The Bohuslav Martinů Foundation ° The Bohuslav Martinů Institute BOHUSLAVMARTINU The International Martinů Circle

SEPTEMBER—DECEMBER 2006 / VOL.VI / NO.3

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e WelcomE d Interview —VARIOUS WITH ZAIDEE PARKINSON —NEW SCORE • BARBARA RENTON —INTERNATIONAL MARTINŮ CIRCLE HistorY h ResearcH r THE UNREALIZED WORLD REMEMBERING PREMIERE PIERRE FOURNIER • GABRIELE JONTÉ • GREGORY TERIAN, ZUZANA RŮŽIČKOVÁ Obituaries j ResearcH t SCEPTICAL INTELLECTUALISM VIKTOR KALABIS MEETS MARTINŮ’S ARIANE DR EMANUEL VLČEK • GABRIELE JONTÉ — EVENTS y MemoirS JOSÉ SEREBRIER ; News REMEMBERS u Various —MARTINŮ ABOUT MOZART —A TESTIMONY OF A TIME ALMOST FORGOTTEN i MemoirS MY FRIEND BOHUSLAV MARTINŮ • RUDOLF FIRKUŠNÝ —AN EVENING WITH MARTINŮ • BARBARA ALWEIS o ReporT BOHUSLAV MARTINŮ FOUNDATION MEDAL 2006 • ALEŠ BŘEZINA s ConcertS

y Charlotte & Bohuslav Martinů, Polička, 1935 © PBM me– b Welco

THE BOHUSLAV MARTINŮ VARIOUS INTERNATIONAL NEWSLETTER is published by the Bohuslav Martinů Foundation in collaboration MARTINŮ CIRCLE with the Bohuslav Martinů Institute in Prague SEMINARS IN PRAGUE AND BRATISLAVA ON 26 SEPTEMBER a seminar on Bohuslav Martinů’s work took place in the Small Hall MEMBERSHIP EDITORS of the Slovak Philharmonic Orchestra. It consisted of a lecture and a visual presentation AND SUBSCRIPTION Zoja Seyčková documented by live music examples performed by members of the Academy of INFORMATION Jindra Havlíčková Chamber Music 2006. Specifically, it concerned the compositions Les Rondes (H. 200), YEARLY SUBSCRIPTION TRANSLATION Quartet for Oboe,Violin,Violoncello and Piano (H. 315), as well as Divertimento for Two Recorders (H. 365). The seminar was led by Eva Velická and Lucie Berná, • 20 Euro / 25 USD for individuals Hilda Hearne musicologists of the Bohuslav Martinů Institute in Prague.The event was primarily (Subscription includes 3 issues of the PHOTOGRAPHS attended by students of the Bratislava Conservatory, Žilina Conservatory and Košice BM Newsletter and a non-commercial Conservatory.The seminar was repeated the next day at the Prague Conservatory in CD recording from the Bohuslav The Bohuslav Martinů Foundation’s and Institute’s Martinů Festival.) archive and collections of the Municipal Museum – the Pallfy Palace and was attended by students of the Prague Conservatory as well as Bohuslav Martinů Memorial in Polička the Brno and Plzeň Conservatory. Seminars were accompanying events to the concerts • 100 USD for companies given by the Academy of Chamber Music 2006 (J.-M. Penot, Z. Rzounková, P.Hojač, (Subscription includes 10 copies of each GRAPHIC DESIGN D. Hrinda, P.Maceček, P.Prause,V.Penot) in Bratislava within the Bratislava Music issue of the BM Newsletter and three David E. Cígler Festival and in Prague within the Strings of Autumn festival.This project was organised copies of the non- commercial CD PRINTING by the Impresariat Anna Hrindová. recording from the Bohuslav Martinů Festival.) BOOM TISK, spol. s r.o. • Single copies (back issues) of the PRICE Mrs VERONIQUE FIRKUŠNÝ-CALLEGARI (daughter of the pianist Rudolf Newsletter: CZK 50 / 2 Euro CZK 50 Firkušný) has provided for the Bohuslav Martinů Institute correspondence archives + postage The Bohuslav Martinů Newsletter eleven copies of autograph letters Martinů wrote to Rudolf Firkušný.We will bring is published three times a year. more details about this precious addition in the next Newsletter. For subscription payment please contact: Jindra Havlíčková COVER PHOTO e-mail: [email protected], Bohuslav Bohuslav & Charlotte, Christmas 1942, Martinů Institute, Náměstí Kinských 3, New York ©PBM IN 2009 WE WILL commemorate the 50th anniversary of the composer’s death. Many organisers are preparing for this year large- or small-scale 150 00 Praha 5, Czech Republic EDITORIAL OFFICE events at which works by Bohuslav Martinů (1980–1959) will be performed. Gregory Terian The Bohuslav Martinů Institute We will provide you with information about all concerts and other events UK members only; tel.: 01625 523326 Náměstí Kinských 3 on our website: www.martinu.cz Mari Tokuda 150 00 Praha 5, Czech Republic Interest in Bohuslav Martinů’s works has been increasing. However, for the present, his Japan, e-mail: [email protected] tel.: +420 257 313 104 compositions are not performed as frequently as many of his admirers would wish. +420 257 320 076 Beyond the Czech Republic especially, it mainly concerns sporadic presentations, which THE IMC CORDIALLY fax: +420 257 323 761 from the viewpoint of listeners do not give the necessary continuity of performing his WELCOMES THE FOLLOWING e-mail: [email protected] NEW MEMBERS: www.martinu.cz works. Some areas of his creation – primarily stage pieces – are far less famous than they should be with regard to their relevance both within the context of Martinů’s • Dr K. Miller, USA • Royal Northern College of Music, UK ISSN 1214-6234 work and the context of European music history. The 50th anniversary of the composer’s death is an ideal opportunity for concentrated • Mr R. J. Crooke, UK promotion of Martinů and his globally significant legacy. Such an activity, however, far • Dr C. Nex, UK exceeds the possibilities of the Bohuslav Martinů Foundation and Institute, requiring • Mr T.Potter, UK instead the formation of a platform associating the most prominent Czech and foreign • Guildhall School of Music & Drama cultural institutions. Much has already been pre-negotiated – all large Czech orchestras in London, UK and opera ensembles are counting on the fact that in the jubilee 2009/2010 season they • Mr Robert Simon, USA will devote to B. Martinů’s work to a greater extent, or will even make Martinů the • Ms Monika Ryšavá, CZ season’s overarching theme, as is the case of the Czech Philharmonic Orchestra. • Ms Ji-Sun Kim,Austria The Prague Spring Festival will dedicate its 2009 edition to Bohuslav Martinů’s • Mr Peter Sklenka, Slovakia work and its European and global contexts. The National Museum will host an extensive exhibition about the composer’s life and work. The National Theatres in Prague and Brno are preparing productions of B. Martinů’s most celebrated stage THE PREVIOUS ISSUE works. Important events are also being prepared abroad, primarily in Switzerland, France, Hungary, England and the USA.

MUNICIPAL MUSEUM — NEW SCORE BOHUSLAV MARTINŮ MEMORIAL IN POLIČKA THE HIRE MATERIAL of Martinů’s ballet The Greek Passion recording from OFFERS short-term exhibitions Le Raid merveilleux (The Amazing Flight, Prague National Theatre has been dedicated to the life and work of H. 159) was published by Schott Music published recently. IMC Members B. Martinů, a guided tour to Martinů’s (www.schott-music.com).This work is will receive the CD together with birthplace in the St. James church described in the autograph score as „une the BM Newsletter 1/2007! tower and for registered researchers pièce sans personnages – ballet mècanique“. archive materials concerning Martinů. The autograph score was believed lost for Further information available at many years, until the early 1990s, when it was www.muzeum.policka.net discovered in Berlin Staatsbibliothek by Iša and www.policka-mesto.cz Popelka.Work was unfinished, final 19 bars were added by Evžen Zámečník.

BOHUSLAVMARTINŮNEWSLETTER3)2006 e ry— REMEMBERING Histo PIeRre FOURNIer

THE 100th ANNIVERSARY of the seriously, just as he did the arts. Gentleness, Bohemian colleagues often lacked.This birth of Pierre Fournier is being sensitivity, politeness, empathy – these are hurt him and was ultimately the reason celebrated this year. He was one the traits that immediately come to mind for his departure from Zurich. of the pre-eminent cellists of the when I think of him. Pierre frequently sat in on my class too; 20th Century and Martinů got to We met at the summer master classes in I think he became fond of harpsichord. know him in Paris in the 1930s. Zurich, where I taught for the first time He eagerly sought out harpsichord The composer dedicated a substantially in 1969 – and then for another 25 years. compositions by Bohuslav Martinů, to revised version of the 1930 Cello The gorgeous villa by the lake in a charm- whom he was affiliated by a long-time Concerto, H. 196 II to Fournier who ing rose garden had two spacious floors, musical and human bond. Our approach gave the first performance of this revision on each of them one professor was to Bach was similar in many respects too. at the Salle Pleyel on 27 January 1938 teaching. Fournier’s Bach has something that is with the orchestra of the Societe At that time, Géza Anda (piano), Jenny essential in his music but is played down: Philharmonic under Charles Munch. Tourrel and Ernst Haefliger (singing), amorous tenderness, compassionate The Concerto was warmly received with and Nathan Milstein (violin) were there sorrow, penumbra and gentle irradiance. the critics noting the ease, elegance and together with us.When we were not After lessons, we frequently played just for authority with which Fournier delivered ourselves teaching, we would often sit in ourselves, and since it was a pure joy and the intricate and difficult solo cello writing. on our colleagues’ classes and listen to both of us were engaged with the ERATO In February 1939 Fournier performed the what they had to say. gramophone company, we recorded for work in London in a broadcast concert That is how we became friends with it Bach’s cello sonatas, which are on the with the BBC Symphony Orchestra under Pierre Fournier, Paris 1939 Pierre Fournier. I had spent years of my market to the present day. It goes without Julian Clifford. After the war Fournier continued to perform the work. On hearing a broadcast of one such performance in 1955, the composer became dissatisfied with the orchestration and undertook a further revision, a unique circumstance for Martinů who seldom revisited his earlier compositions. Martinů consulted Fournier about the modifications and Schott published the Concerto in this form in 1956. Also dedicated to Fournier was the Cello Sonata No.1, H. 277, composed in 1939. He gave the first performance with Rudolf Firkušný in May 1940, shortly before the German armies entered Paris and Martinů was obliged to flee.This was another work which Fournier continued to perform over many years. He recorded the Sonata in 1967 with his son Jean Fonda for the CBS label. It was paired with the Debussy Sonata and they make compelling listening. It is a fine demonstration of the cellist’s artistry in a recording of striking immediacy. Unfortunately it has long been deleted. A concert performance which Fournier gave with the pianist Michio Koboyashi in Tokyo in 1981 appeared on a domestic Sony CD in 1996 but was not made Pierre Fournier and Jean Fonda in Tokyo, 1968 available in Europe or America. As far as the Cello Concerto is concerned, It captures the cellist’s refined playing and chamber music studies in the cello class saying that cooperating with Pierre Fournier continued to perform the work sympathy for the Martinů idiom and of K. P.Sádlo, hence, cello classes – besides Fournier was a great honour and artistic throughout his long career. He was celebrates his attachment to the Concerto piano ones – allured me the most. experience. a frequent visitor to Britain and London over a period of more than forty years. I was fascinated by Fournier’s teaching When his position in Zurich was assumed again heard the work performed with the style, combining demands for perfection by Grigory Piatigorsky, I only saw Fournier BBC Symphony Orchestra under Rudolf GREGORY TERIAN of performance with kindness and occasionally, in Paris and during his visits Schwarz in February 1962. One of the empathy in any conception, even one to Prague. most unlikely later collaborations was distant to himself. Never the slightest How unforgettable were his Dvořák and with Pierre Boulez and the New York trace of irony or sarcasm – so popular other concerts in Prague! Philharmonic in 1976. ALTHOUGH when someone says his and effective with some pedagogues, yet Just like every great personality, Pierre Although he made no studio recording name I recollect his entire personal- incredibly hurtful to a young person. Fournier too left a beautiful legacy, but of the work, a 1978 performance which ity with crystal clarity, as if he were The antipode to his gentleness was also a painfully empty, unfillable space. Fournier gave in Geneva with the Suisse standing right there in front of me, a never-ending and uncompromising However, he enriched the lives of all those Romande Orchestra under Wolfgang I find it difficult to write about him. seeking of truth he frequently asserted who ever encountered him personally and Sawallisch has been preserved and was He was not an artist about whom amusing even to his own detriment combined through his music. issued on a Cascavelle disc in 1992. anecdotes could be told. He took life with preciseness and courtesy his more ZUZANA RŮŽIČKOVÁ r BOHUSLAVMARTINŮNEWSLETTER3)2006 ❝Omnes artes, — in futura vita cessabunt, Obituaries excepta sola musica❞

