International Martinů Circle in Japan. of the globe take turns. So our audiences have the high- Yukiko Sawa is a popular piano teacher and est expectations of quality and are perfectly familiar with methodologist – she is tenured at Seitoku Univer- twentieth-century music literature in the best possible sity, where she trains present and future teachers interpretations. Yes, the works of Bohuslav Martinů could from the all over Japan. be played more often, but this is mostly impacted by eco- nomic considerations. If a world-class ensemble with In 1986 I took part in the masterclasses in Kusatsu. a world-class conductor are to rehearse one of Martinů’s These classes have a long tradition and are led by the symphonies, for example, it would require perfect prepa- best musicians in the world. At the time, Prof. Josef ration from all of them and at least four joint rehearsals, Páleníčk taught there. I couldn’t imagine a better guide Yukiko Sawa which is expensive. Whereas everyone knows how to play to introduce me to Czech music! For the first time in the New World Symphony (this is not to belittle its beauty in any way) – the conductor already has a proven Yukiko Sawa very often organizes concept, and so one rehearsal is enough. Yet the ticket concerts of and presentations costs the same… Janáček already fares better, the audi- about Martinů's music ence requests his works and accepts no excuse, and so the programming includes him. Now it is Bohuslav Mar- tinů’s turn. When I took up the presidency of IMC Japan, it was clear to me that I had to reduce the average age of its membership. From the more than thirty years of my teaching practice, I know that the only way to get a posi- tive result is to lead by example. And so from July 2018 to February 2019, my musical friends and I already or- ganised five concerts of the works of Bohuslav Martinů, which included presen tations about the life and work of “our” maestro. I note that this was without any subsidy. Although more than a thousand people attended our con certs, we have as yet only succeeded in “catching” 25 new members. I firmly believe that the upcoming festival that is in the works will break the ice and that IMC membership will be seen as a something prestigious among Japan’s elite. I teach students of all ages, and all of them play Mar- my life I heard Leoš Janáček’s piano cycle In the Mists Czech, and so I became acquainted with Prof. Chino tinů. Japanese children love his miniatures for “Božánek” and Martinů’s Piano Quintet, H 229. The melodies, the at the language school. The Bohemist had excellent and “Sonička”! Spring in the Garden is also very popular. rhythmic finesse, and the exquisite harmonies of both relations with the Czechoslovak ambassador, and he And surely I need not mention Puppets. Although composers, who to my mind have so much in common, advised me to apply to the Czechoslovak government I would like to use this opportunity to note that the worked like a charm. I needed to explore the country for a scholarship, which was also supported by the first and second series of Puppets II, H 116, and that gave rise to such magnificent music. president of the Musashino Academy, where I was Film en miniature, H 148, will be performed in 2020 It was quite complicated back then – let us not for- studying at the time. I was further aided by the recom- by my eleven-year-old nephew Akari Sawa during the get that Japan was a democratic, West-oriented coun- mendations of Prof. Josef Páleníček. And so in 1988 1st “Novoměstský Martinů” International Music Festival try, whereas Czechoslovakia was under the Communist I found myself in Prague, and I stayed there for three in Nové Město na Moravě. So in Japan, we have a new dictate. But a fortunate coincidence opened the way. years that permanently influenced my life. Martinů-loving generation ready and waiting. My interest in Czech music had led me to start learning Upon returning to Japan, I decided to promote Your Yukiko Sawa ❚

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MARTINŮ REVUE (formerly Bohuslav b Martinů Newsletter) is published by the ]d International Martinů Circle in collabo ra - tion with the Bohuslav Martinů Institute in Prague with the financial support of the Bohuslav Martinů Foundation. Published with the financial support of the State Fund of Culture of the Czech incircle news Jakub Hrůša, Magdalena Kožená, Republic. President of IMC IMC Patron Editors new honorary member Zoja Seyčková, Tereza Žůrková, Bohuslav Martinů Institute, The International Martinů Circle is delighted that International Martinů Circle Justin Krawitz (English language editor) renowned violinist Frank Peter Zimmermann has GENERAL INFORMATION Publisher’s Office agreed to become an Honorary Member of the Society. Members receive the illustrated International Martinů Circle, z.s. Mr. Zimmermann has long championed the music IČ: 22688846 Martinů Revue published three times Bořanovická 14, of Martinů, having performed both violin concertos a year plus a special limited edition CD 182 00 Praha 8-Kobylisy, on numerous occasions, with the Berlin Philharmonic containing world premieres, historic Czech Republic and other world-class orchestras. performances and archival recordings e-mail: [email protected] from the annual Martinů Festival not www.martinu.cz obtainable commercially. Translation martinů enthusiasts on facebook The IMC is supported by the Bohu - Adam Prentis The International Martinů Circle has decided to launch a Facebook Group, slav Martinů Foundation and Bohuslav Photographs Martinů Institute in Prague. The Bohuslav Martinů Foundation’s Bohuslav Martinů enthusiasts, and we very much hope that you will join and Institute’s archive, collections of us. You may be aware of several Martinů pages on Facebook already but the Bohuslav Martinů Center in Polička our Facebook Group will be very different. Instead of just reading infor - MEMBERSHIP & SUBSCRIPTION INFORMATION IN 2019 Graphic Design David Cígler mation, you will be able to interact with other enthusiasts, share your ï E-MAIL MEMBERSHIP Printing Naproma Production, s.r.o. opinions on Martinů's music, draw the attention of others to your 450 CZK / 25 EUR / 30 USD / 18 GBP The Martinů Revue is published favourite recordings or videos, advertise performances, arrange to meet (14 GBP if paying for dual member - three times a year in Prague. other members at Martinů events or even canvas opinions by con duct - ship with Dvořák Society of Great Cover ing a poll. In short, it is an excellent tool for bringing Martinů fans closer Britain) Kühn Children’s Choir, ï POSTAL MEMBERSHIP Bohuslav Martinů Days 2018, together and spreading the word about his extraordinary legacy. Photo Petra Hajská The Facebook Group can be found from outside Facebook by typing 570 CZK for members in the the following address directly into your browser: Czech Republic ISSN 1803-8514 33 EUR / 25 GBP for members in the MK ČR E 18911 www.facebook.com/groups/internationalmartinucircle rest of Europe Although sponsored by the International Martinů Circle, this group www.martinu.cz (21 GBP if paying for dual member - will be open to anyone interested in the composer, whether an IMC ship with Dvořák Society of Great member or not. We hope it will prove to be a stimulating new resource Britain) for Martinů's ever-growing band of admirers. / Michael Crump 42 USD (35 EUR) for members outside Europe ï SUBSCRIPTION FOR CORPORATE 2019 subscription payments MEMBERS: 100 EUR / includes 10 copies of each Revue PLUS 3 copies WE WOULD REQUEST members to forward their 2019 subscrip tion of the special limited edition CD payments through their usual channels. A list of our international ï SPECIAL RATE for music students contacts: under 25 years of age: ï FOR GREAT BRITAIN: 10 EUR / 250 CZK Michael Crump ▸ [email protected] ▸ +01495 370010, ï SINGLE COPIES OF THE REVUE:

