��The BohuslaV MarTInů FoundaTIonThe BohuslaV MarTInů InsTITuTeThe InTernaTIonalMarTInů CIrCle

january—april 2017 / vol.XVII / no.1martinů and josef páleníček ——karel husa on martinů——martinů days 2016——imc news /imc delegates——

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2 | martInůrevue12017

3 prof. ivan štraus turns eighty

3 highlights

4 imc newsnew delegates of international martinů circle

5 imc news

6 researchbohuslav martinů & josef páleníček kateřina maýrová

8 reviewmartinů days 2016patrick lambert

14 obituarymusic for prague, music for humanity: an obituary for karel husa /1921–2016justin krawitz

16 memorieskarel husa: recollections of bohuslav martinů

17 obituaryremembering dr. hideo sekinepetr holý

19 researchsongs thrice losteva žižková

event

HALF A CEnTury AgO, Polička experienced a mi -nor sensation – a BBC2 television crew moved therefor several weeks so as to shoot a major sequenceof a documentary about the town’s most famousnative. At the time, precious few in the unitedKingdom were familiar with Bohu slav Martinů andhis music. So the film director Anthony Wilkinson,assisted by the musicologist Brian Large, whoprovided him with specialist advice, decided tointroduce the composer and his work to a BritishTV audience.

The documentary was shot in the spring of 1966in Polička and amidst the wonderful land scape ofthe Bohemian-Moravian Highlands. The televisionteam also engaged the local people, among them,

Mrs. Marie Pražanová, who selflessly accompaniedthe filmmakers to the tower of the Saint JamesChurch every day, and Mr. Oldřich Švec, who por -trayed the journeyman Stodola in the movie, toname but a few. Students of the secondary schoolin Polička danced in the film.

Later on, the BBC crew moved on from Poličkato Paris and new york City. The final scenes wereshot in Italy and Switzerland.

The television film, titled Music of Exile, was firstbroadcast on BBC2 in October 1967. For unknownreasons, it would never be screened in Czecho -slovakia, even though the then ruling Communistgovernment simply could not have had any majorobjections to the content, which (in accordancewith the BBC guidelines), was entirely neutral inpolitical terms, and the film could have served topromote Czech music around the world. And so ithas come to pass that Music of Exile has fallen intooblivion in Bohemia …

Last year, attention was drawn to the film by JanEdlman, who, as a 21-year-old student of English atPrague university, had assisted the BBC televisionstaff during the filming in Polička. Thanks to the

internet, he found contact details for the film’sdirector Anthony Wilkinson, who currently servesas the director of the Wimble don InternationalMusic Festival (which also promotes BohuslavMartinů’s music), and asked him for permissionto screen the documentary in Polička within thisyear’s Martinů Fest.

Mr. Wilkinson immediately agreed and duly sentEdlman a DVD copy of the film – without requiringany fee! Jan Edlman, now retired, plunged intotranslating the accompanying commentary, whichhad been co-authored by the celebrated AnthonyBurgess, primarily known as the author of the novelA Clockwork Orange, later adapted as a film byStanley Kubrick. The Municipal Museum in Polička

provided consultations regarding the quota tionsof Martinů’s reminiscences and corre spon dence,as well as the titles of the individual compositions.And so, in collaboration with the MunicipalMuseum and with members of the Our Martinůsociety, Edlman created the film’s final version withCzech subtitles.

On 25 May 2017, at 7 pm at the Tyl Housein Polička, Music of Exile will be shown for thevery first time in our country. The screening ofthe approximately 60-minute film will be followedby a debate with its creators. To date, AnthonyWilkinson and his wife have confirmed their par -ticipation, and we are also very happy to wel comethe music advisor, Brian Large, to Polička for theevent. Large currently works as a director of filmedper formances of operas and other music works.Some of the locals who appeared in the film willalso participate in the debate and will recall theirexperience from during the filming of the uniqueBBC2 docu men tary on Bohuslav Martinů.