a new, contemporary musical ON 24 OCTOBER 2006 Professor REMEMBERING language issuing from creative Emanuel Vlček, one of the foremost VIKTOR KALABIS reshaping of the musical figures of Czech and European anthro- tradition attractive models for pology in the second half of the 20th 27/2/1923—28/9/2006 Viktor Kalabis became Bach, century, died at the age of 81. The public Beethoven, Brahms, as well as knew him primarily as an expert in KATEŘINA MAÝROVÁ the aforementioned 20th research into remains of personalities century European composers. of Czech history, rulers in particular. He also researched the remains of dozens IT SEEMS RATHER fitting that one of the Kalabis’s compositions are of celebrities of Czech culture. He most significant composers of 20th century characterised by mastery of ascertained, for example, the appearance Czech music concluded his “dialogue with instrumentation, immaculate of the poet Karel Hynek Mácha, the cause fate” on the Feast Day of St Wenceslas, tectonic structure and a highly of death of Bedřich Smetana and also patron of the Czech lands.At the age of 83, developed sense of propor- documented the body of Bohuslav Martinů. he left behind all those who loved him, tional balance and internal, cherished his compositions and esteemed purely musical logic of his relentless, vigorous endeavours to individual pieces.They reflect defend higher spiritual and cultural values. full-blooded, sensually rich musicianship: and it is precisely Viktor Kalabis was a composer who never this adroit, congenial inter- ceased to avow clear-cut artistic opinions connection and alternation and was also willing to sacrifice much in of the “Apollo and Bacchus defence of his civic/moral stance. principle” that impart to his Born in Červený Kostelec, North Bohemia, music a convincingly potent he had the good luck to be destined to fulfil emotional charge and augment his life with music. Of all the arts, it is music the effect of his intellectual that within the European Christian tradi- communication. Prof. Emanuel Vlček tion has over centuries had the honour of enriching, transcending human fate and Hence, it comes as no surprise In 2005 the Bohuslav Martinů Society with connecting man with God and eternity. that within a short time support from the Bohuslav Martinů Foun- Kalabis’s compositions became dation issued a publication Last Things of After graduating from the grammar school part of the repertoire of Man – Bohuslav Martinů. Bohuslav Martinů in Jindřichův Hradec in 1942,Viktor the very finest European died in 1959 and was buried in Schönen- Kalabis’s inborn talent predetermined that orchestras, among them berg, Switzerland, on private land of his his would be a life devoted to the Muse Berliner Symphoniker, benefactors Maja and Paul Sacher.Twenty of music. He studied composition at the Orchestre National de Paris, years later his body was exhumed and Prague Conservatory with Emil Hlobil Dresdner Staatskapelle, transported to his homeland – to the (1945–1948) and subsequently at the Dresdner Philharmonic, cemetery in Polička where a year earlier Academy of Performing Arts in Prague with the Czech Philharmonic his wife, Mrs Charlotte Martinů, had been Jaroslav Řídký (1948–1952).The desire for Viktor Kalabis Orchestra, as well as other, buried. Summoned to Switzerland from further edification led him to the Faculty of including American, orchestras Czechoslovakia was the leading expert Arts of Charles University, where in 1952 Hindemith, Sergei Prokofiev, Claude led by such celebrated conductors as, for Prof. Emanuel Vlček,who was entrusted he completed his studies of musicology, Debussy and many other composers, example, Lovro von Matačič, Gennadi with exhumation and treatment of aesthetics and psychology. However, owing Bohuslav Martinů represented the main Rozhdestvensky,Wolfgang Sawallisch, Karel Martinů’s remains. to his negative attitude towards the Com- source of inspiration for his own compo- Ančerl,Václav Neumann, Jiří Kout, Zdeněk The publication (in Czech language + munist ideology’s view of artistic creation, sitional work. Mácal and a host of others. English summary) contains the official which formed the very subject of his thesis, His profound love of Martinů’s music also report Prof. Vlček drew up for the the PhDr. title was only awarded to him in manifested itself in active care for the Many of his works have been highly Ministry of Culture, a description of the 1991. successful operation of both the Bohuslav esteemed and honoured: let us just composer’s health condition during the Martinů Foundation and the Bohuslav mention in passing the 1969 State Award last year of his life, the medical diagnosis Between 1953 and 1972 he worked as a Martinů Institute. Under his leadership, the and Critics Award for his Concerto for of the cause of death, as well as other music director and editor at Czechoslovak two centres became prestigious specialist Orchestra, op. 25, and the ballet “Alice in information relating to the transport of Radio in Prague in the department for institutes disseminating Martinů’s artistic Wonderland” accompanied by Kalabis’s Bohuslav Martinů’s remains to his home- children and youth. In these functions he legacy and Czech music in general through- music, which won for Czech Television the land in 1979. Also attached are unique became one of the organisers of the Inter- out international cultural circles. USA’s Parents’ Choice Award. photographs that were not allowed to be national Radio Competition Concertino In 2003 he stepped down as Chairman made public at the time of their origin. Praga, which takes place to this day and of the Bohuslav Martinů Foundation for When looking back on the life of this Czech Prof. Emanuel Vlček’s scientific career was within musical activities of children and youth health reasons yet continued to maintain composer, we cannot omit to mention closely connected with the National has gained international prestige and acclaim. a lively interest in the results of its his long, artistically fruitful marriage to Museum, where in 1967 he founded the In 1972, amid the ever-strengthening activities. a personality no less famous on the department of anthropology. “Normalisation” pressures that were European musical scene, the cembalist Prof.Vlček published over 500 works in inconsistent with his worldview, he left His work, numbering more than 90 opuses, Prof. Zuzana Růžičková, with whom he Czech and foreign specialist periodicals, Czechoslovak Radio upon his own initiative continuously linked up to the wide formed a harmonious, happy couple including 55 books and monographs, and decided to fully devote to composing. spectrum of artistic musical trends and completely devoted to the world of music. 140 specialist studies, 170 reports and opinions stemming from the European With his passing, contemporary Czech popularisation essays. In addition, he gave In 1991 he was elected Chairman of the musical tradition. Accordingly, it naturally music culture has lost one of its artistically more than 500 lectures. He received about Bohuslav Martinů Foundation. Alongside ensued that during this voyage of most singular and humanely most genuine a dozen of Czech and foreign science Igor Stravinsky, Béla Bartók, Paul discovery and permanent seeking for creators. n prizes in recognition of his research. n

BOHUSLAVMARTINŮNEWSLETTER3)2006 t BOHUSLAV MARTINŮ’S “STUDENT” oirs— Mem JOSE SeReBRIer

José Serebrier was born in Monte- I WAS 15 YEARS OLD,studying music in video, Uruguay, on December 3, 1938 Montevideo, when the American com- to Russian and Polish parents.At the poser Virgil Thomson spent less than age of nine he began studying the 24 hours in Montevideo. He had been, REMEMBERS violin, and he made his conducting besides a composer, the very influential debut when he was eleven.Today, music critic of the New York Herald Serebrier conducts most major Tribune.When he retired, the US State orchestras around the world and has Department sent him on a conducting become one of the most recorded tour of Latin America to perform his own conductors of his generation, with music. Uruguay, however, did not treat him well over a hundred releases to his well. It was the only country that did not name. His published compositions, invite him to perform his music. Instead, many of them written at an early the American Embassy arranged for him to age, also number over one hundred. give a lecture. It was a very rainy day, and Early in his career, Serebrier was the the only people that came to his lecture recipient of many of music’s most were myself and my parents. He was so coveted honours. In 1956 and 1957 upset not to have an audience that in the he received a United States State middle of his talk he simply said: „This is Department Fellowship to study impossible, good-bye“, and walked out. composition at the Curtis Institute The Ambassador duly apologised to us, of Music with Vittorio Giannini and the only people in the auditorium. I had with Aaron Copland at Tanglewood. brought with me a few of my composi- In 1956 he was awarded a Kousse- tions to show to Mr Thomson.I went vitzky Foundation Award at Tangle- backstage with my parents, introduced

