THE BOHUSLAV MARTINŮ FOUNDATION THE BOHUSLAV … · the second istheexpression ofhistheatre creations through both period ... Sonata No. 2 “Inmemory of Bohuslav Martinů” Bohuslav

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MARTINŮ REVISITED / OPENING CONCERT

MARTINŮ’S MEMORIAL TO LIDICE

ENSEMBLE CALLIOPÉE / STRING TRIO No.1, H.136

LIST OF MARTINŮ’S WORKS / PART V

NEWS / EVENTS

NEW CDs

THE BOHUSLAV MARTINŮ FOUNDATIONTHE BOHUSLAV MARTINŮ INSTITUTE

THE INTERNATIONAL MARTINŮ CIRCLE martinůrevue/ BOHUSLAV MARTINŮ NEWSLETTER JANUARY—APRIL 2009 VOL.IX NO.1

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3 Martinů Revisited Highlights

4 martinů revisited—Events – Festivals

5 International Martinů Circle

6 interview—Magdalena Kožená About

the Opening Concert of the Martinů Revisited ProjectALEŠ BŘEZINA

—Martinů Days 2008

8 martinů revisited—Dream Concert Launches

“Martinů Revisited” ProjectPATRICK LAMBERT

11 special series—List of Martinů’s Works V

12 news

14 research—Bohuslav Martinů’s

Památník Lidicím – A Musical MemorialPETRA RICHTER

16 events

18 news—An Unknown Martinů

Composition Discovered—New Publications

20 new cds

The Czech Centres are partners of theMartinů Revisited projectMartinů at the Czech CentresBerlin – Budapest – Brussels – Košice – Luxembourg –Paris – So≤a – Warsaw and other cities

events:

– EXHIBITION The Martinů PhenomenonThe National Museum – Czech Museum of Music has prepared an exhibitioncomprising a wide array of exhibits pertaining to music, the fine arts and theatre.

The multimedia, dynamically conceived display is founded on two pillars: the first is the composer’s eventful life and phenomenal work; the second is the expression of his theatre creations through both periodand contemporary set-design.

The exhibition presents extensive archival and photographic material, visualand musical works, and set and costume designs, thereby affordinga comprehensive overview of this extraordinary personality of musical history.The exhibition is presented in cooperation with the National Museumand the district of Pardubice.

ITINERANT VERSION OF THE EXHIBITION

can be seen in: Paris (April / May 2009)Luxembourg (May 2009)Warsaw (June 2009)

already presented in:Berlin (February / March 2009)Brussels (January / February 2009)

– CONCERTSgiven by Czech artistsMartinů Quartet / Karel Košárek / Zdeněk Mácal /Monika Knoblochová and many others

www.czechcentres.cz

martinů revisitedevents

‹vOPERAS—›1 & 5 April, 12 May 2009 / 7.00 pm> Janáček Theatre, Brno, CZ

www.ndbrno.czJuliette (The Key to Dreams), lyric opera in 3 acts, H. 253Jiří Nekvasil (Director), Daniel Dvořák (Stage Director),Tomáš Hanus (Conductor)Cast: Maria Haan/Pavla Vykopalová (Juliette),Peter Berger (Michel)

10 April 2009 / 6.30 pm> Antonín Dvořák Theatre, Ostrava, CZ

www.ndm.czThe Greek Passion, H. 372/II (second version)Michael Tarant (Director), Václav Návrat(Conductor), Jurij Galatenko (Choir Director)

28 May 2009 / premiere3 & 6 June 2009> Theatre Ústí nad Labem, CZ

www.operabalet.czComedy on the Bridge, H. 247Zbyněk Brabec (Director)

3, 5, 8 & 10 June / 7.00 pm> Guildhall School of Music and Drama,

London, Silk Street Theatrewww.gsmd.ac.uk

The Marriage, H. 341(with Rossini: La cambiale di matrimonio)Clive Timms (Conductor), Alessandro Talevi (Director)

18, 21, 26, 28 June & 2, 5 July> Garsington Opera,

Garsington, Englandwww.garsingtonopera.org

Mirandolina, H. 346 Martin André (Conductor), Martin Duncan(Director), Francis O’Connor (Designer)

‹vFESTIVALS—›BUDAPEST SPRING FESTIVAL 20091 April 2009Czech Ballet SymphonyBallet on music by Antonín Dvořák,Bohuslav Martinů and Leoš Janáček For further details see www.festivalcity.hu

MARTINŮ FEST POLIČKA 2009 – Opening Concert11 May 2009 / 6.00 pm> Tyl House, Polička, CZComedy on the Bridge, H. 247, Voice of the Forest, H. 243 / Concert performances of the operasFor further details see www.tyluvdum.cz

PRAGUE SPRINGInternational Music Festival12 May—3 June 2009> Prague, CZ

www.festival.czVarious orchestral & chamber works by MartinůFor further details see page 4

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∑IN 2009 THE CULTURAL WORLD commemorates the 50th anniversary of Bohuslav Martinů’sdeath (28 August 1959). In anticipation of this anniversary year, many organisers in the CzechRepublic and abroad are preparing music productions at which the composer’s works will beperformed. Considerable attention will also be devoted to the artistic and cultural-politicalcontext of Martinů’s oeuvre.

operaMirandolina H.346

18 June 2009 > premiereGarsington Opera, England

www.garsingtonopera.org

exhibitionThe Martinů Phenomenon

11 May 2009, 6 pm > gala opening12 May 2009—26 October 2009

National Museum – Czech Museum of MusicKarmelitská 2, Prague 1

www.nm.cz

poličkaOpening of the Bohuslav Martinů Center

4 April 2009www.muzeum.policka.net

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23 May 2009 / 8.00 pm> Rudolfinum, Dvořák Hall,

Prague, CZSinfonietta La Jolla, H. 328South Bohemian ChamberPhilharmonic, Stanislav Vavřínek(Conductor)

24 May 2009> University of Economics,

Prague, CZNonett No. 2, H. 374Les rondes, H. 200The Czech Nonet

26 May 2009 / 8.00 pm> Czech National Bank Hall,

Prague, CZPiano Trio in C major, H. 332 AD Trio, Martin Kasík (Piano), Jiří Hurník (Violin), Miloš Jahoda (Cello)

28 May 2009 / 8.00 pm> Rudolfinum, Dvořák Hall,

Prague, CZNipponari, H. 68 Prague Philharmonia, Jiří Bělohlávek (Conductor), Dagmar Pecková (Mezzo-soprano)

30 May 2009 / 6.00 pm> Church of St. Simon and St. Jude,

Prague, CZMartinů’s CantatasKühn Mixed Choir, Marek Vorlíček (Choirmaster)

31 May 2009> Rudolfinum, Dvořák Hall,

Prague, CZToccata e due canzoni, H. 311 Kammerorchester Basel, Kristjan Järvi (Conductor)

2 June 2009 / 8.00 pm> Municipal House, Smetana Hall,

Prague, CZThe Spectre’s Bride, H. 214Prague Symphony Orchestra, Jiří Kout (Conductor)

2 June 2009 / 9.30 pm> Rudolfinum, Dvořák Hall,

Prague, CZThree Czech Dances, H. 154Libor Nováček (Piano)

‹vMISCELLANEOUS—›19 May 2009> Czech Museum of Music, Praha, CZ

www.nm.czGreek Passion – lecturePresenter: Aleš Březina

29—31 May 2009> Hotel Troja in PragueMusicological conference“Continuity of Change. BohuslavMartinů in 20th Century MusicHistory”The conference is organized byBohuslav Martinů Institute in Prague.Accompanying event of the64th International Music FestivalPrague Spring

31 May 2009> University of Eastern AngliaOrchestral Masterclass with Jiří BělohlávekToccata e due canzoni, H. 311

May 27—June 1 2009Concert trip by Luxembourg choirto Prague and Ostravato sing The Opening of the Springswith the Ostrava University choir

17 & 18 June 2009> Konzerthaus Wien, AustriaMusicological Symposiumwww.exilarte.at

PRAGUE SPRINGInternational Music Festivalwww.festival.cz15 May 2009> Municipal House,

Smetana Hall, Prague, CZDuo Concertant for Two Violinsand Orchestra, H. 264Bohuslav Martinů Philharmonic,Jakub Hrůša (Conductor), Bohuslav Matoušek, Régis Pasquier (Violins)

16 May 2009 / 11.00 am> Prague Academy of Music –

Martinů HallFantasy and Toccata, H. 281Ladislav Doležel (Piano recital)

16 May 2009 / 20.00 pm> Rudolfinum, Dvořák Hall, Prague, CZFive Short Pieces, H. 184Petr Jiříkovský (piano)Shlomo Mintz (violin)

18 May 2009> Rudolfinum, Dvořák Hall, Prague, CZString Sextet, H. 224 Janáček Chamber Orchestra,Jakub Klecker (Conductor)

19 May 2009> Rudolfinum, Dvořák Hall, Prague, CZDouble Concerto, H. 271Czech Philharmonic Orchestra,Zdeněk Mácal (Conductor),Jaroslav Šaroun (Piano)

21 May 2009 > Municipal House, Smetana Hall,

Prague, CZRhapsody (Allegro symphonique)for Large Orchestra, H. 171 Luxembourg Philharmonic Orchestra,Emmanuel Krivine (Conductor)

22 May 2009 / 6.00 pm> Church of St. Simon and St. Jude,

Prague, CZMartinů’s cantatasKühn’s Children’s Choir, Jiří Chválaand Světlana Tvrzická (Choirmasters)

23 May 2009 / 11.00 am> Prague Academy of Music –

Martinů Hall, Prague, CZJaroslav Doubrava: Sonata No. 2“In memory of Bohuslav Martinů” Bohuslav Martinů: Sonata No.3, H.303 Martina Bačová (Violin),Alexandr Starý (Piano)

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‹vFESTIVALS—›KOŠICE SPRING MUSIC FESTIVALwww.sfk.sk19 May 2009> Košice, Slovakia, House of ArtString Quartet No. 2, H. 150 Martinů Quartet

JANÁČEK MAY OSTRAVA 2009www.janackuvmaj.cz26 May 2009> Ostrava, CZNonett, H. 374Czech Nonett

31 May 2009> Ostrava, CZBrigand Songs II, H. 361The Opening of the Springs, H. 354Mount of Three Lights, H. 349Moravian Chamber Choir,Lubomír Mátl (Choirmaster andConductor)

1 June 2009> Ostrava, CZToccata e Due Canzoni, H. 311Kammerorchester Basel

3 June 2009> Ostrava, CZBouquet of Flowers, H. 260Prague Philharmonia, Jakub Hrůša (Conductor)Czech Philharmonic Chorus of Brno,Petr Fiala (Choirmaster)

4 June 2009> Ostrava, CZConcert for Oboe and SmallOrchestra, H. 353Slovak Sinfonietta Žilina

9 June 2009> Ostrava, CZConcerto for Piano and OrchestraNo. 4 “Incantation”, H. 358Brno Philharmonic Orchestra,Petr Altrichter (Conductor)

SOFIA MUSIC WEEKSINTERNATIONAL FESTIVALwww.sofiaweeks.com 6 May 2009> National Palace of Culture,

Bulgaria, SofiaPromenades for Flute, Violinand Harpsichord, H. 274Quartet for Clarinet, French Horn,Cello and Side-Drum, H. 139

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ERRATADEAR READERS, in the article“Forgotten Polkas” on page 16 of thelast issue (2008, No. 3) we announcedthat the premiere of Six Polkas,H. 101 would take place on 24 Januaryat the Rudolfinum in Prague. Due to the indisposition of thepianist Pavel Kašpar, thispremiere did not take place.