http://www.tyluvdum.cz/martinu-fest-2017/

Bohuslav Martinů at the ceremonial opening of the Tylův Dům (Tyl House) in 1929

czech premiere of the 1967 bbc filmmusic of exile in polička/ Jan Edlman

prof. ivan štrausturns eightyOn 13 February 2017, Prof. Ivan Štraus,a violinist, classical music promoter and pas -sion ate Martinů supporter, celebrated his80th birthday. Prof. Štraus is a long-timemember of the board of the bohuslav MartinůFoundation, which he chaired from 2003 to2014.

after graduating from the Prague Conser -vatory and the Faculty of Music and Dance ofthe academy of Performing arts, he continuedhis studies at the Moscow Conservatory(1966–1968, with Galina barinova).

In 1968, he won the audition for a teachingpost at the academy of Performing arts inPrague, but in 1975 he was sacked for politicalreasons and subsequently worked at thePardubice Conservatory. Since 1990, he hasbeen a professor at the academy of Perform-ing arts in Prague.

Ivan Štraus is a distinguished performerof solo and chamber works, and has beenan ardent champion of contemporary music.between 1968 and 1979, he was a member ofthe Czech Trio (along with Josef Páleníček andalexandr Večtomov), and from 1979 to 2003he played first violin in the Suk Quartet. asa soloist, he has performed with orchestrasin the Czech republic and elsewhere. He hasreceived numerous accolades, including firstprize at the 1964 Prague Spring InternationalCompetition and the 1966 Grand Prix du Disquefrom the académie Charles-Cros.

Congratulations!

martInůrevue12017 | 3

highlig

hts concerts5 June 2017> Concert Hall, Bad Salzuflen, germany

www.nwd-philharmonie.de/konzerte/Concerto for Cello and Orchestra No. 1, H 196nordwestdeutsche PhilharmonieFrank Beermann (Conductor)Alban gerhardt (Violoncello)

24 June 2017> Liederhalle, Stuttgart, germanyRhapsody-Concerto for viola and orchestra, H 337Stuttgarter ÄrzteorchesterJanis Lielbardis (Viola)Arnold Waßner (Conductor)

26 August 2017BBC PROMS 2017> royal Albert Hall, London

www.bbc.co.uk/promsField Mass, Cantata for Baritone,Male Chorus and Orchestra, H 279Svatopluk Sem (Baritone)BBC Symphony Orchestra, BBC SingersJakub Hrůša (Conductor)

operas16 August 2017 – PREMIERE18, 19, 21 & 23 August 2017 – Additionalperfomances> Kammeroper im rathaushof,

Konstanz, germanywww.rathausoper.de

Bohuslav Martinů:Ariane, lyric opera in 1 act, H 370(with Darius Milhaud: L'abandon d'Ariane)Peter Bauer (Music Director)Alexander Irmer (Director)

new publication

lucie bernábohuslav martinů: a view of his lifeand music / japanese version Published by the Bohuslav Martinů Institute in 2016(Japanese version)26 pagesPrice 8 EUROhttp://eshop.martinu.cz

A short biography of the composerand a consideration of his workand personality. The English versionwas published in 2008 as part ofthe project Martinů Revisited.It includes an interesting selectionof photos.

Translated by Dr. Hideo Sekine

imc news

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aleš břeZina,Czech Republicaleš březina, the di rec -tor of the bohuslavMartinů Institute, isactive in many dif fer -ent fields of musicalendeavour. as a com -poser, he has written

music for the concert hall, theatre and cinema(and has even occasionally appeared on the bigscreen himself). as a musicologist, he has pub -lished numerous books and has lectured widelyin europe and the uSa. He was responsible forfounding the IMC and remains heavily involvedin all its activities. aleš chairs the board meet -ings which supervise the Complete Criticaledition of Martinů's works. recently, this proj -ect scored a notable success: the volumedevoted to The Epic of Gilgamesh was awardedthe prize 'best edition for 2015' by the GermanMusic Publishers association. (You can read moreinformation in Patrick Lam bert's profile of Aleš, inthe second issue of the Martinů Revue for 2015.)

