The Day of Good Deeds

Bohuslav Martinů

May – August 2003

The Day of Good Deeds World Premiere My Life with Bohuslav Martinů Excerpts from the Newly Outcoming Reedition of the Book by Charlotte Martinů Charlotte Martinů through the Eyes of Her Friends and Other Personalities - Reminiscences The Cleveland Connection - 60 Years On Martinů in the Air - - All over the World

Martinů EVENTS Martinů NEWS Second issue 2003

The International Bohuslav Martinů Society The Bohuslav Martinů Institute Contents

WELCOME Gerd Lippold ...... 3

THE BOHUSLAV MARTINŮ FOUNDATION HAS A NEW PRESIDENT ...... 3

NEW MEMBERS OF THE IBMS ...... 3

THE DAY OF GOOD DEEDS Unknown Stage Work of Bohuslav Martinů through the Eyes of a Conductor Milan Kaňák ...... 4 - 5

AN (UN)FINISHED OPERA BY BOHUSLAV MARTINŮ Opera Review Petr Veber ...... 5

MY LIFE WITH BOHUSLAV MARTINŮ Excerpts from the Newly Outcoming Reedition of the Book by Charlotte Martinů ...... 6 - 7

CHARLOTTE MARTINŮ THROUGH THE EYES OF HER FRIENDS AND OTHER PERSONALITIES Reminiscences ...... 8 - 11

CHARLOTTE MARTINŮ ALWAYS GRACEFUL AND STANDING ALL HER LIFE ON BOHUSLAV’S SIDE ...... 12 - 13

THE CLEVELAND CONNECTION – 60 YEARS ON Gregory Terian ...... 14 - 15

ALFRED WOPMANN, ARTISTIC DIRECTOR AND PROGRAMMING DIRECTOR OF THE BREGENZ FESTIVAL, DEPARTING AFTER TWENTY YEARS Aleš Březina, Jana Vašatová ...... 16

THE FATE OF AN OPERA Review on the New Book Jarmila Gabrielová ...... 17

THE GREEK PASSION German Premiere ...... 17

THE BOHUSLAV MARTINŮ FESTIVAL 2003 IN PRAGUE - PREVIEW ...... 17

THINKING ABOUT ULRICH UCHTENHAGEN Richard Klos ...... 18

REMEMBERING ULRICH UCHTENHAGEN Aleš Březina ...... 18

MARTINŮ’S CORRESPONDENCE WITH UNIVERSAL EDITION Eva Velická ...... 19

MARTINŮ IN THE AIR - ALL OVER THE WORLD What Steen Frederiksen, Chairman of the European Broadcasting Union’s Music Group, Says about the Promotion of B. Martinů Preben Albrechtsen ...... 20 - 21

MARTINŮ EVENTS 2003 ...... 22

MARTINŮ NEWS ...... 23

THE MARTINŮ INSTITUTE’S CORNER ...... 23 Charlotte Martinů in New York, 1940s BOHUSLAV MARTINŮ BY BÄRENREITER ...... 24 2 Welcome Dear members of the IBMS, The Bohuslav Martinů Foundation our friends, dear readers, Has a New President This issue of the Bohuslav Martinů artist, nor had she studied music, On 10th February 2003 the President of the Bohuslav Newsletter is dedicated to Charlotte she possessed considerable and Martinů Foundation, Dr. Viktor Kalabis, asked the Board to Martinů. In autumn this year it will detailed knowledge of almost every relieve him of his function. On reaching the age of 80 his be 25 years since she died. work of Bohuslav Martinů, not only health had worsened to such an extent that he no longer In the biographies of great com- about its genesis, but also its charac- felt able to effectively fulfil his duties. posers, wives usually play a sub-or- teristic structural features, and this The Board accepted his resignation with full understan-ding dinate role, standing in the shadow of to a degree, which amazed even the and, apart from expressing its deep thanks for his leader- their famous husbands. Unless they experts. For decades, she was a true ship, it nominated him an Honorary Member of the Board for are independent artists in their own and always reliable companion on life. This entitles him to be present at every Board meeting, should he so wish. right, like Clara Schumann or Alma the road the com-poser trod, where At the same meeting, the former vice-president, Prof. Ivan Štraus, was elected the Mahler, the wives of many musicians his restless and changeable nature new president. A young composer from Brno, Dr. Vít Zouhar, the son of Martinů’s are not even known to the general encountered not only successes, friend, choirmaster Zdeněk Zouhar, was elected vice-president. public by name. In many cases they but also failures, hesitations and are not even menti-oned in music doubts, and where projects were In the next issue we will bring the portrait of the composer Viktor encyclo-pedias although broken off and begun anew. Kalabis, an Honorary Member of the Board. they probably ex- The Swiss com-poser erted considerable and opera director Ivan Štraus influence on Rolf Liebermann I am 66 years old violinist. I graduated from the creativity of once coined the the Prague Conservatory and Academy of Performing their composer un-pleasant phrase Arts in Prague and completed my studies with an MA husbands. Many “widows are al- at the Moscow Conservatory (1966-68) in the class of the admired ways frightful.” of Galina Barinova. In September 1968 I was appointed works of a com- Liebermann ap- the Assistant at the Music Faculty of the Academy poser are incon- parently wanted of Performing Arts and became a member of the Czech ceivable without to say that they Trio with Alexander Večtomov and Josef Páleníček. the direct parti- stand in the way In 1975 I was dismissed from the Academy due ci-pation of the of propagation and to political reasons and became a member of the Par- wife in the compo- interpretation of dubice Chamber Orchestra, a small town 100 km east of sitional process and the works that are Prague. Later on I was invited to found the new Conservatory there, where I taught for without their selfless left over. This is abso- 10 years, in the meantime becoming a soloist of the Prague Symphony Orchestra and assumption of the joint lutely untrue in the case the leader of the Suk String Quartet. After the revolution in 1989 I was called back to day-to-day tasks, which of Charlotte Martinů. Until the Academy and became vice-dean for foreign relations for 7 years. In 1991 were not always easy. her very last years, she worked I became a member of the Board of the Martinů Foundation. I currently teach at the What role did Charlotte Martinů hard and fought where necessary, Academy, I am the President of the Czech branch of ESTA (European String Teachers play in the life and works of the with singleness of purpose, to get Association) and of the Josef Suk Society. composer Bohuslav Martinů? Did she her husband’s works better known; My interest in Martinů‘s music goes back to my student days: at my graduation provide impulses and did she assist despite all resistance in Europe concert at the Conservatory I played his Violin Concerto No. 2, becoming only in the birth of compositions? Did which was divided politically and the third violinist to have played it in Czechoslovakia. Apart from that I played she advise and console, did she act culturally, she built bridges and the Arabesques, Intermezzos and chamber music - Serenades, Trios etc. The same con- as a secretary? Did she stand in the created important contacts for certo was on the programme of my final concert at the Academy, under the direc-tion door, keeping the creative space free the future. of Dr. Václav Smetáček, the Chief Conductor of the Prague Symphony orchestra. from outside interference? Charlotte Gerd Lippold, As a member of the Czech Trio I came into close contact with Mme Charlotte Martinů did all that in one person. Chairman Martinů. With my cousin, Marek Jerie, now of the Guarneri Trio, we often played both Although she was not a practicing Duos for violin and cello, once even especially for Mme Martinů during one of her visits to Prague. With the Suk Quartet we often played the 2nd, 4th and 6th Quartets, the Sextet and the Serenade for 2 Clarinets and String Quartet. WE WELCOME NEW MEMBERS OF THE IBMS I hope to remain a humble servant to Martinů‘s music and, together with other “believers”, to help to expand his glory around the world. (January – April 2003) For the full version of the biography and for the biography Dear members of the International Bohuslav Martinů Society, of the vice-president see: http://www.martinů.cz/foundir.htm Up to the present day, the IBMS has 172 members from 26 different countries and is growing steadily. Beginning with this issue, we are going to publish a special “welcome” column to present new members. Here are the names of those, who have joined Ted Perry George Edward Perry, the founder of Hy- the IBMS since the beginning of this year: perion Records, died on 9th February last. He was a great Martinů enthusiast and Avner Arad, New York, USA Natasha Kosistorum, Hannover, Germany The General one of the first members to subscribe Kjetil Bergheim, Oslo, Norway Joachim Krist, Mechernich, Germany to the IBMS. Patrícia Bretas, Rio de Janeiro, Brasil Mr. and Mrs. Latham, Wedmore, UK Assembly 2003 During the 1980s he produced a notable Daniela Bruera, Berlin, Germany Trygve Madsen, Lörenskog, Norway will take place series of recordings of Martinů chamber Oda Caspar, Berlin, Germany Reinhard Niemann, Overath, Germany on December 7th at 10 00 a.m. works by the Dartington Ensemble. Colin Craig, Sevenoaks, UK Simon Perry, London, UK at the Martinů Institute, One of his dream projects had been to L. Dintinger, Stockport, UK Eckehard Pistrick, Gatersleben, Germany Nám. Kinských 3, 150 00 Prague 5, th record the complete cycle of Martinů sym- Gideon Flusser, Tel Aviv, Israel J.B. Quantrill, Perth, UK on the occasion of the 9 annual phonies under Sir Charles Mackerras. Annette Hermeling, Hamburg, Germany Leo Siberski, Berlin, Germany of the Bohuslav Martinů Festival 2003 (for details see p.17). He will be greatly missed. Falko Hoenisch, Karlsruhe, Germany René Slezák, Praha, Czech Republic Gregory Terian Paul Kaspar, Garching bei München, Igor Zhukow, Moscow, Russia Confirmations will be appreciated Germany Michele Zukovsky, Hollywood, USA until the end of October. ❦

Bohuslav Martinů Newsletter 2003 - Second issue 3 World Premiere Milan Kaňák The Day of Good Deeds Unknown Stage Work of Bohuslav Martinů through the Eyes of a Conductor

That is why the invitation to the end it stayed unfinished, the manuscript of the piano the project was both a joy arrangement of the 2nd Act is not even available. and an honour. That is why At the moment, we don’t even know exactly what I was honoured by Václav the composer’s intentions with regard to The Day of Good Nosek’s wife, Mrs. Libuše Deeds really were. We know for sure that together with the Lesmanová’s entreaty that opera The Three Wishes he offered it to the B. Schott’s Söhne after the passing away of Mainz publishers for publishing. However, they refused the conductor (for all of the opera referring to a libretto that was too simple. On 9th us untimely) to not let May 1931 the publishers, in a letter, express themselves the project fall apart and with regards to the text that “for our German standards follow it through to its it is somewhat very simple.” The untraditional casting of stage realization. And a chamber orchestra without a flute and French horn and At the beginning there was... I would love to fulfil the conductor’s wish to have that including piano and a number of percussion instruments ...the invitation of the conductor, and many-year happen in the South Bohemian Theatre. Therefore, could support the idea that Martinů had certain specific dramaturge of the Opera Janáček in Brno, and later I cannot take the merits of discovery for myself. Only with interpretations in mind. However, as of now proof of this opera of the National Theatre in Prague, Václav Nosek to great respect and thanks can I dedicate the performance conjecture has not been found in European theatres nor collaborate on a very interesting, and – in the summer of of The Day of Good Deeds to the Noseks. have any composers clearly mentioned this in their letters 1999 – understandably still considerably secret project, (only about the possible ballet production of On tourne! and promising a really big surprise. That surprise was the, up The history of the opera... Échec au roi in Copenhagen, Stockholm and Oslo). to that time, secret existence of the score of two acts of ...is somewhat shrouded in the haze of history and Martinů stopped working on the opera in April 1931. Bohuslav Martinů’s unfinished opera The Day of Good it offers scholars an almost detective-like field for fur- Why? Again that has not been clearly established. There Deeds (the existence of a copy of the score actually sur- ther investigation, hypotheses, and gathering mate- are two possible reasons. faced here only in 1995 with the presentation of Martinů’s rial evidence, in short for additional musicological Maybe the composer found himself, at a blind alley in part of the archives of the Czech Musical Fund at the newly activities. Until recently, the opera was considered a sort the composition and didn’t know how to continue. It hap- created Bohuslav Martinů Institute; the ori-ginals are of unfinished sketch. In fact, not even biographer and pens even to the masters. (The answer to how probable this kept in the archives of Paul Sacher, Swiss conductor and friend of the composer Miloš Šafránek had any inkling of reason is might even be explained by our performance). friend of the composer). This was the first time that it was the existence of the score and only mentions the body of Or maybe indistinct prospects on how the opera would possible to bring The Day of Good Deeds to the stage at the piano arrangement. Similarly, Jaroslav Mihule only turn out and with regard to its being published didn’t allow all. The opera is written using the German version of the writes about the score in his latest book from the year the composer, who was in no easy financial situation, to libretto named Der Wohltätigkeitstag, whereas the French 2002 [editor’s note – for the book review see the preced- write an opera with three planned Acts just to “put it in name La semaine de bonté was used for a long time. Even ing issue, p. 12-13]. Even foreign sources are silent (e.g. a drawer.” The almost forty-one-year-old composer, one in Czech monographs the work is refered to using the name Harry Halbreich: Bohuslav Martinů: Werkverzeichnis, month after his marriage to the seamstress Charlotte Week of Good Deeds. Dokumentation und Biographie, Atlantis Verlag Zürich/ Quennehen (21st March 1931), had no steady source of Freiburg 1968). The only fact that is known for sure is that income. Their existence was only assured by royalties from In regards to this, one cannot omit... Bohuslav Martinů began composing the opera at the end his own works, and occasionally supplemented by awards ...the luminary, Václav Nosek. Everyone who ever of 1930 in Paris. Its subject matter evidently engrossed from various contests or financial support from the Czech met the conductor, in whatever manner, remembers the him, so work went very quickly. By April 1931 the first score Academy of Sciences and Arts (however, the Academy itself mo-ment as fortunate and enriching. He started to af- was ready and with a few exceptions the final scenes and “resolved” to provide Martinů with support when, on 19th fect me as a completely artistic youth at the beginning of even the 2nd Act. Probably simultaneously with work on May 1931, it named him a regular member, 4th class – so my professional career, when I, in 1973, as a new oboist the score of the 2nd Act, the composer started working on instead of Martinů receiving support, he now had the right appeared in the orchestra of the Brno opera. From that the piano arrangement of the 1st Act; in many places it to participate in meetings of the members and the General time on, I looked forward to every opportunity I had to shows more precise dynamics and certain rhythmic solu- Meeting). Even Charlotte Martinů remembers how after learn from Václav Nosek, in the orchestra and outside tions. It was necessary for him to finish working on the the wedding her husband literally threw himself at com- of it – and these beautiful moments were uncountable! manuscript of the piano arrangement of the 1st Act – in posing chamber music – “I must work a lot and earn at