THE PREVIOUS ISSUE 26 Hillside Terrace, Waunlwyd, Ebbw Vale, Blaenau Gwent, 80 CZK / 3 EUR / 4 USD + postage NP23 6TY United Kingdom For further details and for single copies ï FOR NETHERLANDS & LUXEMBOURG: of the Martinů Revue contact: THE BOHUSLAV MARTINŮ CENTER Gert Floor (Netherlands) ▸ [email protected] ▸ +31725095262, Lucie Jirglová IN POLIČKA offers an interesting, inter - Gortersweg 6, 1871 CC Schoorl, Netherlands phone: +420 773 656 586 actively conceived exhibition on the com - ï e-mail: [email protected] poser’s life and work. The modern display of FOR FRANCE & BELGIUM: The International Martinů Circle, z.s. Bohuslav Martinů’s life and work is located Nicolas Derny ▸ [email protected] ▸ +32 472360869, Bořanovická 1779/14 in the historical building of the former 55 Chemin de Mons, 6220 Fleurus, Belgium 182 00 Praha 8-Kobylisy, CZ council school, which Martinů attended ï FOR USA: as a child. Consequently, the project also Robert Simon ▸ [email protected] ▸ 216-973-7716 (gsm), comprises a reproduction of Martinů’s 322 E Colfax Ave #103, South Bend, IN 46617, USA WELCOME NEW MEMBERS: classroom, complete with period painting ï FOR GERMANY: > Switzerland: Gil Frossard and furniture. The centre also contains Lucie Harasim Berná ▸ [email protected] ▸ +49 152 581 668 32 > Japan: Hisako Yamauchi, Yukari an audio-visual hall and study room. Yamamura, Mari Ubukata, Makiko ï FOR JAPAN: Bohuslav Martinů Center Suzuki, Yuri Oshida, Yuki Dobashi, Yukiko Sawa, President of International Martinů Circle in Japan. Tylova 114, 572 01 Polička Hiroyuki Oda, Kazuyuki Horiuchi, tel.: +420 461 723 857 Office: Yasuko Tanaka ▸ [email protected] Kenichiro Hata, Takaaki Satake, www.cbmpolicka.cz ▸ +81 80 3202 3006 Satoko Yamane

martinůrevue12019 | 5 the bohuslav martinů days 2018 in reviews festival

/ VOJTĚCH JOUZA

Trio Incendio Prague Radio Symphony Orchestra

Prof. Ivan Štraus assesses the 2018 Bohuslav Martinů Foundation violin contest (25 November 2018) “All three of the winners are already mature artists. It’s not just Martinů – they have mastered both contemporary works and virtuoso repertoire to such a degree that the teacher can just sit back and enjoy.” www.operaplus.cz, 5 December 2018

Kristýna Šrámková: Wagner – Schönberg – Martinů and Šedivý (26 November 2018) Prof. Jaroslav Mihule Guarneri Trio “The choice of Marek Šedivý as head guest con - ductor of the orchestra was certainly a good one. Annual Bohuslav Martinů Award presented Petr Veber: Pilsen Philharmonic at the Bohuslav […] You can sometimes hear at concerts of various to Prof. Jaroslav Mihule Martinů Days (12 December 2018) orchestras that the musicians only came to ‘play “The award for lifelong contributions to the pro - “The clear highlight of Tuesday’s concert was the it through’, but yesterday the members of the motion of Bohuslav Martinů and his works is First Cello Concerto of Bohuslav Martinů. The Prague Radio Symphony Orchestra came to play presented by the Bohuslav Martinů Foundation to soloist Petr Nouzovský, who has systematically in full, and both conductor and audience enjoyed a single prominent personality each year. The first focused on the composer in recent years and has the ride.” www.klasikaplus.cz, 26 November 2018 award ceremony took place at a soirée of French recorded both his cello works with orchestra and music in the Martinů Hall on 10 December. The his cello sonatas with piano, gave a fully immersed, Petr Veber: Children, premieres, and Martinů first clarinettist of the Orchestre de Paris Philippe intense, empathetic, resounding rendition with “The main programme of the Bohuslav Martinů Berrod was joined by oboist Jana Kopicová and a clear interpretive stance. The late 1930s concerto, Days was ushered in quite excellently by a concert two Prague Spring laureates, bassoonist Jan later amended by the composer, allows for a broad of the Kühn Children’s Choir. The composer’s Hudeček and pianist Ivo Kahánek. Their perfor - scope of expressivity ranging from emphatic rhyth - music, which has been commemorated and cele - mance offered French compositions together with micality to captivating lyricism. The few protracted brated by the autumn festival for twenty-four the works of Bohuslav Martinů, who was strongly notes of the primary motive of the slow central years running, was revitalised in the Martinů Hall influenced by French music during his extended movement, supported by a surprisingly individual alongside works by his pupil and two contem - stay in Paris.” and intoxicating harmonic progression, resounded porary composers.” www.casopisharmonie.cz, exactly as it should: with expertise, resonance, www.klasikaplus.cz, 4 December 2018 10 December 2018 emotion.” www.klasikaplus.cz, 12 December 2018

6 | martinůrevue12019 Anna Šerých: Pilsen Philharmonic at the Anna Šerých: Excellent musicians from Teplice Anna Šerých: Culmination of Bohuslav Martinů Bohuslav Martinů Days “The core attraction of Concerto for violin, piano Days: Hrůša, Zimmermann, and the Czech “Bohuslav Martinů begins with an intense, moving and orchestra, H 342, by Bohuslav Martinů was Philharmonic introduction and draws one in the tense atmo - the young virtuoso Eduard Kollert. The sixteen- “The quality of tone and the concerto as an act sphere of a richly structured Allegro moderato, the year-old’s mature interpretation together with of communication are decisive factors for Frank sentiment of the Adagio is evoked by luring winds the pianist Jiří Kollert emphasised the modernistic Zimmermann. We experienced a dazzling musical that are like the call of the homeland, and their freshness of the work, which was written exactly dialogue, an inspirational concord between soloist melodic lyricism is excellently complemented by sixty-five years ago. It pulsated with the proper and conductor, an exclusive concertante session Petr Nouzovský’s solo entrances. The final Allegro temperament, and the vivacious, jubilant excite - in the spirit of concerto grosso, where the soloist gives him the space he needs for a flawless pre - ment made all the more impressive both the leads and the whole ensemble supports with sen tation in coordination both with the orchestra intricately composed and confidently performed a typically Martinůesque inventiveness. Not just and with the viola in the solo cadenza. A superb solo effusions and the full-blooded collaboration with the full orchestra but also with minor solo interpretation of a superb work and a vigorous of the soloists.” passages, all in an exquisite, first-class collabo - reminder of the complete and inimitable way in www.operaplus.cz, 20 December 2018 rative spirit, as befits the Czech Philharmonic.” www.operaplus.cz, 21 December 2018

Vladimír Říha: World premiere of work by Jiří Gemrot at the Rudolfinum “Violin Concerto No.1, H 226, by Bohuslav Martinů is a work first presented after the composer’s death, and yet it is one of his masterpieces. The German celebrity Frank Peter Zimmermann included it in his repertoire this year and has followed his Berlin performance with an entranc - ing rendition in Prague. He perfectly expressed the work with demanding tempos and rhythms, Kühn Children’s Choir written by the composer in the 1930s in the

Eduard Kollert & Jiří Kollert Frank Peter Zimmermann & Jakub Hrůša which Bohuslav Martinů strikes to the core of the Ivan Štraus: An unforgettable evening Neoclassicist style, in which the soloist must Czech musical tradition.” with Hrůša, Martinů, and Severáček continually communi cate with the orchestra, www.operaplus.cz, 15 December 2018 “Hrůša had already performed the concerto with even through the hurricane-paced finale. It was Zimmermann and the Berlin Philharmonic this a veritable storm in which not a single note Lucia Maloveská: Gala evening at Bohuslav autumn, and one does not come before an orches - was missed, and it garnered a similarly powerful Martinů Days tra of that calibre unprepared… The violinist flew response from the audience.” “The Guarneri Trio was certainly a good choice for all over the fingerboard, utilising all the required www.novinky.cz, 22 December 2018 the gala event. After all, the trio has an estab - aspects of eminent virtuosity in left and right lished reputation in the Czech scene as a high hand, and still managed to enjoy witty interac - quality ensemble – which it reaffirmed at Friday’s tions with the orchestra. The well-deserved storm The entire program of Bohuslav Martinů concert.” www.klasikaplus.cz, 15 December 2018 of applause from the audience was reciprocated Days 2018 can be downloaded here: www.martinu.cz/festival by a profoundly introspective third movement of Anna Šerých: Guarneri Trio perfect as ever Bartók’s solo sonata. A true star of the violin. […] “Their play exudes a soulful harmony of distinctive An unforgettable evening that documented the musicians, a respect for art, an intense under - value of high culture.” stand ing of the composition. Their enthusiastic www.casopisharmonie.cz, performance offered an extraordinary experience.” 20 December 2018 www.operaplus.cz, 15 December 2018