micHael cRump, UKMichael Crump studiedmusic at new College,Oxford and completedhis postgraduatethesis on the Martinůsymphonies at birm -ing ham university in1986. His book “Mar -

tinů and the Symphony” was published byToccata Press in 2010. He has since then pre -pared performing materials for Martinů's earlyorchestral works Posvícení, Malá taneční suita,and the ballet Stín, all recently recorded byToccata Classics. He is now occupied withsimilar work on the orchestral cycle Míjejícípůlnoc and the ballet Noc. He is the IMC re -gional representative for the uK and the newIMC Chairman from 2017.

nicolaS DeRny, Belgiumnicolas Derny studied art History and Musi col -ogy at the Free university of brussels (uLb). Heis currently working as a journalist and musiccritic for the French magazine Diapason. His

interests include Czechculture (Janá ček’s andMartinů’s works aswell as Hra bal’s novelsor nezval’s poetry),German (post-)romanticism, femalecomposers and con -duc tors, Entartete

Musik and opera dramaturgy. He wrote the firstbiogra phies in French of erich WolfgangKorngold (editions Papillon, 2008) andVítĕzslava Kaprá lová (Le Jardin d’essai, 2015).He is the IMC regional representative for Franceand belgium.

GeRt FlooR,NetherlandsGert Floor is a lifelongenthusiast of classicalmusic, from the re -nais sance to the 21stcentury. He is anamateur viola player.He worked as a GP for

20 years and then spent 15 years as a musiclibrarian in the Public library of Heiloo, a smalltown south of alkmaar (famous for its cheesemarket). His interest in Martinů's music wasaroused by the enthusiasm of Zoja Seyčková,whom he met at an international library con -ference. He retired in 2012 and now works topromote classical music for young listeners.He is the IMC regional representative forLuxembourg and the netherlands.

lucie HaRaSimbeRná, GermanyLucie Harasim bernáis a musicologist andauthor of numerouspublications andscientific studies onMartinů (eg. A Viewof His Life and Music,

2008). between 2003 and 2011 she workedin the bohuslav Martinů Institute. She partici -pated in the preparation of the revised editionof the monograph and catalogue of bohuslavMartinů works (author Harry Hal breich, 2007,

Schott, Mainz) and between 2003 and 2007she was entrusted with preparing the bohuslavMartinů Festival in Prague. She has been theinternational coordinator of the proj ect "Mar -tinů revisited" (2009–2010) which commemo -rated the 50th anniversary of the composer’sdeath. Currently she works exter nally on thecomplete edition of the composer's works.Since 2006 she has prepared the Mar tinůrevue as an editor. She is the IMC regionalrepresentative for Germany.

Zoja Seyčková,Czech RepublicZoja Seyčková, thedeputy director of thebohuslav MartinůInstitute, is by profes -sion a librarian andinformation specialist.She is the president of

the Czech section of the International associa -tion of Music Libraries (IaML). Since 2001, shehas worked in the bohuslav Martinů Institute,managing its library and website and aidingresearchers. She oversaw the on-line con ver -sion (at www.martinu.cz) of the Martinů Foun -dation's library catalogue, and of the catalogueof Martinů’s works. She is one of the editors ofthe Martinů revue and is the IMC Deputy Chair -woman from 2017.

RobeRt Simon, USArobert Simon is anamerican musicologistspecializing in music ofthe 20th century. Heholds degrees in musicfrom baldwin-WallaceCollege (2006) andOhio university (2008),

as well as a Masters in Library Science fromDominican university (2010). He currentlyserves as Music Librarian at the university ofnotre Dame (Indiana, uSa). robert has beeninterested in the music of Martinů since firstdiscovering it as a student and has beenactively involved in the study and performanceof his life and works. This has led him to anexpanded study and appreciation of Czechand Slavic music. His reference book BohuslavMartinů: A Research and Information Guide(routledge Music bibliographies, 2014) servesas an outline of Martinů scholarship. robert isalso involved in research and editorial work aspart of the Martinů Complete edition (bMCe).IMC regional representative in uSa, 2008 –Present, IMC Chairman, 2012–2015. �

new delegatesof international martinů circle

International Martinů CircleGenerAl 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 the Bohu -slav Martinů Foundation and BohuslavMartinů Institute in Prague.