4 Opera

Josef Průdek - director the opera is written very The translation by Vladimír Fux, finished in May 1999, theatrically with an empha- is written into one version of the piano arrangement sis on the vocal element. of the 1st and one version of the score of the 2nd Act. Martinů’s typical musical Besides providing the Czech translation of the libretto, language is obvious, it is Václav Nosek worked out certain supplements to the functionally enriched with piano arrangement of the 1st Act (supplementing the references to French folk libretto for the 3rd and 4th scenes, and working out the melodies or city folklore. missing pages of the piano arrangement in the Scene at Martinů expresses the fas- the station), however, he didn’t manage to finish them. cination he had at the time The manuscripts of the scores of both Acts are beyond with pastoral folklore – the a doubt, even for a cursory glance for compositional propagation of shepherd- corrections, and for the creation of new material and esses – with the same com- interpretations, practically useless. positional material as in The score of the 1st Act is fairly diligently worked out, in- The Day of Good Deeds (the cluding orientational numbering. There is a missing page of the measures 1166 – 1176, which, however, due to the compositional structure of the given location, is relative- © Jihočeské divadlo ly easy to reconstruct and fill in, without even disturbing the continuity and unity of Martinů’s compositional least enough to buy furni- and instrumental language. This is not the case for the ture.” His possible return to score of the 2nd Act. Orientational numbers are missing, The Day of Good Deeds was the last finished scene has neither dynamic nor tempo most certainly postponed rules. Thus the fundamental editor’s view included – on by Martinů’s plan to create the principle of not arbitrarily deforming the composer’s the Czech oriented, sung compositional results – adaptation of the manuscript ballet Špalíček and mainly to contemporary music printing practices (particularly the proffered possibility of arranging the instru-mental and singing voices in the performing this in Prague. score, unifying and clarifying the interpretation of the (The oldest part of the notation, furnishing notes, etc.), removing many obvi- bal-let – The Legend of St. ous and less obvious mistakes and writer’s mistakes, Dorothy – came into being clarifying movements, reconstruction of the missing concurrently with work on measures in the score of the 1st Act, correction of the Day, between 20th and 26th dynamics and certain rhythmic forms in the score of the January 1931. Then on 23rd © Jihočeské divadlo 1st Act pursuant to the manuscript of the piano arrange- June 1931, Martinů an- ment, filling in the dynamic and tempo markings in the nounced, in a letter to his birthplace Polička, his decision 1st Act of Scene 1), and also in the choral Czech Nursery last finished scene of the 2nd Act, and finishing the piano to work on the ballet intensively, “in order to not have it Rhymes, whose first part was composed, again, concur- arrangement of the 1st Act. delayed then, I will talk to Ostrčil.” The negotiations with rently through Christmas 1930. In The Day of Good Deeds the head of opera at the National Theatre, Otakar Ostrčil, we clearly hear Martinů’s moving lyrics and rhythmically What Martinů didn’t finish... were successful and Špalíček actually had its premiere in electrifying tracts or extensively colourful symphonic ex- ...we tried, together with Josef Průdek, the director, Prague on 19 September 1933.) pression. Anyway, The Day of Good Deeds provides more to complete so that it would be formally in a final form for The longer I occupy myself with The Day of Good Deeds, than enough material for further deliberation. the stage. The planned compositional form, clearly given the more I lean toward the second alternative. The score by the libretto of the 3rd Act would be our guide; again our and the manner of compositional work shows a clear The Day of Good Deeds’s original material... acts take us back to the beginning of the opera. creative aim, even though – naturally – in the later parts ...in reality Xerox copies of it, was given to me by We close our performance with two views. One is the composer worked out a clearer style. The orchestra- Mrs. Lesmanová in the spring 2000. The entire folder a look back at The Day of Good Deeds, the other is directed tion is very colourful, exciting for the period (this is also always contained many copies of the unfinished piano at the other artistic paths of Bohuslav Martinů... helped with the resonation of several tones at once), arrangement of the 1st Act and the score of both Acts. Translated by Ivan Marek An (Un)finished Opera by Bohuslav Martinů - Le jour de bonté Since Opera Review March the South Bohemian Theater in České but rather comic talent and a capacity for apt, condensed characteri- Budějovice has been performing an opera from the bequest of Bo- OPERA REVIEW zation. It is with just this combination - and with suitable choice of huslav Martinů that he never completed - The Day of Good Deeds. works - that the České Budějovice artists regularly triumph. The production is intended to remain in the repertoire at least until the end of the The set and costume designers for the production are the Frenchmen Philippe calendar year. In bringing this previously-unknown work to life the theater has made Godefroid and Francoise Terrone. They have underscored the character of folk a truly extraor-dinary contribution. theater - full of colors, motion, and entertainment - clothing the villagers in at- The primacy of the ensemble in České Budějovice with this belated world premiere tire that very much suggests the French countryside, and have endowed the ‘train is appropriate: it is a work conceived in an intimate, chamber-like style that suits departure’ and scenes in the city with humorous hyperbole, drawing on the revue the theater’s profile and possibilities well and precisely. This comedy about two and on the ‘poetist’ literary movement. silly village ‘rustics’ who want to set out for Paris to ‘commit’ good deeds, but in The critical figure in this project, however, is the conductor, the head of the the end only dream of their adventure, is no elitist avant-garde experiment for its opera corps Milan Kaňák. Not only does he successfully hold the fast-flowing music own sake but on the contrary a quite relaxed folk entertainment. The manner in which (offering many irresistible episodes such as that of a little girl with her toy on a the story is portrayed both theatrically and musically is lyrical, intimate, delightfully leash) together and in tempo; he is also the one responsible for making the score burlesque, and naively simple. The former head of the theater, stage director Josef perfor-mable and for rounding out the work. Průdek, who has a well-known affinity for comedies, lets the singers get carried Use of the full libretto together with music already heard to symbolically away a little in the absurd little scenes, but this sort of stylization and hyperbole are ‘complete’ the opera was a very fortunate idea. The performance does not end in often part of the genre of conversational comic opera of these dimensions, and the the second act in the middle of a scene - where Martinů ceased work once and for assumed limit of taste is never exceeded here. The production team has utilized the all - but is allowed to ‘finish’ in a thought-through and sensitive way. In the short modest space for non-ostentatious singing, for a suggestion of the simple action, hypothetical third act we have reminiscences of characters and action from the and for collective bustling, and the performers maintain constant contact with the first act in pantomime, but suddenly both the instrumental music and the singing audience thanks to the closeness of the auditorium to the stage. sound only from a recording, so that it is clear where the actual work by Martinů The opera is full of the most varied strange characters, with frequent jokes, ended. The two youths wake up with a hangover and find out to their displeasure, as gesticulations, and comical facial expressions. Some twenty singers, among whom the villagers laugh, that actually they haven’t gone anywhere. After all, a comedy Daniel Klán, Svatopluk Sen, and Kateřina Hájovská perform the main roles, confirm cannot end in a pious tone as an unfinished work. Without the production team’s successfully the well-known fact that in repertoire like this neither bel canto nor idea of ‘composing it out’ the audience would leave frustrated. This way it has a beauty and volume of voice measured in any other way are what’s most important, complete sense of satisfaction from the (un)finished opera. Petr Veber

Bohuslav Martinů Newsletter 2003 - Second issue 5 Souvenirs Charlotte Léonie Victorine Quennehen was born in 1894 at Ochancourt 80 in Vieux-Moulin, France. As her profession MyMy lifelife withwith she chose to work as a ladies’ seamstress. It probably never occurred to her - a young and beautiful French woman, but coming Excerpts from the Book by Charlotte Martinů from the working class - that the bashful, tall Czech composer Bohuslav Martinů, whom she met in 1926 at a circus, would not only ask for her hand five years later, but would lead her at his side to musical celebrities of the world like Serge Kous- sevitzky and Charles Munch. She couldn’t guess that with this man she would spend her life in many places in Europe and America, and above all that she would be the greatest support for a famous Czech composer for the rest of his life - in times of joy, pain, poverty, and glory, but also in times of betrayals in partnership and returns. Even after the composer’s death it was evident what love and fidelity Char- lotte had for him. For almost twenty more years she cared for his compositional legacy. She loved and promoted his music, and she left her beautiful memoirs for future generations, excerpts from which we present to you on the following two pages. Starting in 1959 Charlotte Martinů often visited the Czechoslovak Republic, where she made many friends. In 1975 she became an honorary citizen of the city of Polička, and in 1977 she co-founded a Czech organization called the Společnost Bohuslava Martinů (Bohuslav Martinů Society), which immediately made her an honorary member. Her greatest deed for the musical public of the coming decades Charlotte was her decision in that same year to be- and Bohuslav Martinů queath the rights to her husband’s works in Polička, around 1930 to the newly-founded Nadace Bohuslava There was a fine mist coming down on Paris. A light I strolled along the boulevards flooded with light and Martinů (Bohuslav Martinů Foundation) November fog veiled the squares and boulevards with I felt something flaming in me. I was happy and wanted in Prague and its equivalent in Switzer- a mysterious dim light. It was November 1926. My friend to get to know the stranger from the circus better. land - the Bohuslav Martinů-Stiftung. and I sat by the window and pondered what to do that I wrote him a short letter and arranged for us to meet evening. After a week in the workshop, Sunday was the following Sunday in the cinema in Auteuil. When Charlotte died on 23 November 1978 a little island of rest and relaxation. ‘So where should I thought that week in the workshop would never end. in Villiers le Bel, it was a matter of course we go?’ My friend proposed the Cirque Medrano. We had But Sunday finally arrived, and the longed-for meeting. for her circle of friends to fulfill her last no money to spare, so we bought standing-room tickets I don’t recall anymore what they were showing, but I can in the highest gallery. still hear his French, still unsteady at the time, with his wish: that she be buried alongside Bohus- The famous Fratellini clowns did their tricks and jokes somewhat crude accent - but mainly his gentle voice. lav in Polička. We owe her a debt of grati- in their mock bullfight and the whole circus roared with tude, and in this, the year of the twenty- laughter. Behind me a tall, thin young man bellowed [...] He made tea and wanted me to tell him what with laughter. He had beautiful blue eyes and a noble I liked, saying he would play it for me. What must he, fifth anniversary of her death, we wish to head, and now and then I turned around to steal a Bohuslav Martinů, have thought when I asked him express our thanks in the Newsletter. The glance at him. He smiled. Is it possible not to respond to for Moonlight from Werther? But he willingly played following eight pages are dedicated to her such a smile? I was in suspense, and only half-watched it for me and I felt like I was intoxicated. Everything the program. During the intermission the young man was so new for me, so unaccustomed, and I was set memory, and we hope we shall succeed in approached me discreetly and pressed a card into my to trembling by what the music expressed. When showing you what an unusual, precious, hand. In an instant I read it: Bohuslav Martinů, 11 bis the Massenet was finished he played on and on and th and noble woman she was. rue Delambre, Paris, 14 district. Only later, when I came chords gushed from his fingers that I had never to know how shy and timid Bohuš was, did I realize how heard before. I was entranced. -sb- boldly he acted on that occasion. [...] I became accustomed to feeling like I was in On the way home from the circus my friend and 6 Souvenirs BohuslavBohuslav MartinůMartinů