José Serebrier in 2005, holding CD set of Martinů’s music

Thomson had made a special trip to They were all short notes, but extremely Philadelphia to show my music to Eugene warm. In Martinů’s case, he also com- Ormandy, who in turn had recommended mented that he was told that my main my studying at the Curtis Institute of interest was actually conducting, but he Music (very difficult to get into; they have said „composing, when the talent is there, only 100 students, all on scholarships). is more important“. Mr Thomson then took my scores to Mr Martinů, who was the head of the Arriving at Curtis, I immediately inquired if composition department at the Curtis I could also study conducting. Curtis used Institute. It was his decision as to whether to have a famous conducting teacher, Fritz I would be accepted at the school. Just to Reiner (Leonard Bernstein studied there make sure, Mr Thomson also sent my with him long before I went to Curtis). But music to Howard Hanson, the famous the head of the school, the once-famous American composer, head of the Eastman violinist Efrem Zimbalist (who was also School of Music in Rochester, NY. my violin teacher), explained to me that Mr Thomson also sent my music to his „one cannot learn conducting… the close friend Aaron Copland and wrote greatest conductors never studied how to a letter to the US State Department conduct… Toscanini, Stokowski, Monteux, insisting that they give me a scholarship to Beecham, they never took conducting come and study in the US (he must have lessons“. I complained to the US State realised I did not have the funds to pay Department, and they saw to it that I took for my trip, studies, etc). It all worked out weekly conducting lessons with the somehow! Incredibly, I was offered a full Associate Conductor of the Philadelphia scholarship by both Eastman and Curtis, Orchestra, and they arranged with Eugene so I had a very difficult decision to make. Ormandy for me to attend all the José Serebrier in 1952 Yet since I admired Martinů’s music so rehearsals. I also told Mr Zimbalist that much, in the end the decision was an easy given the situation I wanted to graduate wood and in the same year a BMI myself, and gave him my scores.A rather one.Also, all my family who had emigrated as soon as possible, especially since Young Composers Award for his brusque person, he replied: „I have no from Russia were living in Philadelphia, so Mr Martinů, who was the main reason First Symphony and Quartet for time, and my suitcase is too full already, it was like coming home. I was received by I had come, left shortly after my arrival. Saxophones.The State Department but I will try to look at them tonight and some 50 relatives I had never met before. Mr Zimbalist told me that Leonard Fellowship was followed by two give them to the Embassy to hand back (My father had also gone to Philadelphia, Bernstein had asked them the same consecutive Guggenheim Fellow- to you“. from Kiev, and his company had sent him question when the conducting class was ships, in 1957 and 1958.At the tender to Uruguay to start a company.) stopped, and he had managed to graduate age of nineteen, he was the youngest The next morning there was a telephone within 2 years instead of the customary 4. ever to obtain these awards in any call from the airport. Mr Thomson asked The most extraordinary experience was I wanted to do the same so that I could field. From the time when the young if he could take my music back with him to to receive personal notes from go somewhere else to learn conducting. and gifted Serebrier stood at the America. Naturally, I said yes. Mr Thomson, Mr Copland (who invited Mr Zimbalist said the only thing required threshold of his career comes the me to study with him in the summers at for graduation, in composition, was to following memoir Maestro Serebrier A few weeks later, I had a call from the US Tanglewood) and Mr Martinů regarding my complete a Sonata, a string quartet and provided us this year. Ambassador in Uruguay. He said that Virgil studies with them at the Curtis Institute. a symphony. Being so young – I was 17 at y BOHUSLAVMARTINŮNEWSLETTER3)2006 MARTINŮ us— ABOUT Vario MOZART… that point – nothing seemed impossible. I completed all these in a few months, and was able to graduate from Curtis within …FROM AMONG MY FAVOURITE composers, Mozart has 2 years. I then accepted a scholarship “been and will always be first and foremost.With him I actually from the Minnesota Orchestra to study waged the greatest battles in the endeavour to approach his conducting with Antal Dorati, and it perfection and balancing, natural and organic and content proved to be a great experience. In the bearing.And also a certain restraint, not to explode, control, summers I went to study with Pierre in short: order. Nor do I in fact control my compositions Monteux. myself, but am driven according to circumstance, the theme, form, etc.; I myself only perhaps bring in a certain flair and Meeting Martinů was the most extraordi- discipline… nary experience. Mostly he commented ” (Balance of Martinů’s work up to 1935) …IT CAN BE COMPARED to the music of Mozart. Mozart! on the works I had sent through Virgil “It was he who following his triumphal reception in Prague Thomson, my Saxophone Quartet, my incited in the capital of Bohemia a feverish interest in music Pequeña Música for Woodwind Quintet life.This genius had by Smetana’s time left deep musical and my Elegy for String Orchestra (all of footprints. His influence is not easily detected in The Bartered them long since published and recorded). …DVOŘÁK WAS LIKE MOZART; he never learned, Bride, in which under the Czech magic wand cane it rips and “ There was no time to write something he knew… dissipates as a little stream in a river in the entirety of the ” new for him to comment on, because work, which is exquisitely compiled and root-and-branch new, (From a letter addressed to the Union of Czechoslovak Composers, he was leaving America, never to return. and all audiences consider it a work of the highest value… published in Hudební rozhledy VII – 1954,issue 7, p. 267) He was quite upset by the way the school ” treated its teachers. Curtis had the best (From Martinů’s article in Paris-Soir of 20 October 1928) teachers in the world. It was truly amazing. But the fees they were paid were incredibly low. Mr Martinů, like some of “…IF INFLUENCE CAN BE TALKED about, that is, at the the other famous teachers, lived in New present time, then it is Debussy, just like it formerly was …AT ONE TIME,PRAGUE was at the centre of world York and took the train once a week to Mozart (Mozart’s influence continued to affect him for a long “interest owing to its Mozart premieres. It comes then as Philadelphia. Often the trains would be time and maybe even up to now)… no surprise that the influence of this adored composer was ” late, and Mr Zimbalist would thus deduct significant. Mozart was also the wellspring of Smetana’s music; …The main thing for him is the set itself, not the orchestra. the time from his pay-check! It may sound there can be no better and more beautiful wellspring for “Thus he approximates rather Mozart’s theatre and his stage incredible, and embarrassing, but it is a composer of such individuality as Smetana… works can be called chamber more than anything else… a true story. It also happened to other ” ” great teachers, of course.This was too (From Martinů’s article in Comoedia of 25 October 1928) (From Martinů’s article in New York, Spring 1941) much for Mr Martinů, however, so he applied for a Guggenheim Grant, duly obtained it, and left for Switzerland to write music.This was the first time I had heard of the Guggenheim Fellowship A TESTIMONY OF A TIME ALMOST FORGOTTEN Grants. Being young and inexperienced, I asked him if I could apply for such a grant ZDENĚK ZAHRADNÍK myself. He was most encouraging, but showed me the list of prize-winners, and they were all mature, experienced people I RECENTLY got hold of a CD with in mid or late career who had proved a recording of Bohuslav Martinů’s The themselves and needed the fellowship to Greek Passion, H. 372/I., and was really take a year off work or teaching in order impressed by the booklet thoroughly to compose. It was given annually to poets, drawn up by Mr Aleš Březina. Hence, the writers, painters, scientists, etc. Almost next time I spoke with the author of this never given a second year. excellent inset I could not resist, with a certain nostalgia, recollecting the fraught One year afterwards I took a deep breath situation in 1981 when as a music director and sent in my music to the Guggenheim I was in charge of the opera’s gramophone Foundation.To my great surprise I won the recording for Supraphon. It concerned composition fellowship that year; just in a co-production with Czechoslovak Radio, time as it happened, as I was graduating with the condition for its implementation from Curtis.The following year I applied being the Czech version of the opera. again, and won a second one. I was, and At that time, only the Czech version pezzi sacri it was deemed necessary to priest Fotis), Mr Vilém Přibyl had for the still am, the youngest person ever to by Eva Bezděková, tailored to the era’s omit “sacri”. I cite these examples of role of Manolios to learn new texts that obtain a Guggenheim, and one of the political climate, existed. Edition plans the incredible blows Czech culture had were closer to the original.The recording handful to have received two. Since I also were approved a year in advance by to endure so as to give you a clearer was the very first Supraphon title making received the Dorati Scholarship to study a “specialist” committee at the Ministry understanding of just how difficult it was use of digital technology. However, due to conducting in Minneapolis, and the two of Culture and enough to meet with their with The Greek Passion to interpret the the lack of material for digital recording, could not be combined, I managed to disapproval was, for example, merely an text’s religious passages so that the opera the originals had to be transferred to divide the Guggenheim in between my ideologically “undesirable” word in a title. could be presented on Czech stages. And an analogue carrier so that subsequently conducting months.And it all worked out Thus, for example, a recording of so in secrecy, just before the recording a digital recording of another important beautifully, thanks to Mr Martinů’s advice, Rachmaninoff’s liturgical songs was took place and with the assistance of the title of the “golden fund” could be made. encouragement and interest. n released under the title “Night Vigil”, linguistically and musically adroit Richard n whereas in the case of Verdi’s Quattro Novák (entrusted with the role of the

BOHUSLAVMARTINŮNEWSLETTER3)2006 u oirs— Mem MYFRIeND BOHU

RUDOLF FIRKUŠNÝ country, both in Europe and later in the United States, where we both found refuge after fleeing war-torn Europe. This article was forwarded to us by Veronique Firkušný; she found it in Life in the city stimulated his mind, but her father’s archive. It was written it was in the countryside that he was in 1991 to commemorate the happiest. I paid many visits to the Martinůs 100th anniversary of Martinů’s birth. at their various summer homes, both in France and in the United States, and IN THIS 100th ANNIVERSARY year of always found a different Bohuslav there – the birth of Bohuslav Martinů much has a relaxed, smiling and contented one. already been said and written about his He did not go fishing and hunting like music and about him as a composer. Hemingway, nor did he work in the garden Scholars have described, documented and like Karel Čapek, and he never made annotated his life, and musicologists have notations of nature’s sounds the way scrutinized and analyzed his works. I feel, Janáček did. He just walked or sat among therefore, that it would be superfluous to the trees, listened to birds, looked at add more words to this already vast body flowers whose names he perhaps did not of commentaries. I have decided, instead, even know, and enjoyed one of God’s to talk simply about the wonderful human rarest gifts to man: the gift of feeling one being: Bohuslav Martinů, my friend. with nature.

Although I had known and played In 1946 Bohuslav was in Tanglewood and Martinů’s music during my student years in Rudolf Firkušný, Charlotte and Bohuslav Martinů in New York suffered a terrible fall. He was staying Brno and Prague, we did not meet until alone in an unfamiliar house, went out 1931 in Paris. By then, he was forty-one summed up in a perfect nickname given science, philosophy, politics, religion, the onto the dark terrace at night, did not years old, and I was barely nineteen, but him by our mutual friend, the painter visual arts, literature, languages. His realize there was no banister and fell the age difference did not seem to matter. Rudolf Kundera:“Flinta”, meaning rifle.Yet favourite gift to friends was a dictionary off the high edge. He suffered a brain We became friends right away.We moved among close friends with whom he felt at or an encyclopaedia, and the bigger the concussion, was unconscious for some very much in the same musical and social ease, Martinů would talk, and what he had volume the better. I still have the huge time and, as a result, partially lost his circles, and we began meeting frequently to say was always fascinating. He was an Webster’s Dictionary he gave me one hearing. simply because we liked each other. His extremely intelligent man who was Christmas in New York. wife Charlotte often invited me to come interested in many things besides music, After that, he became even more and share their simple but delicious meals and his intellectual curiosity could never But Martinů was no ascetic.The other side introverted, but his creative powers she herself took pride in cooking. be satisfied.All his life he read voraciously. of his personality was that of a kind, fun- remained undiminished despite his physical He was one of those people who not only loving man who enjoyed good food and handicaps.At that time he enjoyed, almost Bohuslav was a withdrawn, rather shy read a lot but retain new knowledge and good wine, and never failed to notice with boyish pleasure, camping trips with person.At large social gatherings he would love passing it on to others. a pretty woman. He felt close to nature: our mutual Czech-American friend, the mostly stay a bit aside, detached and the spell of a childhood lived in a remote musician Frank Rybka.The two traveled in pensive. He talked little, never raising his His mind had a strong philosophical bent, corner of unspoiled countryside never lost a modest trailer, and Bohuslav was happy voice, never making a gesture which might and he was always waging battles over its power over him.Although he spent leading the rough life of a camper. Later draw people’s attention.Tall and always various highly intellectual problems.The most of his adult life in large cities, every on, he would describe their adventures standing ram-rod straight, he was visually field of his interests seemed unlimited: summer he would impatiently head for the with great relish, and we spent many hours AN EVENING WITH MARTINŮ BARBARA ALWEIS

IN THE EARLY 1940’s my mother worked a passionate melomane going to all the for a Madame Caradele designing fine Philharmonic rehearsals at Carnegie Hall. children’s clothing. One evening, around I’d not yet heard of Bohuslav Martinů. the dinner table, she told us about a gracious and charming French woman Some months later my mother returned who had come to work for Madame. from work, very excited, saying that there was to be a piano recital at Carnegie Hall „You know, dear“, she said to me „her by Rudolf Firkušný who would introduce husband is a famous Czech composer. a new piece by Martinů. Madame Martinů They have had to leave Europe for the was unable to attend and said Mr. Martinů safety of the United States and they have would be pleased to have me take her no money.“ That is why Charlotte has place. taken this job.“ I was thrilled to have been invited by I was aflame with interest being at the the composer himself but how would Barbara Alweis time a 16 year old piano student and I manage a conversation with such i BOHUSLAVMARTINŮNEWSLETTER3)2006 BOHUSLAV rt— MARTINŮ Repo SLAV MARTINŮ FOUNDATION

particular occasion, when I performed his second cello sonata, the cellist – MEDAL 2006 by the way, it was not Pierre Fournier, played so badly that, after we finished, ALEŠ BŘEZINA I felt embarrassed to even look at Bohuslav, but his only comment was a dry: „I didn’t exactly compose what he WHEN IN 2000 Jiří Nekvasil and Trio with the legendary flute virtuoso was playing but the piece survived it I were preparing to shoot the documen- Marcel Moyse and the pianist Louis Moyse. anyway.“ tary Martinů and America, I addressed, In 1936 Martinů composed Concerto for among other contemporaries, Mrs Flute,Violin and Orchestra, (H. 252) When I returned to Prague for the first Blanche Moyse Honegger, who I had for Marcel and Blanche and they gave the time after the war in 1946, he had been informed had known Martinů very world premiere in Paris in December of originally planned to come with me, but well from the middle of the 1930s. She that year. Soon after, Martinů composed due to his commitments in Tanglewood, replied to my letter immediately and sent Sonata for Flute,Violin and Piano, he had to postpone.Then came his her telephone number too so that we (H. 254) for the Moyse Trio, which they accident and a trip to Prague was could agree upon the details of our recorded in 1938. It was the first impossible that year.The second time he meeting.The phone call was, however, very recording of a work by Martinů to be wanted to return with me to Prague was brief. After I had conveyed to Blanche the released. in 1948, when I was to play his Piano possible dates of the shooting, i.e. about Concerto No. 3 – which he wrote for and 10 days before Easter 2000, she imparted After the Moyse family had settled in dedicated to me – at the Prague Spring to me, apologetically, that she did not have the United States, Blanche went on to Festival. Once again, though, an any time whatsoever since she was co-found the Marlboro Festival in Vermont unforeseen event prevented his (and my own) trip: the Communist coup d’etat. He never returned, and it was nearly half a century before I performed in my native country again.