MeMbershiP & subsCriPtiOn infOrMAtiOnï yEArLy SuBSCrIPTIOn:

25 EUR / 30 USD / 18 GBP / 450 CZKï SuBSCrIPTIOn FOr COrPOrATEMEMBErS: 100 EUR / includes10 copies of each Revue PLUS 3 copiesof the special limited edition CDï SPECIAL rATE for music studentsunder 25 years of age: 10 EUR / 250 CZKï SIngLE COPIES OF THE rEVuE: 80 CZK / 3 EUR / 4 USD + postage

For further details and for single copiesof the Martinů revue contact: Lucie Jirglováphone: +420 773 656 586e-mail: incircle@martinu.cz

The International Martinů Circle, o.s. Bořanovická 1779/14 182 00 Praha 8-Kobylisy, CZ

COMPlete sOnGs On nAxOsSix years ago, the pianist giorgio Koukl(IMC member) and the mezzo-sopranoJana Hrochová began recording thecomplete songs of Bohuslav Martinů onnaxos. Four volumes have already beenissued to widespread acclaim and theartists are currently planning the fifthand final instalment, which will containno fewer than six world pre miererecord ings. The total cost for pro duc -tion of the CD will be 3500 Euro, butunfor tunately there is cur rently ashort fall of 1500 Euro, which, it ishoped, can be made up by en thu si astsof Martinů's music. Dona tions are wel -come from anyone who is keen to seethis landmark series reach its con clu -sion, and can be sent to union of Bankof Switzerland uBS IBAn CH1300247247 1554 4640 n (giorgio Koukl).

imc boarD meetinG 2017THe 2017 MeeTInG of the IMC board of Delegates took place on 27 Jan -u ary at the Martinů Institute in Prague. For the first time, the boardconsisted entirely of delegates chosen by the ballot of IMC mem bers,conducted in 2016. This ballot had been made necessary by changesin Czech legislation, and we thank everyone who took part in it. around

the table were aleš březina, Michael Crump, Gert Floor, Lucie Harasim,Zoja Seyčková & nicolas Derny. robert Simon sent apologies for his ab -sence. you can read more about your new team of delegates on page 4.We wish to thank all the candidates who stood for office, and are alsograteful for the valued co-operation of former board members.

The new board’s first task was to elect a Committee, and it choseMichael Crump (Chair), Zoja Seyčková (Deputy Chair) and aleš březina.Following the voting, all the necessary documents were authenticatedby a notary and delivered to the Municipal Court in Prague. Subse -quently, an application for the entry in the registry of Societies wassubmitted – the final step needed to transform the IMC into a society.

In the evening, the board members went to the rudolfinum to hearMartinů’s Epic of Gilgamesh performed by the Czech Philharmonic. Welook forward to hearing your new delegates' suggestions and ideas forthe future development of the IMC! �

martInůrevue12017 | 5

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MArtinů revue (formerly BohuslavMartinů newsletter) is published by theInternational Martinů Circle in collabo ra -tion with the Bohuslav Martinů Institutein Prague with the financial supportof the Bohuslav Martinů Foundation.

editors Zoja Seyčková & Lucie Harasim,Bohuslav Martinů InstituteJustin Krawitz (English language editor)

Publisher’s OfficeInternational Martinů Circle, o.s.IČ: 22688846Bořanovická 14, 182 00 Praha 8-Kobylisy, Czech Republice-mail: incircle@martinu.czwww.martinu.cz

translation of selected articles Hilda Hearne

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

Graphic Design David Cígler

Printing BOOM TISK, spol. s r.o.