a magical world that enchanted me. After my boring ‘Point Clair’ (Luminous Point) [Nice] we had and onerous work, in the presence of my petit p+re a spacious two-room apartment two floors I felt as though I were in a fairytale. When I labored up from the main level, with a beautiful view to exhaustion with the needle in the shop I used to of the green valley called ‘Valrose’ (Rose Val- remember our Sundays and then something always ley). When one entered the villa by the lower started singing in me. Soon Bohuš was like a flower in entrance one had to struggle up ninety quite the middle of winter for me, like a mirage in the desert. steep stairs, but all around beautiful oaks He offered me an escape from the endless grind of work and mimosas rose up and only the humming and obligations: He enchanted me and transported me of insects and the chirping of birds sounded into a fairytale world. in the magnificent silence. First of all we humanized the garden; [...] Our budding love lasted through the first it had gone wild and was not far from looking winter, and then came spring and outings into like a virgin forest. We gathered up branches the countryside around Paris. We used to go to the and raked leaves. The petit p+re started a Bou-logne Woods, to the forests at Fontainebleau, fire and we burned everything. We liked the and elsewhere. We wandered through the woods smell of burning eucalyptus wood. Here, too, and meadows and discovered that we had a common scrawny cats crept up to us constantly, coaxed interest that brought us together: A love for nature, a little food from us, and rubbed against our for plants, trees, and animals. We rejoiced in the first legs caressingly. They were abandoned and we buds and observed how they sprouted. adopted them without hesitation. We enjoyed the first spring green and ‘Life is wonderful! We were immensely happy in the south picked wild daffodils, primroses, and of France. Everything suited us there: the violets. We listened to the birds singing We’re not overflowing climate, the radiant light, the Proven)al and occasionally disturbed a squirrel markets, the magnificent sunsets, the which Bohuš then teased, tapping with material wealth, eternally-green natural surroundings, and a stone on a tree trunk, and we watched but we’re rich in joys Charlotte and Bohuslav the tides of flowers. insects as they timidly began to fly. in their flat, New York 1943 Both of us loved the sun and its rays. and memories that Like all young people, we naturally [...] In the morning of 31 March [...] ‘How will I ever be able to live without made plans for the future. Our dream give us a feeling of our ship arrived in New Jersey. Miloš him?’ I thought about my dear departed one was to live somewhere in a high, sunny fulfillment and Šafránek came to meet us at the place and have a little house with harbor with his wife - the pianist and suddenly it seemed to me that I heard a blooming garden. Unfortunately that will always Germaine Leroux - and the consul a familiar chord. As though he had lightly that dream never came true. For years Hajný. We disembarked all gaunt I had a certain dream again and again. remain with us.’ and weary, especially I, because I touched me. I said to myself: ‘I won’t be The same image kept returning to me: was debilitated from seasickness. completely alone: after all, his music remains I was on a hill in front of our little house At first I didn’t even notice the New with me.’ And this music truly became looking at the sunset. That dream came true a quarter World, because it took me quite a long time before I century later when we lived in Montboron in Nice. reco-vered. Friends accompanied us to the St. Hubert the dearest friend for me and the greatest Hotel on 57th Street, where a Canadian patron had [...] At Christmastime in 1936 I was unfortu- comforter. It speaks to me, opens new arranged accommodations for us. nately alone again, because Bohuš went to Prague for and more joyful horizons to me, and its light Soon thereafter American musicians held the rehearsals and premiere of Hry o Marii (The Plays of a reception for musicians who had fled from Europe, illuminates the dusky autumn of my life. Mary)1 . For the holidays he went to Polička to be with so that everybody could get to know each other. his mother and his sister Marienka. I spent Christmas Although we were fatigued and exhausted, the warm THE BOOK WILL BE REEDITED with my own mother in Vieux-Moulin. The house was reception we were given and our fresh impressions teaming with children and I watched their gleaming IN CZECH LANGUAGE overcame our weariness and filled us with hope faces with amusement - they were so impatient to get AT THE END OF THE YEAR 2003 for the future. Our New York friends were kind and their presents, which according to French custom were did everything possible to make our first steps in BY EDITIO BÄRENREITER PRAHA. placed in shoes by the fireplace. The gleeful children’s the New World easier. voices sweetened my loneliness a little. 1 Mrs. Martinů is evidently mistaken about the date. Everything [...] In June [1947] I returned to Vieux-Moulin. The [...] In Paris my monotonous work was waiting indicates that this must have been Christmas 1935, when Hry o petit p+re described for me in letters how he was spend- for me in the sewing shop. But nobody waited for Marii was being rehearsed for performance in February 1936. ing his holidays with Rybka me at home, and I was often sad. On my way home and wasn’t considering Ridgefield, USA 1944 from work on Saturday I would buy groceries for a trip to Europe for the two days, and I wouldn’t budge from the flat until time being. I must say that Mon-day morning. I sewed or darned, listened to on that occasion my stay the ra-dio, puttered about the household, and every in Vieux-Moulin some- other moment mused: Where might he be now? At how wasn’t good. I had a rehearsal in the National Theater, at the Nováks’, my family around me, but or with musicians in the ‘National Coffeehouse’ in my mind I was still on (Národní kavárna). When Bohuš wasn’t with me life the other side of the ocean. became dark and gray. On that occasion I didn’t see I was worried about Bohuš, him until late in February, after the premiere. but at the same time [...] On 21 March 1941 we celebrated our tenth wed- I wanted to respect his ding anniversary. The petit p+re was exasperated and privacy, because he wan- depressed, and fixated on the idea that any moment ted to be alone. I often sat we would receive information about our departure. He behind the house and, pen- complained: “This waiting and this lack of activity are sive, let my eyes wander killing me! All I need is a little room with a piano so along the green meadow. I could set to work.” [...] In the villa called

Bohuslav Martinů Newsletter 2003 - Second issue 7 Rendezvous Charlotte Martinů through the Eyes of Her Friends and Other Personalities Alain Bécourt Among the fragments from which we reconstruct The members of the Czech Music Fund or- the lives of the famous and of persons close to them ganised visits and receptions in her honour I had the opportunity to see my great- and fussed around her. She had learned a aunt, Charlotte Martinů, quite often. are reminiscences of those who knew them. We offer you few words of Czech to show her gratitude. I looked after her at regular intervals du- several such reminiscences about Charlotte Martinů which Despite all the honours, she retained her ring the last ten years of her life. simplicity and said that knedlíčky were her I was 19 years of age when I accompa- illuminate her personality from many unknown angles. favourite dish! nied her to Czechoslovakia for the first time - sb - My aunt was a woman of great genero- in 1967. We went to the town of Luhačovice sity and I had a profound respect for her. which had organised a Martinů and Janáček As a wife, she was always at Martinů’s side; festival. We travelled from Prague with her love and devotion overcame many Mr. Páleníček in his Fiat 500, sitting of their trials. rather cramped amongst the luggage. She shared the material difficulties The roads were not in very good condition of his earlier years and she wanted to and the journey seemed interminable. found the Martinů Foundation to help I thought then that Czechoslovakia was an young Czech musicians. She said that the enormous country! Alas, classical music impor-tant thing for her was to allow these was not part of my education. I can say young artists, who had little money, to play today that I discovered it and learned to their instrument, to compose and to study. appreciate it thanks to Charlotte. For her, this was the prime purpose of Every year in August, I would take my the Foundation, then came the promotion aunt to the Sacher family near B%le. On one of her husband’s music. of my stays in Switzerland, Rostro-povich I regret that I did not get to know shook my hand. Imagine how proud I Martinů. We come from a modest social was, as a young science student, lost and background, strange to the world of art intimidated amongst all those musicians, and I can bear witness to the fact that for those artists, to shake the hand of the great many family members, the history of Char- cellist and conductor! lotte and Bohuslav is like a fairy tale. Charlotte was very touched by The author is a great-nephew Charlotte Martinů in 1977, Prague the warm welcome she received in Prague. of Charlotte Martinů Charlotte Martinů - As I Remember Her Gerd Lippold My first visit to Charlotte Martinů in I fear that the language barrier hid from me immediately we arrived in the evening to sort the enormous quantity of free copies Vieux Moulin in the early summer of 1974 not only some interesting but also uniquely announce our presence and then usually which she got as the composer’s widow, resulted from a spontaneous and rather authentic details of Martinů’s life and arranged a meeting in the late afternoon and which were stored in a huge old curious idea. A few weeks previously, dur- creativity. Although Charlotte understood of the next day. Despite her uncompli- wardrobe. All this was of great interest to ing a visit to Jürgen Sieber, who was and English, she preferred to speak French and cated manner, Charlotte was always me both privately and in my profession still is a great admirer of Martinů, as well as the speed at which she spoke took little an impressive figure, well dressed and as music teacher and music inspector. an expert on him and member of the IBMS notice of the fact that we were not native her hair beautifully done as if she were I also remember that she reacted rather (of course the subject was Martinů and speakers. My wife acted as interpreter as about to go out. In the house itself there crossly when I selected only a few copies his music), we suddenly hit on the idea best she could; I answered and questioned was little to indicate the home of one on one of my first visits. “Take some more of contacting Mme Martinů. We inquired in English. To shorten this extremely clumsy of the greatest composers of the 20th - for your students too! It’s publicity for politely whether our visit would be welcome and laborious procedure, when it seemed century; no grand piano, no piles of Martinů!”, she insisted. How best to get and very soon received a friendly invitation. appropriate I would confirm Mme Martinů’ music or manuscripts, just a bust of the Martinů’s compositions saved for posterity Charlotte Martinů was then over 80 and s statements now and again with a “oui” master (which has now found its place in was a task that occupied her constantly, I realised clearly from the outset that or a “no”. the Martinů Memorial in Policka). More and this was clear on every visit. contact could only be limited in view of her This obviously led to misunder-stand- on the ritual: Charlotte would first talk She was never tired of setting up con- advanced age. I no longer remember how ings. I remember Charlotte once remark- at length about her age-related troubles, tacts, giving addresses, showing photos, often I visited her until her death in autumn ing casually: “Who knows - perhaps I shall then about the problems she had with always adding that I should contact so-and- 1978, probably six or seven times, on occa- be under the ground in a year”, which publishers. It must be nearly unique for a so. And so I virtually felt amongst friends sions with Jürgen Sieber, on others alone or promptly drew the comment from me composer to conclude contracts with 14 (!) when I came to Prague in 1981 for the with my wife. She gave Jürgen and myself “Oui, Madame.” Fortunately for me, her publishers world-wide, and some of these 1st International Martinů Conference. the name of “Three musketeers”, together exceptional sense of humour saved the contracts had to be renewed or extended She also showed exceptional under- with a third person who was not present embarrassing situation. in the middle of the 1970’s. This caused standing for my love of handwritten on those occasions: Jaroslav Mihule. The visits to Charlotte Martinů were her some trouble. And then she would documents and numerous copies of origi- Communication was extremely difficult. I always rather like an official audience say with a twinkle in her eyes: “And now nal Martinů writings make up the most learned no French at school, something I and followed a strictritual. We spent the I’m sure you want to work”! Work - that rewarding memories of those years. came to regret greatly in those years since night in a nearby hostelry, telephoned meant that I was allowed to take out and Did we talk about Martinů, about his

8 Rendezvous music? Of course! Charlotte said that blessing to be decisive. It’s only since Martinů loved to relax or find new ideas the Council of Trent 450 years ago that on extensive walks in the beautiful woods a wedding formally requires besides near Vieux Moulin. When he was busy a man and a woman also a priest and on a composition, he could be very two witnesses. Beforehand it wasn’t so offhanded and even downright unapp- strict, so why should it be proper only roachable. Incidentally, this also applies in this prescribed form all of a sudden? to other composers. A good glass of red That’s only a later development. For me, wine after work was definitely part of his then, they were married, but of course I life style. And Charlotte always pointed was glad to comply with their wish. out that every work had at least one pas- Several years later on… sage where “heaven opened up.” Charlotte was helped in all the of- I have already referred in my intro- ficial negotiations in Czechoslovakia duction to her astonishing and enormous by JUDr. Richard Klos, legal advisor knowledge of Martinů’s music. One could for the Czech Music Fund. He was oc- not really tell her nothing new on the sub- casionally allowed to travel abroad: for ject. I can, however, remember one excep- the sake of negotiations with foreign Charlotte Martinů with Max Kellerhals on a trip tion. This concerned the ‘Divertimento for publishers they had to let him out with Bohuslav and Reber family in Liestal, Switzerland 1956 piano left-hand and orchestra’, H.173, for from time to time. And every time they which there was no recording at the time, Max Kellerhals did, Charlotte insisted he should visit other than one on the long unobtainable me in Switzerland or at least call me. East German label “Eterna”. A friend of One Sunday in May [in 1959] Char- about Mary and What Men Live By based But his little calendar was always full mine, the one-armed pianist Siegfried lotte Martinů sought me out and said on Tolstoy to The Greek Passion - such of appoint-ments. However, one day Rapp, the soloist in question, had kindly to me: “Bohuš is in the hospital now; a person, even if maybe he didn’t go to the telephone at my home rang and it sent me a record. This was one of the few it will be the end of him.” The old hos- church, has a proper place in heaven. was Klos. He said he was at the Zürich- ‘premi+res’ for Charlotte. I remember very pital [in Liestal] was 200 meters from I am convinced that this church Kloten airport. His return flight was well how tears ran down her face when she my rectory, so I could visit him there wedding after-the-fact was mainly her leaving in a short while but he didn’t first heard this attractive work for the first periodically. And Charlotte added that wish. Because Bohuš knew me he had no dare let Charlotte see him without be- time. Charlotte Martinů loved going out by she was worried he might go to hell objections of course, but I don’t believe ing able to tell her that he had at least car and rather untypically for ladies of her because they had only a civil wedding, he would have expressed this wish on his called me. That’s the way Charlotte was! age, the ride was never fast enough for her. not a church wedding. Later she wrote own - I really don’t believe that. And also When she got something into her mind “Faster, faster, faster” she cried to me more in her little book [My Life with Bohuslav I must say openly - and as an old priest there was no getting around it. than once, just when I was trying to drive Martinů] that I responded saying Bohuš with much experience (including experi- carefully so as not to alarm her. would go straight to heaven. I didn’t say ences with the church - which weren’t (The text was taken from the conver- I was together with her on one of her that, because it’s not my place to pass always entirely happy) I can do so without sation about Bohuslav Martinů with last rides in September 1978. Shortly after, out entrances to heaven. I only said embarrassment - that when two people Chaplain Max Kellerhals, held on 18 the news reached me that she had broken that a man who has been concerned live together for decades, help each other, December 2000 at Czech Radio by Jana her arm badly, and this caused her death with matters of God and love for one’s are faithful to each other (well, we don’t Vašatová. Its full version was published two months later. Thus ended for me an neighbor in his works throughout know about everything, but maybe that’s in the second issue of the Bohuslav inspiring friendship and, at the same time, his life - from his early Offertory and not necessary), then this counts for some- Martinů Newsletter 2001 under the title a chapter in my own biography. Ave Maria through the The Miracles thing before God, and I don’t consider my One Wedding and Two Burials). Author is the Chairman of the IBMS

Ivan Štraus Milada Svobodová One of the reasons Ms. Charlotte was In a typical Portuguese coffeehouse in given to Martinů was surely so that she Lisbon I heard Beethoven’s Fifth Symphony would take care of everyday necessities for for the first time in a long while. This was him, including the clean white shirts we in late 1939 [editors note: according to see Martinů wearing in all the photographs. other sources in 1940] During the music, Then when he went on to eternity she cared broadcast by the local radio station, my eyes for his legacy, not only painstakingly but met those of a properly-dressed gentleman with qualification, listening carefully to seated at the next table who, after the music the good advisers around her. Once Marek ended, pronounced: “Well, we haven’t heard Jerie and I came to the Three Ostriches Hotel, that for a long time.” That was my first where she usually stayed, to play the Duo No. encounter with Bohuslav Martinů. 1, H. 157. She listened more perceptively A year later we came together again in than some critics and then got to talking New York, this time with our full assembly: about the petit p+re - dear papa - with I with my husband Antonín and Bohuslav such engagement and feeling that we were with his wife Charlotte. A friendship sprang moved to tears. This was an example of a up. Soon we discovered that we had much truly devoted wife! Some of her statements in common. Bohouš had a lively interest in still apply today. ‘Who else should look after physics, biology, astronomy, and electronic Bohuš’s music more than his compatriots!’ music. And because Toník (my husband) - “I bequeath the copyright revenues to was an excellent sight-reader at the piano Czechoslovakia so that its young people Bohouš often asked him to play through won’t have to be impoverished so long as just-completed scores with him four hands. Bohuš and I were!” And I carry the most We had several lovely times together in beautiful sentence from her mouth with me the summer by the sea on Cape Cod, where through life like a precious pearl: ‘Notice that Bohuš had a piano on the ve-randa and in each of Bohuš’s pieces, somewhere toward composed his orchestral piece Lidice in the end, there’s a window into heaven!’ his swimming trunks. Those were the last I hope that all who listen to the master’s times I saw Bohouš before we moved to music will find that window thanks to Boston in 1942. Ms. Charlotte, and look through it. Maybe Milada Svobodová The author is the widow of the they’ll see Bohuslav Martinů there. and Bohuslav Martinů, Czech cybernetician Antonín Svoboda. President of the Bohuslav Martinů Cape Cod, USA, 1940s They were Martinů’s friends during Foundation in Prague his American period.