martinůrevue12019 | 7 martinů days 2018 festival

AS USUAL, this enterprising festival spanned sev - eral weeks, so I was only able to sample a small proportion of events. The dramaturgy this year was undertaken by the distinguished clarinettist Professor Jiří Hlaváč, Dean of the Prague Academy of Music (HAMU) and Václav Riedlbauch’s suc ces - sor as Director of the Bohuslav Martinů Founda - tion. The programmes embraced a wide selection of Martinů’s compositions, both familiar and less familiar, often with surprising and thought- provoking juxtapositions. Unfortunately, because of unforeseen circum - stances, the first event in my schedule, a co- organised concert given by the Czech Radio Sym - phony Orchestra on 26 November in the Rudol - finum, proved impossible to attend in person and 10 December – Ivo Kahánek (piano) & Phillipe Berrod (clarinet) I had to be content with listening to the live broadcast from afar. The Martinů work, which comprised the second half of the concert, was the attention throughout. I noticed that several mem - miraculous Fantaisies symphoniques (Symphony bers of the audience avoided hearing the Elgar work No.6), H 343, an acknowledged masterpiece. This by leaving at the interval, but they missed a mem o - was contrasted with two prime examples of the rable experience. The Piano Quintet in A minor, Op.84, kind of Germanic romanticism that the young was among the three chamber works written by Martinů rebelled against: Wagner’s Flying Dutch - Elgar in the wake of World War I and usually viewed man Overture and Schoenberg’s rarely-heard, as products of the ageing composer’s feelings of hyper-romantic set of 6 Lieder, Op.8. The songs regret and resignation at the passing of an era. were sung wonderfully by the German soprano However, the Wihan Quartet and Martin Kasík com - Melanie Diener, her rich, beautiful voice aided by bined their considerable skills to give such an impas - an unerring sense of pitch in the extremely chro - sioned and intense performance that one began to matic vocal lines. After this, Martinů’s Fantaisies think in terms of the immediacy of Janáček’s late truly breathed “the air from another planet”, works. conveying psychological complexity through For the next festival event, on 10 December, completely different means. This scintillating score I found myself again in the Martinů Hall. It was received a highly dramatic interpretation under billed as a French Evening and given in collaboration the baton of Marek Šedivý and I greatly regretted 26 November – Marek Šedivý (conductor) with the Embassy of the French Republic. By way not being there in the hall to hear it “in the flesh”, of contrast the focus this time was on woodwind since, while the sound balance achieved by the instruments, the featured artist being Philippe radio engineers was perfectly adequate, the Paris period being followed after the interval by Berrod, who has headed the clarinet section of the FM transmission system cruelly squashed every Elgar’s Piano Quintet from 1918. For the opening Orchestre de Paris since 1995. Joining him in the climactic moment, robbing the music of its true item, the delightful Serenade No.2, H 216, the recital was the pianist Ivo Kahánek and two mem - impact. hard-working cellist was not required, since it is bers of the Trio Trifoglio, the oboist Jana Kopicová The first event that I could actually attend was scored for two violins and viola – the only one and Jan Hudeček, principal bassoonist of the a matinee recital given on 8 December in HAMU’s of these numbered serenades to be scored for National Theatre Orchestra since 2011. Two con - Martinů Hall. It featured the Wihan Quartet, joined strings alone. The rather more challenging Duo trasting works by Martinů were interspersed with in the second half by the pianist Martin Kasík, and No.1 for Violin and Cello, H 157, followed. Written compositions by his exact contemporary Jacques was a collaboration with the Czech Chamber for the composer’s friends Stanislav Novák and Ibert and by two younger contemporaries Francis Music Society. Interestingly, the fine cellist Michal Maurits Frank, it received an energetic perfor - Poulenc and Georges Auric, both born in 1899. The Kaňka, who is in high demand also for his solo mance, with both players performing their extra - concert opened with Martinů’s Four Madrigals work, is now a member of the Wihan Quartet ordinary cadenzas in the second movement for Oboe, Clarinet and Bassoon, H 216, written in as well as the Pražák Quartet. The programme brilliantly. The most substantial piece in this first Nice in December 1937 and dedicated to the Trio offered a further fascinating juxtaposition with half was the String Quartet No.2, H 150, one of d’Anches de Paris. They are undoubtedly well- the first part of the concert devoted to a selection Martinů’s first international successes. It was crafted pieces, but performed as a group, they soon of chamber compositions by Martinů from his given a convincing interpretation that held one’s became somewhat tiring on the ear. I could not

8 | martinůrevue12019 help feeling that this somewhat astringent com - a close rapport with the highly talented young the composer, and the scoring for strings is both bination of reed instruments should be regarded cellist Eduard Šístek, who has been a member original and effective, with some very beautiful as a poor man’s wind quintet, lacking the con - of the Czech Philharmonic since 2012. He moments. The final item before the interval was trasting, rounder tones of flute and horn. The approached Martinů’s music with such evident the Harpsichord Concerto composed in 2008 by creation of such an ensemble in the 1930s was love and devotion to its Czech lyricism that Jiří Teml in which the soloist was Monika Knoblo - after all a probable consequence of the economic listeners such as myself could not fail to be moved chová, well known for her interpretations of Mar - slump. The piece that followed brought relief: to fall in love with this music all over again. tinů’s harpsichord works and also those of Jiří Poulenc’s elegant, touching and tuneful Clarinet I asked him afterwards whether he was playing Teml – she has recorded all his works for this Sonata from 1963, the last year of his life. Here from František Smetana’s controversial edition instrument on a double CD. There is no doubt at Philippe Berrod, sympathetically supported by and he replied yes, since it departs from Martinů’s all that she is a highly accomplished and musically Ivo Kahánek, was able to display his refined and intentions only in very minor details, which if sensitive artist and in a way she has assumed the polished tone in a piece that Martinů would surely anything make the piece more effective. This mantle of Zuzana Růžičková, from whom she have admired. After the interval, the recital performance of the cello sonata plus the brief received guidance. In this work, Teml cleverly resumed with a further work from the mid 1930s, encore, the last of the 4 Nocturnes, H 189, was solves the problem of the imbalance of dynamics no doubt also inspired by the Paris Trio d’Anches: recorded live and has been posted on YouTube. between harpsichord and orchestra by placing Cinq pièces en Trio for oboe, clarinet and bassoon It is well worth going online to hear it. them in dialogue most of the time rather than by Ibert. Witty and pensive by turn, they could And so to the concert given in the Martinů Hall competing to be heard similtaneously. I felt that almost have served as Martinů’s model for his the next evening (12 December) by the visiting the central chorale movement was especially Madrigals. They provided the perfect foil to the Pilsen Philharmonic under the energetic and very effective and in the course of the piece one piece that followed, Martinů’s Sonatina for precise baton of the Japanese conductor Chuhei encounters some wonderfully beautiful modula - Clarinet and Piano, H 356, composed in New York Iwasaki. It was an ambitious programme that tions and orchestral sonorities. The spirit of in 1956. Again Berrod and Kahánek gave an included two Martinů works originating in the Martinů hovers over this music! After the interval, accom plished performance, sensitive to the 1930s and works by two living composers Jan we were treated to a most wonderful perfor - music’s kaleidoscopic range of moods. The pro - Málek and Jiří Teml. The concert opened with mance of Martinů’s Cello Concerto No.1, H 196 III gramme ended with yet another entertaining composition for trio of reed instruments, this time by Auric, written in 1938 in just three contrasted movements. The concert drew a large audience and the atmosphere of the event was enhanced by an opening ceremony in which Prof. Jaroslav Mihule received the newly established BM Annual Award for his “merit in the scientific evaluation and promotion of the composer’s work”. Now well into his eighties, he made a charm ing and amusing acceptance speech, much appreciated by the admiring audience. For the presentation, Michal Novenko, a member of the BM Foundation’s board, improvised on the organ a suitably Martinů- inspired fanfare and postlude. I was now looking forward to the last of the festival events that I could attend before my 12 December – Petr Nouzovský (cello) and Pilsen Philharmonic with conductor Chuhei Iwasaki departure for London, a concert to be given on Wednesday 12 December by the Pilsen Philhar - monic. But before that there was a bonus. I was Martinů’s Divertimento (Serenade No.4), H 215. in its final 1955 version with Petr Nouzovský as fortunate to be invited to a Tuesday evening This is the last of the group of serenades com - soloist. His recording of all Martinů’s compositions Umělecká beseda recital given at the St Vavřinec posed in 1932 and dedicated “À la Société for cello and orchestra made with the Pilsen Church by the pianist Barbora K. Sejáková and d’Études Mozartiennes à Paris”. In effect, this is Philharmonic was released on a double CD in the cellist Eduard Šístek, in which the second half a neoclassical, concertante work with important January 2018 and he clearly has the music well of the programme consisted of two of Martinů’s solos for violin and viola, ably executed here by and truly in his blood. His playing of the central masterpieces from the early 1950s: Piano Sonata, standout members of the orchestra. I felt that it Andante moderato movement, the heart of this H 350, followed by the Cello Sonata No.3, H 340. was the spirit of Haydn rather than of Mozart that fine concerto, was simply spellbinding. The audi - This recital was not officially part of the Martinů inspired this music, and the orchestra’s contri - ence was exceptionally enthusiastic about this Days festival, but I am glad I did not miss it. bution often sounded too dense in this hall and performance and the concert could well have Barbora Sejáková won First Prize in the BM would have benefited from being pared down to ended there. But there was more music to come: Foundation’s Piano Competition for her perfor - chamber orchestra proportions. The piece that three numbers from Dvořák’s pastel-shaded mance of the Piano Sonata back in 1999 and since followed was nearer to pastiche than neoclas si - Legends, Op.59. Sadly, they received such unsmil - then she has been successful in fine tuning her cism: Divertimento No. 1 “Peacock Feather” (Paví ing, hard driven performances that they added interpretation, while still conveying to the listener pero) for strings written in 1979 by Jan Málek, nothing to the pleasure of the occasion. Never - a powerful feeling of spontaneity. Her perfor - a Pilsen composer now in his 80th year. It con - theless, I would judge this concert by the Pilsen mance of the Cello Sonata was just as convincing sists of a sequence of Pavanas, each a different Philharmonic as being among the musical high - and it was obvious that she had established colour as found in peacock feathers according to lights of my Prague visit. ❚