Finally, in May of this year, after a self- imposed exile of forty-four years, I was able to return professionally to the Prague Spring Festival. Unfortunately, it Martinů and Firkušný was without Bohuslav, but I paid tribute to my friend by playing his Piano Concerto laughing at his dry humour and wit.Always No. 2 in Smetana Hall, where I had with a twinkle in his eye, he was a most premiered it with the Czech lovable human being, and nobody could Philharmonic Orchestra under Václav resist his unique charm. Talich in 1935. I am sure this time he was there with me. Although Bohuslav was always anxious Staatsburg, July 1990 about perfect interpretation of his works, he could take less happy performances with a great deal of humour. On one Blanche Moyse Honegger

a prestigious partner? I accepted with The piece was very well received having preparing for a prestigious performance of in 1951 where the music of Martinů was trepidation and was told that the been played masterfully.There was her ensemble at the Museum of Modern actively promoted, a tradition which composer would wait for me at the a standing ovation. Firkušný gestured Art in New York. She asked when I would continues to this day.When she was main entrance of the concert hall. towards Martinů.The entire audience next visit the USA. I said that the director, obliged to retire as a violinist, Blanche turned its applause towards our box. cameraman, sound engineer and I would dedicated herself to the study and He appeared, a tall thin shy man, care- Martinů was concealing himself in the not be visiting any time soon and just to performance of the choral works of Bach. fully but soberly dressed.We entered shadows at the back.The spotlight be sure I ascertained whether the men- together and went to the box which centered on a very embarrassed tioned performance really counted on I would like to thank for all the assistance had been reserved for us. I needn’t have adolescent. Blanche’s active participation. It certainly Mrs Dominique Moyse Steinberg, Mr worried about conversation. He was Afterwards there was no mention of all did. Even though Blanche was already George Steinmayer and Mr Richard Riley, a man of few words at least with a young this as Bohuslav Martinů courteously 91 years old at that time! We eventually Director of the Brattleboro Music Center, girl of 16. He insisted that I take the but timidly bade me good evening – an did meet up, some six years later, without who made possible interconnection of the central seat in the front of the box and evening I’ve never forgotten. n the television crew, when I handed over to celebration with a concert given by the retired into the shadows at the back Blanche the Bohuslav Martinů Foundation Juilliard String Quartet. Following agree- standing through the entire concert. (with thanks to Mike Kelly medal in recognition of her efforts in ment with Blanche’s family, Mrs Riley Nobody else appeared for the other and Vanda Procházka promoting the music of Martinů over donated to the Bohuslav Martinů Institute seats. for eliciting this memoir – Editor) many years. and Foundation the autograph of the score of the 2nd movement of Concerto for I was particularly interested in this new Blanche became acquainted with Martinů Flute,Violin and Orchestra (H.252) and music which might well have been the in the early 1930s. She regularly per- original manuscript parts of this work Fantaisie and Toccata,H. 281.This was formed works by the composer both as (stringed instruments), from which it was on February 2, 1943. a soloist and as a member of the Moyse performed at the time of its origination. >

BOHUSLAVMARTINŮNEWSLETTER3)2006 o rt— BOHUSLAV MARTINŮ FOUNDATION MEDAL 2006 Repo

UNLIKE in the case of Blanche, about the Prague Symphony Orchestra, FOK. whom we knew back in 2000, we had no Turnovský has recorded with a number of idea of the whereabouts of Mr Louis leading Czech and international labels. His Moyse until 2005, when Mr Gregory recording of Martinů’s Symphony No.4 Terian,a member of the International with the Czech Philharmonic Orchestra Martinů Circle and regular correspondent was a deserving winner of the prestigious of the Bohuslav Martinů Newsletter, Grand Prix du Disque and to the present established contact with him. But Greg day is considered the benchmark against Terian too originally thought that he which other more recent recordings of addressed with his first letter a relative of the work are to be compared. Hence, it Mr Moyse, for example, his son. All the is only logical that recently it was newly greater then was his, and our, surprise released on a CD. Since the time of this when he found out that he had managed recording’s origination Martin Turnovský

Louis Moyse Martin Turnovský

to establish a direct contact with the B. Martinů in front of the Café du Dome, Paris, holding probably the recording of his has presented dozens of Bohuslav selfsame Louis Moyse who had played work Sonata for Flute,Violin and Piano, (H.254) recorded by the Moyse Trio in 1938 Martinů’s works both at home and abroad, such an important role in performing where for years he worked for leading Martinů’s works.The Bohuslav Martinů I visited Louis Moyse at his home in IN COMPARISON with the two afore- orchestras. Besides compositions for large Foundation immediately decided to award Montpelier (Vermont) and recorded mentioned artists, the conductor Martin symphony orchestra, these include the the Bohuslav Martinů Foundation medal with him a comprehensive several-hour Turnovský cuts a positively youthful cantatas Czech Rhapsody (H. 118), to Mr Louis Moyse. interview about Martinů, his family and figure – nevertheless, his landmark Supra- Bouquet of Flowers (H. 260) and the the Paris music scene of the 1930s. phon recording of Symphony No. 4, oratorio The Epic of Gilgamesh His friendship with the composer dates As an expression of gratitude, Mr Moyse H. 305 with the Czech Philharmonic (H. 351). back to 1933 when Martinů became donated to the Bohuslav Martinů Institute Orchestra dates back to 1965! a regular visitor to the home of his father, and Foundation the autograph of the trio the legendary flute virtuoso Marcel Moyse. Promenades for Flute,Violin and Having graduated from the Academy of The Moyse Trio, consisting of Marcel, Louis Harpsichord (H. 274). In addition to this Performing Arts in Prague in Karel Ančerl’s The Bohuslav Martinů Foundation medals [piano] and the violinist Blanche Honegger, precious autograph, we also received as class, Martin Turnovský became a student are awarded at irregular intervals to artists regularly performed works by Martinů a gift a number of excellent historical of George Szell.After his success in the and ensembles who have made an out- during the 1930s. Sonata for Flute,Violin recordings of Bohuslav Martinů’s works, international competition of conductors in standing contribution to promoting and Piano (H. 254) was written for them among them Sonata for Flute,Violin Besacon, he conducted in Brno and Pilsen. Martinů’s work.The fact that this year and they recorded it in 1938. It was the and Piano (H. 254),Trio for Flute, Between 1966 and 1968 he was the the medal was bestowed upon four first recording of a work by Martinů to be Cello and Piano (H. 300), the same com- artistic director of the State Opera in personalities, and to three of them within released. position in Louis Moyse’s arrangement Dresden. In 1968 he performed all over the space of a few days, was down to for viola instead of violoncello authorised Europe and overseas. He became head of happenstance and is extraordinary indeed After the Moyse family had settled in the by the composer himself, Sonata for the Norwegian State Opera in Oslo, – before it was received by Jiří Bělo- United States, in 1951, together with Adolf Flute and Piano (H. 306) and the US between 1979 and 1982 he directed the hlávek in April 2006, the last time the Busch and Rudolf Serkin, they established premiere of Nonet No. 2 (H. 374). Some Bonn Opera House.Turnovský has medal had been awarded was to the the Marlboro Festival in Vermont where of these recordings, superlative in sonic cooperated with world renowned opera Boston Symphony Orchestra back they continued to promote the music of and artistic terms, will be released by the and symphonic ensembles, with the New in 2004. n Martinů, a tradition which continues to Bohuslav Martinů Foundation together York Philharmonic Orchestra, Cleveland this day.At Marlboro in 1964 Louis Moyse with the recordings from the 2005 Festival Orchestra, Royal Liverpool Philharmonic directed the American premiere of Nonet on its limited edition CD under Orchestra,Wiener Symphoniker, among No. 2 (H. 374). preparation. others. From 1992 to 1995, he headed a BOHUSLAVMARTINŮNEWSLETTER3)2006 JAGTHUIS FESTIVAL BOHUSLAV MARTINŮ — oncerts GERT FLOOR women”, the important place of his contributions of clarinet player Harry-Imre C mother, his sister, his wife and Vítězslava Dijkstra and the Bennewitz quartet, that Kaprálová in the life of Bohuslav Martinů cannot be praised enough. An exceptional LAST WEEKEND of this year’s May, in the being the subject. Very enlightning! event! intimate concert-hall of the Jagthuis in The second day focused on Martinů and Finally, the third day:“Martinů in New Nederhorst den Berg (just below Amster- his contemporaries (especially in Paris). York.” Big surprise this day was getting dam,The Netherlands: www.jagthuis.nl) Again two concerts with a talk in between acquainted with playing (or should you say: much for this magnificent festival and took place a three-day chamber music by Prof. Mihule, this time: “Martinů and “handling”) the Theremin, in a workshop, lovely weekend! festival, totally devoted to Bohuslav the “école de Paris”. Both contributions given by Lydia Kavina, Lev Theremin’s last Music of Martinů is not that appreciated Martinů.The program was built every day of Prof. Mihule make curious about his pupil. In this way we learned in play the everywhere in the Netherlands. around a theme: so for the first day: biography of Martinů, until now only in properties of this peculiar musical instru- The Dutch critic Frits van der Waa wrote Martinů and Kaprálová. In a late-afternoon Czech, once translated and published in ment. It was a very special experience, in the De Volkskrant after the performance and evening concert, sixteen songs gave English, I hope! to attend a live performance of Martinů’s (November 8, 2006) by the London Sym- a good impression of the song-composing Next to the 7 Arabesques (for violin and Fantasy for Theremin, Oboe, String phony Orchestra (conductor John Eliott of Martinů. piano) and the Sonata for Clarinet and Quartet and Piano, H. 301.Too, the Gardiner) in the Amsterdam Concert- Of the too early died Vítězslava Kaprálová, Piano, we could hear from Martinů his Monologue for theremin solo by Lydia gebouw, ”…much less familiar stuff is the his pupil in Paris for some time, we heard third String Quartet and two short Kavina and the Spellbound concerto by Double-concerto by Bohuslav Martinů for ten songs. Besides, there was instrumental pieces for piano The Fifth Day of the Miklós Rósza for the same scoring as an in two parts divided string orchestra, piano chamber music of both composers: we Fifth Moon, H. 318, and Le train hanté, Martinů’s Fantasy were captivating to hear. and timpani. heard Martinů’s Sonata for Flute and H. 258, from the volume Paris, Exposition Ingrid Nissen (oboe) and Ksenia Kouz- The piano part, rather subordinate, was Piano, H. 306, the Five Madrigal 1937. As well from this volume were menko (piano) joined with the Bennewitz played not by Andsnes (this evening’s piano- Stanzas for Violin and Piano, H. 297, played pieces of Tansman and Harsanyi. quartet and Lydia Kavina. soloist Leif Ove Andsnes GF), but the piano and the Madrigal Sonata for Flute, Moreover we heard Roussel’s Aria for violin After the tea, for one time again Martinů: player of the LSO.The first movement contains Violin and Piano, H. 291. From Kaprálová and piano, of Tcherepnin the Sonata in one his grandiose Second Piano Quintet, much seeking buzzing plus some jokes with we could hear her Legenda op. 3a from movement for clarinet and piano; Fantasie H. 298, sounded as impressive finale to the the stereophonic orchestra, and the second 1932, and an Elegie, both for violin and and fugue by Gideon Klein (for string musical part of these three concert-days. frames drawling melodywith beautiful hym- piano. It was fascinating to hear the differ- quartet); the Rhapsodic Quintet for clarinet But still the Festival wasn’t over: just like nical clausules. Only in the third movement ences in sound language and it was striking and strings by Herbert Howells and Pavel the days before we could have a fine the lines get more direction and tension. But (for me at least) how much Martinů did Haas’ String quartet no. 2. dinner, inspired the first day by the Czech Gardiner, who keeps his musicians always not put his stamp on the composing of A concert full of variation, being for most kitchen, the second day by the French alert, still made a very captivating piece out Kaprálová.We enjoyed unforgettable of the listeners a first live-encounter with kitchen and the third day with Czech, of it.” performances by Irene Maessen (soprano), most of these compositions, I suppose. French and American elements. In between Jacobien Rozemond (violin), Eleonore Very interesting! Without underestimating one could go around and have a look over In this description I really do not recognise Pameijer (flute) and Marja Bon (piano). the performances by Radka Dohnalová an extensive exposition about life and the Double Concerto, H. 271.The more In the interval between the two concerts (violin) and Daniel Adni (piano) – their work of Martinů, or look at TV-films about I regret having not had the oppportunity there was an interesting talk by Prof. encore Avec un doigt, H. 185,was more- the composer. to be present at this performance Jaroslav Mihule, entitled:“Martinů and over very original – I want to stress the I myself want to thank the organizers very myself. n

