THE BOHUSLAV MARTINŮ FOUNDATION THE ...IN 2010 AGAIN WE ARE CELEBRATING a momentous anniversary – 120 years since the birth of Bohuslav Martinů (8 December 1890, Polička). Numerous

THE BOHUSLAV MARTINŮ FOUNDATIONTHE BOHUSLAV MARTINŮ INSTITUTE

THE INTERNATIONAL MARTINŮ CIRCLE

It’s too salty. Oversalty.Scratch me on my back.

Like in Spain.

Just politely!

On the backs of the waves.

martinůrevueMAY—AUGUST 2010 VOL.X NO.2

PRAGUE SPRING FESTIVAL 2010

THE LOST SCORE OF THE CELLO CONCERTO No. 1

AUTOGRAPHS IN PARIS

MARTINŮ & HIS EARLY VOCAL MUSIC

2 | martinůrevue22010

contents

2 news

3 Martinů Revisited Highlights

4 martinů revisited Martinů Fifty Years Later

ALEŠ BŘEZINA

5 International Martinů Circle

6 research The Lost Score – Part 1

GREGORY TERIAN

8 festival Prague Spring Revisitings

PATRICK LAMBERT

10 festival Incantations with Garrick Ohlsson

IVANA TABAK

11 special series List of Martinů’s Works IX

12 research Martinů’s Autographs in Paris

ALEŠ BŘEZINA

14 reviews Chamber Music Concert,

Frescoes in Chicago, Gilgamesh in ParisPETRA RICHTER, ROBERT SIMON,HARRY HALBREICH

16 recordings Martinů’s Unpublished Songs

PATRICE CHEVY, GIORGIO KOUKL

18 events / news

19 new CDs

NEW GIFTNEWTON FRIEDMAN, MEMBER of theInternational Martinů Circle, has recentlydonated to the Bohuslav MartinůInstitute a handsome portrait photographof Martinů. The historic photograph bearsa French dedication in the composer‘shand to his friends the Speyers andis dated 1943. Louis Speyer was thefirst oboist of the Boston Symphony.A prominent figure in Boston,Massachusetts, he was renownedas a great orchestral player and oboeteacher. Martinů and Speyer met inBerkshire in 1942. ❚

y Print of page 10 from the solo cello part of Martinů’s Cello Concerto No.1as originally published by Schott. It shows the performance markings by Pierre Fournierrelating to version 2 and composer's subsequent annotations leading to version 3.

< For moreinformation seepages 6 and 7(article by Gregory TerianThe Lost Score –Pierre Fournierand the MartinůCello Concerto No.1)

martinůrevue22010 | 3

ķhigh

lights

19 September 2010OPERNHAUS / BADISCHES STAATSTHEATER KARLSRUHE / GERMANYThe Greek Passion / H. 372/IIChristoph Gedschold (Conductor & Music Director) Georg Köhl (Director)Florian Etti (Costumes, Scene)

www.staatstheater.karlsruhe.de

1 October 2010OPERA WROCŁAWSKA / WROCŁAW / POLANDPlays of Mary / H. 236

www.opera.wroclaw.pl

operas

22 & 24 September 2010NATIONAL THEATRE / PRAGUE / CZAriane / H. 370 – concert performanceSimona Houda-Šaturová (Soprano), Aleš Jenis (Baritone), Ondrej Mráz (Bass), Richard Samek (Tenor), Zdeněk Plech (Bass), Aleš Voráček (Tenor), Tomáš Netopil (Conductor)Choir & Orchestra of the National Theatre Opera

www.narodni-divadlo.cz

IN 2010 AGAIN WE ARE CELEBRATING a momentous anniversary – 120 years since the birth of Bohuslav Martinů (8 December 1890, Polička).Numerous ensembles and music organisations have included Martinů works in their 2010 repertoire. We will keep you up to date on this pagewith the most significant events.

MORE INFORMATION > www.martinu.cz > www.czechmusic.org

MARTINŮ FESTTAGE 201017 November — 1 December 2010 Basel, Switzerland

OPENING CONCERT17 November 2010IntroductionCamerata Bern – Carolin Widmann/violinPartita, H. 212Concerto da Camera for Violin and StringOrchestra with Piano and Percussion, H. 285

CONTEMPORARY DANCE19 November 2010Martinů Performing Arts Project

PIANO RECITAL21 November 2010Martin Stadtfeld, pianoFantasy and Toccata, H. 281

CINEMA23 November 2010Cleopatra – Frescoes – EcstasyWorks by Berlioz, Martinů and SkrjabinLes Fresques de Piero della Francesca, H. 352Video, directed by Arthur Spirk

CHAMBER MUSIC – Duo27 November 2010Renaud Capuçon & Gautier CapuçonDuo for Violin and Cello, H. 157Duo for Violin and Cello in D major, H. 371

JAZZ – Trio28 November 2010Günter Wehinger/flute & friends

FAMILY CONCERT1 December 2010Who is the Most Powerful in the World?, H. 153clair-obscur saxophone quartetSpeaker: Wolfram BergerBased on the ballet by Bohuslav Martinů,arranged by Christoph Enzel

Programme subject to change.


/ ALEŠ BŘEZINA

MANNES COLLEGE STUDENTSJOIN THE INTERNATIONALMARTINŮ REVISITED PROJECT

THE AMERICAN COMPONENT of the MartinůRevisited project was joined by the MannesCollege The New School for Music*), whereBohuslav Martinů taught composition between1948 and 1956. Among his most famous pupilsfrom this institution is the Chinese -Americancomposer Chou Wen-Chung (*1923). Martinů’sassociation with the then Mannes School ofMusic also had deep roots in his friendship withthe institution’s founders, David and ClaraMannes, and especially with their son LeopoldMannes, for whose piano trio Martinů wrotea couple of works. Moreover, the school playeda significant role in championing BohuslavMartinů’s operatic œuvre in the USA, beginningwith a student performance of Comedy on theBridge, H. 247, staged in 1951 to mark the com -poser’s 60th birthday. This production laterwent on to receive the annual award of theMusic Critics Association for the best operaperformed in the previous year in New York.Following the composer’s death, the MannesSchool held a memorial concert on 28 Novem -ber 1959 at which Rudolf Firkušný, Lillian andJoseph Fuchs, Artur Balsam and other artistsappeared. The proceeds of the event were usedto establish the annual Martinů Award. Therecipients of this award from 1960–63 wereDavid Tcimpidis, David Loeb, Gregory Proctorand Ned Bragni. In 1964–65 no awards weremade and in 1966 the private list of PeterPindar Stearns, a former student of Martinů’sand later long-time professor of compositionat the Mannes School of Music, bears the note“No funds.”

From the very first preparatory meetings withthe present dean, Joel Lester, in October 2006,it was clear that the tribute to Martinů wouldtake the form of a chamber concert fea tur ingthe composer’s works and performed by MannesCollege students. Later on, it was de cided thata lecture would be given by the author of this textand there would be a screen ing of Jiří Nekvasil’s

≠

documentary Martinů and America (Czech Tele -vision, 2000). Thanks to the partici pa tion ofanother three distinguished persona lities –Marcel Sauer, former director of the BohemianNational Hall in New York, Michael B. Becker -man, professor of musicology at New YorkUniversity, and Susan Lucak, president of theDvořák American Heritage Association – it waspossible to move the concert from the originallyplanned Mannes College concert hall to thehistorically significant Bohemian National Hall.

On 23 October 2009 a sizable audience hearda representative selection of Martinů’s chamberworks dating from the composer’s final

20 years. In the case of the Quartet for Oboe,Violin, Cello and Piano, H. 315, the programmewas linked with the history of Mannes College –the piece is dedicated to the pianist LeopoldMannes, who premiered it on 12 January 1949with the members of his trio, violinist VittorioBrero and cellist Luigi Silva, and with the oboistMitchell Miller. Sources have previously giventhe date of the quartet’s premiere as November1947, but the New York Times review dated13 January 1949 explicitly states that theperformance of the previous day was a pre -miere. Further, the review emphasises that theperformance was part of the inaugural concertof the Mannes Trio. The accepted chronologyof the work’s genesis is evidently in need ofrevision. Seventy years later the quartet wasperformed by Ryan Walsh (oboe), Yi-Chun Lin(violin), Yu-Han Chen (cello) and Shuai Zhao(piano). The Sonata for Flute and Piano, H.306,was played by Emily Schneck and DimitriGlivinsky. The piano version of Act 2, Scene 3of Juliette, H. 253 C, in Rudolf Firkušný’sauthorised arrangement was performed by thepianist and musicologist Erik Entwistle, whoat the conclusion of the evening accompaniedDaria Titova in the Variations on a Slovak FolkSong for Cello and Piano, H. 378.

The entire event was an appropriatereminder of the distinguished position BohuslavMartinů held within American musical life ofthe mid-20th century. ❚

*) Mannes School was the first American Institutionto join the International Martinů Circle.

≠MARTINŮFIFTYYEARS LATER

Michael Beckerman


A MEETING of the Board of the IMC took place in Paris on 24 June. Amongmatters considered was a proposal to raise the IMC subscription rates. The Mar-tinů Revue (formerly Bohuslav Martinů Newsletter) was first published more thanten years ago since when there has been no increase in subscriptions. In themeantime production and distribution costs have increased considerably. Wehave sampled the views of a selection of members who have all agreed that anincrease in subscriptions is justified and overdue. We will announce the new ratesfor 2011 in the next edition of the Revue.