martinůrevue12019 | 9 a philharmonic with two choirs and a violinist review

THE BOHUSLAV MARTINŮ DAYS 2018 concluded on 19 December with a philharmonic 400th anniversary of the discovery of America. concert that was the crowning point of the whole festival. The young, world-renowned It is a celebration of the greatness of God, Czech con ductor Jakub Hrůša performed Bohuslav Martinů’s Concerto for Violin and a song of thanksgiving, graceful and grand. But Orchestra No.1, H 226, with one of the best violinists in the world, Frank Peter Zimmermann. Jakub Hrůša did not go too thick on the pomp. Zimmermann found time during his December trip to Prague to visit the Bohuslav Martinů In fact, his approach to music in general – Institute, where he studied autographs of the violin works of Bohuslav Martinů. In our despite the personal authority and energy he previous issue, we printed an interview with the musician in which he professes his love exudes – is marked by a meditative nobility for the Czech composer’s music, and we also referred to his first performance of Martinů’s rather than by an extroverted superficiality. The violin concerto in Berlin, also under the baton of Jakub Hrůša. choice of soloists also supported the unsenti -

/ PETR VEBER

The Czech Philharmonic’s last symphonic event before Christmas consisted of three sacred works and, as a kind of afterthought, one violin concerto. Alongside Dvořák’s grandiose Te Deum and Honegger’s modernly magnificent Christmas Cantata, Jakub Hrůša very attentively and sensitively ushered in a new piece by Jiří Gemrot, the quietly intimate cantata Resurrection of Hope and Light. The violin concerto by Bohuslav Martinů, the first of his two, was presented by Jakub Hrůša with the Berlin Philharmonic this autumn as a rare find. The performance was graced by thoroughly engaging soloist Frank Peter Zimmermann. He now came to Prague to reap the rewards of these efforts, this time together Jakub Hrůša & Frank Peter Zimmermann with the Czech Philharmonic. The result was admirable. The richly structured solo part, lively, as part of the international concertante reper - mental impression of the work. Although it is prancing, full of syncopations, by no means toire – with all the possible technical brilliance firmly grounded in the opening strokes of the easy. Zimmermann mastered it completely and of minute strokes, leaps, and stac catos and timpani and the equally forceful setting of the excellently complemented the dynamic and with an understanding of the composer’s erst - first words, as a whole it allows for a more rhythmically detailed complexity of his orches - while style with just brief flashes of classical heart-warming, internalised interpretation. tral counterpart. Many other Martinů works are cantabile. The encore was also suitably chosen The soprano Kateřina Kněžíková took precisely played more frequently here as well. The 1930s – Melody by Béla Bartók from his solo violin this direction. Her lines were clear, forthright, Violin Concerto No. 1, H 226, was only discov - sonata. However, Zimmer mann’s whole per - unexaggerated. And the baritone Svatopluk ered in 1968 and premiered with much delay in formance felt like a departure from the rest of Sem complemented the style – with radiance, Chicago 45 years ago by the violinist Josef Suk the programme. It was a con trast, anecessary honesty, clarity, a beautiful cantabile. and the conductor Georg Solti. It is not as contrast, but an extravagant one in the context The Prague Philharmonic Choir relished the lyrical as some of the other works of our of the other three works. It was a waste. evening more than usual as, all in all, it per - master. It is strongly Neoclassical, virtuosic, And from the opposite point of view, a certain formed in three 20-plus-minute compositions. fast, with motivic flashes of nursery rhymes and departure from the theme and “breath of air” The Te Deum – which was, after all, quite folk songs that come from the world embodied before the gravity of the final piece would be opulent in tutti – was followed by its very by The Chap-Book from the same period; only better served by a shorter, more neutral opposite. Commissioned by the Czech Philhar - the central movement has a more lyrical composition. monic, Jiří Gemrot wrote a symphonic yet softly character. Zimmermann is a renowned artist The cohesive thread through the programme conceived cantata, a vocal meditation, which with a broad scope. He imbued Bohuslav Mar - was provided by the upcoming Christian festiv i - he titled Resurrection of Hope and Light. Non- tinů’s music – which is not generally recognised ties. Dvořák’s Te Deum was premiered on the liturgical, yet deeply spiritual and unpretentious,

10 | martinůrevue12019 photos petra hajská photos

lighter, with flickering reminiscences of well- known German Christmas songs, then comes the baritone solo and the spectacularly rehearsed transformation into the richly rhyth - mical, brisk, and joyous hymn of praise by the mixed chorus with the words “Laudate Dominum omnes gentes”, with the on-going cantus firmus of the children’s choir – running concurrently on a divergent track – heading somewhere up into heaven. And then this is all gradually subdued again, there comes an orchestral epilogue with variations to another song, until the calm tones of the organ, similar almost civil music of similar intention and effect is rare in the repertoire. The premiere was im - mediately captivating. Jakub Hrůša supported it with full comprehension. The textual base, the very essence of the work, consists of the words by Kateřina Penková, the composer’s daughter, a professional violinist and a poet with a pleas - ant turn-of-phrase. The words were similarly tranquil, free of pretence, matter-of-fact, sin - cerely professing an attitude of favour, good - ness, love, humility. With the birth of Jesus came “light and with it a great test if people are able to change…” Christian values are described with unecclesi astical impartiality, but also as something that is beyond dispute. And Jiří Gemrot very sensi tively set these words to his music, which flows and narrates, which depicts, evokes, and encour ages rumination. He wrote a very approach able work with an easily com - prehen sible text – performed as such by the choir – a work that preciously avoids the cele - bratory tone. It escalates noticeably yet briefly with the announcement of the birth of Jesus For the last composition of the evening, after to the opening ones, yet completely trans - Christ. It goes from quiet to quiet, from which the Martinů, the Prague Philharmonic Choir formed, reconciled, illuminated, with the surety doubts surface at first and into which it is directed by Lukáš Vasilek was joined by the of faith. Jakub Hrůša, Svatopluk Sem, both immersed again after the “resurrection of hope Liberec children’s choir Severáček, which is led choirs, and Jan Kalfus at the organ succeeded and light” with the warning that it is necessary by the choirmistress Sylvie Pálková. Arthur in creating a magnificent arc, with unforced to watch over purity, which is fragile. The work Honegger’s Christmas Cantata, a magical work intensity and quite sparing expressivity com - has a general message that is especially appro - from the early 1950s, is an almost palpable pared to other well-known interpretations, priate for the Christmas season, and it serves example of how music can express both emo - which emphasised the Christmas message this idea and marginalises all else – ostenta - tions and, to a certain extent, ideas. It begins beautifully in the interweaving melodic echoes tious inven tion, bursts, glossy instrumentation, in darkness, with calling and searching. The while also resembling Stravinsky’s Symphony and a con trasting develop ment. Even the style response is the angelically pure illumination of Psalms in the austerity of its overall setting. is unim por tant. Only amessage of mature of the entrance of the children’s choir, which A long, almost festive, precious evening. ❚ humanity that uses music to point to what is brings hope and the Christmas message of www.klasikaplus.cz good and peaceful. the birth of our Saviour. The music grows ever

martinůrevue12019 | 11 martinů jjjjjjfestival festtage 2018

From 10 to 25 November 2018, Basel was home to the 24th Martinů Fest tage. Robert Kolinský, the artistic director of this renowned festival, succeeded once again in creating a compelling pro gramme that approaches the works of Bohuslav Martinů from various perspectives and presents Martinů as a very versatile composer. The festival was enriched by the screening of Jiří Nekvasil’s television adap tation of Martinů’s one-act opera What Men Live By, H 336. Further treasures on the programme included the “Familienkonzert”, in which the musical-theatre ensemble Die Schurken gave a glimpse into Martinů’s Paris period, a jazz event in Basel’s Bird’s Eye Club, and the exhibition Bohuslav Martinů – Life and Work prepared by Sibylle Ryser and Gabriele Jonté. We bring you a selection of reviews from the festival. The com plete texts can be found in German at www.martinu.ch