[≠MAGDALENA KOŽENÁ≠”WE ARE DELIGHTED to inform readers that Magdalena Kožená has verykindly agreed to become Patron on the International Martinů Circle.

Her acceptance followed an invitation from Aleš Březina at the timeof the much acclaimed concert premiere in December of Martinů’s ThreeFragments from the opera Juliette in which she took the title role withSir Charles Mackerras conducting the Czech Philharmonic Orchestra.

Members in London will have the opportunity of hearing her at theBarbican Hall on 27 March when she will take part in a concert perform-ance of Juliette with the BBC Symphony Orchestra conducted by JiříBělohlávek. Many of us have already acquired the beautiful CD album of“Songs my Mother taught me” in which she includes Martinů’s Songs onTwo Pages.

We most sincerely welcome Magdalena to the Martinů Circle and lookforvard to a long and fruitful association. ❚

[≠2009 SUBSCRIPTION PAYMENT≠”WE WOULD REQUEST members who have not yet paid their 2009 sub-scriptions to do so now through one of our international contacts listedbelow:

> GREAT BRITAIN – contact Gregory Terian, [email protected], +441625523326,18 Broadway, SK9 1NB UK, Wilmslow, Great Britain.

> GERMANY – contact Petra Richter, [email protected], Furtstraße 46,73770 Dekendorf, Germany.

> BELGIUM, LUXEMBOURG & AUSTRIA – contact Geoff Piper, [email protected],+352-474269, 24, rue des Cerisiers, Luxembourg, L – 1322 Luxembourg.

> USA – contact Robert Simon, [email protected], mobile: 216-973-7716,Jackson Ave. Apt 1E, Evanston, IL 60201, USA.

> FRANCE – contact Patrice Chevy, [email protected], +33675620321,11 Résidence FOCH, 923 80 Garches, France

> JAPAN – contact Mrs Mari Tokuda, [email protected], +81 339 393 395,+81 359 990 793.

> NETHERLANDS – contact Gert Floor, [email protected],+31725095262, Gortersweg 6, 1871 CC Schoor, Netherlands

> SWEDEN – contact Jaroslav Šonský, [email protected],+4611318475, Knopgatan 6, 603 85 Norrköping, Sweden

Those wishing to pay in Czech currency or by cash should contactus at [email protected] ❚

[≠MEETINGS IN PRAGUE & BRNO≠”THE MEETING OF THE BOARD of the Martinů Circle took place in Pragueon 13 December 2008. The letter to members accompanying this Revuesets out the decisions reached. For the successful functioning of theCircle it is important that members should respond in the way requested.

A general meeting of the Martinů Circle has been provisionally fixedfor 4 October, to take place in Brno, coinciding with the MoravianAutumn Festival. The 2009 event is entitled Variations on the themeof Martinů and it is hoped that a good number of members will be ableto attend. Could those intending to do so please contact Jana Honzíkováat [email protected] ❚

THE INTERNATIONALMARTINU CIRCLE GENERAL INFORMATIONMembers receive the illustratedMartinů Revue published three timesa year plus a special limited edition CDcontaining world premieres, historicarchive performances and recordingsfrom the annual Martinů Festival notobtainable commercially.

The IMC is supported by the Bohu-slav Martinů Foundation and BohuslavMartinů Institute in Prague.

MEMBERSHIP & SUBSCRIPTIONINFORMATION> YEARLY SUBSCRIPTION:

20 Euros / 25 USD> SUBSCRIPTION FOR CORPORATE

MEMBERS: 100 Euros includes 10 copies the each RevuePLUS 3 copies of the non-commercialCD recording from the BohuslavMartinů Days Festival in Prague

> SINGLE COPIES OF THE REVUE: 50 CZK / 2 Euro / 3 USD + postage

For further details and for single copiesof the Martinů Revue contact:Jana Honzíkováe-mail: [email protected] International Martinů Circle, o.s. Bořanovická 1779/14 182 00 Praha 8-Kobylisy

THE IMC CORDIALLY WELCOMESTHE NEW MEMBERS (alphabeticaly) > Francesca Arnone, WVU Division

of Music, Morgantown; USA > Royal Welsh College of Music and Drama

(Judith Agus, librarian), Cardiff, UK > Hope C. Bogorad, Washington, USA > Phillip Briggs, Wellington; UK > Keith Brumpton , Glasgow UK > Ronald Corp, Cressing, UK > Simon Corley, Paris, France> Cleveland Institute of Music (Bonnie

Eggers, librarian), Cleveland USA > Georges Fonade, Paris, France> Edward O. Kadlec, Cave Creek, USA, > David Munro, Gosforth, UK > Princeton University (Katharine Farrell,

Mary George, Music Library),Princeton, USA

> University of Lousville (Karen Little,Music Library) Louisville, USA

> Harvard University (Sandi-Jo Malmon,Eda Kuhn Loeb, Music Library),Cambridge, USA

> Dr. Antonín Tučapský, London, UK

CORPORATE MEMBERS> Editio Bärenreiter Praha, Prague,

Czech Republic > Supraphon Music a. s., Prague,

Czech Republic

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MARTINŮ REVUE (former BohuslavMartinů Newsletter) is publishedby the International Martinů Circlein collaboration with the BohuslavMartinů Institute in Prague.With ≤nancial support of the BohuslavMartinů Foundation Prague.

EditorsZoja SeyčkováLucie BernáJustin Krawitz (with special thanks)

TranslationHilda Hearne

PhotographsThe Bohuslav Martinů Foundation’sand Institute’s archive, collections of theMunicipal Museum – Bohuslav MartinůMemorial in Polička

Graphic DesignDavid E. Cígler

PrintingBOOM TISK, spol. s r.o.

priceCZK 50The Martinů Revue is published three times a year.

Cover photoMagdalena Kožená © Zdeněk Chrapek

Editorial OFFICEThe Bohuslav Martinů InstituteBořanovická 14182 00 Praha 8-Kobylisy, Czech Republictel.: +420 257 320 076e-mail: [email protected]

ISSN 1214-6234

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NEW-LOOK NEWSLETTER Over time we have received commentsfrom readers as to the difficulties theyhave with the print size used in theNewsletter.

In response we have now arrangedfor a re-design using a clearer formof text and hope this will remedy theproblem. We have also taken the oppor-tunity of adopting a more distinctivetitle for the Newsletter, giving greaterprominence to the composer’s nameon the front cover. We hope you willenjoy the new format.

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In 1997 you performed the premiere ofMartinů’s Four Songs to Czech Folk Poetry,H. 282 bis. A completely unknown work ofwhose existence even Martinů scholars wereunaware until that point and which surfacedunexpectedly in the South of France. Now youwill be singing the world premiere of ThreeFragments from Juliette. What do you thinkof the idea that you’re singing the worldpremiere of a work by a celebrated composerwho has been dead for almost fifty years?It’s a wonderful feeling; you always say:“It’s a shame that Mozart’s not alive today, hemight have written something for me.” (laughs).Even though it wasn’t written expressly for me,it’s a pleasure that I’m actually singing some-thing for the first time, something which peopledon’t know, they’re curious to find out about itand I’m the one who was given the opportunityto perform the work for the first time.

In March 2009 you will be performing thecomplete Juliette in concert in London withJiří Bělohlávek and the BBC SymphonyOrchestra. What do you think of performingthe complete part of Juliette twice in thespace of four months with two leading worldconductors, specialists in Czech music?It’s wonderful but also not so surprising, giventhat we celebrate the 50th anniversary of thedeath of Bohuslav Martinů in 2009. All thevarious organisers are therefore endeavouring,at least I hope that is the case, to presentworks by Martinů and give him a bigger profile.I’m glad they had this idea in London and thatI’ll be able to sing it once again. This opera isn’tperformed all that often and it’s good that, ifyou’ve prepared and rehearsed it, you can singit more than once.

Opera Juliette exists in two original languageversions by Bohuslav Martinů. Until recently,only the Czech version was known but theFrench version was discovered recently whichhas survived in various fragments, pianoscores and so on. It was reconstructed byBelgian scholar Harry Halbreich in associationwith the Bohuslav Martinů Institute. You willbe performing the French version in Pragueand London, but I assume you know the

the delivery of great melodies. As far as thecharacters themselves are concerned, boththese women are, in a way, dream-like crea-tures, not too earthly; the audience neverknows what is reality or imagination or dream.It’s true that, in this, Martinů was very French,very subtle and delicate. It’s a fascinating operaand it’s a shame that it isn’t performed veryoften. The biggest problem is probably the factthat it has so many characters in it that themajority of opera houses feel they can’t engagethose sorts of numbers for a single opera.But it’s a great shame, because, in my opinion,Juliette is a gem of Czech music.

You mentioned the dream-like nature of thecharacters. Is Juliette a real figure for youor only a projection of the men around her?I see her more as a projection, more as a visionthan a real woman.

How do you perceive Fragments, whichessentially contains the whole part ofJuliette?Naturally, Fragments don’t mediate the storylinein its entirety but, as an independent piece ofmusic, it very much appeals to me. It’s thekind of composition which can very easily beperformed in concert, which may encouragepeople to go and hear the whole thing. It’ssomething of an hors d’oeuvre which makessense musically and, if someone feels they wantto listen to the whole opera, they can at leasthear it on a recording, if not live on stage.