[�OPERA NEWS FROM THE UK)Second Movement Opera, a recent newcomer to the Martinů Circle, is hop-ing to stage a production of The Three Wishes, H. 175 during 2011. As a preludeand preview, they will be performing scenes from the opera with piano accompa-niment at the Tet a Tet Festival, Riverside Studios, Hammersmith on 14 & 15 Au-gust (box office 0208 237 1111). We wish them well in their efforts to proceed toa full production which would well rank as the first UK outing for this entertain-ing early opera from Martinů.

There is to be a screening of the Pamela Howard’s 2009 Brno production at theVictoria & Albert Museum on Sunday 19 September commencing at 2pm as partof the London Design Festival. The film will be introduced by Pamela who will bejoined by the lead soprano Tereza Merklová. The set and costume designs will beon view before and after the event which is supported by the Czech Centre inLondon. Admission will be by ticket available from the V&A (0207 942 2209).

[�BĚLOHLÁVEK CYCLE COMPLETED)Jiří Bělohlávek and the BBC Symphony Orchestra completed their Martinů sym-phony series at the Barbican Hall on 8 May with a spellbinding account of theSymphony No. 6, H. 343 (Fantaisies symphoniques). Soon after BBC Radio 3 re-broadcast the entire cycle over a five day period, which allowed us to fully appre-ciate the measure of Bělohlávek's splendid achievement. It was a landmark eventwhich is unlikely to be surpassed in the future. Gregory Terian, Chairman

[�2010 SUBSCRIPTION PAYMENTS)WE WOULD REQUEST members who have not yet paid their 2010 subscriptions todo so as soon as possible through one of our international contacts listed below:

> Gregory Terian (Great Britain), [email protected], +441625523326, 18 Broadway,Wilmslow, SK9 1NB UK, Great Britain

> Patrice Chevy (France), [email protected], +33675620321,11 Résidence FOCH, 923 80 Garches, France

> Mari Tokuda (Japan), [email protected], +81 339 393 395, +81 359 990793> Geoff Piper (Belgium, Luxembourg and Austria), [email protected],

+352-474269, 24, rue des Cerisiers, Luxembourg, L – 1322 Luxembourg> Gert Floor (Netherlands), [email protected], +31725095262,

Gortersweg 6, 1871 CC Schoorl, Netherlands> Robert Simon (USA), [email protected], mobile number 216-973-7716 ,

2531 Jackson Ave. Apt 1E, Evanston, IL 60201, USA> Jaroslav Šonský (Sweden), [email protected], +4611318475,

Knopgatan 6, 603 85 Norrköping, Sweden> Petra Richter (Germany), [email protected], Furtstraße 46,

73770 Denkendorf, Germany

Those who pay their subscriptions via the Dvořák Society should continueto do so. Those wishing to pay in Czech currency or by cash should contact us [email protected] ❚

GENERAL INFORMATIONMembers receive the illustratedMartinů Revue published three timesa year plus a special limited edition CDcontaining world premieres, historicperformances and archival recordingsfrom the annual Martinů Festival notobtainable commercially.

The IMC is supported by theBohuslav Martinů Foundation andBohuslav Martinů Institute in Prague.

MEMBERSHIP & SUBSCRIPTIONINFORMATION> YEARLY SUBSCRIPTION:

20 EUR / 25 USD> SUBSCRIPTION FOR CORPORATE

MEMBERS: 100 EURincludes 10 copies of each RevuePLUS 3 copies of the non-commercialCD recording from the BohuslavMartinů Days Festival in Prague> SINGLE COPIES OF THE REVUE:

50 CZK / 2 EUR / 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, CZ

WELCOMES NEW MEMBERS(in alphabetical order)> Teri Achmann, Canada> Graham Eskell, Great Britain > Delia Friesenhausen, Schweizerische

Martinů Gesellschaft, Riehen,Switzerland

> Hartmann Götz, Germany > Henkjan Klok, Netherlands > Giorgio Koukl, Switzerland> Franklin Stover, USA Corporate member:> Berlin Philharmonic Orchestra,

Germany

BOHUSLAV MARTINŮ DAYS 2008New CD for IMCmembers, moreinformation:www.martinu.cz

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MARTINŮ REVUE (formerly BohuslavMartinů Newsletter) is publishedby the International Martinů Circlein collaboration with the BohuslavMartinů Institute in Prague with thefinancial support of the BohuslavMartinů Foundation Prague.

Editors Zoja Seyčková & Lucie BernáBohuslav Martinů InstituteJustin Krawitz (with special thanks)

Publisher’s OfficeInternational Martinů Circle, o.s.IČ: 22688846Bořanovická 14, 182 00 Praha 8-Kobylisy,Czech Republice-mail: [email protected]

Translation Veronique Firkušný-CallegariHilda Hearne

Photographs The Bohuslav Martinů Foundation’sand Institute’s archive, collections of theBohuslav Martinů Center in Polička

Graphic Design David E. Cígler

Printing BOOM TISK, spol. s r.o.

The Martinů Revue is published three times a year in Prague.

CoverDrawings by Bohuslav Martinů from his diary, 1918–1924© Bohuslav Martinů Centre, Polička, CZ

ISSN 1803-8514MK ČR E 18911

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THE BOHUSLAV MARTINŮ CENTER IN POLIČKA offers an interesting, inter -actively conceived exhibition on the com -poser’s life and work. The modern display ofBohuslav Martinů’s life and work is locatedin the historical building of the formercouncil school, which Martinů attendedas a child. Consequently, the project alsocomprises a reproduction of Martinů’sclassroom, complete with period paintingand furniture. The centre also containsan audio-visual hall and study room.

Bohuslav Martinů Center Tylova 114, 572 01 Polička tel.: +420 461 723 857 www.cbmpolicka.cz

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(�INTERNATIONAL MARTINŮ CIRCLE]PATRON MAGDALENA KOŽENÁ (]

about deftly, and quirks are genial enough, but theideas are too trivial to be worth attention. Thesoloist manipulated his catchy part splendidly.”

It is probable that Martinů heard the broad -cast transmission from London but it is doubtfulwhether he ever became aware of the somewhatjaundiced views of Mr Anderson.

WORLD WAR IIŠafránek (1964) refers to a performance of VersionNo. 2 having taken place at the beginning of WorldWar II. No such performance has been identifiedand it must be born in mind that Šafránek wasno longer resident in France at that time.

Fournier remained in France throughout theGerman occupation when no performance ofany work by Martinů was permitted. After theLiberation Fournier came under a cloud, accusedof “collaboration”, one of his misdeeds havingbeen to perform with the Berlin Philharmonicunder Wilhelm Furtwängler. The penalty imposedwas relatively mild; a ban on performing abroadfor a period of six months. He was able to returnto London in 1946 and was later rehabilitated bythe French establishment with the award of theLegion d’Honneur for his services to French music.

In 1946 Fournier re-launched the Martinůconcerto at the Théâtre des Champs Élysées inone of a series of concerts in Paris marking theinauguration of UNESCO. The orchestra was theCzech Philharmonic conducted by Rafael Kubelík,

Fournier’s Paris performance achieved aninstant success and was received with enthu si -asm by the critics. “Very difficult to play, difficultto accompany and no easier to analyse, none theless the Concerto of Martinů is easy to under -stand; it is a magnificent piece of music in whichone is gripped by the rhythmic and melodic ardour,the atmospheric intensity and truth of expres -sion…” reported La Revue musicale (February1938). “… a particularly brilliant success for thecellist Pierre Fournier who exhibited command ofthe highest quality in a very difficult but beautifulConcerto by Martinů…” noted Le Ménestrel(February 1938).

PERFORMANCE IN LONDONFollowing the Munich crisis and the looming threatof war, there was a warming of the Ententebetween Britain and France. It was marked bya series of cultural and musical exchangesbetween artists from the two countries.

Fournier came to London and on 27 February1939 he gave a studio performance of the MartinůCello Concerto with the BBC Symphony Orchestra(section E) led by Lawrence Turner and conductedby Julian Clifford. It was transmitted by theBBC National Service at 10pm. The concert alsoincluded Berlioz’ overture Beatrice and Benedictand Ravel’s Tombeau de Couperin, giving someindication of the orchestral forces employed.

In contrast to its favourable reception in Paris,the critic W.R. Anderson was scathing in his reviewpublished in the Musical Times (March 1939). Hewrote: “Martinů’s new cello concerto (26 minutes)had its first broadcast with Pierre Fournier as thesoloist. The quick movements have his customaryexcess of bustle and poverty of ideas. The slowmovement wanders attractively, part of the time,in mediaeval style, forgetting most of the offcentre harmony that but thinly disguises, in therest of the work, a frank romanticism or a cheerycross-talking dialect. Martinů throws his harmony

/ GREGORY TERIAN / PART 1

The Cello Concerto No.1, H.196 by Bohuslav Mar tinůis amongst his most immediately appeal ing worksand one for which he had a particular affec tion.The composer revised it on at least two occa sions.This was unusual in itself for a prolific com poserwho seldom re-engaged with his earlier works.