Bohuslav Martinů Newsletter 2003 - Second issue 9 Rendezvous Continuation from the previous page Charlotte Martinů through the Eyes of Her Friends and Other Personalities

Jan Kapusta Charlotte when Martinů was writing ‘on speculation’. How I met Charlotte Martinů Martinů She was very modest, especially when it with her trans- came to food. She loved Czech braided In the fall of 1972 I was hired to be direc- lator Svatava cake and coffee, which was enough for her Kadlecová, tor of the Municipal Museum and Gallery in for the whole day. She was with us at our Prague, Polička. The main task at that time was to cottage in southern Bohemia for several 1977 prepare a modern exposition and open it to days when we still had quite crude hygienic the public as soon as possible - the Bohuslav facilities there, but she bore everything Martinů Memorial. This came about in the with enthusiasm and an enchanting smile. spring of the following year, in the presence In the summer of 1968 Saša had two of important persons including Martinů’s concerts in the French Rivera with a student biographer Miloš Šafránek and the painter orchestra from Stuttgart, of course playing Jan Zrzavý. Due to political relations at the Martinů’s Second Cello Concerto. At Cap- time Mrs. Martinů was unable to attend, but d’Ail there was (and still is) a regular summer we sent her detailed information about the student camp funded by the French and Ger- exposition and a set of beautiful documentary man governments. Courses in music, art, and photographs. languages are given there during the day, Transfer of Martinů’s remains from and in the evening there are concerts and Switzerland to Prague had been under from Polička set out for Prague: the smiling Jana Andrsová – Večtomov theatrical performances in an amphitheater consideration ever since 1959 when he head of the city office Jan Hrdlička, the above the sea designed by Jean Cocteau. died. Early in 1974, at the instigation of secretary Jaroslav Pospíšil, the composer’s I don’t know exactly when it was that Mrs. Martinů was in nearby Nice at Prof. Josef Páleníček, the Czech Music promoter František Popelka, and I. my husband met Mrs. Martinů. Probably it the time and showed us not only the small Fund established closer contacts with Mrs. We picked up a bouquet of chrysanthe- was at a concert of the Czech Trio (Plocek, lagoon where Martinů swam but also Martinů. It was expected that she might mums and went to the new Intercontinental Páleníček, and Večtomov) in Paris, via the beautiful art nouveau piano in the bequeath rights to her husband’s works to Hotel where she was staying. She came to the pianist Josef Páleníček who knew her Wurms’ home which he played and at which Czechoslovakia and that the trans-fer could the receiving room with a pleasant transla- and Bohuslav Martinů. It was the year he composed some pieces during their be accomplished in association therewith. tor [Svatava Kadlecová - editorial note], when Saša played Martinů’s Second Cello earlier stays in Nice. She offered it to my There were personal meetings and efforts wonderfully groomed and beautiful even Concerto for the first time in the Prague husband, saying she would be glad if he were made to bring her to Czechoslovakia at her age. This was the first time I had Spring Festival with conductor Martin would take it to Prague. I had to go to Nice for a visit, but due to inscrutable bouts of seen her in person. Shortly after 10 AM she Turnovský, for which he later received for it myself the next day because Saša had illness this did not happen until October already held in her hands the certificate a prize from the Charles Cross Academy. a dress rehearsal with orchestra, and I had 1975. proclaiming her an honorary citizen of By that time he had become so enamored of to wind through horrible afternoon traf- It was known that Mrs. Martinů, who Polička - another guarantee that she and Martinů’s music that he gradually learned fic with my three-year old Verunka when was already eighty years old at the time, her husband would obtain a place for eter- and performed everything he wrote for sometimes I didn’t know which way to go. wished to be buried with her husband - and nal rest there. During the conversation she cello, except for the First Cello Concerto Mrs. Martinů only remarked occasionally: in view of the declared wish of the deceased whispered a sweet secret to me - that she had which was played by Josef Chuchro. “Follow this car,” but sometimes “this car” that meant in Polička. In May of that year, decided to have herself buried in Polička. I had already done the first produc- was going someplace else. In the end we at the behest of the Czech Music Fund’s I didn’t feel at ease and didn’t feel much tion of Otvírání studánek (The Opening of arrived in Prague in time for the concert. lawyer Dr. Richard Klos, I obtained official like talking, because I had just lost a front the Wells) at Laterna magika with stage But this was a summer idyll com- written permission from the City of Polička tooth. But I had to answer politely, saying direction by Alfred Radok and choreog- pared with what followed in transporting for future acceptance of the composer’s how gratifying it was that she intended to raphy by Prof. Zora Šemberová, which the piano. A special case had to be made. remains and also those of his wife if she entrust her herself to her husband’s native was banned after a trial performance for It had to go through customs in France, so desired, and arranged for a letter from city, and how we would look forward to her a commission of political-cultural officials. then it remained at the rail freight sta- the Ministry of Culture requesting help in more frequent visits there. She took genuine Martinů, who had wanted to come for the tion in Žižkov for some time before they the matter of the transfer from Switzer- pleasure in the honorary citizenship and was opening, had died a few months before judged that it was a player piano and took it land. Now Dr. Klos came up with the idea worried about how Polička would accept her that. But Mrs. Martinů saw the next pro- to the ‘Drancy’ bar in Červený vrch. Then that it would be good to proclaim Mrs. ‘last wish’. duction in 1966 without him. everything was explained and we had Martinů an honorary citizen of Polička. The beautiful certificate, the bouquet My first encounter with Mrs. Martinů was it at home for several years until Saša The city regarded all this as a matter of of flowers, and sincere expressions of when we went to visit her at Mrs. Špačková’s offered it to the museum in Polička. its interest and honor. However, those were friendship encouraged her in this difficult home where she was staying at the time. Many years have passed and neither the years of strict ‘normalization’ - extreme situation and contributed to further impor- They knew each other from the time when Mrs. Martinů nor my husband have been isolation from the West. Mrs. Martinů was tant decisions on her part. The Polička City Mr. Špaček was ambassador in Paris, when among us for a long time. Our daughters a French woman with American citizenship. Council, which was the only authority that they gave a concert every week combined now have their own children and I’ll never It was necessary to act immediately and could grant such an honor, did not meet until with a supper for impoverished artists - stop regretting that Saša was not quick quickly: the precious guest was in Prague. that afternoon; it approved Mrs. Martinů’s among them Mr. and Mrs. Martinů. enough to take a photograph that would The officials of the city of Polička agreed with honorary citizenship after the fact. Mrs. Martinů was a fragile, gray-haired be especially dear to me. Mrs. Martinů was the proposal and the head of the city office It was a special pleasure for me years lady. She warbled in sweet French, which staying with us at the time and was not in managed to overcome resistance on the part later when I found out that afterward she I didn’t understand. We communicated in the best of health. When Saša came home of administrative and political authorities. assessed and received or rejected others broken English. She must have been very he found our little girls in bed with her, Prof. Zdena Olivová of Litomyšl produced who came to see her according to Mr. beautiful, an inspiration for Martinů, but and in a quiet voice she was telling them a a beautiful certificate overnight. Only a few Hrdlička and me. quite strong in her fragility if she supported French fairytale. dozen hours after the original impulse, early The author is the Former Director them by working in the ladies’ hat business The author is the widow of the on the morning of 16 October a delegation of Bohuslav Martinů Memorial in Polička when they were in America, at the time Czech cellist Saša Večtomov

10 Rendezvous Míla Smetáčková A memory of Mrs. Charlotte Martinů

Human memory can be unbelievably Avec toute mon amitié sinc+re - Charlotte deceptive. Whenever there is talk of Mrs. Martinů.” Charlotte Martinů I would swear that I However, I remember vividly an unim- met her several times and that I knew posing pale lady in black sitting in an armchair her well: a petite, smiling, pleasant, and at the head of the table, spoken to by our somewhat shy white-haired lady with a guests with respect. But the center of atten- quiet, cultivated voice. Undoubtedly we tion on that occasion was the protagonist of were introduced to her by our common the evening, Zubin Mehta, in whose honor friend, the mathematician and cybernet- we held the gathering after his concert with ics expert Antonín Svoboda, who like the the Prague Symphony Orchestra. I can’t tell Martinůs was exiled in the United States. you how sorry I am that I didn’t find more And yet after a long search I found only time on that occasion, what with my duties one single reliable piece of evidence that as a hostess, to devote myself to Charlotte - we met: in the guest book for our house on surely the most precious of guests. I would the pages dated 7 June 1965 I found two be able to tell you more about her. Martinůs at Josef Sudek’s atelier, lines of small, handsome writing: “C’est The author is the widow of Prague 1938 une charmante soirée, que je n’oublie pas. the Czech conductor Václav Smetáček REMINISCENCES Richard Klos (Selected and edited by Eva Nachmilnerová from a conversation between Richard Klos and Stanislava Střelcová) [...] And then Prof. Páleníček and story in itself, which also permeates I went to the Gare du Nord and took a the whole subject of Charlotte Martinů. train to Compi+gne, then a bus to Vieux Zrzavý was an excellent friend of Martinů, Moulin where Mrs. Martinů lived. Páleníček, Mihalovici, and others in Paris She lived alone in a two-story already before the war. And that friend- house that had maybe three rooms ship endured, even beyond Martinů’s plus a kitchen - one could practically death, continuing very warmly between compare it with houses in the ‘Garden Charlotte Martinů and Zrzavý despite the Town’ district in Prague: they were great distance between Prague and Par- the same sort of small row houses with is. And of course from the very beginning little yards. She had hers full of beauti- of our correspondence she always wrote: ful roses; she cared a lot about them. ‘Give my greetings to Zrzavý!’ or ‘How is And she was still spunky then, in 1974, Zrzavý doing?’, etc. So those were other when she was only eighty years old. people she liked. Then for example there Ms. Charlotte had absolute trust was Dr. Anička Masaryková, President in Prof. Páleníček, the greatest trust Masaryk’s granddaughter. I ever saw her show toward anyone. • There were only a few others, especially [...] And one more thing I remem- Max Kellerhals in Switzerland, the chap- ber. Of Martinů’s works she was very lain in Liestal who led Martinů’s burial fond of Ariane. She said she didn’t service. First he baptized him, then like Divadlo za branou (The Suburban he married him, and finally he buried Theater) but liked Ariane. Probably him. Martinů accepted religion only for that emotional charge there effected Charlotte’s sake, and also so that they her somehow, rather that any musical could have a church wedding. She said considerations, because of course she to Kellerhals: “Max, you must marry us; Charlotte Martinů was not versed in music theory. I wouldn’t want to miss out on heaven and painter Jan Zrzavý She was certainly not a musically- because of this!” Prague 1977 educated person, and I think even her [...] Charlotte was an extraordi- normal, layperson’s conception of nary agent. She corresponded with And so it happened that Mrs. Martinů Polička, where she had spent time before music was rather vague. On the other people all over the world, promoted was to come to Prague again. That was the war. It gave her immense pleasure hand she had an excellent memory for Martinů’s music, arranged concerts, around the end of April in 1976. This when people from Polička showed that the works of Martinů, which she really and especially - and this was very time she decided to go by car because she she mattered to them. That was during got to know. I could hardly believe it, shrewd - worked with the help of per- had found out that she didn’t like flying. her visit to Prague in October 1975 when and musicologists couldn’t either. formers. Later she gradually gave me So she simply instructed her neighbor, a delegation came - the chair of the town • innumerable addresses with instruc- a retired engineer named Jacques Per- council (its ‘National Committee’) Jan [...] An important topic for tions on whom to send what, whose chaud who lived next door to her in Vieux Hrdlička, Dr. Kapusta, and others - and Charlotte Martinů and one she returned attention to draw to what, etc. Moulin, to load her into his car and take brought her a diploma of honorary citizen- to over and over again was that she So she was very active after her to Prague. At least he would have a ship. That made Ms. Charlotte very happy wanted Martinů to be transported from Martinů’s death. Not during his life: chance to see Prague himself. for several days thereafter. She talked Schönenberg and buried in Polička she didn’t emerge from his shadow [...] He was a little over seventy years about it again and again - that honorary - because after Dr. Sacher proved to - that wasn’t her role. As long as old, which Charlotte did not consider to citizenship made her feel terribly good. her that she couldn’t be buried at the petit p+re was alive, all those be any great age. She herself was about She had it framed and then had it hang- Schönenberg herself she was trying to matters were his concerns. She didn’t eighty-two at the time. ing on the wall in Vieux Moulin for the find a different solution. meddle in them, as far as I can judge. [...] This was characteristic of Char- rest of her life. She spoke about Polička So she had a lot of acquaintances lotte - she simply decided on something constantly and even measured people The author is the Lawyer of the all over the world, and emphasized and that’s the way it had to be. that way. Bohuslav Martinů Foundation performers and conductors. Charlotte had a close relation to Jan Zrzavý - that’s really a whole

Bohuslav Martinů Newsletter 2003 - Second issue 11 Photo Gallery Charlotte Martinů Always Graceful

Charlotte and Standing All Her Life Quennehen 1920s on Bohuslav’s Side

Charlotte Martinů in Summertime, Cape Cod, cca 1942

Charlotte Martinů in Ridgefield, USA 1944

Charlotte Martinů always in love with her flowers, Ridgefield 1944

12 Photo Gallery

Vieux-Moulin, Rue St. Jean where Charlotte lived

Bohuslav and Charlotte Martinů’s marriage photo, Paris 1931

Bohuslav and Charlotte Martinů in New York, USA 1943

The photographs of Charlotte published in the whole issue were provided by the Bohuslav Martinů Me- morial in Polička thanks to musicologist Ludmila Sadílková.