Three Fragments from the opera Juliette wasunknown until recently. People knew of itsexistence but the work never came out inprint and the original score was consideredlost. When we finally discovered it I wasextremely pleased to learn that it containedthe complete part of Juliette. In his choice ofthese three fragments, Martinů was in facttelling us which characters were the mostimportant for him. There is far less of Michelthan there is of Juliette.That’s interesting. But even Michel has hisgreat scene there as well.


/ interviewed by ALEŠ BŘEZINAin november 2008

DEUTSCHE GRAMMOPHON recently broughtout her latest CD entitled Songs My MotherTaught Me, which was launched in the CzechRepublic on 12 November 2008 duringa concert in Prague Castle’s Spanish Hall.Just one month later, we heard her again inPrague, this time with the Czech Philhar-monic and Sir Charles Mackerras, as Juliettein the title role of Three Fragments, H. 253 Afrom the opera of the same name by Bohu-slav Martinů Juliette or the Dream Book,H. 253. This was not only her debut in thisrole, but also the world premiere of the workand the start of the international project“Martinů Revisited”. In spite of her hugeprofessional and family commitments (hersecond son Miloš was born in the summer of2008), in our interview from November 2008she presented herself as perfectly focusedand, moreover, very affable. Mezzo-sopranoMagdalena Kožená.

In December you’ll be appearing at the Rudol-finum’s Dvořák Hall in the title role of ThreeFragments from the opera Juliette or the DreamBook by Bohuslav Martinů. You have naturallybeen familiar with this opera for years andyou know that it brings together Czech andFrench culture in a highly original way. Youhave appeared in various world venues in therole of Mélisande in Debussy’s opera Pelléaset Mélisande. How do you see the differencesbetween Juliette and Mélisande?Vocally, they are very similar; Juliette is a littlemore dramatic, it’s more of a soprano role, butit also has a lot of recitative passages wherethe words are spoken on a single note and, inthis, it’s a lot like Mélisande, for which melodicfragments are also characteristic; the vocal partcomes closer to the narration of a text than

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Magdalena Kožená about the opening

concert of the MartinůRevisited project

❝ I LIKE SINGING


Czech version as well. How do you view thedifferences between these two languageversions when you look at the vocal parts?I have heard the Czech version but I’ve neverstudied it in detail. With the French versionwhich I have in my score, you can easily seethat Martinů had an excellent command ofFrench and he often changed the rhythm of

the vocal parts in comparison with the Czechversion. But I don’t know which version hewrote first.

He produced the Czech version first.The Czech version? So, in fact, he re-worked it.At any rate, you can see that he studied Frenchand that, for him, language was often more

important than the melody, because he didn’tmind changing the rhythm, just so long as itcame out logically in the new language.

Your appearance with the Czech Philharmonicand Charles Mackerras in the Rudolfinum’sDvořák Hall on 11 and 12 December 2008 willbe the opening concert of the major inter-national project “Martinů Revisited”, whichwill take place in various countries throughoutthe world over the space of two years. Whatdo you think of projects like this and will yoube involved in any other Martinů projectsduring this period?I think that to promote composers who writeexcellent music is never a bad thing. And Bohu-slav Martinů still isn’t as well known as hedeserves. Projects like “Martinů Revisited” canshift awareness of his works that bit further.If I don’t count the Martinů works I regularlyperform during my recitals, apart from the twoperformances of Juliette mentioned above,I don’t have any other plans; these are to datemy only contributions to the project “MartinůRevisited”. ❚

Taken from the Rudolfinum Revue (reduced),2008–09, vol. VIII No. 2 with the kind permission

of the Czech Philharmonic publisher. English translation by Karolina Vočadlo Hughes

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Magdalena Kožená

THINGS FOR THE FIRST TIME,WORKS WHICH PEOPLE DON’T KNOW❞

BOHUSLAV MARTINŮ FOUNDATIONINTERPRETATIONCOMPETITION 2008IN THE CATEGORY: CELLO/ 28–29 November 20081st prize IVAN VOKÁČ2nd prize KAREL CHUDÝ, JAN SZAKAL3rd prize PETR MAŠLÁŇ, VÁCLAV PETR

Special award for the best interpretationof Bohuslav Martinů’s work:KAREL CHUDÝ (Cello) and VERONIKA BÖHMOVÁ (Piano)

Honourable mention:MARIE ŠIMKOVÁJAN ZVĚŘINA www.martinu.cz

practically empty-handed, I often played Juliettafor him from memory (neither of us had thescore) and I know how much this work meantto him”. (From: “A Remembrance by RudolfFirkušný”, in the booklet for his CD of Martinů’smusic on the RCA label, RD87987, published1989, BMG Music)

cated. Up until now, they had received scantattention in the Martinů literature, though MilošŠafránek in his first biography of the composerdoes list them under “Cantatas and other vocalworks”, giving the movement titles: “I. Souvenirs.II. Forest scene. III. Finale”, total duration 45minutes. Martinů selected these scenes in April1939, a year after the opera had received itshighly successful premiere in his original Czechversion at the Prague National Theatre underTalich. Translating them into French, he wantedthem to be published in Paris by Max Eschig,hoping that they would be performed in theconcert hall or on radio and thus generate suf-ficient interest for an eventual Paris productionof the opera. However, political events inter-vened and the manuscripts went missing,though Rudolf Firkušný did succeed in playingthe piano solo that comprises the non-vocalpart of the Souvenir scene (Act II, sc. 3) ata concert in Prague in February 1939, shortlybefore the German army marched in: “WhenI heard the premiere of the opera in Prague(16 March 1938), I was so deeply affected bythis particular scene that I asked Martinů’spermission to perform it as a solo piano piece,to which he gladly agreed. As war refugeesin New York three years later, where we arrived


/ PATRICK LAMBERT

THE Bohuslav Martinů Foundation andInstitute could hardly have dreamed upa more prestigious event than the pair of

concerts given by the Czech Philharmonic inthe Rudolfinum on 11 and 12 December 2008.Not only did it present the world premiereof the rediscovered and newly edited ThreeFragments, H. 253 A from Martinů’s operaticmasterpiece Julietta or the Key to Dreams(Juliette ou la clé des songes), H. 253 in thecomposer’s French version, but the concertswere also conducted by Sir Charles Mackerras,the foremost international champion of Czechmusic and one-time pupil of the opera’sdedicatee Václav Talich. Moreover, the title rolewas sung by an internationally acclaimed starof Czech music, mezzo-soprano MagdalenaKožená. As well as providing the culminationof the 2008 “Martinů Days”, this eventinaugurated in a most auspicious manner theFoundation and Institute’s ambitious two-year“Martinů Revisited” project encouragingperformances throughout the world to markthe composer’s double anniversary – 50 yearssince his death and 120 years since his birth.

The publicity surrounding this launch wasadmirable: no citizen of Prague could possiblyremain unaware of the push for Martinů’s musicwith “Martinů Revisited” posters in trams,buses and metro and a large banner on theRudolfinum. The excellent Rudolfinum Revuecarried an article about Julietta by the Insti-tute’s director Aleš Březina, who edited theFragments for publication, plus his interviewwith Magdalena Kožená about her approachto the role. Sir Charles, who 30 years agoconducted the British premiere of the opera atthe London Coliseum, in an English translationby Brian Large, is also interviewed: “Julietta is,in my opinion, Martinů’s greatest composition,with its extraordinary surrealistic dream-likefantasy… For these Three Fragments, whichMartinů selected so carefully from his belovedopera, French is the ideal language”.

The background to the publication of theseFragments is interesting and a little compli-

≠ DREAM CONCERT

Title page of the “Forest scene” (autograph)

Magdalena Kožená at the Dvořák Hall (Rudolfinum, Prague)


It was not until the 1990s that the autographof the piano scores of “La scène de la forêt”and “Finale du IIIe acte” came to light – inthe possession of a German collector who hadbeen given the manuscripts by the composer’swidow Charlotte. These were purchased by theMartinů Foundation and are now preserved inthe Czech Museum of Music. Quite by chance,during preparations for the publication of theThree Fragments in 2007, the autograph of thefull score was discovered in the archives ofthe DILIA agency in Prague, allowing the firstprinted edition to be based on both sources.

An abridged version of Aleš Březina’s editorialreport appeared last year in the BM Newsletter(Vol. VIII, no. 1, Jan.–Apr. 2008 p.19) illustratedby the title page of the autograph full score of“La scène de la forêt”. It shows that at somepoint Martinů had had second thoughts aboutthe best order for the Three Fragments, crossingout the Roman numeral “II” at the top of thepage and writing instead “I”, and it was on thisevidence that “La scène des souvenirs” wasplaced centrally, as Aleš explains in his editorialnotes published more fully in the Journal ofthe Czech BM Society (Zprávy, Vol. 31, 2008,pp. 85–88). A further editorial decision was to

expand this second Fragment to include thebrief preceding scene (Act II, sc. 2), in whichMichel encounters Old Man Youth selling winein the middle of the forest and learns that helikes to keep his clients happy with suggested‘memories’ of their younger days. This helpsto place in context the ensuing, distinctlysurrealistic scene with the elderly coupleaccompanied by solo piano. By opening thesequence with “La scène de la forêt”, alsodrawn from the second Act (sc. 5 onwards),the Fragments are able to make an immediateimpact with the impressive, harmonicallycomplex and emotionally ambivalent orchestralbuild up that heralds the arrival of the elusiveJulietta for her secret rendezvous with Michel.Despite misunderstandings, they declare theirlove amid a silent forest disturbed only by theecho of their voices and the approach of theSeller of Memories. Though attracted by the‘memory’ of having holidayed together in Spain,Julietta is persuaded to reject the peddler’swares and, accompanied in the orchestra byan echo of her song from the first Act, Michelrecounts with increasing ardour his ‘genuine’memory of their first meeting in the townsquare. Martinů then cuts (before the loversquarrel) to the scurrying intermezzo in scene 7

and, via a cor anglais solo, to the magical har-monies that bring the second Act to a close.

The last Fragment consists of the wonderfullypoignant Finale to Act III (sc. 8) announcedby a searing orchestral crescendo filled withtragic longing, as Michel finds himself alonein the Bureau of Dreams with Julietta’s voicecalling imploringly from behind the mysteriousdoor which separates dreams from reality. AtMichel’s insistence, the Night Watchman opensthe door – to reveal emptiness. But Juliettacalls to him again and, rather than waking toa grey existence in the real world, Michel, riskingmadness, chooses not to abandon the girl ofhis dreams but rather to continue his search.As the music rises to a tragic yet triumphantclimax, he sees her in a lovely vision. Before heknows it, with the return of the opening barsof the opera, he finds himself in the small townsquare where he began his quest, though thistime mysterious whispers assert that the hotelhe has been looking for really does exist. AsMartinů himself explained, “the story is notfinished, it goes on for ever – it is but a dream”.