In its original form for cello and chamber or -ches tra, it was likened to a neo-baroque concerto --grosso. In 1955 it finally emerged as a full-blownlate romantic concerto. Some aspects of its evolu -tion from Version 1 to Version 3 have remainedobscure, in particular those surrounding thecreation of Version 2. Hopefully what follows willserve to clarify the picture. My enquiries haveunearthed new material and revealed flaws inpreviously published data.

The original version of the concerto was com -posed in Paris in 1930 and published by Schott.It was dedicated to the Spanish cello virtuosoGaspar Cassadò who gave the first performancein Berlin on 13 December 1931. Bohuš Herangave the Czech premiere with the Prague RadioSymphony Orchestra under Otakar Jeremiáš andsubsequently performed it with, among others,the Orchestra of the German Theatre in Pragueunder George Szell and the Czech PhilharmonicOrchestra under Karel Šejna.

PIERRE FOURNIERIn 1938 the young Pierre Fournier took up the work.Miloš Šafránek in his 1963 biography (followed byHalbreich 1968) stated that the performance tookplace in 1939 and dated the first revision of thescore as having been made in that year. In factthe first Fournier performance with the Orchestrede la Société Philharmonique de Paris underCharles Munch took place at the Salle Pleyel onThursday 27 January 1938. Halbreich (2007)corrects the date of the first performance butretains 1939 as the year of the revision.

research

Pierre Fournier, Paris 1939


The second version of the Cello Concerto No. 1, H. 196 II, was formany years thought to be lost. Its origins and the circumstancesof its premiere have long been the subject of controversy. Theauthor's in-depth research between 2007–2009 has resolved theissues in question and allowed work to begin on the preparationof critical editions of all three versions of this splendid work.

THELOSTSCOREPIERRE FOURNIER & THE MARTINŮ CELLO

making their first post-war tour. Paris wassuffering from post-war privations includinga lack of heating, but the concert generated muchwarmth and attracted glowing reviews. A specialrepeat performance of the concerto was arrangedfor Prague and took place on 8 December 1946when it again made a big impact. The programmenote refers to the re-orchestration of the workfor a large orchestra in 1939 and its dedicationto Pierre Fournier as its exclusive interpreter.

Thereafter Fournier regularly included theconcerto in his concert programmes. One suchperformance was due to have taken place inBaden-Baden on 1 June 1947 with the Süd -deutscher Rundfunk Symphony Orchestra.However, in rehearsal the visiting conductor OttoKlemperer experienced such difficulty with theorchestral score that Fournier tactfully suggestedsubstituting the Haydn concerto, a change whichwas eagerly accepted by the conductor. Theyoung Hans Werner Henze was a witness to thisevent (Hayworth: Otto Klemperer – his life andtimes, vol. 2 p. 161). The omission of the Martinůconcerto from this programme ultimately had onebeneficial effect, as will be seen.

AT THE HALLÉ 1948Fournier brought the work to Manchester and on17 March 1948 performed it with the Hallé Orchestraconducted by John Barbirolli. The concert tookplace at Manchester’s Albert Hall, the Free TradeHall having been destroyed in a wartime air raid.

The programme notes relating to the concertare interesting in that they refer to the work asthe Cello Concerto No. 3 and indicate that onlyone copy of the score existed. (The only referencework relating to Martinů available at that timewas the Šafránek biography of 1946 whicherroneously refers to a Cello Concerto No. 3).

Barbirolli had been the conductor of the NewYork Philharmonic until 1942 and had beeninvolved with the American Friends of Czecho -slovakia. He is quoted in the programme notesas saying: “Martinů’s sojourn in America hascoloured his style and the influences are apparent.Although highly individual, the idiom is worked outin a way that rather suggests the same impactthat America had on Dvořák”. Barbirolli appears tohave been unaware that the concerto pre-datedthe composer’s arrival in the United States.

The performance received a very positive re -view in the Manchester Evening News (18 March):“…Pierre Fournier gave a remarkable performance

of the new Martinů Cello Concerto No. 3 (sic) –both soloist and composition being heard inManchester for the first time. The concerto’ssyncopated rhythms and dissonance suggestingmodern American influence, form a large part ofa work of startling vitality. M. Fournier played thelightning double stopping on the upper registerwith superb smoothness; tone and phrasingin the slow movement were exquisite”.

The critic of the Manchester Guardian hadsome reservations: “New music here last nightwas a violoncello concerto by the Czech composerBohuslav Martinů. It is a work containing muchthat is admirable but it suffers from an excessiveuse of polytonality. With his crowded texturesMartinů often diminishes the best features of hishighly individual style, and his dissonances soundformidable because of the rich complications ofharmonic patterning. The vigorous movements arevividly coloured and each section of the concertoincludes fine lyrical stretches. The extremelydifficult solo part was magnificently played byMr Pierre Fournier”.

AMSTERDAM AND NEW YORK 1952Fournier continued to feature the Martinů con -certo in his concert programmes. In January 1952he joined again with Rafael Kubelík to performthe work, this time at the Concertgebouw inAmsterdam. The programme notes drew attentionto the 1939 revision for a large orchestra withmore transparent textures.

On 30 October 1952 Fournier gave the NewYork premiere with the Philharmonic-SymphonyOrchestra under Dimitri Mitropoulos. The program -

me note provides a further clue relating to VersionNo.2. It states that following Fournier’s first per -formance of the work in Paris in 1938, Martinůre-orchestrated the work and that all the revisedparts were presented to Fournier.

Writing in the New York Times, Olin Downesreported that in its present form the concertowas a considerably different work to the original.He remarked on the suggestion of American jazzinfluence in the first movement and, like Barbirolli,drew the parallel with Dvořák. Downes continued:“The writing is first-class for the cello and offersthe skilled executant all sorts of uncommonopportunities. Mr Fournier availed himself notablyof these, to the vast pleasure of the audience,which heartily applauded and recalled him”.

Having failed to secure a performance of theCello Concerto in 1947 due to difficulties withthe conductor Otto Klemperer, SüddeutscherRundfunk again invited Fournier to perform thework, this time with Ernest Bour who had previousexperience of conducting works by Martinů.On this occasion the performance went withouthitch. Bour later became the permanent con duc -tor of the orchestra.

To be continued in the Martinů Revue 2010 No. 3© THE AUTHOR


Acknowledgements:With special thanks to Jean Fonda-FournierEleanor Roberts (Hallé Orchestra Archivist)Richard C. Wandel (New York Philharmonic Associate Archivist)Stadsarchief AmsterdamRachel Lawson (BBC Written Archives Centre)Zoja Seyčková (Bohuslav Martinů Institute)Patrick Lambert and Aleš Březina

CONCERTO No.1

I understand that these Prague Springperformances, two on the same day (16 May),were a partial revival of a successful stageproduction with choreography by LadislavaKošíková, director of the Hradišťan danceensemble, given at the 2007 Smetana Festivalin Litomyšl. In the programme booklet Košíková

writes: “For me, Kytice gives out a fragrance.The scent of man and life. I have tried to graspand draw some of these eternal life-motives,to empathise with Martinů’s music, to be atone with the blossoms of his Kytice, whosefragrance has not evaporated and whose seedsare forever full of spiritual strength, even forpresent-day man.”

went on to compose The Greek Passion… True,there are aspects of the production that borderon kitsch – a clichéd costume for the VirginMary with golden crown and robes as if she hadstepped from the high altar, and overenthu si -astic amplification of bells, organ and chorusin the final Dona nobis pacem. Nevertheless,I found that such was the power of thespectacle, one was simply compelled to suspenddisbelieve (in the religious sense also) andsurrender to the colourful stage events. For me,the high point was the Nativity, with Mary’scharmingly apocryphalencounters witha blacksmith preoccupiedwith fashioning nails for thecross and with his crippleddaughter whom, witha touch, the Holy Mothermiraculously restores tohealth. I too was touched,eyes welling with tears.

My next Martinů experiencewas also at the NationalTheatre: a stagepresentation of Kytice(Bouquet of Flowers), H. 260. This folk cantatastarted life as a distinctly non-scenic piece –it was written for Czech Radio, so any visualelement was left entirely to the listener’simagination, though I do recall seeing aneffective, pastel-shaded Czech TV balletadaptation from 1980 (choreographer:Pavel Šmok; director: Eva Maria Bergerová),

/ PATRICK LAMBERT

KNOWING THAT I would be unable to attendthe National Theatre’s designated Festivalperformance of Hry o Marii (Plays of Mary),H. 236 conducted by Jiří Bělohlávek(30 May 2010), I was happy to catch an earlierperformance under the baton of assistantconductor David Švec (12 May 2010, coincidingwith the The 65th Prague Spring InternationalMusic Festival’s opening concert).

I confess to having had misgivings about quitewhat to expect from my evening at ‘The GoldenShrine’, since I had been warned that JiříHeřman’s production of Martinů’s extra ordinaryfour-part opera was controversial, evenmisguided. Having witnessed his recent Rusalkawith its fornicating palace guests and penchantfor surrounding protagonists with semi-nakedmale dancers, I feared the worst. However, itturned out to be one of the most gripping andmoving theatrical experiences that I have everencountered. An experience greatly enhancedby wonderfully committed singing and playingand by the decision to surround and immersethe audience in sound, with the chorus placein balcony boxes on both levels – the leafletboasted of more than 200 performers beinginvolved. David Švec, a fiery young reddishhaired conductor, held it all together in masterlyfashion, bringing out the beauty of the musicas well as its power, which seemed to increaseprogressively with each play, achieving by theend immense accumulative impact.