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

CoverAlexander bis, Bohuslav Martinů Days 2016

ISSN 1803-8514MK ČR E 18911

www.martinu.cz

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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

Magdalena Kožená,IMC Patron

Jakub Hrůša,President of IMC

incirclenews

b��

2017 subscription paymentsWE WOUlD REqUEST members to forward their 2017 subscrip tionpayments through their usual channels. An updated list of our inter -national contacts we will bring you in the next issue.You can also pay via:– IMC Paypal account at: www.martinu.cz, section International

Martinů Circle, subsection Membership– or directly via bank account in Prague (the number you can find

at the same web page — section).PlEASE ADD YOUR NAME WHEN PAYINg VIA BANK TRANSFER,SO WE CAN IDENTIFY YOUR PAYMENT.Members who pay their subscriptions via the Dvořák Society shouldcontinue to do so. Those wishing to pay in Czech currency or by cashshould contact us at incircle@martinu.cz �

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country, he did not deem returning to be an “obli ga -tion”. He pointed out that he was not to blame fornot having received an invitation to teach at thePrague Conservatory, adding that his music had notbeen sufficiently acknowledged in Czecho slovakia.Mar tinů thanked Páleníček for having praised hisworks and promised to send his [third] piano con -certo to Melantrich for publi cation. The concertowas dedicated to rudolf Firkušný and completedon 10 March 1948, the day of Jan Masaryk’s tragicdeath. Martinů also expressed his astonishment atthe situation around Václav Talich and noted hisgratitude for their pre-war artistic collaboration.

There is but a single written record penned byJosef Páleníček that is preserved in the collec tionsof the bohuslav Martinů Centre in Polička and thisrecord relates to Piano Concerto No. 3, H 316 itemis a picture postcard, sent from Leipzig to Martinůin Pratteln, Switzerland, on 7 March 1958, in whichPáleníček informed the composer of the piece’ssuccessful performance at the Gewandhaus, wherehe had played the solo piano part and the orchestrahad been conducted by Franz Konwitschny.

de musique (1936–1938), the young Páleníček hadthe opportunity to hone his com positional skillswith albert roussel, who had previously givenprivate lessons to Martinů. During the three yearshe spent in Paris, the young pianist could see hismore senior compatriot at the numerous con certevents that took place in the city. They evidentlyalso met at the salon of čestmír and Helena Puc,who held gatherings for artists and whose guestsalso included other significant Czech figures(rudolf Firkušný, Vítězslava Kaprálová, FrantišekKupka), as well as important French musical per -sonalities, such as albert roussel, Pierre Fournier,Marcelle de Lacour, José bruyr, and Marcel Mihalo -vici (who was of romanian origin). Their musicalevening, held on 2 July 1938 under the title Paris-Prague by the International Writers associationwith the aim to promote free Czecho slovak cul -ture, unfortunately took place in the shadow ofthe fraught political situation in Czecho slovakia,caused by Konrad Henlein’s expansionist am bi -tions. The gala evening was also attended by adolfHoffmeister, egon erwin Kisch and bohu slav Mar -tinů, whose harpsi chord con certo was performedby the soloist Marcelle de Lacour under the batonof Vítězslava Kaprálová, with Josef Páleníčekplaying the or chestral piano part. Furthermore,that evening Páleníček per formed as a soloist incompositions by Leoš Janáček.

not surprisingly, the artistic contact betweenMartinů and Páleníček was interrupted duringthe time of World War II. Much like other artistshounded by the nazis, Martinů was forced to fleeeurope for the uSa, where he arrived in 1941.Páleníček lived and pursued a career as a musi cianat the nazi-controlled Protektorat böhmen undMähren. In all likelihood, he only re-estab lishedcontact with Martinů in 1948, as docu mented byMartinů’s reply to his letter, written in new yorkon 19 May 1948, less than three months followingthe Communists’ power grab in February. In hisletter, which has now been pub lished for the firsttime, Martinů responded to Páleníček’s appeal toreturn to his homeland. He explained that he wasamong the first in the uS to have prepared hisluggage, adding that his departure had beendelayed owing to the admin is trative obstructionson the part of the amer ican authorities, and lateron made impos sible because of his head injury.Martinů stressed that throughout his life he hadstriven to accom plish his mission, composing, withglory and renown never having played any rolewhatsoever. even though he longed for his native

/ KatEřina maýrová

Last year marked a quarter ofa century since the passing ofJosef Páleníček (1914–1991).