The opening concert, Julia Fischer (violin), “Familienkonzert”, the musical-theatre ensemble Die Schurken Nils Mönkemeyer (viola), and Daniel Müller-Schott (cello)

exhilarating start to martinů festtage martinů meets martin the opening concert in basler klingental rediscovered opera of bohuslav martinů elicited excitement with every tone celebrates its premiere in basel / JARONAS SCHEURER / SIMON BORDIER No one is surprised that three world-class musicians – Julia Fischer (violin), Bohuslav Martinů composed operas for theatre, for radio, and for television, Nils Mönke meyer (viola), and Daniel Müller-Schott (cello) – have mastered but he also wrote works that are hard to categorise. Unanswered questions their instruments to utter perfection. It is also no wonder that a concert abound over his one-act “What Men Live By”. […] Apart from solitary, poorly with such a superb line-up was immediately sold out. But the veritable sleep- docu mented productions, the opera – which was first published in 1952 – was walkers’ certainty with which the members of the trio were attuned to one practically a closet work. It is only recently that is has escaped oblivion. It has another, how each and every entry came with perfect precision, the breezy been adapted into a film, which was prepared and directed by Jiří Nekvasil with ease with which the musi cians collaborated – that cannot be considered the support of the Bohuslav Martinů Foundation in Prague. The production a matter of course even with professionals of such calibre. […] It was the was screened as a “world premiere” on Tuesday during the Martinů Festtage opening performance of the Martinů Festtage, and so something of Bohuslav in Basel. […] The screening in the “Municipal Cinema” was well suited to the Martinů’s works had to be included. String Trio No.2, H 238, which was pre-Christmas atmosphere. The pastoral opera brought a welcome pause, and composed in Paris in 1934, contains diverse strands woven in by Martinů: its religious fervour and peaceful sense of brother hood was in stark contrast virtuoso reflections of jazz, ethereal soundscaping, tumultuous folk dances, to the hectic pulse of the metropolis. The composer based his work on Lev bulky chord clusters, and late Romantic daydreams. Martinů was able to meld Nikolayevich Tolstoy’s short story “Where Love Is, God Is”. It tells the story of all of this with his musical voice. The result is multifarious, reeling, partly the embittered shoemaker Martin (note the similarity with the name of the eclectic, and exhilarating. Despite the difficult musical challenge presented composer), who experiences a spiritual awakening and learns to embrace man to Julia Fischer, Nils Mönkemeyer, and Daniel Müller-Schott that evening, once again. It was very important for the composer to narrate such a story every second of their joint performance radiated enormous joy. The violist deftly, to avoid coming off as sancti monious – as Martinů wrote in one of his Nils Mönkemeyer’s play was especially joyous. He took up Fischer’s motives letters, pathos must be avoided, the impression should be joyful. He achieved with his whole body, developed them further, and passed them on to the this goal in his music through a sophisticated interpolation of genres: the cello. The timbre of his instrument was full of warmth while also showing psalmodic singing of the narrator is interspersed with fast-flowing rhythms, some roughness around the edges. Mönkmeyer couldn’t help the occasional rich choral melismas are woven with Ländlers, romantic surges give way to smile at the small jokes in the music or some especially poignant performance “cool” impersonal jazz. […] The music used in the film comes from a concert moment. And those were certainly in abundance in the concert. recording pro cured in the Prague Rudolfinum in 2014. Now-deceased con ductor Jiří Bělohlávek led the Czech Philharmonic and soloists to produce a high- Basellandschaftliche Zeitung, 12 November 2018 quality concert rendition. The recording is also available as a CD release by

12 | martinůrevue12019 < Jiří Nekvasil’s television adaptation of Martinů’s one-act opera “What Men Live By”

x Closing concert of Martinů Festtage: the cellist Nicolas Altstaedt, the conductor Jonathon Heyward and the Orchestre de Chambre de Lausanne © martinů festtage

David Dorůžka (guitar)

Supraphon. As far as the film is concerned, its 40 minutes will excite the ment throbs with a single gesture, whereas the Andante puts on a conversa - audience to a much smaller degree: the pictur esque fairy-tale panorama tional tone that is dissimilar to either Richard Strauss or Paul Hindemith, but offered by the director and the play with historical costumes and religious is simply the best of Martinů – and the crowning point of the programme. The symbols feels over-stylised; Martinů’s music is much more believable. […] cellist Nicolas Altstaedt is a talented soloist who proved his craftsmanship Basler Zeitung, 22 November 2018 both within and outside of his dialogue with the solo flute. solo for trumpet tripled Basler Zeitung, 27 November 2018 conclusion of martinů festival “man means nothing without culture” / SIGFRIED SCHIBLI closing concert of martinů festtage […] The newest iteration of the festival was concluded on Saturday in made remarkable by cellist nicolas altstaedt a crowded Museum Tinguely with cleverly designed content. The Orchestre de Chambre de Lausanne made a great name for itself under the baton of / REINMAR WAGNER Jonathon Heyward, and the programme proved to be an excellent choice We have two beautiful, highly attractive cello concertos by Bohuslav Martinů. as well. Distinctive trumpet solos ran through the evening’s programme At the Martinů Festtage in Basel, Nicolas Altstaedt presented a third, less like a thread – first in the humoristic “Little Suite” of Martinů’s radio opera well-known concert work by the versatile composer. […] Few people know Comedy on the Bridge, then as active metropolitan music in Albert Roussel’s that Martinů wrote a third concert work for violoncello and orchestra. In 1940, 1929 “Petite Suite”, and finally – as a preface to Mahler’s Fifth Symphony – in shortly before he fled from Europe into American exile under somewhat the “Military Symphony” by Joseph Haydn. This last one required an enormous adventurous and dangerous circumstances, Martinů composed this thought - degree of invention and precision from the orchestra. The Romandy visitors ful, dramatic, thirty-minute “Sonata da Camera” in southern France; he dedi - first presented a radiantly merry introductory movement, then they imbued cated it to his friend, the cellist Henri Honegger, who had to wait to premiere the graceful allegretto movements with Janissarian strength, before indulging the piece until 1943 with the Orchestre de la Suisse Romande under the in an effective under lining of the percussions in the finale. […] Inhis opening baton of Ernest Ansermet. “Sonata da Camera” remains frequently over looked, words, Bernhard Dittmann spoke of Martinů’s “puppet style”, with which he perhaps because its inconspicuous title is not immediately attractive to the aptly described the composer’s unique trait, at least with regard to his 1930s cellist community. But maybe it is also less extroverted, less playful or opti - œuvre. And truly, the suite from Martinů’s radio opera does at times give mistic than Martinů’s cello concertos. Where else should it be given the a whiff of a wooden puppet theatre that enacts mechanical motions instead chance to shine than at the Martinů Festtage in Basel. Especially when placed of human ones. […] When Martinů composed his “Sonata da Camera” for in the care of Nicolas Altstaedt, who is practically a paragon of respectable violoncello and chamber orchestra in 1940, he was already a step further: and honest interpretation. […] it is a firmly cohesive composition, striving for rigor of con struction, by which Musik und Theater, October 2018 the lyrical melody is audaciously underlaid with harsh rhythm. The first move - Prepared by Tereza Žůrková

martinůrevue12019 | 13 the 4th festival of piano teaching literature news gradus ad parnassum was devoted to the life & works of vítězslava kaprálová & bohuslav martinů