It could be argued that the staging – a co --production with Wrocław Opera – over empha -sises the religious aspect, ignoring the com -poser’s reservations about changing a piece‘into a Mass’ and transforming the theatre ‘intoa Cathedral’. At the time of the premiere in Brnoin 1935, Martinů declared: “As far as belief goes,I think it does not play a big role in this,I myself am not pursuing any religious aim andI chose these subjects more because they arewell suited to my music, i.e. to do them in a folkmanner… “. However, by way of justification,the present staging enjoys the benefit ofhindsight: an awareness that Bohuslav Martinů

festival PRAGUE SPRING


4 Maurice Bourgue with conductor

Ondřej Kukal, 24 May photo zdeněk chrapek

2 Plays of Mary, Sister Paskalina,

30 May photo ilona sochorová

Concerning the staging and designs, I wasin two minds as to whether they added ordetracted from the music. Perhaps in reactionto the colourful folkloristic treatment of formertimes, director Alena Vaňáková was intent onpursuing a severely stylised, minimalistic andrather monochrome approach: costumes grey,black or white with just a touch of blood-red,

and backcloth pro jectedwith mainly abstract,colourless pat terns.Of course, Mar tinů’s musiccontains plenty of colour initself, but I must admit thatI longed for a warmer visualelement, inspired perhapsby images from Zrzavý,the dedicatee of the work.

The stark presentation wasredeemed by the excellenceof the musicians. This time,the orchestra was the hardworking Prague Philhar mo -nia, which a few days earlierhad opened the Festival withperformances of Má vlast

on three successive evenings, conducted byJakub Hrůša. Here they were under the batonof yet another talented young conductorRoman Válek, who directed proceed ings withgreat verve and rhythmic vitality. By the end,the audience was again surrounded by thechorus: the magnificent, rejuvenated PraguePhilharmonic Choir.

At the start of the evening, before the curtainrose, Martinů’s early and beautifully scoredNocturne No.1, H.91, recently edited by SandraBergmannová, had served as a charming andunexpected prelude.

My final Martinů encounter was a brilliantconcert given by the Prague Chamber Orchestraunder the baton their former leader, the multi -talented Ondřej Kukal (24 May). Having braveda downpour to reach the Rudolfinum, a largeaudience of international music lovers wasrewarded by a well devised programme thatbrought a welcome breath of Spring. It was

conjured up by an ensemble that showed itselfto be in fine fettle, sounding simply wonderfulin the splendid acoustics of the Dvořák Hall,with especially beautiful string tone.

For the opening item, Clara Novakova was thehighly musical soloist in a composition for flute,strings, celesta and harp specially written forher by her father, who had been a pupil ofMartinů in America: Jan Novák (1921–1984). Histhree movement piece, Choreae vernales (SpringDances), was conceived under Italian skiesin 1977 and inspired by lines from the Latinpoet Horace, celebrating the return of Spring –“the snow is melting, grass growing and treescoming into leaf… Grace, naked, leads the danceof nymphs and sisters”. This Arcadian imagewas beautifully evoked by the pastoral pipingsof the soloist and by the subtly scoredaccompaniment. Martinů would surely haveapproved.

THE 65TH PRAGUE SPRINGINTERNATIONAL

MUSIC FESTIVAL 2010

184 Kytice, 16 May

photos zdeněk chrapek

REVISITINGS


1 František Novotný and

Clara Novakova, 24 May

photo zdeněk chrapek

as an ‘Andante by Martinů’, which had me rack -ing my brains as to its source. Afterwards, a littlebird informed me that it was an arrange mentof the middle movement of the Diverti mentofor two recorders. (Premiere recording of thiswork was included on B. Martinů Days 2008 CD.)

The concert was rounded off with a fine render -ing of Haydn’s “Surprise” Symphony, conveyingwell what Martinů himself detected in themusic of his illustrious predecessor – “joy andthat humble, unassuming attitude, the sign ofa simple and great man”. Kukal’s lively upbeatlent such a spring to the rhythms that therewas really no need for the sudden thwack onthe kettledrum to keep the highly enthusiasticaudience awake! Despite the inclement weather,I feel certain that almost all of us emerged intoPrague’s damp night air in sunny mood. ❚

and Orchestra, H. 252. They proved a perfectmatch, bringing out the lyricism and Gallicelegance of this music, composed in Paris in 1936for Marcel Moyse and his daughter-in -lawBlanche Honegger. As an encore, the soloistsplayed a delightful little duet, announced simply

Further Spring warmth was conveyed byMartinů’s own sun-drenched Concerto forOboe and Small Orchestra, H. 353 (accordingto legend, the instrument of the faun) writtenin May 1955 in Nice for fellow émigré JiříTancibudek. Here, Maurice Bourgue was thedistin guished soloist, well known in the CzechRepublic as music director of the Sándor VéghInternational Academy of Chamber Music,based in Brandýs nad Labem. Perhaps his toneseemed a little strained in the opening move -ment, but it became noticeably more roundedby the time he reached the meditative middlemovement, and the scurrying finale with itspastoral warblings was dispatched with utmostvirtuosity.

After the interval, Clara Novakova joined forceswith František Novotný for a bright eyed per -form ance of Martinů’s Concerto for Flute, Violin


30 MAY 2010 WAS an eventful evening on thePrague musical scene. Maestro Pierre Boulez,one of the biggest stars of this year’s PragueSpring Festival, conducted his orchestraEnsemble Intercontemporain, while Martinů’sThe Plays of Mary received its last perform anceof the season. Nevertheless, a third concert atthe Smetana Hall of the Municipal House wasalmost sold out. This concert featured MilanSlavický’s Symphonic Vision for Large Orchestra“Porta Coeli”, Bohuslav Martinů’s Piano ConcertoNo. 4 (Incantations), H. 358 and GustavMahler’s Symphony No. 5 in C sharp minor,performed by the Czech Philharmonic Orchestraunder the direction of Zdeněk Mácal. Many hadbeen looking forward to Martinů’s Incantationswith American pianist Garrick Ohlsson, whoachieved popularity with Prague audiencesalready in his youth.

The performanceof Martinů’s PianoConcerto No. 4 wascharacterised byan overwhelming joy,with excellent com -munication betweenthe con ductor,orchestra and pianist. This was especiallyapparent in parts that had a chamber characterand in sections where the piano played as anintegral part of the orchestra. Owing to thistight ensemble-work, the rapid emotional andtimbral transformations of this concerto weremost convincing.

This was Ohlsson’s fifth performance ofthis concerto, revealing a deep study of thepiece and a thoroughly considered conception.The solo piano passages in particular were

impressive in the impressionistic colours ofthe melodies, which effectively contrastedwith a powerful orchestral sound.

The performers managed to capture themagical atmosphere of this composition. Theirunderstanding of the colouristic elements in thework supported Martinů’s eschewing of a static,traditional piano concerto form. A less fussy,more virtuoso treatment of presto passages bythe pianist would have made for an even moresatisfying experience. ❚

INCANTATIONSWITH GARRICK OHLSSON

& THE CZECH PHILHARMONIC ORCHESTRA CONDUCTED BY ZDENĚK MÁCAL

/ IVANA TABAK

Zdeněk Mácal & Garrick Ohlsson, 30 May 2010 photo ivan malý

festival

THE 65TH PRAGUE SPRINGINTERNATIONAL

MUSIC FESTIVAL 2010

Kytice, 16 May photo zdeněk chrapek

> PRAGUE SPRING REVISITINGS


Series—Special—LISTOF MARTINŮ’S WORKS IX

> LIST OF MARTINŮ’S WORKS IX > Category CHAMBER MUSIC > Subcategory DUOS FOR VIOLIN AND PIANO

CATEGORY/

| CHAMBER MUSIC SUBCATEGORY/

| DUOS FOR VIOLIN AND PIANO

✂

IN THIS ISSUE of the Revue we continuewith our publishing of the complete list ofBohuslav Martinů’s works. We began withthe operas and have since considered theballets, incidental music and film music, worksfor large orchestra, symphonies, works forchamber orchestra, suites and abstracts ofthe incidental works, piano concertos, violinand cello concertos, concertos for othersolo instruments and orchestra – double,triple and quadruple concertos. The next subcategory are the Duos for Violinand Piano (listed in alphabetical order).The basic data on the works listed herehave been taken from the online catalogueof Martinů’s œuvre athttp://katalog.martinu.cz/martinu/catlist.php

Commentary/“Archive” – gives the information as towhere the autograph score is 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.