CONCERT IN VALENCIA A QUERY FOR THE READERS

SANTIAGO CASTILLO On top of everything, I felt a little cheated RICHARD BEITH also by the conducting of Libor Pesek, of LAST FRIDAY I had the occasion of whom I have a recording of the Martinů IN JULY 1940 many Czechoslovak soldiers and airmen reached Great Britain after attending a concert of the Orchestra of Piano Concertos, which I greatly value. the defeat of France.The first public manifestation by the Czechoslovak soldiers in Valencia under the direction of Libor I found him last Friday lacking enthusiasm Britain took the form of a concert given at the Gaumont Palace Cinema in Chester Pešek in which the symphonic cycle with the orchestra-maybe because the on 28 July 1940. „Má vlast“ was performed, as well as the level of its playing is not optimal-resigning first performance by the orchestra of himself to a lackluster performance. Martinů’s Concerto for Trio with Piano As a counterpoint to my previously and Orchestra with the participation of indicated evaluation, the performance the Parnassus Trio. of the Trio Parnassus in the Martinů In my opinion, the experience of listening Concertino for Piano Trio and to the Martinů piece was not as satisfying Orchestra, H. 232, has received a good as I had hoped (other than the fact of review in the local edition of the national having the good fortune of listening to magazine ABC. one of his works). In it, although they respect the perform- Originally, the anticipated work was the ance of Má vlast, they point out: Concertino, not the Concerto. I don’t „I don’t think they rehearsed enough.“ know why it was changed. Nevertheless, Concerning the Martinů work, they I don’t think the Parnussus Trio was contrast: „…not so with the Concerto accustomed to playing Martinů, both from for Trio with Piano and Orchestra, musical what I have seen on their webpage, and brain child of Smetana. Of advanced tonal from what I could appreciate of their language and formally in the style of rendition.All this without prejudging the a baroque concierto grosso, it counts artistic level of the group. on a notable interpretation by the Trio The problem was the fact that the playing Parnassus and the strings of the orchestra. of the individual soloists could not be What more, this the first performance in distinguished when they played together. Valencia.“ (Joaquin Guzman. ABC-Valencia) They produced a confused hodgepodge Item 6 on the programme consisted of three solo items for cello, which included of sound. Perhaps the problem was just one piece of the Pastorals, H.190, by Bohuslav Martinů, however, it does not give acoustic in nature. the name of the performer. Can any reader identify this army cellist?

BOHUSLAVMARTINŮNEWSLETTER3)2006 s with… iew— Interv Zaidee Parkin

BARBARA RENTON B.R. / And what about Hindemith? B.R. / At the time you were studying Did he have anything to say about with Martinů, the Mannes school was Hindemith perhaps? giving some concerts. I donęt know if Many thanks to Barbara Renton for providing us the recording of her interview; you know anything about whether his it took place in March 31, 1981 in New York City.The interview is abbreviated. Z.P./ Not to my knowledge. I think he music was played at concerts. found Hindemith on the academic side. Martinů was an extremely young, creative Z.P./ I remember in those three winters man. His technique was very much at the in New York there were a great many Barbara Renton / Z.P./ Oh, very much so.We worked on service of his ideas. He was essentially performances of Martinů.At Carnegie Hall Miss Parkinson. How did you come a cello sonata together. He had just been creative and very, very boistfully creative, and I remember I went in the city centre to know Bohuslav Martinů? writing his. He told me at one point he intuitive, inspired…his eyes were full of to the Comedy of the Bridge. wanted me to write a small opera, so he joy and full of love and full of wit humour. Zaidee Parkinson / sent me to the library, he thought chinese He was a man who was very essentially B.R. / Yes, that was performed in those I, as a child was a composer. I started themes would be good and so I went and an artist.And his technique was very much years. Did he ever talk about these composing about eight years old. When took out this book of chinese stories and at his service. So therefore I think he would performances at all? He expressed I was 14 it was decided that I should have they were fully photographic, all of them, not have been influenced by Hindemith the difference to how his works were serious theoretical study and at that time so he was terribly embarrassed. I actually who was so much the technician… performed and it would be interesting, in the Mannes College of Music Martinů never did write an opera with him, but you know. Did he ever mention was teaching composition I have been I wrote a trio, a piano sonata, a cello B.R. / So he wouldn’t give much anything about them? Were there there since I started my musical studies at sonata and… that are the things sympathy to those who had more performances he liked or a conductor the age of 6 and so they submitted to him I remember best, actually. technique than ideas. or interpretation? my compositions.And I remember in the fall of that particular year when I was 14 coming into the corridor to Mannes School, waiting outside the door and the door opened and this tall, wonderful man came out and put his arms on my shoulders and said: „Oh, so you are the one.“And that’s how started our relation- ship. We studied for three years. I was 14 and I studied with him till I was 17. And then he left for Europe.

B.R. / Had you heard of Martinů or Zaidee Parkinson his music before? B.R. / And would you say that from Z.P./ Yes, exactly.Although working a lot Z.P./ No, I don’t remember that he spoke Z.P./ No, but I was studying piano, your three years studying with him, at the piano, he was originally a violinist. about that. because I am a pianist, with another Czech that his method was methodical? And in his piano music it’s strongly string- whose name was Hans Neumann and like. For example sonore playing with the B.R. / Did he ever mention any critics? he had told me all about Martinů and Z.P./ Not really methodical, but it was weigh. I think he was indifferent to them. Martinůs music and that he was a very it was tremendously logical from the great composer. So I was somewhat harmonic point of view. He was a great B.R. / In the Piano Sonata No.1. Z.P./ Yes, I think very much so. I think he prepared. musician. He was a composer I would say, would like having his performances though that had been and was influenced by Z.P./ Yes, which is one of his latest works. it was always very important for him that B.R. / When you studied with him, was greater giants of his time. For example He only wrote one piano sonata. It came I come, I remember that. He wasn’t an your setting a class or was it… Bartók and Stravinsky were very two years before his death. He was already ambitious man, he was the most important to Martinů. in Europe when he wrote that work. Long unworldly, impossible human being. Z.P./ No, I studied privately once a week. sections of that sonata are contrapuntal I would bring him my sketches and we B.R. / Did he say so? two voices: one in the left hand: one in the B.R. / It made things difficult for him would make compositions out of them. He right that sounds more like two violins or in the United States… once told someone, that I was one of the Z.P./ Yes,he spoke often about that. As viola-violin than actual piano music. best students for sketching pieces. I had he did about… there was much literature Z.P./ He hated it here, and wouldn’t we a very good insight into how his musical that was very important to him for B.R. / Did Martinů’s style or his go to the second section, I will tell you mind worked. It was largely intuitive the example the Russian literature meant a lot teaching have any influence on your more about that. In that Sonata, that I’ll way he worked.And it was also greatly to him; but Dostojevski much more than own creative work? play, there is a tremendous amount of improvisational. He worked always with Tolstoj.And although I personally think nationalistic music. I think Martinů went the piano, although he was perfectly that he is a treasure as a composer, I think Z.P./ Yes,as a young person I was com- back in the later part of his life to reaching capable of composing in his mind without that he himself would have made no bones pletely influenced by him. And it would the Czech spirit and the Slavic spirit in a piano, but he enjoyed working with the about being influenced by those particular turn easy for him, because I loved him very music. Much of his middle period was piano.And he would find sonorities, he two composers. He didnęt speak much much and I loved his way of making music. influenced strongly by French music, as you always worked in segments. His form and about his fellow Czechs, for example So I would go home and improvise and know he spent seventeen years in Paris. style of composition was sectional. Janáček, it was more what I remember write very much in his style. And even though there is still especially at Bartók and Stravinsky which were his the beginning of the second movement of B.R. / That’s why we have great insight main influences. Not at all Schönberg as B.R. / Did you continue that way? the Sonata a French influence, neverthe- and this is exactly the impression his I remember, he was not part of the atonal less there is an extraordinaly lyrical and music is. Did he give you any specific school, you know it was flourishing in his Z.P./ When Martinů left for Europe, slavic quality in that Sonata, which to me assignments? time. I never wrote another piece of music again. expresses a kind of return and also a great d BOHUSLAVMARTINŮNEWSLETTER3)2006 iew— son Interv

grief about his twice-being exile, he was just detached onto those because they politan, he wasn’t coming to America to would build a kind of a fillabry of melody. exiled twice as you know, and in his sonata seem to you to have had some particular find the American roots at all. He enjoyed working that way. there is an enormous amount of expres- meaning to him, but I think that this was sion about that. very largely a way of writing that he used B.R./ Do you think that he was writing B.R./ One thing you mentioned rather and he would have used other things also. works specifically for somebody, way was the finding of sonorities and B.R. / So perhaps he tried to come let’s say for Charles… one is strucked by the sonority, the to terms with the fact, that there is B.R. / So his writing was almost iridescent colours that he can obtain. no return.The pensive voice. a statement of his own self, creative Z.P./ No, no he would be commissioned, or autobiographic… he was a very poor man and he made Z.P./ Yes,yes very definitely.Always clear Z.P./ Yes,and the music is deeply spiritual. money that way. sounds and very, very slavic in that way. You hear organ music, you hear fragments Z.P./ Yes,and he could do very much Happy, clear and very melodious. that return to Bach like Cantata themes what he liked, because he was, as I said, B.R./ He seemed to like to know and…he was not an orthodox religious, a very, very strong musician, you know he who it is for and perhaps hoping that B.R./ Did he mention anything about but he was obviously deeply spiritual. was fundamental… they would really like it and enjoy melody? I have heard that he liked to playing it. put melody in his work… it emerges B.R. / Do you know the “Fantasies B.R. / Yes, his craft of composition was from the material to have it’s own way, symphoniques”? There are direct very sound and while he was in Paris, Z.P./ I suppose, although I think, that so to speak, to grow… But I don’t know quotations, some of which are from his you know he did try out some of the really came directly from personal contact if he mentioned this in any way. Czech roots, you might say, they had new american ideas, the Jazz and the and then for a commission and something a private meaning for him; from Ragtime… that he would live on. He was very poor Z.P./ No, I think it was very much more Dvořák’s Requiem, the St Vencelslav always. as the sort of work we did together at the

Bohuslav Martinů in New York, 1955–56

Chorale, then from his own works Z.P./ Yes,and very successfully, too. B.R./ Would you characterize his style keyboard.These things were evolved. But “The Field Mass” and “Juliette”. as more a variation technique perhaps, it is true that an opening statement with B.R. / And then “musique mechanique” using germinal motifs… Martinů would be rather a complete Z.P./ Yes. that was popular for a short while… melody, rather than a germanic sort of… do you think that he ever was Z.P./ No, I would say more sectional than like beethovenesque, absolute, the small B.R. / And he mentioned himself to influenced by American music? variational. gem. But then again I think that comes Šafránek that there was a private from the strong dedication and meaning for him in these themes. Z.P./ No, I don’t. In fact I think that he B.R./ When you brought your sketches attachment to the string style. was alienated from his country. Idon’t to him, did he place them at the piano Z.P./ That’s interesting because contem- think that he was happy here. and then play and talk… B.R./ Did he work with you on string porary composers now use so much technique? fragments of other composers and things B.R. / So American stylistic elements Z.P./ Yes, yes and then we worked with which have personal meaning to them but are not to be found? them.And we would talk about it and we Z.P./ No, not at all but it was quite this was very original in Martinůs time. would improvise with it and… he would obvious even at the piano board at the Idiomatically and personally he was in fact Z.P./ He was deeply involved in art, compose it for me so to speak, you know, keyboard that he was a contrapuntal man. reaching far into the future in using this always, and I remember when he went giving me ideas to go home with to work kind of technique. back to Europe we shortly visited him, on them myself.That was something like B.R./ Is there any other thing you my mother and I.After he returned he a sonata, like a movement of a sonata he would add about his teaching before B.R. / Yes, yes he was. Do you have any was in Nice, he had a Guggenheim would then try to sketch the bigger we move on to his other facets, his insiders to what these snatches might Fellowship for two years, and at that time architectual plan for me, where would I be teaching or his music? mean or was it perhaps a stream of he was working on one of his great last going in forty-eight measures from there conscious or unconscious or would you symphonic works of the Frescoes of or sectional work was my second theme Z.P./ Not really and I remember once say it might be deliberate? Piero della Francesca.And I remember going to be and how would it contrast. Gerafanine came to me at cocktail party he had a big book of della Franscesca, and asked me if I would please, he was Z.P./ No, and I would say that actually which must have cost him a fortune to B.R./ So he did have a concept of writing a book about Martinů or an article you can pin-point those particular buy. And he lived in his tiny, tiny carvel sonata form being that work, of some or some such thing if I remember and snatches, because they are interesting to in a cliff, actually, absolutely in the hole overlying structure… I tried at that time, thinking and then you in terms of the fact, that they come in a cliff and he had made one years’ I realized this was indeed a hard subject specifically from his village or his past but money last two years.When he was Z.P./ Towards this he was quite conven- because the work we did together was I think you will find in Martinůs music, that writing this work at that time, and he was tional that way. He used a lot of ostinato so largely the intuitive and of course that he used other such fragments the same totally involved in Piero della Francescas as I remember; it was a way he played with was one thing that bridged the great gap way that were less personal.You may have paintings. I think he was more cosmo- melody and add sounding and over it he between a fourteen-year-old american girl >