Turning now to the premiere performance ofthe Three Fragments (I attended the first con-

LAUNCHES MARTINŮ REVISITED PROJECT

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The opening concert of the Martinů Revisited project (Dvořák Hall, Rudolfinum, Prague)Cover page of the autograph score of the Three Fragments from the opera Juliette

with exceptionally warm applause and a stand-ing ovation. Being such a special event, theplayers of the Czech Philharmonic very wiselysuspended their current embargo on thepresence of microphones at their concerts andit is good news indeed to learn that Supraphonis planning to release the live recording of theThree Fragments on CD, coupled with the purelyorchestral Suite from Julietta, arranged byZbyněk Vostřák, which they recorded understudio conditions during Sir Charles’ visit.

Magdalena Kožená, who in her interviewdescribed Julietta as “a gem of Czech opera”,expressed the hope that hearing the ThreeFragments in the concert hall “may encouragepeople to go and hear the whole thing”. Withthe prospect of hearing her sing again the titlerole in a concert performance of the completeopera with the BBC Symphony Orchestra con-ducted by Jiří Bělohlávek in London’s BarbicanHall on 27 March 2009*, music lovers luckyenough to be able to attend will need littleencouragement. ❚

* Sung in the same French version reconstructedfrom surviving autograph sources

by Harry Halbreich in collaboration withthe BM Institute which was used for the revival

of the Paris production conducted byJiří Bělohlávek in February 2006.

teacher Talich, though here they were playedwithout cuts. The coupling of these Dvořákpieces with Martinů’s Julietta Fragments was aninspired piece of programming which broughthome the connection between the two com-posers. Both employ harmonic colouring andorchestral textures of great subtlety – FrenchImpressionism approached from differentangles, one could say – and each explores theseemingly irreconcilable conflict between thenormal human world and the world of theimagination; in Dvořák’s case a tragic clash withthe alien supernatural world of folk superstition,also to be found in the lyrical fairytale Rusalka,and in Martinů’s case a confrontation with thedangerous yet seductive world of dreams. Onecould even postulate a line of development fromRusalka, via Debussy’s Mélisande, to Julietta. Allin all, it was an ingenious idea to choose musicfrom this very opera to launch the “MartinůRevisited” project. Not only is Julietta or theKey to Dreams an indisputable masterpiece,it is also a key work in the composer’s output,the spirit of the music with its dream-logicsymbolised by the “Julietta chords” seemingto haunt so many of the compositions whichwere to follow.

This dream concert – I make no apologies formy epithet – was, needless to say, received


cert), this exceeded all expectations and, excusethe pun, simply went like a dream. Playing toa full house, the Czech Philharmonic rose to theoccasion, clearly relishing the brilliant sonoritiesof Martinů’s multi-layered score, building power-ful climaxes which sometimes threatened tooverwhelm the voices. The main roles wereconvincingly characterised, the manly tones ofthe Australian tenor Steve Davislim as Micheltellingly contrasted with the more fragile,feminine tones of Magdalena Kožená as thecaptivating dream girl. Her voice soared beauti-fully into the upper registers, which appearedto pose no problems, despite the role being con-ceived for a soprano rather than mezzo vocalrange. She also looked the part with her low cutdress and long flaxen hair. As she herself com-mented in her interview, “I see her more asa vision than a real woman”. For her off-stagepart in the final Fragment she appeared up inthe organ gallery. Most of the other roles wereplayed by French-born singers, namely FrédéricGoncalves as Old Man Youth and the Seller ofMemories, Michele Lagrange as the Old Womanand Nicolas Testé as the Old Man and NightWatchman. Listening to the music sung inFrench underlined the opera’s kinship withDebussy’s Pelléas et Mélisande, which had socaptivated the young Martinů when he heardit in Prague for the first time in 1908. The solopiano accompaniment in the central Fragmentwith its special atmosphere and exposed“Julietta chords” was sensitively played byKarel Košárek, whose excellent Martinů CD hasrecently appeared on Supraphon (SU 3937-2).Sir Charles, now well into his eighties andvisibly more frail than on his last appearancein Prague, nevertheless conducted with all thevigour and concentration of his younger selfand he was clearly in his element, mouldingthe music with the utmost care.

In the first part of the concert we heard twoof Dvořák’s Erben-inspired symphonic poems,The Water Goblin, op. 107 and The NoondayWitch, op. 108. Listening to this wonderfulmusic performed by the Czech Philharmonicon top form in the warm acoustics of the Rudol-finum called to mind the venerable recordingsof these works conducted by Sir Charles’ old

≠ > DREAM CONCERT LAUNCHES MARTINŮ REVISITED PROJECT

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Magdalena Kožená and Sir Charles Mackerras


Series—Special—LIST OF MARTINŮ’S WORKS V

> LIST OF MARTINŮ’S WORKS V > Category ORCHESTRAL MUSIC > Subcategory SUITES AND ABSTRACTS OF THE INCIDENTAL WORKS

CATEGORY/| ORCHESTRAL MUSICSUBCATEGORY/ | SUITES AND ABSTRACTS OF THE INCIDENTAL WORKS

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IN THIS ISSUE of the Martinů Revue wecontinue with our publishing of the completelist of Bohuslav Martinů’s works.We beganwith the operas and have since consideredthe ballets, incidental music and film music,works for large orchestra and symphoniesand works for chamber orchestra.The nextsubcategory are Suites and Abstracts of theIncidental Works(listed in alphabetical order).The basic dataon the works listed here have been takenfrom the online catalogue of Martinů’s œuvreat www.martinu.cz, which is continuouslyupdated as issues from the latest researchare documented by the staff of the BohuslavMartinů Institute.In the next issue you will find a list of MartinůConcerts for Piano and Orchestra.

Abbreviations/ar. harparchi string sectionbatt. battery cel. celesta cl. clarinetcmp. chime-bellscond. conductorcor.ing. English hornfg. bassoonpicc. piccolopf. pianotamt. tamtamtimp. timpanitr. trumpettrbn. trombonevl. violinxlf. xylophone

Commentary/“Archive” – gives the information as towhere the autograph orchestral scoreis deposited.Date of composition: Day / Month / YearPremiere: Day / Month / Year Only accessible information is stated. If dataon the publisher are missing, the work hasyet to be published and is available asmaterial that can be lent.

1st ORCHESTRAL SUITEFROM BALLET ŠPALÍČEK H. 214 A

(arranged by Miloš Říha with Martinů’spermisson) Durata: 21’ Place of composition (2nd version of the ballet):

Paris (France)Date of composition (2nd version of the ballet):

Februar – 17. 5. 1940Performing forces: 3222-4231-timp.-batt.-pf.-

archiArchive: manuscript missingPublisher: Český hudební fond, Praha, ČHF

392, 1959Copyright: Panton International Mainz

Date of composition: 1936Performing forces: cl. B-trb. C-batt.-2 vl-pf.-org.Performer(s) of premiere: Jindřich Honzl Premiere: 7. 2. 1936, Czechoslovak Broadcast

in Brno, Czech RepublicArchive: manuscript missingPublisher: Archiv Československý rozhlasu

(Czechoslovak Broadcast Archive), PrahaCopyright: Panton International Praha

LITTLE SUITE FROM THECOMEDY ON THE BRIDGE H. 247 A

arranged by Martinů (New York 1951)Durata: 6’Place of composition (opera): New York

(USA)Date of composition (opera): 1935Performing forces: 1111-2110-timp.-batt.-pf-

archi (chamber orchestra)Archive: manuscript missingPublisher: Boosey & Hawkes, London-New

York, B&H 17107, 1952Copyright: Boosey & Hawkes

ORCHESTRAL SUITE FROMTHE BALLET THE BUTTERFLYTHAT STAMPED H. 153 A

Durata: 16’Place of composition (ballet): Paris (France)Date of composition (ballet): 1926Performing forces: 2222-2320-2 timp.-batt.-pf.-

archi Archive: manuscript missingPublisher: Český hudební fond, Praha,

ČHF 1513, 1965Copyright: Panton International Mainz

ORCHESTRAL SUITE FROMTHE BALLET WHO IS THE MOSTPOWERFUL IN THE WORLD? H. 133 A

arranged by František Dyk (1959)Place of composition (ballet): Prague Date of composition (ballet): 1922Performing forces: 3333-4331-timp.-batt.-xlf.-

cel.-2 ar.-pf.-archiPerformer(s) of premiere: Dyk František (cond.)Premiere: 00. 12. 1959, Czechoslovak

broadcastArchive: Archiv Československého rozhlasu

(Czechoslovak Broadcast Archive), PrahaCopyright: Panton International Praha

ORCHESTRAL SUITE FROMTHE OPERA JULIETTE H. 253 B

arranged by Zbyněk Vostřák (1969)Durata: 15’10’’Place of composition: Paris (France)Date of composition: 1937Performing forces: 3322-4331-pk-batt.-cel-pf-

archiArchive: manuscript missingPublisher: Panton International, Praha, 1970Copyright: Panton International Mainz

OUVERTURE TO THE OPERATHE SOLDIER AND THE DANCER H. 162 A

Place of composition: PoličkaDate of composition: 1926Performing forces: 2222-2330-timp-batt.-pf-

archiArchive: manuscript missingPublisher: Český hudební fond, Praha, H. 1526,

1964Copyright: Panton International Praha

SALTARELLO – FROM THE OPERAMIRANDOLINA H. 346 A

Durata: 5’Place of composition: NiceDate of composition: 1954Performing forces: 3222-4330-timp-batt.-archiArchive: manuscript missingPublisher: Bärenreiter Kassel, Kassel,

B.A. 3551b, 1959Copyright: Bärenreiter Kassel

THE DEPARTURE – SYMPHONICINTERLUDE FROM THE 3RD ACT OFTHE OPERA THREE WISHES H. 175 A

Durata: 10’Place of composition: Paris (France)Date of composition: 1929Archive: manuscript missingPublisher: Český hudební fond, Praha, 1965Copyright: Panton Interational Mainz

THE KITCHEN REVUE – JAZZ-SUITE IN 1 ACT H. 161 A

arranged by MartinůDurata: 15’Place of composition: Paris (France)Date of composition: 1927Performing forces: cl.-fg.-trb.-vl.-vlc.-pf.Performer(s) of premiere:Alfred CortotPremiere: 5.1. 1930, Paris, FranceArchive: Alphonse Leduc, FrancePublisher: Alphonse Leduc, 1930, ParisCopyright: Alphonse Leduc