/ ELIŠKA NOVOTNÁ

THIS YEAR’S Gradus ad Parnassum Festival took place on 1 and 2 February 2019 in Ostrava (CZ) and enjoyed extraordinary popularity among teachers at schools for the arts both within and outside of the Moravian Silesian Region. Close to 50 piano teachers participated in the performance workshop led by Ivo Kahánek and Ivana Kalina Tabak’s lecture on the piano works of Vítězslava Kaprálová and Bohuslav Martinů; many also attended the concert at Czech Radio Ostrava’s Studio 1. It was no doubt the popular Martinů who was responsible for drawing such attention. The number of children who played during the work - shop and the final concert totalled twenty! But the festival’s success is primarily and unambiguously linked with the teaching methods of Ivo Kahánek, who inspired all participants with his clarity of musical vision and his exceptional sensitivity for the soul of the child. High attendance was no doubt also Ivo Kahánek as a teacher © university of ostrava brought about by the newly acquired accredi - tation of the Ministry of Education for the Arts is visited by the youngest generation of greatly popular among teachers and pupils alike, further education of teachers. Participants pianists, who come – accompanied by their and of the more neglected but no less inter - included students from the Department of teachers – to present their accomplishments, esting compositions of Vítězslava Kaprálová. Keyboard Instruments at the Faculty of Fine to improve their interpretation of a specific Besides obvious inclusions from the much- Arts of the University of Ostrava, some of work, and to mature in general. They are joined performed cycle Puppets, H 137, festival-goers whom worked on their interpretations of pieces by older students who have by Martinů and Kaprálová at the interpretive already decided to make workshop and then experienced the atmo - a professional career in sphere of a recording session at the radio music, whether from studio. We are very grateful that students and conservatories or from the graduates of the Department of Keyboard Department of Keyboard Instruments give rise to teachers whose active Instruments, which presence at the festival shows their clear organises the event. Their interest in music pedagogy and in furthering ranks are bolstered for the their own education. final concert by university One of the most intriguing moments of the professors, who take festival is always the connection of perspective, the festival to its climactic interpretation, experience, and teaching finish. This year’s repertoire methods between different generations of consisted of the works of pianists. The concert hall of the Faculty of Fine Bohuslav Martinů, who is

14 | martinůrevue12019 enjoyed Four Pieces for Piano, H 92, several very warm-hearted, despite being something of Martinů was a prolific composer who touches parts of Spring in the Garden, H 125, Sonatina an introvert. We are not used to seeing those two on perhaps every musical genre there is. The task for Two Violins and Piano, H 198, or Carillon qualities in one person, but that was how he had of the teacher is to recommend the pupil listen to from Film en miniature, H 148; of the larger it, and he has it in his music as well. His music similarly conceived compositions for instruments cycles there was Windows to the Garden, is very diverse – it has many moments that we other than the piano. The piano is an all-encom - H 270, Butterflies and Birds of Paradise, H 127, can solve and which can teach us something new. passing instrument, but it is necessary to have a selection of Etudes and Polkas, H 308, and Martinů’s music encompasses the issues of the aural image of other instruments to actually Czech Dances for Two Pianos, H 324. From multiple stylistic periods. realise this versatility of sound. It would be great Vítězslava Kaprálová’s œuvre, almost all the For one, it is his hidden horizontality, his hidden if every teacher was able to decode the com - miniatures from Childhood Compositions were lyricism, which he maintains despite his use of binatorial and mathematical traps set in place performed, also April Preludes, and the first various time signatures and various rhythmic by Martinů so they do not obscure the fact of movement of Sonata Appassionata. figures that complicate that kind of interpretation Martinů’s pure and unadulterated musicianship. At the conclusion of the interpretive work - and distract the interpreter’s attention. You have Most of his compositions contain a natural, shop, I asked Ivo Kahánek about his opinion to see what the root of the music is. Frequently, naturally felt musicality and emotionality, of the music – especially the piano music – lyricism is the root. The second thing is the regardless of any difficulties of rhythm – so we of Bohuslav Martinů: general problem of small notes in the com posi - should always search for this aspect, which

In your workshop, you often mentioned the tions of Bohuslav Martinů. He often embellishes should shine through the music of Bohuslav specifics of Bohuslav Martinů’s music – the the “skeleton” of the work with a plethora of little Martinů and should only be decorated by the organisation of his compositions in kind notes which, if not given due care, considering rhythmic “pranks”. Those are just compositional of “boxes”, the choral or quartet structure the pitch they are written at and their sheer garnish; musicality is the core. of the melodic parts of his works, the differ - numbers, very often drown out the rest of the ences between Romantic elements (the music, white washing the composition’s vertical I trust that the cultivation of musicality in triathlon of soprano, bass, and middle parts) and horizontal structure and comprehen sibility. children and the broadening of their horizons and the elements that are true Martinů. That is the great challenge for the musician, was also aided by this year’s Gradus ad Do you see any other tangible characteristic but it is not always clear, sometimes it is even Parnassum Festival. And for their teachers and of his music? What exactly can we learn disputable – especially in his crowning works. all us attendees, it was a highly inspirational while studying his works? It is up to the musician to investigate Martinů’s experience that will fuel us until the next purpose behind the minutiae. Sometimes they iteration, which will again take place at the Ivo Kahánek: I think that Martinů as a com poser truly are the bearers of motion, which is at the Faculty of Fine Arts of the University of Ostrava has an absolutely fantastic application in the forefront, but then there are passages where during the 2020 mid-year break. ❚ instructional environment because he offers, on hidden motion is only one of the mood flavours, the one hand, the core musical problems with which is to create a degree of nervousness or (The author lectures in piano at the Department of Keyboard Instruments utter purity, yet on the other hand he usually direction; in some of Martinů’s compositions, at the Faculty of Fine Arts of the hides them in a somewhat coded form. This must these little notes work together to create the University of Ostrava) be decoded and organised. One feature of Martinů timbre. But at first glance it all just seems to be is that he is a bit obsessed with motion and the “semiquavers”. If the pianist correctly channels constant movement of rhythm. I think he was the musical potential of these smaller notes, he a very playful person, I’d guess he liked chess and increases the imaginative potential of the music, enjoyed riddles. That is one side of him, but at the but he also discovers much of the potential of same time he was a man who must have been the instrument.

martinůrevue12019 | 15 attracted to the main article about the composer bohuslav himself. From 1 July 2015 (when this data started to be martinů recorded and is thus accessible to us) to 1 Febru - ary 2019, the Bohuslav Martinů article was visited