DUOS FOR VIOLIN AND PIANO

ADAGIO FOR VIOLIN AND PIANO H. 33

Place of composition: PoličkaDate of composition: 1911Performing forces: vl pfArchive: manuscript missing

ARIETTE FOR VIOLIN AND PIANO H. 188 A

Durata: 1’30” Place of composition: ParisDate of composition: 1930Performing forces: vl pfArchive: manuscript missing

BERCEUSE FOR VIOLIN AND PIANO H. 32

Place of composition: PoličkaDate of composition: 1911Performing forces: vl pfArchive: manuscript missing

CONCERTO FOR VIOLIN AND PIANO H. 13

Place of composition: PoličkaDate of composition: 1910Performing forces: vl pfDedication: probably Stanislav NovákArchive: The National Museum, The Czech

Muzeum of Music, Prague, Czech RepublicCopyright: Panton International Mainz

Archive: Bohuslav Martinů Center in Polička,Czech Republic

Publisher: Hudební matice, Prague 1934(H. M. 589)

Copyright: Editio Bärenreiter, Prague

INTERMEZZO – FOUR PIECES FOR VIOLIN AND PIANO H. 261

Durata: 11’30” Place of composition: ParisDate of composition: 1937Performing forces: vl pfArchive: Bohuslav Martinů Center in Polička,

Czech RepublicPublisher: Melantrich, Prague 1937, later SHV

(H 5259)Copyright: Editio Bärenreiter, Prague

RHYTHMIC ETUDES FOR VIOLIN AND PIANO H. 202

Durata: 14’Place of composition: ParisDate of composition: 1932Performing forces: vl pfArchive: Schott, MainzPublisher: Schott, Mainz 1932 (Nr. 2224)Copyright: Schott, Mainz

ROMANCE FOR VIOLIN AND PIANO H. 12

Place of composition: Smiřice, Czech Republic Date of composition: 1910Performing forces: vl pfDedication: Josefa Vognerová Archive: manuscript missing

SEVEN ARABESQUES – RHYTHMIC ETUDES FOR VIOLIN AND PIANO H. 201 A

Place of composition: ParisDate of composition: 1931Performing forces: vl pfArchive: manuscript missingPublisher: R. Deiss, Paris 1932 (R. D. 7465)Copyright: Édition Durand–Salabert–Eschig

SONATA IN C MAJOR FOR VIOLIN AND PIANO H. 120

Durata: 31’20”Place of composition: PoličkaDate of composition: 1919Performing forces: vl pfDedication: Stanislav Novák, Karel Šolc Archive: Bohuslav Martinů Center in Polička,

Czech RepublicPublisher: Panton, Praha 1973 (P 1215)Copyright: Panton International Mainz

SONATA IN D MINOR FOR VIOLIN AND PIANO H. 152

Durata: 17’Place of composition: Paris

Date of compostition: 1926Performing forces: vl pfDedication: Stanislav Novák, Karel ŠolcPerformers of premiere: Nora Grumlíková

(Violin), Jaroslav Kolář (Piano) Premiere: 30. 3. 1963Archive: manuscript missingPublisher: Panton, Prague 1966 (P 536)Copyright: Panton International Mainz

SONATA No. 1FOR VIOLIN AND PIANO H. 182

Durata: 19’Place of composition: ParisDate of composition: 1929Performing forces: vl pfPremiere: 5. 11. 1930Archive: Alphonse Leduc, ParisPublisher: Alphonse Leduc, Paris 1930

(A. L. 17688)Copyright: Alphonse Leduc

SONATA No. 2 FOR VIOLIN AND PIANO H. 208

Durata: 13’Place of composition: ParisDate of composition: 1931Performing forces: vl pfDedication: Hortense de Sampigny-Bailly Performers of premiere: Hortense

de Sampigny-Bailly Premiere: 20. 1. 1933Archive: The National Museum, Czech

Museum of Music, Prague, Czech RepublicPublisher: R. Deiss, Paris 1932 (R. D. 7479)Copyright: Éditions Durand–Salabert–Eschig,

Paris

SONATA No. 3 FOR VIOLIN AND PIANO H. 303

Durata: 24’30”Place of composition: New YorkDate of composition: 1944Performing forces: vl pfPerformers of premiere: A. Reyes, A. BalsamPremiere: 18. 12. 1945Archive: manuscript missingPublisher: Associated Music Publishers,

NewYork 1950Copyright: Associated Music Publishers

SONATINE FOR VIOLIN AND PIANO H. 262

Durata: 11’30” Place of composition: ParisDate of composition: 1937Performing forces: vl pfArchive: Bohuslav Martinů Center in Polička,

Czech RepublicPublisher: Melantrich, Prague 1937, later SHV

(H 2172)Copyright: Editio Bärenreiter, Prague

CZECH RHAPSODY FOR VIOLIN AND PIANO H. 307

Durata: 12’Place of composition: Cape Cod, South

Orleans, Mass. (USA)Date of composition: 1945Performing forces: vl pfArchive: Bohuslav Martinů Center in Polička,

Czech RepublicPublisher: Max Eschig, Paris 1962 (M. E. 7188)Copyright: Max Eschig, Paris

ELEGY FOR VIOLIN AND PIANO H. 3

Place of composition: PoličkaDate of composition: 1909Performing forces: vl pfDedication: Stanislav NovákArchive: The National Museum, Czech

Museum of Music, Prague, Czech RepublicCopyright: Editio Bärenreiter, Prague

FANTASY FOR VIOLIN AND PIANO H. 62

Place of composition: PoličkaDate of composition: 1912Performing forces: vl pfPremiere: 15. 7. 1912Archive: manuscript missingCopyright: Editio Bärenreiter, Prague

FIVE MADRIGAL STANZAS H. 297

Durata: 12’45”Place of composition: New YorkDate of composition: 1943Performing forces: vl pfDedication: Albert EinsteinArchive: manuscript missingPublisher: Associated Music Publishers,

NewYork 1950Copyright: Associated Music Publishers

FIVE SHORT PIECES FOR VIOLIN AND PIANO H. 184

Durata: 11’Place of composition: ParisDate of compositon: 1930Performing forces: vl pfDedication: Miloš ŠafránekPerformers of premiere:T. Harsányi (Piano),

O. Rithère (Violin)Premiere: 5. 5. 1930Archive: ParisPublisher: Alphonse Leduc, Paris 1930

(A. L.17769)Copyright: Alphonse Leduc, Paris

IMPROMPTU FOR VIOLIN AND PIANO H. 166

Durata: 6’Place of composition: ParisDate of composition: 1927Performing forces: vl pf

in Basel, as performed by the children’s choralgroup Sursee Kantorei.

A no less important part of this collectioncon sists of some 22 written documents, namelyletters written by Bohuslav Martinů to Mr. andMrs. Puc. There are several notes in which thecomposer thanks his sponsors for their financialassistance, others in which he expounds on hiscompositions and their performances. The most

to Helena Pucová. Its publication date of 1957would seem to indicate that it was also dis -covered by Miloš Šafránek in Pucová’s archive,along with the other scores.

In 1939, Martinů dedicated his Dětskéhádanky (Children’s riddles), H. 227 to “SachaPucová, in remembrance of May 25, 1939.”

These are entertaining little compositions forvoice with piano accompaniment, each oneending with the sung question “What is it?”followed by a brief spoken answer to eachindividual riddle. Mrs. Boucher was very movedwhen, on October 31, 2009, she heard a con certperformance of this short cycle at theceremonial unveiling of the commemorativeBohuslav Martinů plaque on the Stadtcasino

ANYONE WHO HAS READ Jiří Mucha’s novel,Podivné lásky (Strange Loves), must surelyremember the name of the well-known Czechentrepreneur Čestmír Puc and his wife, Helena,who were among the most important patronsof Czech artists living in France in the thirties.Bohuslav Martinů expressed his appreciationfor their many years of support by dedicatingto them three com po sitions, composed in thelate 1930s. For many years it was impossibleto gain access to the originals and it was onlythrough the books of Jaroslav Mihule that oneknew of their exis tence. In the summer of 2008I finally suc ceeded in making contact with thePuc’s daughter, Mrs. Alexandra Boucher.

The most significant autograph in this collec -tion is the original score of the String QuartetNo. 4, H. 256. This composition was writtenin Paris between April and May of 1937, andis dedicated to Mrs. Helena Pucová, in whosehome it also received its first performanceon June 13, 1938, by the Belgian ensembleQuatuor Lejeune. The concert was recordedand preserved in two copies. The cover of theautograph was illustrated by František Kupkawho thereby turned the valuable original intoa beautiful artifact, which the Puc family keptas part of their collection. From that momentthe waters, so to speak, closed over the workuntil 1956, when Miloš Šafránek found it inthe home of its dedicatee. In 1960 the workreceived its public premiere at a radio studioin Donaueschingen, performed by the NovákQuartet, and it was published three years later.