Bohuslav Martinů Newsletter 2003 - Second issue 13 History

Postcard with an aeroplane, sent by Martinů to Frank Rybka on his arrival at Cleveland. Martinů wrote: “Dear Frank, So we’ve landedlanded safelysafely inin ClevelandCleveland likelike doves.doves. TomorrowTomorrow isis thethe rehearsal.rehearsal. Lots of advertisement. Best wishes - Ch. and B. Martinů.” Repro- duced by kind permission of F. James Rybka who recalls that Martinů was terrified by the prospect of making the flight, it being his first experience of air travel. The Cleveland Connection60 Gregory Terian

The programme Second to Boston, Bohuslav Martinů’s closest brochure of the premiere of the con-nection with an American Orchestra was with Symphony No. 2 the Cleveland Orchestra. He travelled to that city in October 1943 for the premi+re of his Symphony Material from No. 2. Cleveland Orchestra con- Cleveland in Ohio was a thriving industrial city cert programmes appears with a large community of Czech descent. Sev- courtesy of The Cleveland Orchestra Archives with eral prominent members, led by the Czech Consul particular thanks E. Jan Hajný, had come together and offered to Carol S. Jacobs, the commission for the new symphony to Martinů. Archivist The work was composed at Darien on the Connecticut coast between 29th May and 24th July 1943 and dedicated to “My Fellow Countrymen in Cleveland”. The date of the first performance was fixed for Thursday, 28th October 1943, to coincide with the 25th anniversary of the founding of the independent Czechoslovak Republic. It was to be given at Severance Hall, home of the Cleveland Orchestra, under its director Erich Leinsdorf. For the Czech community the arrival of the composer was a notable event and they clearly appreciated that he had chosen to be with them, rather than in New York where the American premi+re of his Memori- al to Lidice was being given at the same time. The new symphony was per-formed after the concert interval and received an ovation. The composer went on stage to be presented with three enormous baskets of flowers by girls dressed in Bohemian peasant costume. The patriotic fervour was maintained as Smetana’s Vltava from his Má vlast cycle of symphonic poems brought the concert to a rousing close. Thereafter Martinů was wined and dined into the early hours. He was delighted by his reception and in

14 History

press reviews said that he was honoured that the Cleveland Czechs thought so much of him as to order the work. George Széll was to conduct the next world premiere of a Martinů work in Cleveland. This was the Rhapsody-Concerto for Viola and Orchestra com- missioned by Jascha Veissi who had been assistant concertmaster of the Cleveland Orchestra between 1925 and 1929 before taking up the viola. In his programme notes, Martinů describes the origins of the work: “I composed this piece for Jascha Veissi who is an old friend. I had known him years ago in Paris and I saw him again in New York las year and was very impressed by his playing. He has a rare instrument made by Casparo da Sallo in 1540, which sounds like a human voice. This is inspiring in itself and provides the reason for calling the piece a rhapsody, which actually means a song.” The first performance took place at Severance Hall on 19th February 1953. In January 1957 Széll gave the first Ameri- can performance of Les Fresques de Piero della Francesca, subsequently performing it on the Years On

Cleve-land Orchestra’s spring tour of Europe. At that time Martinů was in Rome and engaged on a new commission to mark the fortieth anniversary of the Cleveland Orchestra. Works had been commis- sioned from ten composers to mark the event, it being specified that each was to be approximately twelve minutes duration. Because of the time constraint Martinů decided on the form of a short symphonic poem. It became known as The Rock being described in the programme notes as a prélude symphonique. Martinů drew inspiration from a book, which he discovered in the library of the American Academy in Rome with the title New England Memo- ries. It had been compiled by William Bradford, one of the original settlers, and described the arrival of the Pilgrim Fathers at Plymouth Rock. The composer was familiar with that part of the coast from summers spent there during and after the war. The work was dedicated to “George Széll and the Cleveland Orches- Martinů in Cape Cod, USA 1943 tra” and they gave the world premi+re in Cleveland on 17th April 1958. One page of the autograph of the In more recent times the orchestra’s principals Rhapsody-Concerto for Viola and Orchestra. participated in a recording of the Concerto for Reprinted by kind permission String Quartet and Orchestra under the then music of Bärenreiter-Verlag Kassel. director Christoph von Dohnanyi, while the new incumbent Franz Welser–Möst has since performed Czornyj, the artistic administrator. He responded: a few years ago with Aleš Březina of the Institut the Symphony No. 5. “Yes, I confess it was I. A couple of musicians Bohuslava Martinů in Prague. Nice person. He sent The 2002–2003 season was to have featured had proposed some Martinů works and we needed me some CDs of sympho-nies that I didn’t know. a series of chamber music recitals by members of a substantial work for the concert with ondes marten- Wonderful music!” the orchestra, each of which was to have included ot, so the Martinů Fantasie was an obvious choice. And The first fruits will appear next season when the a work by Martinů. Unfortunately, the financial then I decided to give the remainder of the concerts Rhapsody–Concerto is due to be performed by Robert difficulties which are now afflicting so many a Martinů twist, thereby establishing a composer Vernon, the orchestra’s principal violist. Hopefully, orchestras led to the eventual cancellation of thread throughout the series. I actually love his more performances of Martinů will follow. A revival of the project. Someone in the Cleveland hierarchy, chamber music and find it very underrated. It was the attractive Symphony No. 2 and of The Rock, which however, was clearly interested in promoting also preparation for some Martinů projects we would is rarely heard, would be particularly appropriate. the music of Martinů and enquiries led to Peter like to realize in the coming years. I was in contact

Bohuslav Martinů Newsletter 2003 - Second issue 15 Farewell Aleš Březina

We were brought together originally by a great musician and an operatic stage director. On the one hand benefactor of Czech music, Sir Charles Mackerras. When he is guided in his conduct by a long-term clear vision, I saw Sir Charles in Basel in 1995 I presented him with but at the same time he shows a feeling for the situation. my Catalog of Autographs of Bohuslav Martinů in the In this he is helped by his delicate, non-offensive sense Collec-tions of the Paul Sacher Foundation. Right away his of humor. The main traits of his behavior are fidelity and interest focused above all on fragments of various unknown persistence - once he has chosen a work and a team, based versions of The Greek Passion, because he was preparing on his strict criteria, he gives all those involved absolute a production of this opera for the Bregenz Festival, and trust in their work and heaps them with warm praise. His he and stage director Baz Luhrman were looking for ways planning often includes unconventional ideas. For ex- to supplement its known version with a number of pas- ample in the initial phase of preparations for the staging of sages from the novel by Kazantzakis on which the libretto The Greek Passion he intended to organize an excursion by is based. Sir Charles ended our conversation as follows: the whole production team to Greece to study the customs “Tomorrow the artistic director of the Bregenz Festival will of orthodox Greeks at Easter time. He also conceived a call you and ask you about the possibility of using these bold plan for an annual Easter Festival at Bregenz at which unknown parts of The Greek Passion.” The Greek Passion would be performed regularly. The next day I heard on the telephone: „Hier ist He is omnipresent at the festival, from the first Alfred Wopmann, Bregenzer Festspiele, kann ich Sie rehearsals through the ensuing opera performances, einen Augenblick sprechen?“ After a long and involved concerts, and official ceremonies, to a whiskey tasting conversation, Dr. Wopmann decided to come and look party for example. So it’s no wonder that year after year he at the manuscripts himself. Soon thereafter he indeed manages to realize his festival plans in their full breadth. arrived, and we studied all the autographs of The Greek Today his festival is well established, and has a number of Passion together at the Paul Sacher Stiftung for a whole new stages and new administrative buildings. After all, afternoon. At the end of the day he officially entrusted the fact that he is being succeeded as artistic director by me with seeking out the largest possible number of such the world-famous stage director David Pountney attests fragments and assessing their usability in supplementing to the renown he has built for the festival. And just at this the existing version of the opera. Thus our joint adventure moment, after twenty years of feverish, successful work, began, at the start of which we met again and again in he himself has determined the time of his departure from the most varied opera houses of Europe and at the end Bregenz. This, too, is a sign of a man’s worth. of which we had in our hands the complete first version I thank Alfred for many things both personal and proof The Greek Passion, until then absolutely unknown, fessional. Under his leadership the Bregenzer Festspiele which was staged in Bregenz. The staging then moved to launched today’s renaissance in staging the operas of the Royal Opera House, Covent Garden in a coproduction, Martinů: after The Greek Passion in 1999 (Covent Garden and in the end received a number of awards including 2000) the festival produced Julietta in 2002, drawing a The Olivier Award in London. attention within the span of a few short years to the many- I think this is an absolutely typical story for Alfred faceted spectrum of Martinů’s operatic output. Dear Alfred, Wopmann: in everything he does, his great intellectual I wish you the best of luck in your further activities and capacity is combined with the experiences of a professional hope they will offer us an opportunity to meet again. Photo: Carlos de Mello WopmannAlfred Artistic Director and Programming Director of the Bregenz Festival Departing after Twenty Years Jana Vašatová

When I set out for the first time to Bregenz in 1999 - primarily for and on the other hand I think I understood well the commitment - how much we the performance of the reconstructed original version of Martinů’s The Greek owe to Martinů today.” Passion - I knew Dr. Alfred Wopmann only from what I had heard on the ra- To my comment that he must like Martinů very much he responded: “Yes, dio from Dr. Pavel Eckstein. My personal acquaintance with this real ‘ruler’ of I love him, because his musical means are unique. He has the courage to do things the festival in Bregenz convinced me that it is precisely this exceptional man, that many composers don’t dare to do, such as letting an English horn play, and with his enormous knowledge of music, of operatic performance, and of human a solo cello, letting the spoken word sound, making a pause and then bringing in nature, who stands behind the wonderful reputation and above all the reality of the full orchestra - that is unbelievably dramatic. And then everything dissolves the Bregenzer Festspiele. My second meeting with him only confirmed this feeling. into music, when we become aware of the idea, of humanity, of the conception. Moreover, an enormous charisma radiates from him, and a magical personality This manner of incredibly-intensive expression (regardless of whether somebody - a personality that has a clear artistic vision and at the same time understands likes it or not) - this is in the music.” contrary opinions. I respect Dr. Wopmann immensely, and not only because he Dr. Wopmann’s affinity for Martinů has passed over to other Czech music as gave me a wonderful interview two times. His approach to musical works and well: this year he is presenting Janáček’s Liška Bystrouška (The Cunning Little creators is remarkable and admirable: to present in a famous festival a work by Vixen) in Bregenz. Allow me to quote another part of our conversation: “For me a little-known composer, for many still more-than-threateningly contemporary, Liška Bystrouška is a parable of the eternal cycle of being and extinction - in all of requires not only convinced faith in this music but also unfailing courage. Thanks nature and especially in people. I love the forest as a mythical landscape, and also to both, Martinů’s Julietta and The Greek Passion came into the world in new forms. as a landscape of the soul: why, you see that the forest plays a major role also in And what did Dr. Wopmann himself have to say on this subject? Julietta. […] And then we have still another similarity - the dream situation. […] “Martinů is criminally neglected. I consider him one of the greatest composers There are certain parallels here, and what’s most important for me is a certain of Europe and the world. His ability to master the most varied expressive means is type of pantheism in this work. This great cycle of being and extinction in nature effective, just as the subjects and materials he set to music are effective. I felt that fascinates me. And it’s a parable for me as well, because in 2003 I will finish and it was my duty to pave the way for this composer in a certain sense by presenting ‘pass on the key to the theater’ to my successor - I will depart and he will arrive. his works in the Bregenzer Festspiele. I made a great dream come true for myself, That is the cycle.”