BOHUSLAVMARTINŮNEWSLETTER3)2006 f iew— Interv with… Zaidee Parkinson

and a sixty-year-old Czech man.There B.R./ Yes. seemed to no emotional gap between us and I think that’s because the work was Z.P./ And he knew he had stomach cancer, so intuitive. so he expressed desire to learn the German language two weeks before he died. He said B.R./ How well did he speak English? German was something he had always wished to learn and never had had time to Z.P./ Very well, I remember… he did very learn.And he started to very very seriously very well. study German, knowing that he had two weeks, four weeks to live. It was a wonder- B.R./ So you were communicating ful sign of courage I thought. perfectly? B.R./ Almost an act of define. Z.P./ Absolutely. Z.P./ Yes, wonderful, deeply courageous. B.R./ That’s exactly what he was He was one of the most wonderful human saying. Now, you mentioned his other beings that I remember in my life: Shy and passes, that he was a man of many never putting himself forward but just an interests beside music, you mentioned extraordinary human beeing he was. art as one of these… B.R./ If you had to think of a few words, Z.P./ Yes,art and literature. a few adjectives to describe him; you used many, so well that I really feel B.R./ Literature, especially the Russian deprived not having met him… literature. Z.P./ He was handsome too, very tall, Z.P./ Yes,although anything and anything, a wonder looking, very tall. he was a big reader. B.R./ That you don’t get from the B.R./ How did you come to discover photographs, you only see the upper this aspect? part of him.

Z.P./ Because it would come in our Z.P./ Yes ,really, very tall, slender, elegant work together. We would discuss Bohuslav Martinů in Vermont, USA, 1950 man, wonderful blue eyes and tiny chin, literature and other composers and large nose, very elegant. what he thought of them. It seemed to than that… he was just a very much a man we walked through the Tuileries together. be very natural. of his time. And it was… wonderful. I will never forget B.R./ And if you were giving a few that. adjectives to describe the person, the B.R./ Yes, when he mentioned other B.R./ Did he have any theories about And then he said to me, I was quite young, musician, the teacher; would they be composers, you mentioned Bartok and art or literature or politics? about seventeen. He said:”No, I can walk similar perhaps? Stravinsky, did he ever mention Corelli, on the street with you without embarras- he was supposed to have been Z.P./ No, but remember I forgot… sment.” Because at fifteen a was a very Z.P./ Yes, but teaching was not a strong influenced by him… because I was fourteen, fifteen, sixteen. slender and rather pretty girl, and he says part of Martinůs life at all. He certainly I suppose he would have imparted very walking on the street with me in those taught to make money; he didn’t particularly Z.P./ No, he certainly didn’t. I never much of that to me. But there is a nice days to need my mother with him. have a vocation to teach. And that was, remember any mention of Corelli. But story I could tell you. I brought Martinů to I suppose, one of the reasons why in some much mention of Stravinsky was the main meet my mother.We met and we walked B.R./ You brought up to fact that he ways it was so valuable studying with him and major influence in his life as far as down the street together, her appartment was anxious to return to Europe. because you felt that you were having the I remember it. was very close to the Mannes College of man himself when he taught, because he Music.And we had tea, and actually it Z.P./ He hated New York, he complained didn’t have a form, he didn’t have a theory, B.R./ That was the Stravinsky of that turned out that my mother was influental a lot about the gas from the motorcars he didn’t have a procedure, he didn’t have time or the earlier Stravinsky? in Martinůs life because she knew Henry and the smell and stention, that you a “I’m a teacher now, this is my method.” Mowes, the head of the Guggenheim and couldn’t drink outside in a Cafe and he at all. He’d just say “This is how I do it. You Z.P./ Anything Stravinsky was doing was it was through Mr Mowes that Martinů really loathed the whole way of life of do it.” And so you had more insight into interesting, in Preston it was of great received his Guggenheim, sending him New York. how he worked creatively than he would interest to Martinů and I think he really back to Europe, where he was so anxious have had cared more about teaching. worshiped Stravinsky and his mentality to go. So I remember about the first year B.R./ Did he express any other too.Albeit he was not a sentimental man after I studied with him I went to Paris for opinions about American ways, it is B.R./ He didn’t have a preconceived he was a rather acid and urbane, cosmo- the first time with my mother and brother not say that he was wrong or right but method so that you were really free politan, rather leftist, absolutely up to date, and in those days, you know, it was those certainly he was… to create yourself. he was a man of his time, I suppose. propeller planes, not jets, it took about 17 hours to get there and we were in the Z.P./ What I remember, his one desire Z.P./ Exactly.That couldn’t have been B.R./ Having lived in Paris, indeed hotel and collapsed in bed to sleep a good was to get back to Europe.There is a better, you know,…I’m sorry I didn’t go I’m sure he knew all the latest currents 24 hours when the telephone rang and it a wonderful story which I don’t know on to become a composer; at least I hope and kept in touch with them… was Mr Martinů waiting downstairs for whether you have heard or not; you know I can do him justice by playing his music. me. So I jumped out of bed and I ran he died of stomach cancer, he was taken Z.P./ Well, yes and it was surely his downstairs.And he said:“I wished to be to I believe it was in Switzerland at that B.R./ Thank you very very much own intellectuality, it was more instinctive the first person to show you Paris.” And time, was he finally? Miss Parkinson. n g BOHUSLAVMARTINŮNEWSLETTER3)2006 THE UNREALIZED — woRld pRemieRe Research

GABRIELE JONTÉ completed the first three acts much was Martinů’s friend, and after Kazantzakis earlier.The Universal Edition could have had died on October 10th, 1957, Martinů started its work with these three acts in corresponded with Kazantzakis’ widow 1958, adding the last one in January 1959, Eleni. In a letter from September 1958, The Greek Passion thus making possible a performance while Martinů wrote to her: „But at any rate, the could have had Martinů was still alive. But this did not three acts are definitely finished and I have happen; in fact, it took two more years come to Nice in order to finish the fourth its world premiere before The Greek Passion premiered in act. Several theaters are vividly interested, in Hamburg Zurich (June 9th, 1961). It is likely that and I am certain that we will see the pre- Zurich was one of the „two other high- miere during the season of 1959; there is while Martinů ranking stages“ mentioned by Hartmann. the opera of Hamburg which would like to was still alive At this point, the other one is still have the premiere, but I still have to do a unidentified. lot of work, the 4th act is the most difficult A Story of Unfortunate and The loss of precious time caused by the of all.“ (This letter is published in its origi- Regrettable Procrastinations tactically motivated procrastinations nal French version in: Růžena Dostálová prevented Martinů from witnessing the and Aleš Březina, Řecké Pašije. Osud jedné premiere of a work with which he had opery. Korespondence Nikose Kazantzakise gone through a lot of struggles, a work s Bohuslavem Martinů, Prague 2003.) Although Martinů’s The Greek Passion that demonstrates the composer’s deep Martinů obviously still believed that the (Second version; H. 372 / II) was humanity. In Nikos Kazantzakis’ novel Christ premiere would take place in Hamburg. practically finished and ready for Recrucified, on which the libretto of The He was not aware of the fact that other the Hamburg stage in 1959, it was Greek Passion is based, Martinů had found decisions had been made in the meantime. not to be. Newly rediscovered what he had intended to express in a major This tragic story could have been avoided. correspondence, archived at the stage work for a long time. Kazantzakis n State Library of Hamburg, Germany, indicates that Hamburg was most interested in the premiere, whereas the music publisher Universal Edition,Vienna, apparently had other priorities.

Recent investigations of the correspon- Bohuslav Martinů in Liestal, 1956 dence between Leopold Ludwig, at that time Prinicipal Musical Director of the you that I have talked in detail with Tietjen Hamburg State Opera, and Dr. Ernst [Manager and Artistic Director of the Hartmann from the music publisher Hamburg State Opera from 1956–1959] Universal Edition,Vienna, brought the about Martinů’s Greek Passion.Ihave following results to light: informed him that Martinů is making some In a letter dated 17 March 1958, Hartmann very important changes to the work that writes to Ludwig: „Further, I have noted was already almost completely finished. that you are interested in The Greek This reworking will take him 3 to 4 Passion of Martinů and you will hear from months, before the definite version of the me as soon as I can give you more precise opera will be determined.We will keep the information on the definite completion.“ Hamburg State Opera informed of the Three weeks later, on April 8th, Ludwig progress of the work and above all inform stresses the importance of this project you, as soon as possible for us, as to how in a letter to Hartmann: „The most the production of the performance mate- important question for me and for you is rial can take place.“ Hartmann continues now The Greek Passion of Martinů.As we with the following, most interesting definitely want to present a modern piece information: „In any case we are disposed next year and immediate planning is to let Hamburg have the world premiere, necessary, the answer to the question of as soon as we will have free hand the world premiere of The Greek Passion regarding two other high ranking stages cannot be decided too soon. Please inform which have been interested for a long me immediately of how the matter stands, time. Besides, I am almost afraid that we if the piece can be finished at all and if won’t be able to make use of Tietjen’s we can count on holding the premiere.“ offer to possibly present the opera at the It is remarkable that it takes Dr. Ernst end of the coming season, as the produc- Hartmann almost two months to answer tion of the complete performance material Ludwig’s urgent request. In the first part of including piano reductions would be his letter from June 2nd, 1958, he explains almost impossible in such a short time.“ that he just returned from a longer It looks as if Hartmann did not want journey and regrets to have learned that Hamburg to perform The Greek Passion. Ludwig had been quite ill in the meantime. Of course it would have been possible Then he makes the following statement: to produce the perfomance material by „Regarding your letter from the beginning the end of the season! It is true that of April, about which I had hoped to talk Martinů did not finish the opera before to you in person, I would just like to tell the beginning of January 1959, but he had

BOHUSLAVMARTINŮNEWSLETTER3)2006 h SCEPTICAL — nts– Research INTELLECTUALISM Eve MEETS MARTINŮ’S Ariane