The cycle of piano miniatures called Oknado zahrady (Windows onto the Garden), H. 270was written in August 1938 in Vieux Moulin, thebirthplace of the composer’s wife, Charlotte.These pieces are among the finest ever writtenby Martinů for the piano. The cycle is dedicated

Bohuslav Martinů, Paris 1932 © CBM

String Quartet No. 4, autograph score – title page and cover illustrations by František Kupka

Valuable autograph materials from the late thirties have recentlybeen discovered in a private collection in Paris. Following his staywith the Boucher family, Aleš Březina describes the manuscriptsof some impressive chamber compositions and correspondencewritten by Martinů just a few years before his forced emigrationfrom Europe in 1941.

research MARTINŮ’S AUTOGRAPHS

/ ALEŠ BŘEZINA


significant document is a two-sided overviewof activities, with which Martinů hoped to raiseawareness of Czecho slovakia and its precarioussituation during the difficult period around theMunich Agreement. He titled it simply “Promo -tional plan,” and in it listed all actual perform -ances of his works, as well as their promotionalpotential. It is simultaneously a documentationof the success of a composer whose works

were being per formed by top notch artists onthe world’s most renowned stages. Amongthem we find, for example, planned perform -ances of the Field Mass in Prague, Paris andLondon, the premiere of the Double Concertofor Two String Orchestras, Piano and Timpani inBasel, Tre Ricercari in Geneva, Budapest, Boston,Washington, Philadelphia and London, and manyperform ances of Martinů’s chamber works inParis, Brussels, Rennes, Amsterdam and othercities. The interpreters include Pierre Fournier,Rudolf Firkušný, Germaine Leroux, Paul Sacher,Marcel Moyse, Samuel Dushkin, Quatuor ProArte, BBC Orchestra, Basel Chamber Orchestra,and conductors Charles Munch, SergeiKoussevitzky and Ernest Ansermet, amongothers. Of parti cular interest to Martinůscholars is the last section of this fascinatingdocument, headed “Other compositions thatI wish to write.” From it we learn about thecomposer’s intention to compose a “PragueSymphony for Large Orchestra,” with a supple -ment titled “For America (Boston)”; his intendedseries “Prague concerts for small chamberensemble”; and “Czech dances for orchestra.”Martinů devotes a special section to composi -tions “For the Czech army,” among which figure,alongside the Military March and Field Mass,an offer to orchestrate national songs for male

chorus; a “scenic portfolio, sketches in collabo -ration with A. Haas”; and a “promotional filmabout Czech music.” The entire listing endswith the laconic statement, “Other activities(concerts etc.) as agreed upon with the promo -tional committee.”

As is well known, during this politicallyunstable time the composer wanted to enlistas a volun teer in the Czechoslovak legions inFrance, and was turned down only out of con -sideration for his age. Alongside the Martinůtexts only recently made public by the Parisianmagazine Český boj (Czech Battle), this uniquedocument illustrates his close connection withpre-war Czechoslovakia and his matter-of-factand unassuming contribution to broadeningawareness about its significance and culture.It is a cruel irony of fate that after the Februarycoup d'état, people, who during the courseof World War II did nothing for their country,labeled the composer a renegade and deserterof his homeland. From this perspective as well,the discovery of Mrs. Alexandra Boucher’sarchive, and its being made accessible, is oneof the most significant accomplishments forMartinů research in recent years. ❚

translated by Veronique Firkušný-Callegari

Bohuslav Martinů (in the middle), from the left

Josef Páleníček, Rudolf Firkušný and Karel Šebánek,

Paris 1938 © CBMPiano composition Okna do zahrady

(Windows onto the Garden), 1938

IN PARIS


THE CHICAGO SYMPHONY ORCHESTRA gavetwo performances of Martinů’s Les Fresquesde Piero della Francesca, H. 352 on May 6th and8th. In the United States we are rarely treatedto a major orchestra performing Martinů,so it was wonderful to be in attendance.

Les Fresques was composed in 1955 anddedicated to Rafael Kubelík who premieredthe work with the Vienna Philharmonic.Coincidentally, Kubelík had previously conductedthe Chicago Symphony Orchestra from 1950to 1953. This was the first time Les Fresqueshas been performed in Chicago.

On the podium was Ludovic Morlot, who hasconducted several performances of Les Fresquesas well as other of Martinů's works with manyprominent orchestras. He conducted withobvious enthusiasm for the piece and broughtthis colorful and picturesque work to life.

Some of his tempo choices were much fasterthan I am used too, but they worked wellwith the music. A problem with a lack of liveperformances is that many people (myselfincluded) often have only been exposed to oneor two interpretations of Martinů's work andthus have a fixed idea of what the compositionsounds like.

The performance was exhilarating and I amalways amazed the added energy and lifeMartinů's work has in live performance. AsI looked around the hall, the audience seemedto be enlivened by music most of them havenever heard. John von Rhein, music critic forthe Chicago Tribune, spoke highly of the Martinů.He closed his commentary with, "Now, whenis the CSO going to venture one of the bigMartinů symphonies? It's been a long whilesince we've heard any of them downtown."

I echo his question and I am looking forwardto more performances of Martinů in Chicagoand throughout the United States.

The Chicago Symphony Orchestra’s perform -ance will be broadcast on August 29th 2010 byChicago radio station WFMT and can be listenedto online at www.wfmt.com ❚

This was followed by Schulhoff’s Duo forViolin and Violoncello (1925), which, in tech nicalterms, is a very ambitious piece. It de mandedgreat virtuosity from the performers. Theplayers Muriel Bardon (violin) and Jan Pas(violoncello) demonstrated their masteryin this famous composition.

The evening culminated in an outstandingperformance of Martinů’s suite from the balletKitchen Revue, H. 161 A (1927), which containselements of jazz and American dance music.The musicians revelled in the playing of thiscomposition and the audience was infectedby their enthusiasm. The interpreters receivedhearty applause and the concert concludedwith an encore of the third movement“Charleston”. Martinů’s suite provided animpressive finale to this Czech evening inStuttgart. ❚

reviews 5TH CHAMBER MUSIC CONCERT

IN STUTTGART, GERMANYLEOŠ JANÁČEK, ERWIN SCHULHOFF, BOHUSLAV MARTINŮ/ PETRA RICHTER

Cover of the concert programme, published

by the State Opera Stuttgart 2010

LES FRESQUES IN CHICAGO/ ROBERT SIMON

ON 28 APRIL 2010 members of the StuttgartState Orchestra performed an interesting arrayof works by Martinů, Janáček and Schulhoff atthe Liederhalle under the motto “Czech Musicof the 1920s”.

The concert opened with Martinů’s finalchamber work, the Variations on a SlovakFolk Song, H. 378. Dating from 1959, this workwas an exception to the otherwise thematic-chronological ordering of the program. Thissophisticated composition, based on the Slovakfolk song “If only I knew” demanded muchtechnical prowess on the part of the cellist. Theinterpreters Jan Pas (violoncello) and VictoriaHölzinger (piano) convinced the audience witha sensitive performance. The second work ofthe evening was Janáček’s four-movementsuite Youth (1924) for wind sextet, which takesas its theme the childhood memories of thecom poser. It was performed with an impressiveand playful ease. After a short break Janáček’sConcertino for Piano, Two Violins, Viola,Clarinet, Horn and Bassoon from 1925 receivedan expressive performance.


Conductor Ludovic Morlot

MARTINŮ’S ONLY ORATORIO was performedin Paris in April 2010. Harry Halbreichreviews the concert presented by a groupof young musicians under the baton ofGerman conductor Till Aly.

The Epic of Gilgamesh H. 351 is Bohuslav Mar -tinů’s only oratorio and one of the most power -ful of his late creations. The work, com poseddirectly before the Greek Passion H. 372 I,is masterly in its choral writing, and wasperformed on the 10th and 11th of April thanksto the initiative of the Paris-based choir“Europa Voce” and the young German con duc -tor Till Aly, whose main base is at the WDRin Cologne.

The very large church of Notre Dame dela Croix de Ménilmontant, a rather unusualconcert venue in the popular district of Paris’stwentieth arrondissement, was filled tocapacity by an enthusiastic audience.

Since Gilgamesh lasts just under an hour, itwas preceded by shorter and also rarely hearditems by Berlioz (the choral triptych Tristia,culminating in the impressive Funeral Marchfor the last scene of Shakespeare’s Hamlet)

a speaker. Of the three soloists, the Japanesesoprano Noriko Urata and the powerful Frenchbaritone Jean-Louis Sarre were outstanding,while the English tenor Simon Edwards (whoadditionally performed the speaker’s part), wasalso very good. The Europa Voce choir was notalways strong enough despite its eighty singers,but this was due to the acoustics of the hugechurch rather than any fault of the singers:the choir was placed behind the orchestra,under the very high dome. Till Aly provedhimself to be an efficient and fiery young con -ductor, whose career is definitely one to befollowed with attention. The work was per -formed in its original English version eventhough Czech, German and Italian versionsalso exist. The multiple language versions ofthe Epic of Gilgamesh illustrate the drama ofthe exiled composer.

Gilgamesh is a major masterpiece amongstthe oratorios of the twentieth century.Despite frequent performances in Martinů’shome country and the availability of good CDrecordings, it still deserves a larger worldwideexposure. ❚

GILGAMESH IN PARIS/ HARRY HALBREICH

and Beethoven (the diptych Calm Sea andProsperous Voyage, on poems by Goethe whichlater inspired Mendelssohn to write his familiarOverture).