16 Opera

The Bohuslav Martinů Foundation presents The Greek Passion: Bohuslav Martinů Festival 9th ANNUAL The Fate of an Opera Prague, 5-12 December 2003 Under the aegis (Bohuslav Martinů’s of the Mayor of the City of Prague 5 December, 7 30 p.m. Correspondence with Martinů Hall, Academy of Performing Arts Malostranské square 13, Prague 1 Nikos Kazantzakis) Concert of the Prize-winners from the 2003 Martinů Foun- dation Competition, violin and violoncello category - a new book by Růžena Dostálová 6 December, The Theatre of the Estates, Prague and Aleš Březina The Day of Good Deeds (Le jour de bonté), H. 194 Prague performance of world premiere Řecké pašije. Osud jedné opery - Korespondence Nikose South-Bohemian Theatre České Budějovice Kazantzakise s Bohuslavem Martinů. Prague: ‘Set Out’ 7 December, 7 30 p.m. ([email protected]), 2003. 229 pages. Number of copies Martinů Hall, Academy of Performing Arts printed and price not given. Published with support Malostranské square 13, Prague 1 from the Academy of Sciences of the Czech Republic, Concert of the Prize-winner from the 2002 Martinů the Embassy of the Hellenic Republic in the Czech Repu- Foundation Competition • Miron Šmidák, piano blic and Ambassador E. N. Karayannis, the International Chamber Philharmonia Pardubice, conductor D. Bostock Society of Friends of Nikos Kazantzakis, and the Bohuslav A. Roussel: Petite suite Martinů Foundation in Prague. B. Martinů: Concerto for piano and orchestra No. 1, H. 149 B. Martinů: Tre ricercari, H. 267 Jarmila Gabrielová A. Roussel: Le festin de l’araignée 8 December, 7 30 p.m. This recently-published book is intended primarily for The documents and corresspondence are not pre- Theatre Laterna Magica, Prague Czech readers and admirers of this late opera by Martinů, sented here in a critical edition. The letters (which were The Opening of the Wells – reconstruction of the but foreign readers will also find it useful. It conveys the mostly in French) are translated into Czech and each inscenation from 1961-1966 complicated genesis, slow crystallization, and transfor- is provided with the most essential annotations and Marijka nevěrnice (Unfaithful Marijka), H. 233, mation of conception (forced by outward circumstances) explanations. The originals are reproduced in facsimile screening of the Czech film from 1934 of The Greek Passion as an opera as seen in sixty-nine in the pictorial part of the book, which significantly 10 December, 7 30 p.m. letters pertaining to this topic from the last years of the increases the attractiveness and source value of the Martinů Hall, Academy of Performing Arts composer’s life, between September 1954 and February whole publication. As another important source for study Malostranské square 13, Prague 1 1959, most of which are published here for the first time. the book includes Martinů’s librettos to both versions Chamber concert, Hana Kotková – violin, This is a complete set of the surviving correspondence of The Greek Passion, reproduced in the English original Jitka Čechová – piano, Paul Kaspar – piano related to this opera between Martinů and the writer and also translated into Czech by Růžena Dostálová and B. Martinů: Jeux for piano, H. 206 Nikos Kazantzakis (1883-1957), documenting a working Eva Bezděková. B. Martinů: Sonate No. 1 for violin and piano, H. 182 and personal relationship which lasted only three years In place of an introductory essay we have two ear- B. Martinů Fantasia and Toccata for piano, H. 281 but developed into a deep and intense artistic and human lier lectures by the literary historian Růžena Dostálová B. Martinů Butterflies and Birds of Paradise friendship. From these letters - selected from the collec- discussing the visits by Kazantzakis to Czechoslovakia for piano, H. 127 tions of the Nikos Kazantzakis Museum in Varvari near between 1929 and 1932, his collaboration with Martinů B. Martinů Sonata No. 3 for violin and piano, H. 303 Iráklion, Crete and of the Bohuslav Martinů Memorial in while in exile in France, and the figure of Christ in his 30 Polička - we learn many details about the slow, laborious literary works. The third section is an essay by Aleš 11 and 12 Dec., 7 p.m., Closing concert birth of the libretto, the process of composition, and Březina, published originally in the journal Hudební věda Dvořák Hall, Rudolfinum, J. Palach square, Prague 1 the negotiation of a publication contract with Universal (Musicology), about Martinů’s two diverse treatments of B. Martinu: Inventions for orchestra, H. 234 Edition in Vienna. The correspondence between the two The Greek Passion as an opera. The book also includes B. Martinu: Duo concertante for two violins artists is supplemented by letters Martinů exchanged a synopsis of Kazantzakis’s novel Christ Re-Crucified, a and orchestra, H. 264 with the writer’s widow Eleni Kazantzaki as well as several selected bibliography, an English summary, and a large M. Ravel: Dafnis and Chloe, suite No. 1 and 2 relevant letters and reports from third parties. set of black-and-white pho-tographs. Bohuslav Matoušek, Jennifer Koh – violin The Bremen Theatre 30 May 2003, 7 30 p.m. THE GERMAN PREMIERE OF THE FIRST VERSION Theater am Goetheplatz • Musicaltheater am Richtweg Bremen, Germany Additional performances: 4, 6, 28, 30 June 7 30 p.m., 4 July 7 30 p.m. S. Klingele - Musikalische Leitung • R. Gilmore - Inszenierung • C. F. Oberle - Ausstattung • T. Eitler – Chöre • I. Ostrowskaja - An old woman • S. Specht - Nikolio • Z. Genova Taralova - - Despinio • I. Wischnizkaja - Lenio • K. von Bülow - Widow Katerina • A. Haller - Priest Grigoris • K. Huml - An old man • Y. Kodama - Michelis • Ks. Karsten Küsters - Archon • L. Lang - Priest Fotis • R. Lichtenberger -Schoolmaster • R. Naiditch - - Panait • A. Parkes - Dimitri • A. Rikus - Andonis • G. Stevens Foto and Copyright: - - Captain • J. Stewart - Manolios • Ch. Wittmann - Yannakos Jörg Landsberg • W. von Borries - Kostandis • S. Klingele - Musikalische Leitung

Bohuslav Martinů Newsletter 2003 - Second issue 17 Obituary Thinking about UlrichUlrich UchtenhagenUchtenhagen He worked for several decades Richard Klos remained, as did the whole ‘Martinů- as head of the Swiss authors’ rights Mission’, in cordial contact with her organization SUISA in Zürich, which It’s hard for me to write, because I’ve lost a friend who made friends from the Bohuslav Martinů represented the rights of Bohuslav the world seem a little more acceptable to me whenever Foundation in Prague. Martinů after the composer’s return Even if we leave aside his exten- from the United States. And so Ulrich I thought of him: JUDr. Ulrich Uchtenhagen of Richterswil sive professional work in publica- Uchtenhagen made the acquain- in the canton of Zürich died in an automobile accident in tion, Ulrich Uchtenhagen’s tireless tance of Mme. Charlotte Martinů and Zimbabwe on 31 January 2003 at the age of seventy-six. activity and admirable vitality did was her legal advisor and faithful not allow him to fold his hands in personal friend for the remainder his lap even at a very advanced of her life. age. Thus even after his retirement Ulrich Uchtenhagen was a mem- he threw himself anew into work ber of a group of several Swiss in his field, and had been system- citizens called the ‘Martinů-Mission’ atically travelling for years through which helped achieve fulfillment in de-veloping countries - countries in 1979 of a wish Mme. Martinů had South America and especially young long cherished - that her husband states in Africa - in the name of would rest for eternity at her side the world organization of author’s in his native Polička. They also ac- rights societies, helping to es- companied his bodily remains on his tab-lish their systems for protect- return to his homeland. ing authors’ rights. It was during Afterward, too, Ulrich Uchten- such a trip that a tragic accident hagen helped in the legal settle- prematurely ended his busy and ment of Mme. Martinů’s estate and fruitful life.

Remembering AlešUlrich Březina Uchtenhagen It’s impossible for me to think of ing weeks. When he flew in to Prague introduced me to its management at a face. This comes in part from remem- Ulrich Uchtenhagen without being with Max Kellerhals, Dr. Meyer, and working lunch, and at the end of the day, bering Ueli’s sense of humor and his moved and without an involuntary Dr. Meyer’s wife, he proved to be the ideal after several hours of detailed catalog- contagious joie de vivre, which he smile coming to my face, reflecting companion - utilizing every moment ing of the sources found, I carried off all expressed and passed on in contacts a mixture of admiration, respect, efficiently without creating a hectic the originals to Prague - to the archive of with his friends. For example I can see and memories of experiences - often atmosphere. He was a perfect diplomat the Bohuslav Martinů Institute. Ueli at celebrations of the eightieth bizarre - that we shared. and a person aware of both his own value In 1999 - twenty years after the fact - birthday of the chaplain Max Kellerh- I met him in 1995 when he came and that of the people around him. he wrote a report of almost twenty pages als, a friend of Martinů and member of to Prague for the first year of the From the very first moment our on the transfer of Martinů’s remains the ‘Martinů-Mission’, as he disappea- Bohuslav Martinů Festival. The very conversation concentrated on a topic from Switzerland to Polička, capturing red for a while and then resurfaced in first letter he wrote me contained in that remained dominant for the whole precisely the circumstances of the work of a wonderful garment, a gift from an a nutshell a whole series of his spe- eight years of our friendship - the proj- the above-mentioned ‘Martinů-Mission’ African chief, and delivered his own cific traits: it arrived just a few days ect of a collected critical edition of the of which he was a member. But Ueli did long versified ode to Mr. Kellerhals. after Ueli received our invitation to works of Bohuslav Martinů. Tirelessly not live only in the past by any means. He showed the same good will also to attend, but already included precise he introduced me to representatives of A year later at my request he drew up people several generations younger: infor-mation on the departure and European authors’ rights organizations, an official agenda for the Board of the I can picture him at the wedding of arrival time of his plane and his ac- recommended me to directors of publish- Martinů Foundation in which he pointed Robert Kolínský and Martina Janková, commo-dations, which he tradition- ing houses of the world, and helped in out bluntly the insufficient care devoted for which he of course made time ally arranged in the Intercontinental searching for autographs of Martinů’s by some publishers to Martinů’s music between two working visits to Africa. Hotel. In the letter he also already works. In 1999, during one of his visits and proposed uncompromising measures And mainly I remember the dozens of offered several possible times when to the Swiss authors’ rights organization to correct this situation. Throughout postcards and letters from all corners he could meet with the ‘chiefs of SUISA, of which he had been president the 1990s he helped to shape the profile of the world, which he traditionally the Bohuslav Martinů Foundation’ for many years, he discovered that of authors’ rights organizations and ended with greetings ‘to Dona Jarmi- with the exception of Monday lunch, there were many originals of publishing to establish a proper and consistent la, Crown Prince Vilém and senhoritos when he and the whole three-member contracts with Martinů deposited in the conception of authors’ rights in many Viktor and Marek’. The dramatic event ‘Martinů Mission’ were to dine with archive there. He informed me of this countries of Africa and Latin America, of his death in an automobile accident the Swiss ambassador. I was to send in writing without delay, and added from which he bombarded his friends in Zimbabwe on the last day of Janu- any further communications before that ‘the Martinů Foundation in Prague with marvelous postcards completely ary this year marks an extraordinary their arrival in Prague to the address should definitely have this material at covered with his handsome - but practi- end to his extraordinarily-long life, of Dr. H.R. Meyer in Luzern, because its disposal.’ Immediately he arranged cally illegible - handwriting. filled to the utmost with work. Ueli would be in Africa for the com- for me to visit that organization. He I mentioned above the smile on my

18 Members’Research diary Martinů’s Correspondence Martinů’s correspondence with with other publishers and began col- Universal Edition (UE) comprises more with Universal Edition laborating with the German publi-sher than a hundred letters, from 15 June Schott among others. Then he did not 1926 until his death and continuing write to UE until 1935, when he gave into the 1960s with letters addressed Eva Velická notice of the premiere of Hry o Marii to his wife Charlotte. Copies of (The Plays of Mary) on a postcard from these letters are now deposited in Paris. He offered more works to UE but the Bohuslav Martinů Institute. Most no longer expected any great success, of them are in German and some in and so did not even respond to UE’s French, while the letters from the negative answers. last years are mostly in English. In If we look at this whole period again the letters he wrote in German Martinů from UE’s point of view, it is clear that often emphasized that he did not speak after publication of the String Quar- that language and that UE should tet No. 2 no further work by Martinů excuse him. At a meeting with the satisfied their requirements. After director of UE Alfred Schlee agreed the quartet, which sounds almost like upon in a letter from 1952 he even Hindemith and aroused great interest brought an interpreter with him. The on their part, Martinů began sending corres-pondence was decidedly not them works that sound completely regular over the span of these several different, for example pieces in jazz decades. From the gaps between let- style. Moreover, UE’s main compos- ters and their frequency and tone we ers and publishing commodities were can discern the degree of momentary Mahler, Janáček, Bartók, Schrecker, interest on the part of UE in publishing Szymanowski, Zemlinsky, and of course works by Martinů. The letters from 1926 the composers of the Second Vien- to 1935 form a sort of first phase or nese School. In the 1920s and 1930s, period, distinguished by the fact that at least, Martinů did not fit into this it was clearly Martinů who tended to be plan. This is documented above all by the initiator. After a break of many years the assessments of UE’s evaluators, the correspondence resumed in 1951, which are also included in the corres- but now on a completely different basis: pondence even though they were not UE had an active interest in publishing intended to be sent to Martinů. Martinů works by the now world-famous com- did not understand the constant ex- poser and during this period became Bohuslav Martinů in Polička, late 1920s cuses and rejections, because his works his main publisher. were being performed and he sent UE At the beginning of the correspon- designate a completely different set of positive reviews of the performances. dence, in 1926, the main topic of several pieces now well-known as the Three Czech The second period of the corres- letters is conclusion of an exclusive Dances for piano. They have no musical pondence with UE begins in 1951. contract. This occurred on 7th August relation to the later piece; the probable An influential intermediary was Paul that year. However, after publishing explanation is simply that Martinů, en- Sacher. Now the letters are addressed the String Quartet No. 2 UE accepted chanted by the techno-logical advances personally to the director of the com- no further works from Martinů during of the time, was fond of this title. pany, Dr. Alfred Schlee. UE indicates Gradually Martinů came to realize that what compositions it would like and offering and sending compositions to what financial terms it offers, which UE was not producing any results, of course are different from the terms and starting in 1930 his letters show of the 1920s. Unfortunately the letters a tone expressing dissatisfaction with from the 1950s are not complete, so the contract. He asked that UE give we cannot trace precisely the par- The Letter from Martinů him the right to dispose of all his works ticular terms for publication of indi- to Universal Edition from 25. 11. 1926 freely until such time as the firm pub- vidual works. What is clear, however, is about the String Quartet No. 2 lished something itself. In a letter of the friendly rela-tionship between Songs for Mezzo-Soprano’ which he Schlee and Martinů. mentioned do not correspond to any These late letters are known work - not to the three-song cycle often in English, and Kouzelné noci (Magical Nights), because they always begin he mentioned that set separately in other ‘My dear Friend’. letters. He also wrote that he was working This perso-nal cor- on an opera Panama, which was never respondence con- written. This indicates his eagerness and tinued even after his efforts to offer the broadest possible the composer’s spectrum of works to UE, from which death, with his wife String Quartet No. 2, however the publisher still didn’t chose Charlotte, and Copyright by Universal Edition anything. the posthumous this period, so we find the composer With many works we find a change in letters only confirm title, often involving translation into Ger- continually offering new pieces but with The postcard with the address of Universal Edition, 1928 the already-docu- no significant interest on the part of UE. man. Interesting documentation of use of mented turnabout In the lists of works Martinů offered we various titles is found in letters from 1926 20 November 1929 he wrote that he in UE’s interest in publishing works find many minor points of interest and where Martinů wrote about a piano piece wanted a clear answer. After a pause of by Martinů. After Charlotte’s death, unclear matters. For example, in a list Par T.S.F (Par télégraphie sans fils = via a year he wrote in 1931 that he had an appropriate and beneficial coope- of works written in 1926 he mentioned wireless telegraph, i.e. via radio). This is opportunity to conclude a more advanta- ration developed with the Bohuslav a piano trio, but actually his first piano a short piece on two pages that was not geous contract and wanted to terminate Martinů Foundation, which now cares trio - the Cinq pi+ces br+ves - was not written until 1928, but Martinů used the the exclusive contract with UE. During for Martinů’s bequest. written until 1930. Likewise the ‘Two title several times in earlier letters to the 1930s Martinů established relations