GABRIELE JONTÉ CONCERTS

LAST SUMMER, I gave a talk to German 9 January 2007 musicologists on the topic of Martinů’s • Maison de la Culture, Clermont-Ferrand, Ariane.This included listening to the France complete 45-minute-opera. I had been Partita (Suite No. 1), H. 212 looking forward to this event for months, Orchestre d’Auvergne anticipating reactions of interest and even Jean-Jacques Kantorow – conductor joy. But surprisingly, I was confronted with prejudices and ignorance concerning 12 January 2007 Martinů’s music. It was claimed that the opera was stylistically anachronistic and • Prague Academy of Music, Praha, CZ Concerto for Cello and Orchestra No.1, eclectic. Even specialists for baroque music H.196 could not appreciate Martinů’s masterfully Philharmonic Orchestra Hradec Králové displayed references to the work of www.fhk.cz Claudio Monteverdi. Lukáš Vasilek – conductor The surrealistic metamorphosis of the ancient myth was also misunderstood. 15 January 2007 / 8.00 pm There was a music philosopher in the • Pittville Pump Room, Cheltenham, UK String Quartet No. 5, H. 268 version of The Greek Passion; possibly Škampa Quartet noticing the first signs of his fatal disease. Besides, inner conflicts like the one 17 January 2007 / 7.30 pm Theseus is experiencing in the opera were not unknown to Martinů.Thus, it is likely • Dvořák Hall, Rudolfinum, Prague, CZ that he identified both with Theseus’ fight www.czechphilharmonic.cz and with Ariane’s farewell as expressed Czech Chamber Music Society – 30th Anniversary in her final aria. But again:That ominous of Founding of the Martinů Quartet Piano Quintet No. 2, H. 298 afternoon in June, nobody seemed to be Martinů Quartet moved by Ariane’s „Je respire une dernière Karel Košárek – piano fois“.A Mozart specialist even said that people who shared her sadness were to 18 January 2007 / 7.30 pm be pitied.This is the cynicism of scholars who have lost touch with their feelings. • Concert Hall Otakara Jeremiáše, Analysis of music makes sense only when České Budějovice, CZ connected to the esthetic whole which www.music-cb.cz Kitchen Revue, H. 161 can only be experienced sensually and South Bohemian Chamber Philharmonic emotionally. Orchestra When I walked home after this experi- Stanislav Vavřínek – conductor ence, I said to myself with the words of Milan Svoboda – piano Theseus: „Il faut que je serre contre moi Silvie Hessová – violin

audience who betitled Martinů’s Theseus 20 January 2007 as a „colourless figure“ without any real problem; in his opinion,Theseus and Ariane • Salle Molière, Lyon, France Piano Trio No. 1 (Five short pieces), H. 193 did not have a common fate and questions of life or death were not involved. Nobody 21 January 2007 contradicted this statement. Nobody was impressed by a Theseus who kills his • Baar, Switzerland double, which means that his ability to love Concerto grosso, H. 263 is extinguished – with the consequence Baarer Kammerorchester that he and Ariane must part. If these are Alexa Iten Bürgi – conductor not major life questions, then what are? 25 and 26 January 2007 The beauty and depth of Ariane’s and Theseus’ encounter did not reach the • Klassiek – Koninklijk Conservatorium, hearts of these academically well-trained Bruxelles, Belgium people; some could not even imagine what Concerto for Harpsichord and Small happened to the mythical couple during Orchestra, H. 246 „un jour et une nuit“.Was I talking to Anima Eterna Symphony Orchestra adults? I had even more doubts about this Jos van Immerseel – conductor when I noticed that one of the participants Kateřina Chroboková – harpsichord Ariane in Comedy Theatre, Prague, 26 and 27 November 2004, dir. Daniel Balatka scribbled rowing cartoon figures in his 28 and 29 January 2007 notebook while listening to the archaic songs of the seven young men who are near Basel. In spite of the beauty of his quelque chose de vivant, un chien, un • Laeiszhalle, Hamburg, Germany travelling from Athens to Crete in order surroundings, the situation was difficult for oiseau, un arbre, n’importe, mais qui vive Symphony No. 4, H. 305 to kill the Minotaur. him: far from his homeland, without any qui vive.“ (German) musicology needs life NDR Sinfonieorchester (www.ndr.de) When Martinů composed Ariane in 1958, hope to return; mentally and physically and enthusiasm, otherwise it will be self- Alan Gilbert – conductor he resided on the Schoenenberg mountain stressed by working on the second destructive. n j BOHUSLAVMARTINŮNEWSLETTER3)2006 30 January 2007 / 7.30 pm OPERAS • Besední dům, Brno, CZ FROM www.sfb.cz THE BOHUSLAV Chamber Series s–– Martina Matušínská and Her Guests Three Wishes, H. 175 MARTINŮ New Trio for Flute, Cello and Piano, H. 300 DISCUSSION GROUP Martina Matušínská – flute 20 and 24 January 2007 Ondřej Valenta – cello Renata Ardaševová – piano • Volkstheater Rostock, Germany http://launch.groups.yahoo.com/group/BohuslavMartinůDiscussion/ Conductor: Peter Leonard www.volkstheater-rostock.de 1 February 2007 / 7.30 pm MARTINŮ CONCERTINO • Janáček Theater, Brno, CZ The Greek Passion, H. 372 Intermezzo, H. 330 We were able for once to attend a lunch- more and more to the fore and ending 11 and 24 February 2007 Brno Philharmonic time concert at the Royal Northern quite spectacularly.There is a strongly 14 and 24 March 2007 Petr Altrichter – conductor College of Music, on Thursday 26th jazzy and Stravinsky-like feel in the early Bernarda Fink – mezzosoprano 13 May 2007 October and what a rare treat it was. stages but this gives way to the pure Marcos Fink – bass • Moravskoslezské divadlo, Ostrava, CZ The RNCM Wind Ensemble under Clark essence of Martinů by the end.There 2 February 2007 (The National Moravian-Silesian Theatre) Rundell performed Janáček’s Mládí are tunes aplenty and Martinů’s talent www.ndm.cz followed by the Martinů Concertino in with blending unusual combinations of • Dartmouth College, Hanover, NH, USA C minor, H.143 for cello, wind ensemble, instruments and for harmony shine Serenade, H. 199 The Miracles of Mary, H. 236 piano and percussion.The Chinese cellist through. Orpheus Chamber Ensemble was briefly and unintelligibly announced so, 11 March 2007 – premiere The playing matched the music in every sadly, I cannot tell you who this superb 4 February 2007 respect and maintains the highest respect • Slezské divadlo Opava player was. for the way the RNCM trains its students. • Williams Center, Easton, PA, USA www.divadlo-opava.biz Mládí was given a pretty good perform- The whole audience was delighted by Serenade, H. 199 both performances and quite right too! Juliette, H. 253 ance. I thought the flute/piccolo player was Orpheus Chamber Ensemble failing to keep up once or twice but the The Martinů in particular was given a remarkable performance. 6 February 2007 23 and 31 March 2007 / 7.30 pm oboist, horn player and bassoonist were magnificent. This may be a „Concertino“ but it came • Carnegie Hall, New York,NY,USA • Theater Goerlitz, across as a really great work. Germany I had never heard the Martinů before in Serenade, H. 199 live performance, though it exists on an Orpheus Chamber Ensemble www.theater-goerlitz.de If I can discover who the cellist was I shall excellent Chandos CD. It is vastly superior let you know because he is a young man 11 February 2007 / 7.30 pm The Knife’s Tears, H. 169 live, because the real interply between the to watch. His technique and interpretive instruments becomes far clearer.The work ability were possibly the best I have ever April 2007 • The Forum, Malvern Theatres, Malvern, UK is short but builds steadily in both power heard from one so young. Cello Sonata No. 1, H. 277 and excitement with the cello coming Peter Herbert Steven Isserlis and Friends • Second Movement Opera, London www.secondmovement.org.uk/06future.htm 16 February 2007 / 7.30 pm (a triple bill with The Two Blindmen IS IT DIFFICULT TO PLAY MARTINŮ? by Offenbach and Rothschild’s Violin by Fleischmann/Shostakovich, staged in an • Royal Pump Rooms, Leamington Spa, UK The very short answer to the question matter.Although it is a beautiful piece, String Quartet No. 2, H. 150 old banana warehouse in Covent Garden) Martinů Quartet is yes… and no! I have played many of Peer Gynt for example is a „tough nut“ The Greek Passion, H. 372/II Martinů’s orchestral works over the last for the orchestra. 40 years. He can be technically demanding 22 February 2007 I think I would say that Mr Martinů is not 11 and 22 May 2007 (some of the symphonies in particular and a composer you can „settle back“ and play. • Dům umění, Zlín, CZ some of the operas) but no more so than You are on your toes all the time and www.fbmzlin.cz • The National Theatre, Janáček in this respect but where Martinů Prague, CZ there is a lot of concentration involved. Concerto for Cello No. 1, H. 196 can be demanding is in concentration www.narodni-divadlo.cz He also wants pretty secure intonation The Bohuslav Martinů Philharmonic Orchestra terms. Jakub Hrůša – conductor from the orchestra as you will find Tomáš Jamník – cello His frequent use of syncopation – and yourself darting about between keys. sophisticated syncopation at that – means 4 March 2007 FESTIVALS I would think players of his solo and frequent time signature changes and even chamber music would find roughly within straight time signatures significant • Auditori Enric Granados, Lleida, Spain the same – beautifully written for the counting concentration as in Measure. Concerto for String Quartet RNCM Chamber Music Festival instrument(s) involved but not an easy with Orchestra, H. 207 10–14 January 2007 Whatever you will find yourself playing in ride in execution. “Intimate Letters from Eastern Europe“ Orquestra Simfònica Julià Carbonell say 4/4 time on 1–3–4 beats and in the de les Terres de Lleida • Royal Northern College of Music, I admire Martinů and Janáček because, next measure on 2–3 and in the next 1–2. Alfonso Reverté Casas – conductor Manchester, UK although they often make tough demands, So in general he is a difficult composer for they are never impossible.That’s fine by 11 January 2007 / 2.30 pm what I might call „memorised rhythm“. 18 and 19 March 2007 me! You often do not get it and he has to be • Schloß, Kiel, Germany • Opera Theatre „read“ every time. I played on the world premiere recording Symphony No. 5, H. 310 Nonet of Echec Au Roi and that was a counting He is not alone in this.The same is true Philharmonisches Orchester Kiel nightmare for my section but brilliantly 12 January 2007 / 7.30 pm of Prokofiev as opposed to Shostakovich Johannes Willig – conductor written for it and so, after cursing him who frequently settles into a rhythm silently, revelled in it : ) : ) 22 and 23 March 2007 • Concert Hall whereas in Prokofiev you will get four bars String Quartet No. 5, H. 268 of a settled phrase before he changes it – A small but important point: Martinů Škampa Quartet • Holland PAC, Omaha, NE, USA Prokofiev’s ballet Romeo and Juliet is played in a professional orchestra and it Symphony No. 6 a good example of this. has been my experience that those com- (Fantaisies symphoniques), H. 343 14 January 2007 posers who have or who have conducted Omaha Symphony Mr Martinů is also one of those com- one are readily able to distinguish between Edward Gardner – conductor 9.30 am • Concert Hall posers who look „easier upon the page“ Sextet what is achievable and what is impossible than he is when you take into account the 11.30 am • Concert Hall or impractical just as, in an earlier era, counting, the accents etc.Although outside Piano Trio No. 1 (Five short pieces), H. 193 Bedřich Smetana tested his players but not of this realm, Grieg is another composer Rhodes Piano Trio with anything impractical. like that: it looks (and possibly sounds) as 7.30pm • Concert Hall Alan M.Watkins String Quartet No. 3, H. 183 if it should be straightforward but when Endellion String Quartet you come to perform it that is a different

This is only a selection of Martinů performances all over the world. Please, help us to compile the concert calendar; inform us about events involving Martinů’s music! BOHUSLAVMARTINŮNEWSLETTER3)2006 k s THE MARTINŮ INSTITUTE’S CORNER New ––

CORRESPONDENCE OWING to the devotion of Mr Kendall Francis Poulenc, who dedicated several of L.Crilly from the Irving S.Gilmore Music his songs to her. Frederick and Rose Plaut Library,Yale University (Connecti- were in the mainstream of New York City’s cut), several more details about Martinů’s musical life.Their guests included Virgil social life during his years in the USA have Thomson, Henri Sauguet, Igor Stravinsky emerged.The letters deposited in the and Edgar Varèse. Library’s archives document Martinů’s In a handwritten letter (in French) dated contacts with Virgil Thomson and 22 November 1955, Martinů says he Frederick and Rose Plaut. would really like to pay a visit to the Plauts.At the same time, he mentions the name of the composer José Serebrier (1938), who is also interested in meeting him, and suggests a meeting at the Mannes School of Music. José Serebrier would be in contact with Martinů for a certain period of time and become his pupil.