The youthfulness of the members of theEuropa Voce orchestra might have provokedsome fears as to quality of their performance,

but it became clear that great effort andcopious rehearsal time had been devoted to thedemanding Martinů score, in which it gave fullsatisfaction. Gilgamesh is undoubtedly a difficultpiece to master, with its elaborate choralwriting, its delicate balance between soloistsand tutti, and also the always problematicinsertion of the brief passages allotted to


BOHUSLAV MARTINŮ: Kuchyňská revue / La revue de cuisine / Kitchen Revue, H. 161

Ballet pour six instrumentsCritical edition byChristopher HogwoodEditions musicales AlphonseLeduc, Paris, 2009AL 29 516

www.alphonseleduc.com

BOHUSLAV MARTINŮ: Œuvres pour piano / Piano works / Klavierwerke

Three Czech Dances, H. 154,Three Sketches, H. 160,The Dance, H. 177, With One Finger, Piano Piecefor Three Hands, H. 185, The Hounted Train, H. 258,Dumka No. 3, H. 285 bis,Bagatelle, H. 323, Barcarolle, H. 326, Sonata No. 1, H. 350Revision by Jean-FrançoisBallèvreÉditions Max Eschig, Paris© 2009 Editions Durand

www.durand-salabert-eschig.com

/ GIORGIO KOUKL

DURING MY WORK TRANSCRIBING some ofMartinů’s solo piano manuscripts, I encoun -tered various fragments of vocal music casuallyfound in the archives. From the first moment itwas clear that this music was intriguing, highly“cantabile” and first class material for allsingers. The natural flow of the melody andthe rich harmony of the piano – even if nevertypically “Martinů-esque”, – were the decisiveelements which compelled me to have a closerlook after my piano solo and piano concertiprojects were finished.

The first great challenge was the quality ofthe autograph material, which was often quitedifficult to understand and sometimes evenincomplete. On a few occasions I was forced tocomplete a missing left hand part (fortunately,enough parallel passages were found) or correctmissing signs and obvious errors. Clearly every

such an intervention had to be evaluatedtwice due to harmonic extravagances whichthe young Martinů used so extensively.

Examination of the original poetry revealedanother aspect of Martinů’s compositionalprocess: Martinů sometimes switched thepoet's words in order to accommodate hisdesired rhythm. In these instances I maintainedthe composer's changes.

Some Halbreich numbers were wronglyassigned, so for example Jaškova zpěvánka,H. 37 is identical to Kráčím, kráčím, H. 74bis –this latter, despite its higher number, is simplyan earlier version. So too is Píseň o hubičkách,H. 27bis, a version of Pravý počet, song fromthe cycle Tři písničky, H. 34.

For this first project of vocal music, Naxosdecided to participate and the excellent mezzo -soprano Jana Wallingerová showed greatenthusiasm from the very first day we met.

During 2008 the following songs were tran -scribed: H. 6, 8, 10, 14, 22, 29, 30, 31, 41, 43, 44,57, 71, 72, 74, 74bis, 75, 81, 87, 94, 106, 110, 135,135bis, 146, 146bis, 273, 277bis.

During the ensuing research some moredetails emerged:

The first song of Tři ukolébavky, H. 146bis,(called “Přede dveřmi strom”), is definitelya Czech translation of a poem by D. Liliencron.

Thanks to research as far afield as Russia,and finally thanks to Prof. Mykola Mušinka,it was possible to find the original folk songUvila jsem sobě, H. 135bis. It is a variationon the oldest existing notation of a Ukrainiansong found in the Czech Grammar by JanBlahoslav (1561–72): “Dunaju, Dunaju, čemusmuten tečeš?” (The girl jumps into the Danubesaying “Who reaches me, will be my lover”).

Slavicists Karel and Zdeňka Horálkovi seejust another version of this in a Slovak song:“Pri Prešpurku Dunaju.”

BOHUSLAV MARTINŮ & HIS EARLY VOCAL MUSIC

pieces for piano (Giorgio Koukl, Erik Entwistle),and for violin and piano (Bohuslav Matoušek,violin, Petr Adamec, piano), have revealed somereal jewels of major interest. However, only

/ PATRICE CHEVY

A NEW CD CONTAINING unknown andpreviously unpublished songs is expectedto be released by Naxos towards the endof 2010. This achievement we owe to thetremendous efforts of Giorgio Koukl andfinancial support of Martinů fans aroundthe globe!

This is a story to make you optimistic aboutwhat shared passions can achieve !

After recording virtually all of Martinů’sworks for solo piano, Giorgio Koukl spoke to melast year about a fascinating new project torecord a CD devoted entirely to the composer'sunpub lished songs. He also mentioned that hewas experiencing great difficulty in raising theneces sary funds to complete the project.

In my Martinů discographies I have drawnattention to the fact that the songs accountfor one of the biggest gaps in the Martinůrecorded repertoire. Recordings of the early

recordin

gs MARTINŮ’S UNPUBLISHED SONGS: A GREAT PREMIERE SOON ONCD


y Giorgio Koukl and Jana Wallingerová pictured

at the Korunní studio in Prague on 17 March 2010

in the course of recording an album of unpublished

Martinů songs for the Naxos label


a few albums of Martinů songs have appeared,with those from Magdalena Kožená beingespecially commendable. The Naxos album byOlga Černá and Jitka Čechová is complementaryto the new one initiated by Koukl and offerssix world premieres from the Paris period(1930–40), even if the performances are notquite so attractive.

Giorgio Koukl's project to record these songswith the mezzo-soprano Jana Wallingeroválacked only the necessary funds to proceed.I raised the matter at the last InternationalMartinů Circle Board meeting in Brno (October2009). Two members of the Board of the IMCsubsequently offered financial guarantees tocover the deficit. Other passionate memberswere quick to follow with support. Specialthanks are due to Graham Slater for coordinat -ing donations via the internet and to Tony Pookof the Dvořák Society for collecting and trans -ferring the funds. This proves that the IMC canachieve great things, and we are proud of theresult!

You can judge below the ambitious scopeof the recording:

Drei Goethelieder H. 94, Šest prostých písníH. 110, Jak milý čas H. 106, Štěstí to dost H. 81,Píseň prvního listopadu H. 72, Slzy (Vilmě) H. 41,Náladová kresba H. 29, Dívčí sny H. 22,

Až budeme staří H. 10, Než se naděješ H. 6,Komárova svatba H. 75, Noc tebe každou draházřím H. 57, Kráčím, kráčím mezi vrchy H. 74bis,La Nuit from Three Songs to French Texts H. 88,Konec všemu H. 43, České hádanky H. 277bis,V noci H. 30, Stará píseň H. 74, Dvě písničkyv národním slohu H. 14, Tři ukolébavkyH. 146bis, Píseň o hubičkách H. 27bis, Mrtváláska H. 44, Dvě písně na ruskou poeziiH. 135bis, Dvě písně H. 3, Píseň na staro -španělský text H. 87, Vím hájiček H. 273,3 dětské písničky H. 146.

As far as I know the only work previouslyrecorded is the Goethelieder H.94, on a non --commercial recording by Černá/Čechová datingfrom 2004 and published by the Martinů Foun -da tion. All the remaining songs are new to thecatalogue. The songs range from the very firstMartinů song Než se naděješ, H. 6 dating from1910 to the Paris České hádanky, H. 277bis of1939. This will obviously represent one of themost significant CD releases in this 120th an -niver sary year of our composer. I have almostno other information about these pieces. Theyare listed in the Halbreich cata logue whichshows only the source of the manuscripts.

The recordings took place in March 2010at the Korunní recording studio in Prague. TheMartinů Institute in Prague provided invaluablehelp with copies of the autograph scores.

The CD is expected to be released by Naxostowards the end of 2010. Having received anearly down load, I can say that the listeningexperi ence has been an utter pleasure.Jana Wallingerová is in fine voice and Koukl'saccompaniments are immaculate as one wouldexpect. The recording has achieved a perfectbalance between voice and piano. The songsthemselves are a delight. They add to ourunderstanding of Martinů's early “floweringof a genius” with a pure melodic gift reflectiveof the Czech soul.

An assessment of Martinů's complete songoutput is now possible. Most come from theearly Czech period and the majority of them areeither lost, extant only as sketches, or simplyimpossible to read. A few songs date fromthe Paris period and only 2 cycles (H. 294 andH. 302) date from the American period. Thatmost of the songs orginate in Martinů’s earlyCzech period may explain their neglect. Duringvisits to the Martinů Institute, Giorgio identifiedfurther unpublished songs which may leadto a second volume being recorded. I haveno doubt that we shall do everything to makethat possible! A third CD could be devotedto the complete Nové slovenské písně, H. 126.

For his outstanding services to the cause ofMartinů, Giorgio Koukl surely merits the awardof the Martinů Foundation Medal. ❚

One should bear in mind that even thoughthe Danube does not cross the territory ofUkraine, every larger river there is referredto as “Danube”.

The Karel Toman cycle Měsíce, H. 135, whichis very valuable from the musical point of view,exists in a variety of sources. A few monthsbefore recording, yet another song of this cycle

was found in Brno and has now been included(“March”, starting with words “Na naší studníráno hvízdal kos”).

Since it was clear that the existing materialwould be too much for a single CD, furtherdiscoveries were reserved for the next CD. Suchdiscoveries include V zahradě na hradě, H.77(actually it should be “…na hřadě,” changingde facto the meaning of the title), which wasreported as missing but actually is foundinserted in the autograph of Svitaj, Bože, svitaj,H. 76. The hope to find further unknown songsby Martinů is quite great.