Bohuslav Martinů Newsletter 2003 - Second issue 19 Radio Broadcast MartinůMartinů inin thethe AirAir What Steen Frederiksen, Chairman of The Music Group, says about the Bohuslav Martinů Festival 2000 Fredericksen Steen In the Framework of Euroradio‘s International Exchange of Music Programs December 8 December 11 Martinů Hall, Academy Martinů Hall, Academy of Performing Arts, Prague of Performing Arts, Prague Martinů and German Music Martinů and Hungarian Music Broadcast by 10 radio stations: Broadcast by 8 radio stations: Spain-RNE, Romania, Luxem- Romania, Luxembourg, bourg, Lithuania, the Ukraine, Hungary, Denmark, Preben Albrechtsen the Ukraine, Sweden, Canada-SRC, the Netherlands, the Netherlands, Australia-ABC Text based on an interview Switzerland -RSR, Canada-SRC, given on 23rd December, 2002 Australia-ABC December 21 One of the most obvious ways to make Martinů’s music better Dvořák Hall, Rudolfinum, Prague December 10 known would be to have more of his works transmitted on TV and Closing Concert (in association Dvořák Hall, Rudolfinum, Prague the radio. For many years, the European Broadcasting Union (EBU) with the Czech Philharmonic has made great efforts to broadcast from every member country Martinů and Concerto Grosso Orchestra) to all over the world. With that in mind I met a very interest- Broadcast by 11 radio stations: Broadcast by 11 radio stations: ing man during the Christmas holidays, Mr. Steen Frederiksen, Spain-RNE, Luxembourg, Bul- Romania, Luxembourg, Lithua- chairman of the European Broadcasting Union’s Music Group. garia, Lithuania, the Ukraine, nia, Sweden, Finland, Hungary, Every second year there is an election for the post of chairman, and Sweden, Denmark, Switzerland, Denmark, Mr. Frederiksen has been re-elected since 1992. He therefore has Canada-SRC, the Netherlands, the Netherlands, Switzerland-RSR, excellent connections with the radio stations in many countries. Australia-ABC Canada-SRC, Australia-ABC He told me that of all the various types of programmes sent over

Bohuslav Martinů in Nice, May 1959 the satellite transmission system, news and sports account for a lot . But music programmes have the biggest share!

Today there are 52 active and 28 associated member countries in EBU. The active ones comprise all the European countries in the main, as well as some countries from Northern Africa and the nearest part of Asia. Among the most interesting of the associated countries are Canada, USA and Australia. Only 13 years ago there were far fewer member countries, as none of the East European states was a member, including Martinů’s homeland of course. Every year, each radio station offers a list of concert programmes to all the other member countries for broadcasting on their national radio programmes, says Steen Frederiksen. He has invented a kind of computer-based system to give a quick statistical survey of all kinds of music programmes. The equipment, music-related material and EBU’s general office are all located in Geneva. I was shown statistics of all Martinů music recorded during 2001 and 2002 by the European radio stations. Naturally, the contribution by Czech Radio is the largest. In 2001 a total of 26 compositions were offered; 16 of them were from Czech Radio. In 2002 (until mid September) the Czechs had offered 7 out of 11 Martinů works.

20 Radio Broadcast -- AllAll overover thethe WorldWorld the European Broadcasting Union’s Promotion of Bohuslav Martinů The Bohuslav Steen Frederiksen said that cooperation on music exchange within the EBU is divided into two parts: The major activity is the exchange of concerts, pro- Martinů duced by the individual radio organisations – approx. 2000 different concerts per year. The other activity - and no less important – are the radio programmes Festival and concerts arranged and coordinated by the EBU all year round:

• Saturday evening is an opera night with transmission of an opera from one of the major European opera houses and from the Metropo-litan 2001 Opera in New York. During the autumn of 2002, Juliette was broadcast directly from Paris. In the Framework of Euroradio‘s International Exchange • Another feature is a special concert series on Monday evenings – the well-known “Jazz Inspired Works Written by Classical Composers”. of Music Programs This ran from October to December and of course included Martinů; the Piano Sextet and The Kitchen Revue were transmitted directly December 9 from the Rudolfinum in Prague in November 2002. These Monday Martinů Hall, Academy radio programmes have around 4 million listeners! of Performing Arts, Prague Martinů and His • In the summer the EBU offers a lot of European Music Festival Concerts English Contemporaries –there are two concerts each evening from mid- June to mid- Sep- Emperor String Quartet tember, amounting to 180 concerts in all. So it is also important to get Martinů on the Festival programmes. Broadcast by 10 radio stations: Slovenia, Spain - RNE, Slovakia, • Another EBU project is Euroclassic Notturno - a classical music night December 7 Poland, Croatia, Norway, programme, broadcast from midnight to morning and consisting of Martinů Hall, Academy the Netherlands, Canada - SRC, a mixture of well-known and not so well-known music by various of Performing Arts, Prague Sweden, USA-WGBH composers. Concert by Prize-Winners from December 10 the 2001 Martinů Foundation • EBU also provides programmes on “Special Days”, live concerts be- Spanish Hall in the Prague Castle Competition in the Categories ing devoted for an entire day to one composer or theme (including of Piano Trio and String Quartet Classics of Neoclassicism a yearly “European Christmas Music Day”) - for example, Schubert’s K. L. T. Trio, Piano trio - Barbora Sharon Bezaly – flute 200th birthday or the 200th anniversary of Mozart’s death. Many Sejáková - Daniela Oerterová - Bohuslav Matoušek - violin composers have been celebrated in this way. But as far as I remem- - Radim Navrátil The Prague Philharmonia ber there was no whole day of broadcasting for Martinů on the 8th The Bennewitz String Quartet Jiří Bělohlávek - conductor of December 1990. Broadcast by 7 radio stations: Broadcast by 13 radio stations: When you look at the many concerts being offered by so many radio sta- Slovakia, Poland, Croatia, Slovenia, Belgium-RTBF, tions, it is obvious that some composers are much more frequently played Norway, the Netherlands, Korea, Austria, Poland, Croatia, USA-NPR than others, says Steen Frederiksen, the names for the 20th century being first Canada-SRC and WGBH, Norway, and foremost Stravinsky and Shostakovich. Among Czech composers of the the Netherlands,Canada-SRC, period, Martinů is represented with many works; then comes Janáček. December 8 Sweden, France, Israel Of course it is also very important to interest leading European musicians, Martinů Hall, Academy both conductors and soloists, in performing Martinů’. Why don’t Simon Rattle of Performing Arts, Prague December 13 and the Berlin Philharmonic do an all Martinů-symphonic series? And Anne- Dvořák Hall, Rudolfinum, Prague Sophie Mutter and Gidon Kremer might perform Martinů’s Violin Concertos? Concert by Prize-Winners Opera managements ought to include Martinů’s operas as part of a new and from the 2000 Martinů Closing Concert (in association alternative repertoire. Foundation Competition with the Czech Philharmonic The forthcoming Czech membership of the European Union (EU) will Roman Patočka - violin Orchestra) probably not bring more focus to bear on Martinů, he says. But in a deve- Štěpán Doležal - violoncello The Prague Piano Duo lopment where a kind of common European culture is a major danger, it is so Martinů Collegium The Czech Philharmonic Orchestra very important – if the different musical cultures are to survive - that these The Berg Chamber Orchestra Thomas Sanderling -conductor Peter Vrábel - conductor be strengthened individually. So it is up to us, in whatever part of Europe we Broadcast by 14 radio stations: live, not only to constantly point to our own “musical heroes”, but also to Broadcast by 10 radio stations: Hungary, Belgium-RTBF, Slove- increase the global interest in – among others – Bohuslav Martinů. Slovenia, Belgium-RTBF, Slova- nia, Austria, Spain-RNE, Poland, kia, Poland, Croatia, Norway, USA Croatia, Norway, the Netherlands, The author is a Member of the Board – NPR and WGBH, the Nether- Korea, Canada-SRC, Sweden, of the International Bohuslav Martinů Society. lands, Canada-SRC France, USA-WGBH

Bohuslav Martinů Newsletter 2003 - Second issue 21 Events Martinů EVENTS CONCERTS OPERAS Martinů Quartet The Greek Passion, H. 372A on Tour in England 4, 6, 28, 30 June 7 30 p.m. 6 September - 18 October 2003 4 July 7 30 p.m. 16 September 2003, Allendale For details The Bohuslav Martinů We give only2003 a selection from Martinů’s works. String Quartet No. 2, H. 150 see page 17. Newsletter is published by The International Bohuslav 22 September 2003 Martinů Society in collaborati- Dvořák Hall, Rudolfinum, Praha on with The Bohuslav Martinů FESTIVALS Czech Philharmonic Orchestra Institute in Prague with Jiří Bělohlávek - Conductor Concentus Moraviae Opening Concert, J. Sobkowska the financial support Symphony No. 3, H. 299 6 June – 3 July 2003 - Piano, Moravian Philharmonic www.bremertheater.com of The Bohuslav Martinů Foun- www.concentus-moraviae.cz Orchestra Olomouc, La Bagarre 25 September 2003, 7 30 p.m. dation in Prague 6 June 2003, 7 30 p.m. 22 July, 4 30 p.m. Dvořák Hall, Rudolfinum, Praha Comedy On the Bridge Boskovice – Chateau Holy Family Church BBC Scottish Symphony Orchestra H. 247 Editor: Opening Concert Musica sacra, M. Hájossyová - www.bbc.co.uk/scotland/mu- 4 June 2003 Sandra Bergmannová sicscotland/bbcsso Ludmila Peterková – Clarinet Singing, K. Klugarová - Organ Athenaeum Theater Chicago, USA Associate editor: Ilan Volkov - Conductor The Prague Philharmonia Two Songs to the Texts Night Kitchen Eva Nachmilnerová www.pkf.cz Symphony No. 6, H. 343 of Negro Poetry, H. 226 Translation: M. Swierczewski - Conductor 30 23 July, 7 30 p.m., Spa Theatre 7 October 2003, 7 p.m. David Beveridge, Geoff Piper Jazz – Suite, H. 172 Igor Ardašev – Piano Recital Dvořák Hall, Rudolfinum, Praha The concert will be recorded Photography: Live Radio broadcast, Vltava Prague Chamber Orchestra The Bohuslav Martinů Foundation’s by the Czech Television. Channel • Janáček, Martinů, without a conductor and Institute’s archive, B. Martinů 15 June 2003, 7 30 p.m. Ivančice Matys, Smetana Concert Master Ondřej Kukal www.chicagooperatheater.org Memorial at Polička – Besední dům Sinfonietta La Jolla, H. 328 Graphic design and printing: 24 July, 7 30 p.m., Spa Theatre The premiere of the new adap- Bohemian Colours Belák Attila Marie Gajdošová – Violin 13 October 2003 tation of the libretto in English and American Quarter-tones Dana Drápelová - Piano Dvořák Hall, Rudolfinum, Praha by Tony Kushner The Bohuslav Martinů Newsletter K. Košárek - Piano, Kocian Quartet is printed on recycled paper Sonata No. 2 for Violin and Radio recording for the EBU Additional performances: Piano quintet No. 2, H. 298 Piano, H. 208 Net, Euroradio Concert 6, 8, 12 and 14 June 2003 It is published three times a year This concert is supported by EU. Season 2003/ 2004, Alexander Platt – Conductor 25 July, 7 30 p.m., Spa Theatre The Cover: 22 June 2003, 7 30 p.m. Martinů Trio Thor Steingraber – Director The Day of Good Deeds Joanna Sobkowska and Ameri- Lysice Chateau Piano Trio No. 2 in D Minor, H.327 Maurice Sendak – Designer World premiere, 28 March 2003 can Women Ensemble American Things from Both Piano Trio D Minor, H. 327, Seat: Sides of the Atlantic Ocean or C Major, H. 332 The International J. Talich - Violin, J. Klepáč - Piano MEMBERS’ DIARY Bohuslav Martinů Society Études rythmiques, H. 202 The performance of Stravinsky’s Three movements from Petrushka by Adolphe Buyllaan 150 Agentura Sinfonie B 1050 Brussels, Belgium 25 June 2003, 7 30 p.m. Miron Šmidák, winner of the last year’s Bohuslav Martinů Foundati- Music Festival th Milotice Chateau on’s Piano Competition, was broadcast on BBC Radio 3 on 6 April. Office of IBMS 30 June – 6 September 2003 and editorial office: Bohemian-American Moods One positive result was that the annual Bohuslav Martinů Festival sinfonie.hyperlink.cz was mentioned and will hopefully generate some interest. The Bohuslav Martinů Institute Trio Formidable: Šárka Čurdová - Nám. Kinských 3, 150 00 Prague 5 00 Greg Terian Flute, Rudolf Mrazík - Cello Alice 27 August, 8 p.m. Tel.: +420-257313104 Rajnohová - Piano Large Dining Room The revival of David Pountney’s production of Julietta at the Grand The- Tel.: +420-257320076 This concert is supported by EU. of the Chateau Hluboká atre in Leeds did full justice to Martinů’s greatest opera. Conduc-tor Tel./Fax: +420-257323761 B. Matoušek Violin Recital Martin Andre and a fine cast, especially Paul Nilon as Michel and Alan www.martinu.cz Smetanova Sonata No. 3 for Violin and Oke in a multiplicity of roles, gave both the music and the plot great Piano, H. 303, Intermezzo, H. 261 Editorial office’s e-mail: Litomyšl Festival impetus and direction, from the comical confusions of Act 1 through [email protected] the tense emotional confrontations of Act 2 to the increa-singly dark 20 June – 5 July 2003 „Glasperlenspiel“ Secretary of IBMS: www.smetanovalitomysl.cz and sinister spiral into madness of Act 3. In surrealism dream must Jindra Jilečková prevail over reality, but it was clear that this was no happy ending. 30 Music Festival e-mail: [email protected] 26 June 2003, 7 p.m. 21 July – 23 August 2003 The staging contributed most effectively to the drama in the first Smetana’s House and third acts. In the second act the forest was barely suggested. Price for non-members of IBMS: 21 August, 8 00 p.m. CZK 50, 70 Bfrs, 2 $, 2 Euro Brandenburg Concerts II. Perhaps this was intended to indicate that it is only a dream within Pärnu Concert Hall, Pärnu, Gabriela Demeterová – Violin a dream, but since it is totally real to Michel while he is experiencing The preceding issue: Estonia, Music For Left Hand Jaroslav Halíř – Trumpet it, it should perhaps have been more cogently indicated. Yumi Kimchi (Japan), A. Soyeon Chamber Philharmonia Pardubice Robin Seager www.chamberphilpar.cz Cho (South-Korea), H. Heinmaa Ch. Olivieri–Munroe - Conductor (Estonia), Gonzalo Paredes Cam- On 8 April at Liverpool Philharmonic Hall the Endellion Quartet Tre ricercari, H. 267 pos (Chile) - Pianists gave a typically elegant, balanced and supremely lucid performance Pärnu City Orchestra of Martinů’s Quartet no. 7, which made a splendid beginning to Piano Festival Jüri Alperten - Conductor a concert that also included fine performances of Schumann’s Concertino for Piano Left Hand op. 41/2 and Dvořák’s American. The occasion made up for my slight Český Krumlov and Small Orchestra, H. 173 disappointment that the Panocha Quartet did not include a Martinů 13 – 26 July 2003 In co-operation with Arbo Val- quartet in their programme on their recent visit to Manchester. www.smetanovalitomysl.cz dma Master Classes and Pärnu Robin Seager 26 July 2003, 7 30 p.m. City Orchestra. Karel Košárek - Piano Call to IBMS Members What will B. Martinů, M. P. Mussorgskij Dvořák Festival Kar- our next issue offer? A profile of Viktor Kalabis and his We thank Greg Terian and Robin Seager for their contribu- lovy Vary relation to Bohuslav Martinů Janáček and tions, and ask all IBMS members please to contact 5 September , 7 30 p.m. Věra Šemberová - famous ballerina Luhačovice Festival us if they learn of events pertaining to Martinů that have taken of the National Theater Municipal Theatre Karlovy Vary 21 – 26 July 2003 place or will take place where they live or in The 2003 Bohuslav Martinů Festival www.janacek.cz Lubomír Malý – Viola the vicinity. We’ll be glad to add all such information to our and two of its performers - Bohuslav K. Vary Symphony Orchestra ‘Events’. The same applies to new CDs and acquisitions Matoušek and Paul Kaspar 21 July, 7 30 p.m. Rhapsody for Viola and Orches- of unique recordings of works by Martinů. Thank you! An article by Greg Terian about the Elektra Concert Hall tra, H. 337 Concertino for Piano and Orchestra