FROM THE LIBRARY of Northwestern University and thanks to Mrs Jeanette L. Casey we have acquired important copies of correspondence relating to the performances of Martinů’s orchestral MISCELLANEOUS Concerto Grosso (H. 263) in the USA in the 1940s.The three letters from Martinů THE S.S. EXETER in which Martinů sailed from Lisbon to New York in March 1941 to Fritz Reiner (1888–1963) date from (Copy of the postcard provided by Richard Beith) y Irving S. Gilmore Music Library 1942.This renowned American conductor of Hungarian origin performed Martinů’s Virgil Thomson (1896–1989), the Ameri- Concerto Grosso on 4 and 6 November can composer and outstanding music 1942 with the Pittsburgh Symphony WE HAVE received from Michaela Štrausová a nice photograph of a boat named reviewer, monitored Martinů’s composing Orchestra. Fritz Reiner’s fame is primarily Mariken van Nimweghe she took during her visit to the Netherlands.The boat is fate right from his arrival in the USA. In connected with the Chicago Symphony named after the heroine of a 15th century Dutch miracle play Martinů set to music the New York Herald Tribune he reviewed, Orchestra, which he was at the helm of in 1933, creating the libretto on the basis of a drama by the Belgian playwright Henri among other things, Martinů’s US premiere between 1953 and 1963, creating from it Ghéon.The Czech version with Vilém Závada’s libretto was later remade and included of Concerto Grosso (H. 263) with the a truly first-class ensemble. In the letters in the tetralogy The Miracles of Mary, H. 236. x Boston Symphony Orchestra on 14 Novem- Martinů asks Reiner to state whether he ber 1941, and subsequently also the New will include in the Pittsburgh Symphony York premiere of Martinů’s Symphony Orchestra’s programme for the next No. 1 (H. 289) in 1942. In a letter addres- season his composition Sinfonietta sed to Bohuslav Martinů dated 17 January Giocosa for Piano and Small Orchestra 1956,Thomson sends cordial greetings and (H. 282). In the second letter he thanks encloses a copy of the expert’s opinion for Reiner for his prompt reply, as well as for the John Simon Guggenheim Memorial the news about the scheduled perform- Foundation.Thomson writes about Martinů: ance of Concerto Grosso, which will be “Martinů is an absolutely first-class com- dedicated “to the martyrs of Lidice”. In his poser. He has a hard life, teaching and last letter dated 11 December, Martinů writing on commission to support himself expresses his thanks for the composition and his devoted wife. For the new opera, being performed and again reminds of the which is a large project, he needs freedom aforementioned Sinfonietta Giocosa. n from these routines…” The opera men- tioned is most probably The Greek Passion, H. 372 (1st version). Martinů had already obtained a scholarship from the Guggenheim Foundation back in 1953 when he was working on the opera RARE HISTORICAL RECORDINGS Accusation Against the Unknown (H. 344), which remained unfinished and was fol- Mr LOUIS MOYSE has donated the following rare recordings to the Bohuslav Martinů lowed by the successful opera Mirandolina Institute for its archives of historical recordings: to the text of Carlo Goldoni’s play. A single letter has been preserved from Live recordings from the Moyse Trio’s concerts in Brattleboro (Vermont) at which Martinů’s correspondence with the Plauts. Martinů’s Sonata for Flute,Violin and Piano (H. 254), Trio for Flute, Cello and Frederick Plaut (1907–1985) was Piano (H. 300), Trio for Flute,Viola and Piano (H. 300) (arr. by Louis Moyse) were a German recording engineer and photo- performed – recording dated 4 November 1961; Sonata for Flute and Piano (H.306) grapher who worked in the USA on the – recording dated 24 November 1963 (recorded by Vermont Recordings, Live Performance). most prestigious projects of Columbia Pictures. His wife Rose, a Polish-American A recording of the US premiere of Martinů’s Nonet No. 2 (H. 374) which took place soprano, launched her career before the on 26 July 1964 within the Marlboro Music Festival in Vermont (flute played by Louis war in Paris and was a close friend of Moyse). l BOHUSLAVMARTINŮNEWSLETTER3)2006 AUTOGRAPHS THE AUTOGRAPH of the score and THANKS to the family of Blanche Adagio (pages 26–35) – and the parts s–– the parts of the composition Promenades Moyse Honegger and to Richard Reily, transcribed in an unknown hand New (H. 274) has been obtained as a gift by the Bohuslav Martinů Institute has indispensable for the critical edition of Aleš Březina, director of the Bohuslav also received a generous gift from the the work under preparation – solo flute, Martinů Institute, from Mr Louis Moyse, Brattleboro Music Center (Vermont, solo violin and orchestra string parts. son of the virtuoso flautist Marcel Moyse USA).The sources for Concerto for Martinů dedicated this concerto to the (1889–1984).“Promenades” originated in Flute,Violin and Orchestra (H. 252, phenomenal flautist Marcel Moyse and his February 1939 and with its instruments – 1936) contain the autograph of the score daughter-in-law Blanche Honegger Moyse, flute, violin and harpsichord – refers in – only part of the second movement who premiered it in 1936. musical terms to the pre-classical period. (See also pp. 9–10) The preserved manuscript forms a key source for the critical edition under preparation. x

NEWLY DIGITISED NEW CDs SOURCES IN THE BOHUSLAV MARTINŮ INSTITUTE Martinů: Complete Bohuslav Martinů. Piano Music, Vol. 1 Choral Works THE LIBRARY of Congress (Washington, DC) has sent to the Bohuslav Martinů Institute a digitalised version of String Sextet (H. 224). Martinů wrote the chamber • 8 Preludes, H. 181, • Czech Madrigals, H. 278 piece for two violins, two violas and two violoncellos in 1932 for a competition invited • Fenetre sur le jardin • Four Marian songs, H. 235 by the Mrs Coolidge Foundation within the Music Department of the Library of (Window on the Garden), H. 270, • Madrigals (Part-song book), H. 380 Congress in Washington.The sextet won the first prize and the composer received • Bajky (Fables), H. 138, • Brigand Songs II, H. 361 1,000 dollars, which he used to buy a piano of his own. • 3 esquisses (3 Sketches), H. 160, • The Romance of the Dandelions, • Le Noel (Christmas), H. 167, H. 364 • 5 esquisses de danses Netherlands Chamber Choir (Dance Sketches), H. 220, Conductor: Stephen Layton THE MANUSCRIPT sources digitisation project has continued in phases since • Foxtrot, H. 126 Recorded: September 2003, Augustinuskerk, Amsterdam September 2006.The musicologist EvaVelická is coordinating electronic processing Giorgio Koukl, piano Publisher: Globe / Glo 5208 / TT: 59:35 of the autographs the Bohuslav Martinů Institute has obtained in recent years. Naxos LC 05537, 2006 Texts: English, French, German Digitisation of sources deposited in the Czech Museum of Music is being negotiated too.The latest additions to the database are autographs from Karel Šolc’s probate estate – 3rd movement of the score of Nonet No. 1 (H. 144, 1924), Sonata in C major – for violin and piano (H. 120, 1919) and the chamber Piano Piece without Title (H. 141, 1924). Furthermore, the first nine pages of the radio-opera The Voice of the Forest (H. 243, 1935), Duo for Violin and Violoncello No. 2 in D major (H. 371, 1958), a piano extract of Rhapsody – concerto for viola and orchestra (H. 337, 1952) – all of them B. Martinů’s manuscripts. Digitised from SašaVečtomov’s probate estate has been the copy of the score of Piano Trio No. 3 for violin, violoncello and piano (H. 332, 1951) with B. Martinů’s remarks.These autographs are available for study or reference at the Bohuslav Martinů Institute.

News prepared by Lucie Berná

BOHUSLAVMARTINŮNEWSLETTER3)2006 ; MUSIC PUBLISHING HOUSE EDITIO BÄRENREITER PRAHA Harry Halbreich / ANNOUNCES ITS NEWCOMER Bohuslav Martinů – BOHUSLAV MARTINŮ Werkverzeichnis STRING QUARTET no.5 und Biografie String Quartet no. 5 is indisputably one of the most • At one time the only Harry Halbreich important chamber works by Bohuslav Martinů, which its foreign-language modern, supremely dissonant and chromatic mode cap- monograph about one tures attention.The work was published as a pocket score Bohuslav of the most celebrated only in one edition (1959) until today, so the musicians ° composers of the had to perform it from bad transcripts and its copies. Martinu 20th century. Martinů wrote the work in Paris from April to May 1938 • An updated catalogue and considered it to be so private that, his whole life, he Werkverzeichnis of works with a detailed und Biografie declined to publish it (the complete particell of the work description of contains, apart from other things, several personal notes compositions, including which document not only the circumstances linked with the latest results of the origin of work but also the composer’s intimate rela- research. tionship with the talented composer Vítězslava Kaprá- • It also contains an updated lová, 25 years his junior.The quartet is dedicated to her). biography of the composer It was only a few months before his death that he gave bringing a new view into permission for the work’s publication, but he did not par- his private life, as well ticipate in publishing at all. Thanks to Aleš Březina and as a chapter about the Adam Klemens, the two editors of new edition, whose composer’s artistic careful work was based on studying the autograph of the personality with many note POCKET SCORE score, all problematic and rather wilful editor’s inter- examples of his work. H 7941, ISMN M-2601-0343-6, Schott Music, 448 pp 68 pages, price 21 EUR ferences in the first edition are thoroughly removed. We • The catalogue was revised ISBN 3-7957-0565-7 PARTS believe that the presumed urtext edition of study score in cooperation with the (ED 20005) H 7941a, ISMN M-2601-0344-3, and parts will support that Bohuslav Martinů’s String Bohuslav Martinů Institute 80 pages, price 36 EUR Quartet No. 5 becomes the number in repertoir of many in Prague. Czech and foreign ensembles.

MUSIC PUBLISHING HOUSE BOHUSLAV MARTINŮ String Quartet no.6 / H. 312 EDITIO BÄRENREITER PRAHA Edited by Aleš Březina and Ivan Štraus ANNOUNCES — An informative preface and critical commentary by Aleš Březina and Ivan Štraus (Cz/ Ger/ Engl/ Fr) — A new, practical edition at the forefront of Martinů scholarship ITS NEWLY REVISED EDITIONS — All existing sources consulted The String Quartet no. 6 by Bohuslav Martinů (1890–1959) represents a distinct step on the journey which the composer characterised as his development from “geometry to fantasy” and for which the almost continuous use of the principle of developing variations, restless harmonic development, the pulsation of minute rhythmic values and inventive work with sound are characteristic.The quartet, which was written in New York in the autumn of 1946, constitutes the beginning of the composer’s later works, in which moods freely overflow regardless of any predefined formal layout. The editors of the new edition (based on the composer’s autograph) have carefully removed all of the problematic and somewhat arbitrary editorial intervention in the sole existing edition dating from 1950 (actually 1955). With its urtext edition of the 6th quartet, Editio Bäreneriter Praha has continued in its series of new publications of works by Bohuslav Martinů – quartets nos. 4 and 5 have already been published for this instrumental line-up. > H 7968 (Pocket Score), ISMN M-2601-0373-3, price 21 EUR • H 7968a (Parts), ISMN M-2601-0374-0, price 36 EUR

BOHUSLAV MARTINŮ String Trio no.1 / H. 136 Edited by Eva Velická — The first printed edition after the rediscovered autograph score — An informative preface and critical commentary by Eva Velická (Cz/ Ger/ Engl/ Fr) — A practical edition at the forefront of Martinů scholarship “ROUSSEL LIKES IT, ALTHOUGH HE OCCASIONALLY SHAKES HIS HEAD” The fate of Bohuslav Martinů’s String Trio no.1, which dates from the turn of 1923 and 1924 and was lost until 2005, is somewhat remarkable. The trio is the first work which Martinů created in Paris after becoming the private pupil of Albert Roussel. It was probably performed twice in Paris during 1924. It had its Czech premiere in February 1925 and Martinů requested his friend S. Novák to make sure that “they don’t lose the scores of the things they played”, because he did not have any sketches or copies. Precisely that which Martinů feared then occurred – the sole existing version of the trio was lost; it was not until autumn 2005 that the autograph of the trio (the score and parts for the viola and cello – the violin part is still missing) was found at the Danish Royal Library in Copenhagen thanks to the searches of the Bohuslav Martinů Institute and it is after this autograph that this edition has arisen. > H 7965 (Pocket Score), ISMN M-2601-0372-6, price 18,50 EUR • H 7965a (Parts), ISMN M-2601-0377-1, price 26,95 EUR

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