bOTH PáLeníčeK anD bOHuSLaV MarTInů(1890–1959) were extremely lucky in that theirwork accorded with their life’s calling. Whereasthe energetic and vigorous Páleníček was a ver -satile artist, pursuing several careers – as a com -poser, pianist, chamber musician (member of theCzech Trio), teacher (a professor at the academyof Performing arts in Prague) and an official atseveral music institutions (member of the unionof Czech Composers and Concert artists, chairmanof the bohu slav Martinů Foundation, member ofthe board of the bohuslav Martinů Society, lateron its chair man) – the introverted and shy Mar -tinů was the very opposite: what is more, he onlyperformed music – as a violinist – in his earlyyouth and would devote himself primarily to com -posing for the remainder of his life.

even though Martinů, too, worked as an edu -cator (from 1916 to 1920, he taught violin in hisnative town of Polička; in 1937 and 1938, he gaveprivate composition lessons to Vítězslava Kaprá -lová in Paris; between 1948 and 1951, during histime in the uSa, he lectured in com position atPrinceton; and in 1956 and 1957 he taught at theamerican academy in rome), teaching did not con -stitute a significant part of his career. The pathsof the two musicians crossed in the 1930s, whenthey met in the then Mecca of all artists: Paris.

For Páleníček, their initial contact in Paris in1936/1937 was part of the pianist’s efforts tobecome acquainted with and absorb the impulsesof the French musical culture: he appeared withinthe Czech Trio (with alexander Plocek and Fran ti -šek Smetana) at the archives de la Danse (13 april1937) in a programme that included Martinů’schamber piece Cinq pièces brèves, H 193. The cor -respondence with Mar tinů preserved in Pálení ček’spersonal effects documents that the very nextday (14 april 1937), Martinů strove to have thework pre sented on other occasions, engaging theSme tana Trio in this respect. In his letter, Mar tinůurged Páleníček to let him know whether he wouldagree to perform at Madame Fauré’s salon (25 april1937) and at a concert held by the Tryptique [recteTriton] society (27 april 1937). as a grantee of theFrench government, studying at the École normale

6 | martInůrevue12017

Karel Šebánek, Bohuslav Martinů, Rudolf Firkušnýand Josef Páleníček (Paris, Jardin du Luxembourg, 1938)© bohuslav martinů center polička

bohuslav martinů& josef páleníček: anartistic

the poet Miloslav bureš and two representativesof the Czecho slovak embassy in Switzerland.Following the requiem mass, which was servedat 10 am on 1 September 1959 at the romanCatholic Church in Pratteln, Mar tinů’s em balmedbody was interred in a grave, dug on the con duc -tor Paul Sacher’s land at Schönen berg, wherethe composer often lived and worked.

Páleníček also played a significant role in Mar -tinů’s affairs in the years that followed, as he wasthe main initiator of the idea of provid ing moraland financial support to the com poser’s widow,Madame Charlotte Martinů, who expressed herwish to be buried next to her husband in his native

Polička (1973). What ismore, Páleníček per -suaded the then directorof the Czech Music Fund,Vladi mír Ševčík, to backup his suggestion thatCharlotte Martinů forgoher inten tion to havethe copy rights to her late husband’s worksretained by the recently estab lished Martinů Foun -dation in basel and instead conveyed to Czecho -slovakia. Páleníček also succeeded in con vincingthe Min is ter of Culture, Milan Klusák, of the im -portance of the repatriation of the com poser’sremains and, above all, the acquisition of thecopyrights to Martinů’s compositions.

On 23 and 24 May 1976, Páleníček partici patedin the seminal negotiations pertaining to the reas -sign ment of copyrights along with Charlotte Mar -tinů in Prague. It would, however, take some time

to sort out all the necessary matters. by signinga new will and testament on 12 January 1977,Madame Martinů sealed for good the final legalarrangements concerning the ownership of copy -rights to bohuslav Mar tinů’s works. as a result ofthis act, the majority of the so-called large andhalf of the small copyrights were ceded to thebohuslav Martinů Foundation, instituted for thispurpose within the Czech Music Fund in Prague.bohuslav Martinů’s bodily remains were trans -ferred on 27 august 1979, brought back to hisnative country two decades following his death,and interred at the Polička cemetery next to hislate wife, who had died on 23 november 1978.