THREE FRAGMENTS FROMTHE OPERA JULIETTE H. 253 A

Durata: 39’Place of composition:Vieux-MoulinDate of composition: 1939Performing forces: 1.A, Bt, B -pf 2. S,T, Bt, 4

female voice-3322-4331-timp.-batt.-cmp.-pf.-archi, fisarmon 3. S,T- 3322-4331-timp.-batt.-cmp.-p

Premiere: French broadcastArchive: DILIA, Prague, Czech RepublicPublisher: DILIA, 1947, PrahaCopyright: Panton International Mainz

1st ORCHESTRAL SUITEFROM BALLET ISTAR H. 130 A

arranged by František Bartoš (1961)Durata: 24’30’’Place of composition (ballet): Prague, Polička Date of composition (ballet): 1921Performing forces: 3322-4331-timp.-batt.-ar.-

archiArchive: manuscript missingPublisher: Český hudební fond, Praha,


2nd ORCHESTRAL SUITEFROM BALLET ISTAR H. 130 B

arranged by František Bartoš (1961)Durata: 23’45’’Place of composition (ballet): Prague, PoličkaDate of composition (ballet): 1921Performing forces: 3322-4331-timp.-batt.-ar.-


ČHF 526, 1961Copyright: Panton International Praha

2nd ORCHESTRAL SUITEFROM BALLET ŠPALÍČEK H. 214 B

(arranged by Miloš Říha with Martinů’spermisson) Durata: 23’Place of composition (2nd version of the ballet):

Paris (France)Date of composition (2nd version of the ballet):

1932Performing forces: 3222-4231-timp.-batt.-pf.-



COMMEDIA DELL’ARTE –ORCHESTRAL SUITE FROMTHE 1ST ACT OF THE OPERADIVADLO ZA BRÁNOU H. 251 A

arranged by Miloš Říha Durata: 22’Place of composition (opera): Paris (France)Date of composition (opera): 1935Performing forces: 2222-4230-timp-batt.-pf-



LITTLE SUITE – FROM THESTAGE MUSIC TO OIDIPUSBY ANDRÉ GIDE H. 248 A

Durata: 5’30’’Place of composition: Prague

/ ALEŠ BŘEZINA

JIŘÍ ZAHRÁDKA, head of the Music Departmentof the Moravian Museum in Brno, has alertedresearchers to two interesting sources pertain-ing to Bohuslav Martinů’s compositions. Themost significant is the discovery of an unknownautograph of all three songs of the 1922 cycleMěsíce (The Months), H. 135. Until recently,these compositions to Karel Toman’s poemswere only known from the autograph depositedunder the reference number Tr B 316 at theNational Museum – Czech Museum of Music.The National Museum’s source is unusual inthe fact that unlike No. 1, January, and No. 3,September, the supposed No. 2, entitled YouWho Live in Heaven, is not a setting of any ofToman’s twelve poems. The newly discoveredsource, however, contains in the cycle’s secondplace a composition named March, set to a textby Toman. This supports the suspicion thatthe song You Who Live in Heaven was either pur-posefully included in the autograph from theNational Museum – Czech Museum of Musicby the composer or was somehow includedby mistake. Perhaps more information can befound from the probate estate of the singerMáša Fleischerová (née Marie Fischerová,

Sixth Symphony “Fantaisies symphoniques”,H. 343, which Walter Hendl has performed ontwo of the orchestra’s Dallas programs thisseason“. Martinů is cited with the words thathe wanted to create another „formal piece withovertones of the fantasy element“. He also saidthat he was looking forward to attending thepremiere in Dallas.

As we all know, a „Dallas Symphony“ com-posed by Martinů never was to be. The reasonwhy the project did not materialize is thesubject of further research. Martinů createdhis next – and at the same time last – majorsymphonic opus much later, in 1957/58:The Parables, H. 367, commissioned by theBoston Symphony Orchestra, dedicated toCharles Munch, which premiered in February1959 in Boston. With this three movementwork, a highlight of his „fantasy style“, Martinůleft us a „symphonic legacy“ (Harry Halbreich)for which we are most thankful. ❚


THE PHANTOMOF A SEVENTHSYMPHONYFOR DALLAS/ GABRIELE JONTÉ

WHEN I SPENT some private family time nearDallas, Texas in October 2008, I found itimpossible not to follow some of the tracesthat Martinů left in that glamorous city. HisThird Piano Concerto, H. 316 was premieredthere in November 1949, the Concerto for TwoViolins and Orchestra , H. 329 in November

news 1951. Some interesting findings regarding the

piano concerto will be published in a later issueof this revue, but first I would like to share thesurprising information that Martinů had beenoffered a commission to compose a majororchestral work that was to be premiered inDallas in the 1956/57 season. This wasreported by Frank Gagnard in the Dallas MorningNews on December 12th, 1955: „SymphonyCommission Accepted by Martinů“. The $1,000fund had been raised by the Walter Hendl StudyClub, an association of Dallas women who hadbeen studying musical issues with WalterHendl, chief conductor of the Dallas SymphonyOrchestra from 1949 to 1958. The offer, whichwas first made by the conductor on the phone,was accepted immediately by the composer.Details were discussed by Hendl and Martinůa few days later in New York; this was coveredby the Dallas Morning News on December 15th,1955, under the title „Martinů ForecastsCommission“. In this article it is related that„Bohuslav Martinů’s commission for the DallasSymphony probably will be in the vein of his

NEW DISCOVERIES AT THE MORAVIAN MUSEUM IN BRNO5 August 1887 Uherské Hradiště – 4 April 1950Brno) who, it has recently been ascertained,premiered the cycle The Months (the hithertoknown sources state that the cycle waspremiered at a concert on 2 May 1925 atParis’s Société Nationale by Jane Bathori).

The second finding relates to the balletŠpalíček (The Chap-Book), H. 214 – moreprecisely, to the copy of the score for its Brnopremiere, which took place on 25 November1933. Although in this source there is to allappearances not a single inscription in BohuslavMartinů’s hand, it is an extremely interestingsource for the early reception history of thiswork, the definitive version of which onlydates back to 1940. The score may shed lightespecially on the work’s history in the years1931–32. The source contains parts in asequence different to that in the score of thefirst and second versions. The autograph bearsdistinct traces of repositioning individualsections within the work. Only further researchwill clarify whether this took place in com-pliance with Bohuslav Martinů’s developingideas or whether these changes have noconnection with the composer whatsoeverand are thus irrelevant to the critical editionof the ballet The Chap-Book. ❚

Song No. 2 (Březen / March) from the cycle Měsíce /The Months, H. 135


FIRST COMMERCIAL RECORDING / 2CDs + DVD (film « H.136 ») French, English, German, CzechRealease date: 26 March, 2009 / Presented by Harry Halbreich / www.alpha.comCD 1 / Compositions by Martinů: String Trio No.1, H.136 (1924),

Chamber Music No.1 « Fêtes nocturnes », H.376 (1959)CD 2 / String Quintet, H.164 (1927), Piano Quartet, H.287 (1942) / See also page 20

COMPOSED IN 1923 in Paris, Bohuslav Martinů’s String Trio H.136 disappeared in 1925. In 2005,Eva Velická from the Martinů Institute in Prague discovered the autograph manuscript of the workat the Royal Bibliothek in Copenhagen. In January 2008 the Ensemble Calliopée played the Parispremiere and in October recorded the String Trio in Villefavard, where Martinů was protected byCharles Munch during the Second World War.

The film « H136 », written by Karine Lethiec and directed by Olivier Segard, recounts the redis-covery of the manuscript: an adventure from Paris to Prague, through Villefavard and Copenhagen,

with musicologists such as Harry Halbreich (author of the Martinů catalogue) and Eva Velická(editor for the Complete Martinů Edition), musicians, and ambassadors…

Recollections, interviews, concerts, portraits… emotion and discovery!

ENSEMBLE CALLIOPÉE – Karine Lethiec (artistic director); Saskia Lethiec, Maud Lovett, violin;Odile Auboin, Karine Lethiec, viola; Florent Audibert, Romain Garioud, violoncello; Julien Hervé,clarinet; Sandrine Chatron, harp; Frédéric Lagarde, piano

MARTINŮ REVISITED/ SPECIAL CONCERT

THREE GENERATIONSCELEBRATE MARTINŮ / HOPE CASTAGNOLA BOGORAD

ON SUNDAY 22 MARCH the following worksby Martinů were performed at WestmorelandCongregational Church, Maryland, USA:

Flute Sonata, H. 306, Viola Sonata, H. 355,Trio for Flute, Viola, and Piano, H. 300 (Arr. for

Viola by Louise Moyse), Merry Christmas 1941to Hope Castagnola, H. 286 bis, and also flutepieces by A. Roussel, with whom Martinůstudied composition in Paris.

THE PERFORMERS WERE: Julia Bogorad-Kogan, Flute*. Principal flute,St Paul Chamber Orchestra.Studied with Marcel Moyse (friend of Martinů).* (Hope Bogorad’s daughter)Benjamin Ullery, Viola. Violist, MinnesotaOrchestra. (Hope Bogorad’s grandson)Margot Garrett, Piano

The idea for this concert came to me ata luncheon at the home of Czech ambassador,Petr Kolář, when Aleš Březina was visitingWashington. Aleš urged us to encourage theprogramming of Martinů’s music in 2009in memory of the 50th anniversary of thecomposer’s death. This concert is my smallcontribution.

We are pleased to have the support of theCzechoslovak Society of Arts and Sciencesin Washington. ❚

Ensemble Calliopée

MARTINŮ H.136ENSEMBLE CALLIOPÉE (France)

A BOOK FOR CHILDREN RUBÍNKA THE SPRINGTHE VYŠEHRAD publishing house is preparing a book entitledRubínka the Spring, which rounds off a triptych dedicated tofamilies and children co-created by Jiřina Rákosníková and thepainter Jan Kudláček. The book is due to be issued in the firsthalf of this year.