news by 138,308 users, giving an average of 105 readers daily. In 2018 it had 38,703 page views, that is, 106 readers daily. For January 2019, the numbers / KATEŘINA NOVÁ are 3,442 readers, with an average of 111 daily. So the article is enjoying growing popularity! WE WOULD BE hard put to find a person today As can be seen from the aforementioned sta - who has never used Wikipedia. “Wikipedia is one of tistics, articles published on Wikipedia have an the most important sources of information in the enormous reach and thus represent an as-yet world,” says the eminent Czech philosopher and largely untapped potential for development in teacher Jan Sokol. Not just for students but for this direction. The Bohuslav Martinů Institute the general user, the international, online open would like to focus on improving and reworking encyclopaedia is often the first and only source the current entries about the life and works of of information on a given subject. The English Bohuslav Martinů and on creating new entries to Wikipedia, with its 5,801,570 articles,1) is the educate and increase awareness about this major largest of the more than 300 language variants Czech composer. (to compare – the German version comprises over 2,249,000 articles, the Czech Wikipedia has grown Are you creative and conscientious, and do you to 420,800 articles since its launch in 2004). Bohuslav Martinů in Boston, 1945/1946 like the music of Bohuslav Martinů? Would you Wikipedia is just one of the projects of the like to help spread awareness of this composer US-based Wikimedia Foundation, established in and his compositions on Wikipedia? Join our 2003. The foundation’s other activities, which are Institute (https://database.martinu.cz). At first project and share your knowledge with people founded on the same philosophy of open access to glance it might seem that the ency clopae dia from all over the world! For more information, all users, include Wikimedia Commons, Wiktionary, contains entries for almost all of Mar tinů’s operas contact the coordinator Kateřina Nová Wikiquotes, Wikibooks, Wikisource, Wikinews, Wiki - (except The Soldier and the Dancer, H 162, ([email protected]). versity. In short, it’s a whole “Wikiworld”. The Day of Good Deeds, H 194, and Accusation One of the primary attributes of the ency - Against the Unknown, H 344). A more detailed Although the academic community does not clopae dia is its openness – anyone can contribute. look shows that many of these entries consist of exactly hold Wikipedia in high regard, there has That is the great advantage and disadvantage of merely the title, Halbreich number, and year of been a shift of opinion lately. And so just in the the whole project. Sometimes it can be difficult to completion, without any further details. On the Czech Republic, there have been projects like ensure the good quality of an entry. Fortunately, other hand, all six of Martinů’s symphonies have Students Write Wikipedia. The encyclopaedia’s Wikipedia has its “own people”, who work to main - received the Wikipedia treatment. Of the ballets, rising credibility is also evidenced by the slowly tain both the factual and the stylistic integrity of only the popular Kitchen Revue, H 161 and unfurling participation of scholars – for instance, the entries. Wikipedia insists on listing the source The Chap-Book, H 214 I have entries. Articles Jan Sokol actively creates new articles while also of any information contained in the text, and it for vocal-instrumental compositions only cover checking the factual accuracy of existing ones actively searches and deletes subjective assess - Field Mass, H 279, The Epic of Gilgamesh, H 351 and supervising another project, Seniors Write ments and unbacked claims (or it asks the author and the Opening of the Springs, H 354. Chamber Wikipedia. In the Czech Republic, all of these to add a citation etc.). Although this can clearly be works do not fare much better – separate entries activities are supported by Wikimedia ČR. Last seen as a weak point, a second look shows the only exist for Sonata for Flute and Piano, H 306, year, this Czech movement helped run a “Martinů potential of the approach – the ability to actively Piano Sonata, H 350, Sonatina for Clarinet and Wikiproject”, in which students of the Department and indiscriminately create articles, edit and Piano, H 356, String Quartet No.1, H 117 and of Musicology of Palacký University in Olomouc expand older entries, keep the content up to date. Three Czech Dances, H 154. created several new entries for orchestral works One great advantage of the encyclopaedia is its by Martinů (namely, Symphony No.4, H 305, interactivity, as one article can link to others, thus Some interesting numbers and statistics: Symphony No.6, H 343, Half-Time, H 142; other establishing a vast thematic “network”. The English article for Bohuslav Martinů was articles are still being written) in collaboration created in 2003; its most recent modification with the Bohuslav Martinů Institute. Wikimedia Bohuslav Martinů and his works already dates to 1 February 2019.2) The article has been provided training for how to write articles for the has entries on the English Wikipedia. changed a total of 600 times (ranging from major online encyclopaedia. The Department of Musi - How extensive is it? revisions or additions of content to correcting cology plans to continue this cooperation in the The article about the life and work of the com poser erroneous punctuation or tweaking some techni - following semesters; the project should be further dates back to 2003, that is, shortly after the en - cality) – this is an average of one modification bolstered by the Department of Music Education cy clopaedia came into existence. Ten years later, it every 9.8 days. The whole English Wikipedia of the University of Hradec Králové. ❚ was complemented by a list of works, ordered by contains 520 links leading to Bohuslav Martinů. 1)+2) As of 9 February 2019. category. Last year, a chronological list was added, But the statistics from the “other side” are more ordered according to Halbreich num bers. The new intriguing, as they show user behaviour. What is list also links to the freely acces si ble catalogue the reach of articles related to Bohuslav Martinů? of works on the website of the Bo hu slav Martinů Obviously, the greatest number of readers is

16 | martinůrevue12019 logical for us to begin with Janáček and continue martina janková with Martinů. We have also devoted ourselves to Chopin and his lesser-known songs. Our next on martinů’s project will entail 18th-century songs. When it comes to the baritone Tomáš Král, he was

interview recommended to me by Tomáš Luks, when I was songs planning to make the previous album. Tomáš is Three renowned artists – the soprano Martina Janková, a Moravian too, a Brno native, and his musicality draws upon the cimbalom tradition, as is the case the baritone Tomáš Král and the pianist Ivo Kahánek – of Ivo Kahánek and me. We are three Moravians, made a recording of Bohuslav Martinů's Songs that who are able to “read between the lines” and was released in February 2019. We asked Martina discern the rhythms that are difficult to notate. Janková a couple of questions about the new release, What position do songs in general have about the collaborating artists, as well as about her in your repertoire? plans for the future. I must admit that songs are my true passion. Every year, I try to put together two new pro - Mrs. Janková, is the new album of Bohuslav grammes made up of songs. Regrettably, owing Martinů songs a logical follow-up to your to my opera and concert engagements, which Janáček record? annually lead me to eight countries all over the Yes, it is actually a dream come true. After our world, I cannot pay as much attention to them as album of Janáček songs met with both critical and I would like to. I must, however, add that prepar - popular acclaim in Europe and the USA, I had the ing song recitals is far more demanding and time- idea of making a “sister” recording. Back during consuming than opera productions. Ivo Kahánek, the time of my studies in Basel, I was approached Gérard Wyss and I have collaborated on a regular by the musicologist Aleš Březina, who drew my basis. I am also interested in 21st-century songs, attention to Martinů’s 1920 cycle New Slovak on which I would like to work with the musico lo - Songs, not too well-known and scarcely per - gist and composer Aleš Březina. formed. The other three sets, Songs on One Page, Could you tell us what is currently your most Songs on Two Pages and The New Chapbook, demanding engagement? written in the 1940s during the composer’s exile At the present time, I am singing at the Theater in America, thus form an arch. an der Wien in Vienna in a production of Purcell’s What is your personal relation to Bohuslav King Arthur, a semi-opera, consisting of a great Martinů’s music? deal of spoken text in German, performing I would say that I have a lot in common with alongside the best actors from the Burgtheater, As in the case of Janáček’s songs, Martinů’s Martinů. Just as he did, I have lived abroad for a Mecca of German-speaking drama. It was miniatures compendiously express the substance a long time. My second home is Switzerland, a great challenge for me, yet in the end they have of human life. I see in them both perspective and, where the composer spent the final years of his praised my natural acting and accent-less at the same time, synthesis, which for me is life and where he died. And just like Martinů, pronunciation. But Purcell’s piece also contains extremely important. I don’t want to forget about my roots, which sung passages in English. […] I have keenly embraced. So I understand his Could you introduce the artists with whom What other engagements will follow? desire to get back to these roots. you have made the album? In March 2019, Gérard Wyss and I are scheduled The pianist Ivo Kahánek contacted me in 2009, You have mentioned the time that divided to premiere a new song programme in Switzer - when I was appearing at the Prague Spring the creation of the Martinů songs featured on land. […] I really look forward to returning to the festival with the pianist Gérard Wyss, performing the album. What differences do you perceive Cleveland Orchestra, with whom I will perform a programme made up of Haydn’s music, within in terms of their compositional style? Schubert’s Mass in E flat major under the baton of which – besides his early German songs and I think that at the age of 29, when he wrote his their music director Franz Welser-Möst. And I am mature English Canzonettas – we presented the first pieces, he had yet to refine his idiom. The happy to come back to Prague, where I will be composer’s arrangements of Scottish, Welsh and piano accompaniments dating from his early giving a concert with Barbara Maria Willi. At the Irish folk songs. Ivo Kahánek was highly intrigued period, for instance, are quite wild, difficult to play. end of the season, I will again appear at La Scala by the songs and suggested that we work His late songs, on the other hand, serve as prime in Milan, singing in Mendelssohn’s Symphony No.2, together. And this year, our shared penchant for examples of his compositional mastery. They are “Hymn of Praise”. songs gave rise to the idea of holding the Song wonderful miniatures, devoid of effects and Academy at the chateau in Liteň, where within There is no doubt that musicians have many focused on the essence. In his mature phase, the Jarmila Novotná Festival Ivo Kahánek, Gérard dreams and think of projects they would like Martinů strove to attain profundity, which is Wyss and I will focus on global and Slavonic songs, to realise. Could you tell us what you would clearly palpable in the songs. which we and our students will present at the like to include on your next album? How challenging is it to comprehend the songs Suk Hall of the Rudolfinum on 20 September 2019. Ivo Kahánek and I have many ideas and we will in their entirety given their brevity? Ivo Kahánek is a fabulous pianist, and we were have to see which of them will come to fruition. That is precisely what inspires me. Each of them seeking some special repertoire we could perform www.supraphon.com encompasses people’s stories in their entirety. together. He and I have identical roots, so it was Translated by Hilda Hearne