The bizarre story of Martinů’s repatria tion, theestab lish ment of the Czech bohuslav MartinůFoun da tion and the pivotal role Josef Páleníčekplayed in all these events are described in detailby the recently deceased musicologist JanKapusta in his book The Incredible Martinů Affair:The true story of how the remains of the composerBohuslav Martinů were returned from distantSwitzerland to his native town of Polička on17 August 1979. The book was published in 2014by arbor vitae. �

martInůrevue12017 | 7

alliance

Páleníček was one of the few artists who gotto talk to Martinů in the final months of his life.after speaking to Marcel Mihalovici after a con certhe gave at the Czechoslovak embassy in Paris,Páleníček decided to pay a visit to Martinů, whosince the end of May 1959 had been bedrid denin the cantonal hospital in Liestal, near basel.

Mihalovici had told Páleníček about Martinů’scritical health condition, warning that he may beapproached by various people so as to gain accessto his future personal effects. Thanks to the assis -tance provided by the ambassador, Mr. urban,Páleníček hastily flew to basel and, on 26 and 27June 1959, he visited Martinů in hospital. Duringtheir conversation, Martinů voiced his requestto see Karel Šebánek, an em ployee of the CzechMusic Fund, with whom he wished to discusssome important matters per taining to the furtherpublication of his works (Šebánek visited the dyingMartinů on 22, 24, 26 and 28 august 1959; theviolin virtuoso Petr rybář, a Czech émigré livingin Winterthur, was intermittently present too).Páleníček was also one of the few Czech musi -cians who, after Martinů´s death on 28 august1959, attended his funeral as part of the officialCzechoslovak delegation, which included Šebánek(already present), the com poser Václav Dobiáš,

y The postcard sent to Bohuslav Martinů by Josef Páleníček following his per -formance of Piano Concerto No. 3 at the Gewandhaus in Leipzig (6 March 1958),dated 7 March 1958 © bohuslav martinů center polička

> A digital copy of Bohuslav Martinů’s letter sent to Josef Páleníček from New YorkCity, dated 19 May 1948, from Josef Páleníček’s personal effects © jan páleníček

review

reminded of one of the most individual composersof the period, who built his music from colourfulblocks of sound that often anticipated the mini -malism which was to become so fashionable inrecent times. unfortunately, the acoustic of theMartinů Hall is too cramped to show off sucha large orchestra at its best – above a certaindynamic level the sound tends to congeal and losedetail. This placed Martinů’s piece with its ratherdense orchestration at a disadvantage. However,it was refreshing to hear this key work from 1937,which is not very often performed nowadays,perhaps because of the need for two pianos. Here,the conductor showed his determination to bringout the long lyrical lines pitted against the busyneo-baroque textures of the first movement aswell as the drama of the central movement.according to the student programme annotatorLucie bogišová, this adagio “reflects the com -poser’s premonition of the horrifying conse -quences of the imminent war”, which is to ratheroverlook the deeply personal motivation behindthe music. The invigorating finale came off splen -didly, though I felt that the pianists could havesounded a little more clean-fingered in their im -portant contribution. Václav Trojan’s unashamedlytraditional Trumpet Concerto from 1983 is every -thing one might expect from the celebratedcreator of music for Jiří Trnka’s puppet films in the1950s. I found that most of the musical interestlies in the expertly transparent scoring, eventhough the young trumpet soloist Jiří Soukup wasbrilliant and despatched his part with effortlessaplomb. The highlight of the evening wasundoubt edly the gripping performance of

THE MOUNTINg in the Czech capital of anannual festival such as this, which has beenhonouring Bohuslav Martinů now for more thantwenty years, presents quite a challenge andI do not envy the role of the dramaturg VáclavRiedlbauch, who succeeded Aleš Březina in2014. To be confronted with a blank page,a limited budget and an almost unlimitedchoice of Martinů compositions of everydescription is a daunting prospect indeed.One has only to admire the result: an ingeniouscombination of prestigious establishedperforming bodies, up and coming artistsand student ensembles receiving welcomeopportunities to excel in front of a discerningaudience.