In this short survey I would like to mentionjust two more cycles of songs: Šest prostýchpísní, H. 110 and Tři ukolé bavky, H. 146bis. Themusic contained in these cycles is extraordinaryand, once available, they are sure quickly to be -come part of the world repertoire of singers. ❚

All titles of the songs in English you can find athttp://katalog.martinu.cz

< The autograph of Jaškova zpěvánka, H. 37,

has been donated to the Bohuslav Martinů

Foundation by Soňa Hendrychová


Finnish Radio Symphony OrchestraLudovic Morlot (Conductor)Olli Mustonen (Piano)

8 October 2010> Dvořák hall, Rudolfinum,

Prague CZwww.ceskafilharmonie.czDouble Concerto for Two StringOrchestras, Piano and Timpani,H. 271Czech Philharmonic Orchestra Sir Charles Mackerras (Conductor)

11 October 2010> Dvořák Hall, Rudolfinum,

Prague, CZwww.ceskafilharmonie.czString Quartet No. 6, H. 312Pražák Quartet

26 November 2010> Liège, Belgiumwww.opl.beConcerto for String Quartetwith Orchestra, H. 207Orchestre Philharmonique de LiègeFayçal Karoui (Conductor)

9 & 10 December 2010> Dvořák Hall, Rudolfinum,

Prague CZwww.ceskafilharmonie.czRhapsody-Concerto for Violaand Orchestra, H. 337Czech Philharmonic OrchestraPetr Altrichter (Conductor)Tabea Zimmermann (Viola)

11 December 2010> Dvořák Hall, Rudolfinum,

Prague CZwww.ceskafilharmonie.czSacred Songs, H. 339Kühn Children's Choir

12 December 2010> Suk Hall, Rudolfinum,

Prague, CZwww.ceskafilharmonie.czPastorales, Six Piecesfor cello and piano H. 190Intermezzo, four compositionsfor violin and piano, H. 261Piano Quartet of the Czech Philharmonic

15 December 2010> Royal Festival Hall,

London UKwww.lpo.co.ukViolin Concerto No. 2, H. 293London Philharmonic OrchestraJukka-Pekka Saraste (Conductor)Frank-Peter Zimmermann (Violin)

22 & 23 December 2010> Concertgebouw,

Large Hall, Amsterdam,Netherlands

www.concertgebouworkest.nlViolin Concerto No. 2, H. 293Royal Concertgebouw OrchestraMariss Jansons (Conductor)Frank-Peter Zimmermann (Violin)

29, 30, 31 December 2010> Dvořák Hall, Rudolfinum,

Prague CZwww.ceskafilharmonie.czJazz for orchestra, H. 168Ion Marin (Conductor)

4 September 2010> Gstaad Chapel,

Gstaad,Switzerland

www.menuhinfestivalgstaad.chVariations on a theme by Rossini, H. 290Gunta Abele (Cello)Stefka Perifanova (Piano)

30 September, 2010 > Landestheater, Eisenach, Germanywww.theater-eisenach.deConcerto for String Quartetwith Orchestra, H. 207Landeskapelle EisenachCarlos Dominguez-Nieto (Conductor)Diogenes Quartett

30 September1 & 2 October 2010> Berlin, Germany www.berliner-philharmoniker.deThree Fragments fromthe Opera Juliette, H. 253 ABerliner PhilharmonikerSir Charles Mackerras (Conductor)Magdalena Kožená (Mezzo-soprano)

1 October 2010> Herz-Jesu-Kirche, Munich, Germanywww.br-online.de/br-klassik//muenchner-rundfunkorchesterThe Prophecy of Isaiah, H. 383Munich Radio OrchestraBavarian Radio ChoirTobias Haaks (Tenor)Adrian Erod (Baritone)Sian Edwards (Conductor)

1 October 2010> Finlandia Hall, Helsinki, Finlandwww.yle.fi/rsoConcerto for Piano and OrchestraNo. 3, H. 316

(�OPERAS & FESTIVALS�)SEE PAGE 3

(CONCERTS)8 August 2010, 11.00 am> Liechtenstein Museum,

Vienna, Austriawww.gmjo.atDuo for Cello and Violin, H. 157Ensemble of the Gustav MahlerJugendorchester

25 August 2010> Tallinn Town Hall,

Tallinn, Estoniawww.plmf.ee//main_kava24_e.htmlSongs on One Page, H. 294Pavla Švestková (Mezzo-soprano)Markéta Janáčková (Piano)

29 August 2010> Royal Albert Hall,

London, UKwww.bbc.co.uk/proms/2010/Symphony No. 6 (Fantaisiessymphoniques), H. 343Czech Philhamonic OrchestraSir John Eliot Gardiner (Conductor)

events

The program subject to change

This is only a selection of Martinů’sperformances all over the world.More events can be found atwww.czechmusic.org andwww.martinu.cz, Section ‘BohuslavMartinů’, Subsection ‘Calendarof events’.

FILM ON DVD WITH MUSIC BY BOHUSLAV MARTINŮMarijka nevěrnice / Marijka the Unfaithful, H. 233National Film Archive special DVDcollection.1934, premiere 2 March 1934, 72 min.Directed by the author VladislavVančura, story Ivan Olbracht,screenplay Karel Nový, Ivan Olbracht,director of photography Jaroslav Blažek,music Bohuslav Martinů.English and Czech subtitles, bonus clips(67 min.), photo gallery, contemporarydocuments.Filmexport Home Video 2010Orders: www.cdmusic.cz

JULIETTE WON!ON 11 MAY 2010 it was announced,that this year’s winner of the RoyalPhilharmonic Society Music Award in the categoryOpera and Music Theatre is the Concert performanceof the opera Juliette by Bohuslav Martinů, performedby BBC Sym phony Orchestra with Jiří Bělohlávek andMagdalena Kožená!

From a range of very high quality work, both large andsmall -scale, the panel unanimously selected the BBC Sym -phony Orchestra’s revelatory concert staging of the rarelyperformed French version of Martinů’s Juliette. Given in hisanniversary year this musically outstanding performanceenhanced the reputation of both the com poser and thework itself.

Other nominations in the category: Birmingham Opera Company: OthelloEnglish National Opera: Peter Grimes

www.rpsmusicawards.com

MARTINŮ: CompleteViolin Sonatas, Vol. 1

Violin Sonatina, H. 262Concerto for Violin and Piano, H.13

Violin Sonata in C major, H.120Stephen Shipps (Violin), Dmitri Vorobiev (Piano)

Naxos, 8.572282Currently available for streaming anddownload only. This recording will be

issued on CDs at a later time. Physical Release: 04/2011

NEW CDsESSENTIAL DISCOVERY OF AN UNKNOWN OPERA BY MARTINŮOF ALL NEW recordings released in 2010, the most significant one without question is the worldpremiere of the opera Den dobročinnosti (The Day of Good Deeds), H. 194, composed in 1930.Václav Nosek’s original idea was realized at his specific request by the conductor Milan Kaňák,who edited and prepared Martinů’s unfinished opera, and thereby rescued more than 70 minutesof the master’s music. The quality of this work is on a par with that of the contemporaneousballet Špalíček, and in places the music brings to mind the cantata Kytice. The recording labelArco Diva brought this financially extremely challenging project to fruition in the year markingthe 120th anniversary of the composer’s birth, thereby enriching the operatic repertoire witha fundamental work, which is certain soon to appear on some Czech or international stage.

by ALEŠ BŘEZINA (translated by Veronique Firkušný-Callegari)

Françaix, Martinů, Ibert /Novotný, Pospíchal, Kahánek

Martinů: Promenades for Flute,Violin and Harpsichord, H. 274

Martinů: Sonata for Flute,Violin and Piano, H. 254Roman Novotný (Flute),

Jiří Pospíchal (Violin), Ivo Kahánek (Piano, Harpsichord)

Czech Philharmonic OrchestraChamber Series vol. 17

Recorded in 2009 / arteSmon AS 731-2, 2009

Live on the Web:A Czech Evening from the Philharmonie in BerlinBerliner PhilharmonikerSir Charles Mackerras · Magdalena Kožená

Bohuslav Martinů: Three Fragments from JuliettaAntonín Dvořák: Symphony No. 7

Live webcast on Sat, 2 Oct, 8 pm (Berlin time)in the Digital Concert Hall of the Berliner Philharmonikerwww.digital-concert-hall.com

The only project of its kind worldwide, the Digital Concert Hall is where the concerts of the Berliner Philharmoniker have been broadcast live on the Web since 2008 – in HD quality and with the most up-to-date audio technology.

The start of the orchestra’s new season includes a very special concert: Sir Charles Mackerras and Magdalena Kožená, two of the most distinguished interpreters of Czech music, perform works by Martinů und Dvořák.

For only € 9.00, you can follow this unique concert live on the Web and at the same time discover one of the most exciting media projects in the world of classical music.

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MARTINŮ / The Greek PassionOpera in 4 Acts (Zurich version, 1959)Prague Radio Chorus & Symphony OrchestraLibor Pešek

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DVOŘÁK / Symphonic PoemsCzech Philharmonic OrchestraSir Charles Mackerras

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VOŘÍŠEK / Missa solemnisTOMÁŠEK / Messa con Graduale et Offertorio** World première recordingMusica FloreaMarek Štryncl

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Documents

THE BOHUSLAV MARTINŮ FOUNDATION THE ...IN 2010 AGAIN WE ARE CELEBRATING a momentous anniversary – 120 years since the birth of Bohuslav Martinů (8 December 1890, Polička). Numerous