The book’s title was not chosen at random. The publication,supplemented (just like the previous two) by a CD containingsongs compiled by Jiří Pavlica and performed by the Hradišťanensemble and numerous guest artists, is dedicated to thatwonderful season, spring. One of the most beautiful and power-ful creative works celebrating the purity of water, emotions andrelationships is The Opening of the Springs, a cantata composed by Bohuslav Martinů. It was thisvery work about the Rubínka Spring that inspired the selection of poetry for the present book.Its authors would consider it a great honour indeed if it were to become a small contributionto the ongoing Bohuslav Martinů celebrations. ❚

Chorale not only symbolizes Martinů’s nationalconsciousness and pride, but also represents toa high degree a motif of military resistance tothe terror rule of the Nazis in Czechoslovakiaand across Europe. The fact that the choralehad increasingly been used as a battle songsince the 15th century, even if its musicalstructure is rather calm in character, verifiesthis. This interpretation is also supported by thefact that Martinů originally wanted to entitlethe work RAF. It had, after all, been the RoyalAir Force that had dropped the parachutistsof the exiled Czechoslovak governement intothe occupied territories in order to support thearmed resistance in the country. The idea isunderlined by the fact that in 1940 Martinů’sbrother František had painted the portrait ofSt. Wenceslas on the external wall of his familyhouse in Polička and had written beneath it thefourth stanza of the chorale – “Do not let usgo to ruin“ – which was a deliberate provocationagainst the Nazi occupiers.

posed this memorial in the style of the concertogrosso, which was for him an ideal form of com-position, with which he could achieve a balancebetween the musical themes of dynamics andemotionality. At the beginning of the musicalpiece there appears an allusion to the St.Wences-las Chorale, which Martinů had quoted in someof his earlier compositions like the CzechRhapsody, H. 118 (1918) and in the DoubleConcerto, H. 271 (1938). This old Bohemianchorale is considered the second oldest Czechecclesiastic chant after the hymn Hospodinepomiluj ny (Lord have mercy upon us). Motifs oftwo versions of the St. Wenceslas Chorale fromthe 12th and 15th century respectively are com-bined to constitute the basic cells of Memorialto Lidice. The quotations of this chorale – one ofthe oldest preserved musical monuments of theBohemian and Czech music respectively – aredeveloped further with the help of the so-called“Fortspinnung”– technique and thus run throughthe whole piece. The patriotic St. Wenceslas


/ PETRA RICHTER

MARTINŮ’S PAMÁTNÍK LIDICÍM(Memorial to Lidice) H. 296 belongs tothe most impressive works, which the

Czech composer from Polička composed duringthe Second World War in forced exile in the USA.Commissioned by the Czechoslovak governmentin exile in London and the American League ofComposers, Martinů wrote this work in 1943 asa reaction to the annihilation of the Bohemianvillage Lidice by the Nazis during the night ofthe 9th to 10th of June 1942. Lidice becamethe target for exemplary retaliatory action be-cause dubious evidence led the Nazi occupiersto suppose that the assassins of the so-called“Reichsprotektor” Reinhard Heydrich were there.All 173 adult male inhabitants were executedwithout trial, 198 women were deported to theRavensbrück concentration camp and nearlyall 98 children were brought to the Chelmnoextermination camp (Kulmhof) and were gassed.Martinů creates with his composition a globallyappreciated musical memorial, which was dedi-cated to the innocent victims of Lidice. Previousresearch has not discussed this important com-position in the necessary breadth.

Memorial to Lidice, written for symphonicorchestra, is based on a ternary form, whichespecially reflects Martinů’s preference forwideness or space with regard to the musicalform of the composition. Originally, Martinů hadconceived the work as a kind of triptych, witha slow middle movement – the Memorial toLidice – that would contrast with the othermovements in tempo and rhythm. Actually, thetitle of the musical triptych was to have been“RAF”, the abbreviation for the Royal Air Force,which – in my opinion – was a patriotic allusionto the resistance fighters of the Czechoslovakgovernment in exile, who had been parachutedinto the Protectorate of Bohemia and Moraviaby the British Royal Air Force. However, Martinůabandoned this concept of form and only themiddle movement Memorial to Lidice remainedas a one-movement composition.

Martinů, whose musical style was mainly formedduring his stay in Paris (1923–1940), com-

research

y First page of the autograph score (detail) archive pbm

BOHUSLAVMARTINŮ’S Památník


In Memorial to Lidice deep sadness aboutthe massacre of Lidice is mainly expressed inthe gloomy minor chords and by the diminishedchords that in particular denote pain and runthrough the whole work. Towards the end of thepiece Martinů quotes – in a grotesque distor-tion – the succinct head-motif of Beethoven’s5th symphony, which had gone down in musichistory as the ‘fate motif’. In Martinů’s com-position the motif appears in an unambiguousmood – menacing, dark and gloomy. In themusical piece Memorial to Lidice this motif stands– in my eyes – allegorically for the blank andworldwide-spread horror, which was caused bythe extremely accurately planned war crimesof the Nazis in the village of Lidice. Previousresearch had regarded the Beethoven quotationprimarily as a sign of victory or of freedom ofthe Allied forces, but this is an assumption thatI consider to be based on a wrong interpreta-tion of the initial signal of the European BBC-service. The BBC started on the 14th January

1941 the “V-campaign”, which aimed to breakthe morale of German soldiers. The campaignwas also intended to lead the people to expectrescue by the Allies from the Nazi occupation.The letter “V”, which stands for victory, hadto be translated into morse, which fits to therhythmical motif dot–dot–dot–dash, threeshort beats, followed by a longer beat. Thismorse-code, which was played by a kettle drum,became now the initial signal of the EuropeanBBC-service. C. E. Stevenson, Professor ofAncient History and member of the ministry ofeconomic warfare, discovered after the firstbroadcast that the morse-code for the letter“V” was rhythmically identical to the first barof Beethoven’s 5th Symphony and so the motifbecame the background music for the station.For the BBC, however, the Beethoven quotationwas no sign for victory, but rather a musicalmotif with which the Nazis should be mocked,since it must be emphasized that Beethovenrepresented Germany’s advanced musical

culture. This means that the Beethoven motifin Martinů’s composition should not be inter-preted – in my opinion – as a symbol forfreedom or peace. In summary it can be arguedthat the Beethoven quotation in Memorial toLidice must be seen as a “motif of fright” and is,as such, a strong contrast to the St. WenceslasChorale. The location of the Beethoven motiftowards the end of the composition, wherethe whole mood gradually brightens up, alsogives the musical piece a dominant warningcharacter. Maybe it is only with the aid of theBeethoven quotation that Martinů’s com-position becomes a very significant musicalmemorial. Thus, in Memorial to Lidice motifs orwell-known quotations from music history arecombined, representing deep sorrow as wellas war-like resistance and blank horror. Never-theless the work reflects moments of hopefor peace and freedom. At least it closes ina conciliatory C-major. ❚

about the author /Petra Richter was born in 1979 and studied musicologyand sociology at the Eberhard-Karls-University of Tübingen,Germany. M.A.-Thesis in musicology: “Bohuslav Martinůs‘Památník Lidicím’ – Analyse und Deutung eines musikalischenMahnmals, unpublished M.A.-Thesis, Tübingen 2006“.Currently doctoral candidate in musicology directed byProf. Dr. August Gerstmeier, Tübingen. Working title:“Musik im Zeichen des Krieges“.

selected bibliography /> Andraschke, Peter: Bohuslav Martinů: Musik gegen Krieg

und Zerstörung, in: Glasba in družba v 20. stoletju(Music and society in the 20th century), Ljubljana 1999,pp. 128–140.

> Hanheide, Stefan: Bohuslav Martinů. Památník Lidicím(Mahnmal für Lidice, 1943), in: Stefan Hanheide: Pace –Musik zwischen Krieg und Frieden. Vierzig Werkporträts,Kassel et al. 2007, pp. 164–168.

> Lück, Hartmut: “Musik über Guernica und Lidice und...” –Zu Kompositionen von Luigi Nono, Walter Steffens,Bohuslav Martinů und Aribert Reimann, in: OsnabrückerJahrbuch Frieden und Wissenschaft, vol. 5, Osnabrück1998, pp. 99–104.

> Mrkos, Zbyněk: Lidice, in: Zdeněk Zouhar (ed.): BohuslavMartinů. Sborník vzpomínek a studie, Brno 1957,pp. 80–85.

> Reich, Wieland: Klänge des Erinnerns. 9./10. Juni 1942 –Bohuslav Martinů: “Memorial to Lidice”, in: Musik in derSchule, 4 (1999), pp. 231–236.

> Richter, Petra: A music-political confession. BohuslavMartinů’s Memorial to Lidice, in: Czech Music Quarterly,3 (2008), pp. 33–43.

y The bodies of the 173 executed men atHorák’s farm source: www.holocaustonline.co.uk

y The Children’s War Victims Monument in Lidicesource: www.holocaustonline.co.uk

y Lidice 1938 source: www.holocaustonline.co.uk

/ A MUSICALLidicím MEMORIAL

y Lidice 1946 source: www.holocaustonline.co.uk

> Hradec Králové Philharmonic Hallwww.fhk.cz

Symphony No. 1, H. 289Hradec Králové Philharmonic OrchestraOndřej Kukal (Conductor)

16 April 2009 / 7.30 pm> St. Šimon and Juda Church, Prague, CZ

www.fok.czTrio for Flute, Cello and Piano, H. 300Les Rondes for Oboe, Clarinet, Bassoon, Trumpet,two Violins and Piano, H. 200Nonet No. 2, H. 374Juventus Collegium FOK

16 April 2009 / 7.00 pm> Reduta, Olomouc, CZ

www.mfo.czCzech Rhapsody for Violin and Orchestra,H. 307 A (arr. Jiří Teml)Rhapsody- Concerto for Viola and Orchestra,H. 337Moravian Philharmonic Orchestra Olomouc,Petr Vronský (Conductor), Bohuslav Matoušek (Violin, Viola)

18 April 2009 / 7.30 pm> Vance Brand Auditorium, Longmont, USA

www.longmontsymphony.orgOrchestral Suite from the opera Juliette, H. 253 BLongmont Symphony Orchestra, Robert Olson (Conductor)

18 & 19 April 2009> Berlin, GermanySymphony No. 4, H. 305Berliner Philharmoniker, Alan Gilbert (Conductor)

19 April 2009 / 5.00 pm> Rudolfinum (Dvořák Hall), Praha, CZ

www.ceskafilharmonie.czThe Opening of the Springs, H. 354Martinů Quartet, Prague Mixed Choir,Charles University Artistic Ensemble,Foerster Chamber Choir, Iuventus Pedagogica

24 & 25 April 2009> Den Haag, The Netherlands

www.residentieorkest.nlConcerto for Oboe and Small Orchestra, H. 353Residentie Orchestra, Miguel Harth-Bedoy (Conductor),Pauline Oostenrijk (Oboe)

26 & 27 April 2009> Kultur-Casino Bern, Switzerland

www.bsorchester.chNonett H. 374Nonett und Dixtuor des BernerSymphonieorchesters

26 April 2009EVA URBANOVÁ – song recital> National Theatre, Prague, CZ

www.narodni-divadlo.czSongs by Bohuslav MartinůDavid Švec (Piano)