martinůrevue12019 | 17 new sources found in 2018 news

/ MARTIN LEDVINKA original manuscript was also found in the Museum MAREK PECHAČ of Czech Literature. While preparing source materials for the edition The aim of the ongoing research of primary of the Rhapsody-Concerto, H 337, the Library of sources at the Bohuslav Martinů Institute is the Bohuslav Martinů Foundation acquired several mainly to find and process diverse primary- period recordings of the composition as inter - source materials used by editors of the Bohu - preted by eminent musicians. Recordings of two slav Martinů Complete Edition volumes that 1950s performances by Jascha Veissi were pre - are now in preparation. This source research served in the archive of the Swiss radio stations work also expands our docu ment collection RSI – Radiotelevisione Svizzera and RTS – Radio The letter of condolence from the philanthropist with new musical and non- musical sources Télévision Suisse. The original recording of the Baroness Germaine de Rothschild and materials, copies of which are entered into 1962 performance by Lilian Fuchs is stored in the the Library of the Bohuslav Martinů Founda - New York Public Library. tion, which is administered by employees of In 2018, the Bohuslav Martinů Institute pro - the Institute. cured digital copies of a set of seven notebooks The most notable acquisitions of 2018 are and diaries of Bohuslav and Charlotte Martinů, no doubt the digital copies that were procured of which were donated by Jaroslav Mihule to Aleš a period reproduction of Piano Trio No.2 for Violin, Březina and now are deposited in Martinů Center Violoncello and Piano, H 327, from the Royal Col - in Polička. The notebooks testify to the profes - lege of Music and of the newly discovered auto - sional and especially the social life of the Martinůs graph score of Tre Ricercari for Chamber Orches - in the US during World War II and its aftermath. tra, H 267, from the British Library. The Free The diaries contain lists of com posi tions by Bohu - Library of Philadelphia provided us with a digital slav Martinů and other information that shine copy of period reproductions of autographs of a more intimate light on the composer and his Toccata e Due Canzoni for Small Orchestra, H 311, wife. The documents confirm Martinů’s deliberate and Symphony No. 1, H 289. The discovery of the effort to learn English phrases and grammar. His libretto to the radio performance of André Gide’s wife’s notes attest to the numerous social events Oedipus, H 248, which was translated by Jindřich (friendly visits, concerts, etc.) that the couple Hořejší and adapted for radio by Vilém Werner, attended in the US. An interesting chapter is the will enable the present-day premiere of the play, record of a large number of pack ages with food to which Martinů composed incidental music, at and other scarce goods, which the Martinůs sent The letter of condolence sent by Karel Ančerl Moravian Autumn 2019; besides a typewritten to their friends in Czechoslovakia and France after and Czech Philharmonic to Charlotte Martinů version in the archive of Czech Radio Prague, the the war. The list details both the addresses and annıversary performance career dates back to this time. In 1957, the critic František Hrabal wrote in Hudební rozhledy: eliška nováková “[…] the young, extraordinarily talented pianist […] is in- disputably among the cream of the interpretive crop of her turns 90 generation in Brno, and we highly appreciate her meticu- lous dramaturgical deliberation and her constant promo- / JARMILA MRÁČKOVÁ tion of the compositional œuvre of Bohuslav Martinů.” These words were written after a performance of Mar- Eliška Nováková (née Hanousková), pianist, teacher, tinů’s Sonata for Piano, H 350, which she executed in and honorary member of the Bohuslav Martinů a Czechoslovak premiere on 3 December 1957 in Brno. Socety from 2012, celebrated her 90th birthday She rendered the Czechoslovak premiere of Fantasy on 30 July 2018. She celebrated the occasion in and Toccata, H 281, in 1955, the Czech premiere the company of her daughters, the pianist Dora of Concertino for Piano and Orchestra, H 269, in 1954. and the flautist Clara, and with a chamber concert She collaborated on the first performance series of the attended by official guests. chamber works of Martinů, which was organised by After completing grammar school, Eliška Nováková Zdeněk Zouhar at the University Library in Brno. Czech studied the piano at the Brno Conservatory. She gradu- Radio Brno has fourteen of her recordings of composi- ated in 1950 and continued her education under tions by Bohuslav Martinů. In 1956, when the Brno Prof. František Schäfer (who was barred from teaching Eliška Nováková State Philharmonic was established, she and her hus- at the Janáček Academy in 1949–58). The launch of her band, the composer Jan Novák, participated in the first © brno philharmonic archive

18 | martinůrevue12019 The letter of condolence from founder of Bärenreiter Karl Vötterle

A page from Charlotte Martinů’s notebook from the 1950s

the contents of the packages, mostly comprising chocolate, tinned meat, margarine, coffee, and cigarettes. Jaroslav Mihule gave the Martinů Institute a set of more than 200 letters of condolences sent to Charlotte Martinů after the death of her (University of Michigan), a letter addressed to da camera for Violin and String Orchestra with hus band. The composer’s widespread renown Peter Blume in the property of the Archives of Piano and Percussion, H 285, performed by Louis is con firmed by the names of the senders, who American Art at the Smithsonian Institution, or Kaufman and the INR Chamber Orchestra con - include the likes of František Listopad, Jan Zrzavý, letters from Martinů to Jiří Tanci budek housed ducted by Edgar Doneux. Another newspaper Karel Husa, Karel Ančerl, Nadia Boulanger, Ernest in the British Library. The archives at Universal article informed of Gregor Piatigorsky’s premiere Ansermet, Ernst Roth, Jean Meylan, Julius Bär, Edition in Vienna have rendered correspondence of Variations on a Theme of Rossini for violoncello or Germaine de Rothschild. relating to the publication of Concerto for Piano and piano, H 290, shortly after the completion of Of the other extramusical acquisitions, let us and Orchestra No.5 (Fantasia concertante), the work in Austin, Texas, on 20 November 1942 – mention the discovery of a card catalogue of Mar - H 366, and other materials that document the that is, almost half a year earlier than the New tinů’s works that was maintained by Karel Šebánek; performance and publishing prac tice surrounding York performance which had until now been also Martinů’s correspondence with Karel Boleslav several of Martinů’s com posi tions. regarded as the premiere. Jirák and with American publishers (the original A number of period reviews were also uncov - Another major discovery is a set of sources letters are the property of the Bohuslav Martinů ered in the course of the year. These have in - from the estate of Jindřich Honzl, mainly his cor re - Foundation and will be deposited in the Bohuslav formed of as-yet unknown performances of the spondence with Martinů, photographs, or Honzl’s Martinů Centre in Polička). Further letters have works of Bohuslav Martinů. For example, the con - diary entries regarding his meetings with the com - been found in archives and institu tions through - cert that was broadcast on 7 December 1953 on poser. These documents merit a more focused out Europe and the US: Martinů’s correspondence the French waves of the Belgian National Broad - article of their own, which will be published in one with Gilbert Ross in the Bentley Historical Library casting Institute (INR), which included Concerto of the upcoming issues of the Martinů Revue. ❚

foreign performance of the orchestra at the Warsaw Autumn Festival (Concerto for Two Pianos and Orchestra by Jan Novák). After the 1968 occupation, the Nováks moved abroad with their two small daughters – first to Denmark, then Italy (Rovereto, Riva), before finally settling down in Ulm, Germany. The numerous concert programs of the piano duo – from Italy, Switzerland, Spain (Ibiza) – testify to the frequency with which they included works by contemporary Czech composers and also their repeated performance of Antonín Dvořák’s Slavonic Dances. Eliška Nováková was also active as a teacher until 2014. The charming, kind lady has been visiting our country since 1990; she attended the Jan Novák Tribute From the left: couples Concert at Besední House in Brno on 17 November Břetislav & Marie Bakala 2009. She donated the manuscript materials for her and Eliška & Jan Novák husband’s compositions to the Czech Museum of Music before the concert at the – National Museum in Prague. Warsaw Autumn Festival in 1956 We wish her all the best! ❚

martinůrevue12019 | 19 Petr Nouzovsky

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