22 Members’ Newsdiary Martinů The Martinů Institute’s •Corner• News Aleš Březina was authorized to auction off two letters from correspondence between Martinů and well-known Czech painter J. Zrzavý. The auction took place on the 7th March 2003 in dr. Václav On 11 April 2003 a presenta- Prošek’s Antiquariat in Prague, only one of the letters was auctio- Board of tion of the Harmonie Magazine ned off and by kind permission of dr. Prošek the Bohuslav Martinů Awards took place in Prague. Directors 2003 Foundation received a copy of the second letter. Contact List The Supraphon recording “Mar- tinů – Compositions for Violin Martinůs with Jan Zrzavý and Orchestra“ (B. Matoušek, in the garden of Rue de Lippold Gerd C. Hogwood, Czech Philharmonic Vanves, Paris 1934 Auf den Schmaläckern 23 Orchestra) was awarded first D-21769 Lamstedt prize in the “Best Classical Music Germany Recording from Czech Publisher“ The Bohuslav Martinů Foun- Tel./Fax: +49 - 4773695 category. dation has bought a set of [email protected] • complete scenic projects for the Špalíček production (České Albrechtsen Preben In the 2003 Prague Spring Budějovice Theater, premiere Nordfeldvej 19, Competition Roman Patočka Vallensbaek Strand, DK-2665, won the Bohuslav Martinů 1 November 1996) by academic Denmark Foundation Prize for the best artist Alena Hoblová. Tel.: 43538508 performance of a work by [email protected] Martinů, Five Madrigal Stan- From the National Library Jiří Tancibudek, the famous Březina Aleš zas, and also second prize in the of the Czech Republic, cop- Czech oboist living in Austra- The Bohuslav Martinů Institute field of violin (in which no first ies of the original notes and lia who premiered Martinů’s Nám. Kinských 3 prize was awarded). In 2000 150 00 Praha 5, Czech Republic drawings by Martinů to the Concerto for Oboe and Small this promising young violinist Tel.: + 420 - 257313104 ballets „On Tourne“ and „The Orchestra, has given the Bo- [email protected] placed first in the Bohuslav Amazing Flight“ were obta- huslav Martinů Institute Martinů Festival Competition, ined. a photograph taken on 8 Au- Coussement Gauthier and in the following year he La Carombelle ••• gust 1956 which he received 832 Route de Modene performed in the Martinů Festi- The B. Martinů Institute from the Czechoslovak Natio- F 84330 Caromb, France val, giving the world premiere of obtained a colour facsimile of nal Association in Sydney as [email protected] the Rhapsody Czech, H. 307 in its the composition Rhapsody for a memento of the premiere. Chevy Patrice version for violin and orchestra Viola and Orchestra – piano The Institute has also acquired 11 Residence Foch with the Berg Chamber Orchestra score from the Bärenreiter Janice B. Stockigt’s book Con- F 92380 Garches, France under conductor Peter Vrábel. Publishing House - Kassel. versations with Jiří Tanci-budek Černá Olga • ••• from 2002. Pod Akáty 150/88 The book XI. všesokolský slet The Schott Musik Publi- ••• 159 00 Praha 5, Czech Republic v Praze 1948 (The Eleventh All- shing House opened up the Martinů autographs The Guggenheim Foundation has provided the Tel./Fax: + 420 – 257940435 Sokol Meeting in Prague, 1948) from its archive for the digitalization of docu- Martinů Institute with photocopies of all materials Mabary Judith has been found in the ‘Libri ments, being made by the Bohuslav Martinů from 1952 to 1956 pertaining to Martinů’s grant 923 Woodlawn St., Scranton Prohibiti’ library. Published by Institute. applications. Details in the next issue. Pennsylvania 18509, USA Konfrontace in Zürich in 1976, [email protected] the book includes a piano arran- Call to Readers Piper Geoff gement of Martinů’s Sokolská Beginning with this issue we are Jaroslav Doubrava: Sonata for Violin and Piano No. 2, 1959. MusicEntreprise fanfára (Sokol Fanfare). 24 Rue des Cerisiers starting a new column: works dedi- Dedicated to the memory of Bohuslav Martinů. L 1322, Luxembourg cated to Bohuslav Martinů and works Jaroslav Rybář: Dreams and Landscapes Tel : +352–474269 written as variations on themes by (in memory of B. Martinů). Fax : +352–223585 him. Help us find composers who On 16 January 2003 Peter Mieg: Concerto for Two Pianos and Orchestra. [email protected] dedicated a piece to Martinů, wrote Karel Husa: the opera singer Maria Slayton Ralph a piece in his honor, or used some Jan F. Fischer: Hommage $ Bohuslav Martinů. Univerzita Hradec Králové Tauberová, one of the musical theme of his as the basis Marcel Mihalovici: 2+me Sonate pour Violin et Piano, V. Nejedlého 573 stars of the ‘golden era’ of for a composition of their own. Our $ Bohuslav Martinů. 500 03 Hr. Králové Prague’s National Theater, list so far: Jan Novák: Variations on a Theme of Bohuslav Martinů [email protected] died at the age of ninety- Sonsky Jaroslav Sonsky Concert, Knopgatan 6 two. She was a regular 603 85 Norrköping, Sweden soprano soloist with the Bohuslav Martinů Tel.: 46-11-318475 National Theater from Complete Edition Workshop Fax: 46-11-319681 1936 to 1973 and per- [email protected] took place at the Bohuslav Martinů Institute in Prague from May 16th to17th 2003. The optimal formed about fifty roles, Stompel Józef Prof. division of Martinů’s oeuvre into series, the editorial rules, the creation of the subscrip- 1. Szpaków Str. among them the title roles tion and other problems concerning the complete critical edition of the works of Bohuslav 40-540 Katowice, Poland in Martinů’s Julietta and, Martinů were discussed. The Bohuslav Martinů Institute has also presented its projects as Tel./Fax:048-032-2514-540 in its world premiere, the digi-talization of Martinů’s autographs or the reedition of Halbreich’s catalogue. Terian Gregory Mirandolina. We can hear 18 Broadway, Wilmslow her as Julietta The Martinů Institute is looking for a recording from 1950: Cheshire SK9 1NB, England Bohuslav Martinů: La Revue de cuisine, Sonata for Two Violins and Piano [email protected] in a recording of that opera recently rereleased Concert Hall Chamber Ensemble. Henry Swoboda, conductor. Tokuda Mari Louis Kaufman and Peter Rybar, violinists. Pina Pozzi, pianist. by Supraphon. Nerima-Ku Hazawa 1-10-13 If any of you has it or knows where it could be obtained please contact us. 176-0003, Tokyo, Japan [email protected] ❦ Events and News prepared by Zoja Seyčková, Jindra Jilečková and Sandra Bergmannová

Bohuslav Martinů Newsletter 2003 - Second issue 23 Bohuslav Martinů byby BärenreiterBärenreiter Newly Revised Editions (Editio Bärenreiter Praha) Sonata No. 3 for Cello and Piano • H 340 Editio Bärenreiter Praha presents a newly revised edition of Sonata No. 3 H. 340 for Cello and Piano by Bohuslav Martinů – one of the most prolific and versa- tile Czech composers of the first half of 20th century. Owing to the fact that, until recently, commonly used first printed edition of the Sonata comprises a whole series of fundamental, in many cases, arbitrary alterations of the original manuscript, it was not considered in this modern urtext edition. The editor Aleš Březina (whose alterations of the score are marked by square brackets) puts this edition consistently in accord with Martinů’s manuscript, which in no way fails to give a very accurate picture of all performance nuances of this popular and widely performed composition.

cat. no. H 7893 Puppets (Loutky) I for Piano • H 137 The piano cycle Puppets (Loutky) occupies an exceptional position among other compositions of Martinů’s early period. Because of its artistic and aesthetic challenge, the cycle indeed goes beyond any other work more or less of didactic and study nature characteristic of this period. Due to humorous musical ideas and simple, yet extre- Editio Bärenreiter Praha mely suitable piano structure as well as the composer’s empathy Customer service for children’s world, Puppets has enjoyed great interest from the performers since its first edition. Several essential alterations were carried out by Karel Šolc in the first edition of Puppets I H. 137, Běchovická 26 which have no support in the composer’s autograph. Among the CZ 100 00 Praha 10 most fundamental changes was the adjustment of music, mainly Tel.: +420/274 001 929 the “completion” of the left hand in the piece Fairy-Tale (Pohádka) as Fax: +420/274 781 017 well as changes in phrasing. Therefore, in this edition, the score has E-mail: [email protected] been put consistently in accord with the composer’s autograph. www.editio-baerenreiter.cz cat. no. H 7875 Favourite Martinů Editions (Bärenreiter-Verlag Kassel) Promenades for Flute, Sonata for Flute, Violin and Harpsichord H. 274 Violin and Piano H. 254 cat. no. BA 3327 cat. no. BA 3326 “This concise work in four movements is particularly In the Sonata for Flute, Violin and Piano Martinů follows the beguiling because of its uncommon tone colors. It is to 18th-century tradition of using the flute as a chamber-mu- be recommended as an exquisite modern addition to the sic instrument. The result is a “cheerful, spirited work.“ repertoire of every trio in this formation, a scoring found Harry Halbreich particularly often in Baroque music.“ Harry Halbreich Sonatina for Violin Variations on a Slovakian Theme and Piano H. 262 for Cello and Piano H. 378 cat. no. BA 6983, H 2172 cat. no. BA 3969 The Sonatina for Violin and Piano offers beginners an The Variations on a Slovakian Theme is Martinů’s last opportunity to become acquainted with easily acces- chamber- -music work, written shortly before his death sible music of our century without too many technical, in 1959. In this nostalgic evocation of his native land, the harmonic, formal or rhythmic hurdles. composer chose a song called “Keď bych ja vedela“ (If only I knew) as the theme for his variations.