2 & 3 April 2009 > Brno, CZ

www.filharmonie-brno.czConcerto No. 1 for Cello and Orchestra, H. 196 IIBrno Philharmonic Orchestra, Jakub Hrůša (Conductor), Johannes Moser (Cello)

4 April 2009 / 4.00 pmOPENING OF THE BOHUSLAV MARTINŮCENTER IN POLIČKA> Tyl House, Polička, CZThree Riders, H. 1String Quartet No. 2, H. 150Film in miniature, H. 148Piano Quintet No. 2, H. 298Martinů Quartet, Karel Košárek (Piano)

6 April 2009 > Prague, CZPiano Trio in D minor No. 2, H. 327 Smetana Trio

7 April 2009> Society of Musical Friends in Brno PhilharmonicSonata for Piano, H. 350Ivo Kahánek (Piano)

9 April 2009 / 7.00 pmSOIRÉE ANNIVERSAIRE MARTINŮ> Conservatoire de Paris, France String Trio No. 1, H. 136 and othersEnsemble Calliopée, Karine Lethiec (Artistic Director)

9, 10 & 11 April 2009 > Sao Paolo State Symphony Orchestra

www.osesp.art.brThe Frescoes of Piero della Francesca, H. 352

11 April 2009 / 7.00 pm> Yumeria Hall, Oizumigakuen, Tokio, JapanPiano Trio in D minor, H. 327Quartiers Musicaux, Yurie Tomiyama (Violin),Mari Masumoto (Cello),Nagako Suzuki (Piano)

14 April 2009 / 7.00 pm> Small Hall of Slovak

Philharmonic Orchestra, Bratislava, Slovakiawww.filharmonia.sk

Puppets, H. 137 Adam Skoumal (Piano)

15 April 2009> Heidelberg, GermanyPhilharmonisches Orchester der Stadt HeidelbergSymphony No. 1, H. 289 Cornelius Meister (Conductor)

15 April 2009 / 7.00 pm> Náchod (Beránek), CZ

www.fhk.czSymphony No. 1, H. 289Hradec Králové Philharmonic OrchestraOndřej Kukal (Conductor)


‹vOPERAS–&–FESTIVALS—›/ see pages 3–4

‹vEXHIBITIONS—›4 April 2009OPENING OF THE BOHUSLAV MARTINŮCENTER IN POLIČKAwww.muzeum.policka.net

7 April—13 May 2009> Paris Conservatory, Paris, FranceThe itinerant version of the exhibitionThe Martinů Phenomenon

26 April 2009 – 31 December 2009Bohuslav Martinů in National Theatre,Prague, CZ> National Theatre, 1st and a 2nd balcony

www.narodni-divadlo.cz

12 May—26 September 2009> Czech Museum of Music,

Prague, CZThe Martinů Phenomenon – exhibition

15 May—15 June 2009> Luxembourg, Czech Embassy, LuxembourgThe itinerant version of the exhibitionThe Martinů Phenomenon

‹vBALLETS—›14 & 15 June 2009> Prague Congress Centre, Praha, CZ

www.spalicek.euThe Chap-Book (Špalíček), H. 214Prague Philharmonia, Jakub Hrůša (Conductor)The Duncan Centre Conservatory, Eva Blažíčková (Choreography), Bambini di Praga,

‹vCONCERTS—›2 April 2009> Alabama, USA

www.alabamasymphony.comSinfonietta la Jolla, H. 328Alabama Symphony OrchestraJustin Brown (Conductor)

2 April 2009 / 7.00 pm> Dům kultury Teplice, Teplice, CZ

www.severoceskafilharmonie.czThe Frescoes of Piero della Francesca, H. 352North Czech Philharmonic Teplice,Douglas Bostock (Conductor)

events


30 April, 1 & 2 May 2009> Avery Fisher Hall, New York, United StatesSymphony No. 4, H. 305 New York Philharmonic, Alan Gilbert (Conductor)

2 May 2009 / 7.30 pm > Hochschule für Musik Wettiner Platz, Dresden,

Germanywww.singakademie-dresden.de

The Epic of Gilgamesh, H. 351 Singakademie Dresden,Ekkehard Klemm (Conductor)

5 May 2009> Luxembourg, Foyer européen, 12, rue Heine,

LuxembourgPiano Trio No. 2 d minor, H. 327 Trio Smetana

6 May 2009 > Luxembourg, Luxembourg

www.cnso.czSymphony No. 3, H. 299 Czech National Symphony Orchestra, Libor Pešek (Conductor)

7 May 2009> Bratislava, Slovakia

www.filharm.skSymphony No. 6 “Fantaisies symphoniques”, H. 343 Slovak Philharmonic Orchestra, Leoš Svárovský (Conductor)

7 & 8 May 2009 > Prague, Czech Republic, RudolfinumSymphony No. 6 “Fantaisies symphoniques”, H. 343 Czech Philharmonic Orchestra, Jiří Bělohlávek (Conductor)

8 May 2009ANNIVERSAIRE MARTINŮ > Théatre de l’Athénée – Louis Jouvet,

Paris, FranceSinfonietta Giocosa for Piano andSmall Orchestra, H. 282Toccata e due Canzoni, H. 311Jazz Suite for Small Orchestra, H. 172Orchestre de Picardie, Pascal Verrot (Conductor),Claire Désert (Piano)

11 May 2009> Czech Muzeum of Music,

Prague, CZPiano Quartet No. 1, H. 287 Martinů Quartet

12 May 2009 / 6.00 pm> Royal College of Music, LondonStowe Pastorals, H. 335Les Rondes, H. 200Quartet for Clarinet, French Horn, Celloand Side Drum, H. 139Sonata for Flute, Violin and Piano, H. 254Sonatina for Trumpet and Piano, H. 357Chamber Music No. 1, H. 376

12 May 2009> Conservatoire de Luxembourg, LuxembourgConcert by teachers of the LuxembourgConservatoirePromenades, H. 274Madrigal sonata for Flute, Violin and Piano,H. 291

13 May 2009> Wien, Austria

Gläserner Saal (Magna Auditorium)String Quartet No. 5, H. 268 Aron Quartett

14 May 2009> Stratford Circus, Theatre Square, London E15Serenade for Chamber Orchestra, H. 199New London Orchestra, Ronald Corp (Conductor)

14 May 2009> Tokyo, Japan

www.njp.or.jpMemorial to Lidice, H. 296 New Japan Philharmonic, Christian Arming (Conductor)

15 May 2009> Luxembourg, LuxembourgRhapsody (Allegro symphonique)for Large Orchestra, H. 171Luxembourg Philharmonic Orchestra,Emmanuel Krivine (Conductor)

18 & 19 May 2009> Bremerhaven, GermanySymphony No. 4, H. 305Städtisches Orchester Bremerhaven,Stephan Tetzlaff (Conductor)

21 May 2009> Ostrava, Czech Republic

www.jpo.czConcerto for Piano and Orchestra No. 4 (Incantations), H. 358 Janáček Philharmonic Orchestra, Václav Mlčoch (Piano), Theodore Kuchar (Conductor)

26 May 2009 > Théatre des Champs-Élysées, Paris, FranceConcerto for Two Pianos and Orchestra, H. 292Ensemble orchestral de Paris, Lawrence Foster (Conductor)Mari and Momo Kodama (Pianos)

30 May 2009> Nairn Performing Arts Gild, Nairn, Great BritainThree Czech Dances, H. 154Libor Nováček (Piano)

4 June 2009 > The Czech Centre, Brusel, Belgium

www.czechcentres.cz/brusselsThree Czech Dances, H. 154Libor Nováček (Piano)

9 & 10 June 2009> Luxembourg, Foyer Européen (9 June),

Daun (10 June), Luxembourgwww.lgnm.lu

Bergerettes, H. 275 Trio Alea

10 & 11 June 2009> Concert Hall of Otakar Jeremiáš,

České Budějovice, CZwww.music-cb.cz

Rhapsody-Concerto for Viola and Orchestra, H. 337 Chamber Philharmonic Orchestraof South Bohemia, Jan Talich (Conductor), Pavel Nikl (Viola)

11 June 2009> Municipal Meeting House, Plzeň, CZ

www.plzenskafilharmonie.czSymphony No. 6 “Fantaisies Symphoniques”, H. 343 Radio Symphony Orchestra Pilsen, Koji Kawamoto (Conductor)

14 June 2009> Zurich, SwitzerlandSymphony No. 4, H. 305 Orchester der Opernhauses Zürich, Alan Gilbert (Conductor)

18 & 19 June 2009> Prague, Czech RepublicSinfonia Concertante No. 2 for Violin, Cello, Oboe, Bassoon and Orchestra, H. 322 Czech Philharmonic Orchestra, Leoš Svárovský (Conductor)Miroslav Vilímec (Violin), Josef Špaček (Cello), Jana Brožková (Oboe), Ondřej Roskovec (Basson)

25 June 2009> Czech Museum of Music, Praha, CZSonata No. 3 for Cello and Piano, H. 340Variations on a Slovak Folk Song, H. 378Jiří Bárta (Cello)

THE BRITISH CD LABELToccata Classics, whichspecialises in recordingneglected composers, haslaunched its ‘Discovery Club’,which brings its members

a discount on all Toccata Classics recordings– and also on music books from its sistercompany Toccata Press. Membership costs£20 a year, which brings you two free CDswhen you join and discounts on the com-plete catalogue of Toccata CDs and books,sent post free anywhere in the world.With Michael Crump’s monumental Martinůand the Symphony and Martinů’s ownLetters Home in the pipeline from ToccataPress, Martinů enthusiasts may well findthe £20 to join the Discovery Club moneywell spent. For more information go towww.toccataclassics.com and click onDiscovery Club. ❚

Martinů’s music has become a connectingelement of pan-European and (taking intoaccount the project’s non-European componentand the global sweep of Martinů’s œuvre) evenglobal importance.

The Swedish premiere of Fantaises sym-phoniques and the concert’s inclusion in theMartinů Revisited project were initiated byJaroslav Šonský, a violinist based in Norrköpingand a member of the International MartinůCircle.

The next issue of Martinů Revue will containan interview with the young yet highly sought-after conductor Alan Buribayev about hisexploration of Symphony No. 6 in Norrköpingand Martinů’s music in general. ❚

ASPECTS OF MUSIC, ARTS AND RELIGION DURINGTHE PERIOD OF CZECH MODERNISMBY ALEŠ BŘEZINA & EVA VELICKÁ (EDITORS)

REPORTS AND PAPERS from the international colloquia“Prague Musical Life at the Beginning of the 20th Century.Music, Art, Culture and Religion during the Period ofCzech Modernism”, held in 1997 and 1998 in Pragueand organised by the Bohuslav Martinů Foundationand Bohuslav Martinů Institute, has been publishedby the Peter Lang AG Publishing House, Bern in 2009, ISSN 1662-5366, ISBN 978-3-03910-856-5,Martinů – Studien 2.

The individual texts are written in English, Germanand French with the English summary. ❚


NEW FINDINGS CONCERNING THE ORATORIOTHE EPIC OF GILGAMESH IN UNIVERSAL EDITION’S SHEET-MUSIC ARCHIVEIN VIENNATHANKS TO muni≤cent help ofAngelika Glatz, head of UniversalEdition’s archive, Aleš Březinamanaged to find threeimportant new sources for theoratorio The Epic of Gilgamesh, H. 351 duringhis stay in Vienna. This critical find perfectlycompletes the autograph situation of theoratorio, which is scheduled to be publishedas the first volume of The Bohuslav MartinůComplete Edition. Among the trio of newsources is the Circle Blue Print of the autographscore from the Paul Sacher Foundation whichMartinů sent to Universal Edition as a copyfor printing. Even more important sourcesare proofs of the piano score and the scorecontaining Bohuslav Martinů’s autographinscriptions. The piano score comprises moreprecisely the third proofs (the first two werecarried out at the publishing company withoutthe composer’s alterations and are alsoavailable in Universal Edition’s archive). To allappearances, the score underwent just oneround of proofs in which Martinů activelyparticipated. This is documented not only bynumerous evidently autograph inscriptions,but also by an additional note written insomeone else’s hand, “Auch von Martinůkorrigiert (Grünstift)”. It is clear that theseproofs constitute the main source for thework’s critical edition currently underpreparation. At the present time, all the newlyfound sources are being digitised and will soonbe available in the Bohuslav Martinů Institute’sarchive. Now nothing stands in the way ofpreparing the first volume of The BohuslavMartinů Complete Edition! ❚

news SWEDISH PREMIERE

/ MARTINA FIALKOVÁ

ON 26 FEBRUARY Bohuslav Martinů’sFantaisies symphoniques (Symphony No. 6,H. 343) was played in Norrköping, Sweden,for the first time – and to an enthusiasticresponse on the part of the local audience.It was performed by the NorrköpingSymphony Orchestra (SON) conducted byits music director, Alan Buribayev. (Theprogramme also comprised Mozart’s“Prague” Symphony No. 38 in D major andBeethoven’s Violin Concerto in D majorfeaturing the soloist Isabelle van Keulen.)The beautiful, modern local concert hall lentthe premiere a wonderful atmosphere.

Martinů presently has a firm foothold inSweden, and the success of this premiere willresult in its further strengthening. In previousyears, the SON has performed in NorrköpingMartinů’s Symphonies Nos. 1, 3 and 5, whichwere warmly received by the audiences. Ona tour of Stockholm, Linköping and Norrköping,Symphony No. 5 even met with a standingovation.

This year’s landmark concert, which includedthe Swedish premiere of Fantaisies sym-phoniques, has its place in the calendar of theMartinů Revisited project. Upon the invitationof the SON and the Czech Ambassador, JanKára, several other European ambassadorswere also in attendance. In the summer theCzech Republic will hand over to Sweden thePresidency of the Council of the EU. MartinůRevisited is one of the pivotal projects of theCzech Presidency.

Conductor Alan Buribayev


/ ALEŠ BŘEZINA

AUTOGRAPHS of Bohuslav Martinů’s compos-itions have been found in numerous ways. Mostfrequently we find the composer’s autographof a piece that had been published and conse-quently was available to musicians and listeners,even though the quality of the manuscript is

sometimes simply dreadful. A less frequentphenomenon is the discovery of compositionswhose existence was mentioned in variouscatalogues or printed programmes, but whichwere lost prior to their publication. The mostspectacular examples of this from recent timesinclude String Trio No. 1, H. 136, found by EvaVelická in the Royal Danish Library in Copen-hagen, and Three Fragments from Juliette,H. 253 A, purchased from a foreign privatecollection. The most exciting discoveries, how-ever, are compositions whose existence no oneknew of, since the composer had never mentio-

“ffffffffff – Nazdar!”AN UNKNOWN MARTINŮ COMPOSITION DISCOVERED

BOHUSLAV MARTINŮDAYS 2007 THE MARTINŮ FOUNDATION CD for 2009 isenclosed with this issue of the Martinů Revueto members who have subscribed to the Inter-national Martinu Circle. The CD containstwo rare historical recordings – the SinfoniettaGiocosa for Piano and Small orchestra, H. 282performed by the Czech Philharmonic Orchestraconducted by Jaroslav Krombholc with the

pianist Germaine Leroux, recorded in 1947 forthe Ultraphon label. The work was dedicatedto Leroux who gave the first performancein New York in 1942. This recording has notbeen available for some 60 years. Also includedis a unique recording of the New Špalíček,Cycle of Songs, H. 288 performed by the tenorOtakar Kraus accompanied by Walter Susskind.It is one of the earliest recordings of a workby Martinů to have survived (more aboutthis can be found in the Bohuslav MartinůNewsletter No. 3/2008 in the article entitled„Voices from the Past“). The recording comesfrom the private collection of Charles Kraus andis derived from a BBC Overseas Service broad-cast to Czechoslovakia on 27 January 1943(published with kind permission from CharlesKraus and Janis Susskind). Also included areperformances of Three Czech Dances forTwo Pianos, H. 324 performed by Leslie Kintonand James Anagnoson and the Fantaisie etToccata, H. 281 performed by Ladislav Doležel,both taken from recitals at the Martinů DaysFestival 2007. ❚

ned them anywhere. These cases invariablyconcern minor occasional pieces which Martinůmust have composed within a very short timeand immediately given to someone. One suchfind was Par T.S.F., H. 173 bis, which wasdiscovered by Glenda Down Goss in 1988 in theHargrett Library in Athens, Georgia. A few yearslater, the painter Rudolf Kundera mediated forthe author of this article the purchase of theautograph of Four Songs on Czech Folk Poetry,H. 282 bis, written in 1940 as an expressionof the composer’s gratitude to Mrs EdmondeCharles-Roux for her help in arranging his exitvisa when fleeing occupied France.

In January 2009 the Bohuslav MartinůInstitute arranged for the Bohuslav MartinůFoundation a purchase of the autograph of thecompletely unknown piece by Martinů fromMrs Adéla Svitáková and Mrs Alena Čechová,from the probate estate of their mother, néeSoučková. The autograph contains a minorpiano piece entitled Victory March of the R.U.R.Sports Club in Polička, H. 129 bis. It is a short,witty composition dated 1 July 1921. As statedby the composer on the title page, the piece isadorned with a lovely drawing capturing thecomposer with a typical “mouse” face sittingon a bench and applauding the triumphantstrikers of his team, which has just hammeredthe opposition 19-3! Spread over four sheetsand a small scrap of paper is a humorous victorymarch replete with jocularly exalted dynamicsigns (from ff, through the instruction “justno fear”, several crescendos up to the final“ffffffffff”) and verbal notes culminating in thefinal cheer “Hurrah!” The discovery of the VictoryMarch serves to extend knowledge of BohuslavMartinů’s earliest work. With its sports themethe march anticipates (albeit in a significantlymore modest form) his orchestral compositionHalf-Time, H. 142, written a mere three yearslater and capturing the atmosphere duringa pause for breath at a football match. ❚

5 Title page of the piano compositionwith Martinů’s drawings

1 Last bars of the Victory March, H. 129 bis

Ivo Kahánek: Leoš Janáček, BohuslavMartinů, Miloslav Kabeláč. Piano WorksB. Martinů: Sonata for piano,H. 350Ivo Kahánek – PianoRecorded in 2008Supraphon Music a. s., SU 3945-2, 2008

Pražák QuartetIn ConcertB. Martinů: String Quartet No. 3, H. 268Pražák QuartetRecorded in 2006, 2008Praga DigitalsPRD/DSD 350 045, 2008

Martinů Complete Piano MusicNo. 5Polkas 1916, H. 101Five Waltzes, H. 5World premiere recordingsGiorgio Koukl – PianoRecorded in 2008Naxos 8.572175, 2009

DVD / CDMARTINŮ H.136Compositions by Martinů: CD 1 / Trio à cordes no 1 H. 136 (1924)– First commercial recordingMusique de chambre N°1 « Fêtes nocturnes » H. 376 (1959)CD 2 / Quintette à cordes H. 164 (1927)Quatuor avec piano H. 287 (1942)ENSEMBLE CALLIOPÉE (France)Karine Lethiec, artistic direction2 CDs + DVD (film « H136 ») French, English, German, CzechAvailable 26 March 2009www.alpha.com

Firkušný: Mussorgsky,Schubert, Martinů,Chopin, SmetanaB. Martinů: Fantaisie et Toccata, H. 281Rudolf Firkušný – PianoRecorded in 1980 / BBC Legends, BBCL 4238-2, 2008

Bohuslav Martinů: Complete Worksfor Violin and PianoBohuslav Matoušek – ViolinPetr Adamec – PianoRecorded in 1996, 1997, 1998 Supraphon Music a. s., SU 3950-2, 2008

new ccdds

Bohuslav Martinů:Piano Quintets,Piano QuartetPiano Quintet No. 2, H. 298Piano Quintet No. 1, H. 229Piano Quartet, H. 287Ivan Klánský – PianoKocian QuartetRecorded in 2007, 2008Praga Digitals, PRD/DSD 250250, 2009

Bohuslav Martinů – Three Fragments from the OperaJuliette (The Key to Dreams), H. 253 A*, Orchestral Suite from Juliette, H. 253 B (arr. Z. Vostřák)Magdalena Kožená (Juliette), Steve Davislim (Michel), Frédéric Goncalves, Michéle Lagrange, Nicolas Testé, Czech Philharmonic Orchestra, conductor Sir Charles MackerrasLibretto: B. Martinů after Georges Neveux’s play Juliette où la Clédes SongesSU 3994-2 / 1 CD / World premiere recording / Release date 25 May 2009* Live recording from the work’s world premieres on 11 and 12 December 2008

Documents

THE BOHUSLAV MARTINŮ FOUNDATION THE BOHUSLAV … · the second istheexpression ofhistheatre creations through both period ... Sonata No. 2 “Inmemory of Bohuslav Martinů” Bohuslav