all this in programmes consisting of a welljudged selection of Martinů pieces presented inthe broad context of French, German and russianmusic and of course not overlooking classic Czechcomposers ranging from Smetana to Janáček.In addition, new works by living Czech composersreceive their premieres as well as attention beingpaid to neglected Czech pieces from the secondhalf of the last century. a much to be applaudedinnovation is the naming of a composer-in-residence for the duration of the festival: theoctogenarian Ivo bláha, born in 1936.

The Festival itself spanned well over a fortnight,from 5 – 22 December, with concerts almost everyday and three Prologue events towards the endof the previous month. I was able to attend mostof the festival events, having arrived in Pragueon the 7 December, the eve of the composer’sbirthday, but unfortunately I had to return toLondon on the 20th, before the final concert.

The first concert I attended (9 December)was given by the academic Chamber Soloists aspart of their orchestral series “The Very best”,which included Martinů’s Concerto grosso, H 263.This was an ambitious and adventurous pro -gramme that also featured later Czech con tem -poraries, Luboš Fišer and Václav Trojan and endedwith Shostakovich’s First Violin Concerto. Thehuge orchestra comprising students from aMu,plus two pianos, filled the platform to such anextent that the conductor Stanislav Vavřínek haddifficulty picking his way through the players andmusic stands to the podium. In the opening piece,Fišer’s Labyrinth for chamber orchestra from 1977,he demonstrated his total control of the orchestraensuring that Fišer’s characteristic sharp con -trasts made their full effect. It was good to be

martinu days d a personal report by patrick lambert

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Shostakovich’s Violin Concerto No. 1 in A minor, withhighly accomplished playing from an excep tion allytalented 25 year old soloist Matouš Peruška. Thissombre and deeply felt composition with itsprominent projection of the composer’s personalmotto DSCH and extraordinarily protracted cadenzaretains a powerful hold over the listener. The excit -ingly dynamic finale brought the concert to a rous -ing close and, justifiably, the musicians receiveda standing ovation from a packed audience, happythat the event had lived up to its slogan “The Verybest”.

The following day (Saturday 10 December)we were again in the Martinů Hall this time to hearthe South Czech Philharmonia under its dynamiccon ductor Jan Talich and again the programme wasan unusual one, the Martinů work being Songs onOne Page, H 294 in an orchestral version by Jiří

Stanislav Vavřínek and Academic Chamber Soloists, 9 December

Jan Talich, 10 December

Teml. Having heard Martinů’s Concerto grosso theprevi ous evening, it was instructive to hear as theopening item Oldřich F. Korte’s composition bear -ing the same title, composed over a protractedperiod with its beginnings dating back to 1954.The Concerto grosso for two trumpets, two flutes,piano and strings reveals the recently deceasedcomposer’s deep love and respect for bohuslavMartinů, the man and his music and, while remain -ing entirely personal, every bar is filled with thatsense of joie de vivre nearly always to be found inMartinů’s compositions. In the pro grammebooklet, Václav riedlbauch writes charmingly andwarmly about the premiere of this piece given bythe Czech Philharmonic under Jiří bělohlávek inDecember 1987, which he attended; how refresh -ing the music was felt to be, quite different fromthe run-of-the-mill ’modern’ compositions of theperiod. Jan Talich and his orchestra tackled therather over-thick textures with elan and one wasaware of the attention being given to the lyricalline. I felt that the first two movements werea little overlong and I could have done without thecircus atmosphere introduced by the pair oftrumpets, but the contribution by the two fluteswas lovely. It was followed by Ornaments, a singlemovement piece for piano and orchestra by Ivobláha, which had been commissioned and per -formed in 2004 during Professor riedlbauch’s fiveyear tenure as managing director of the CzechPhilharmonic. Daniel Wiesner, who had been thepianist in the premiere, proved himself extremelysensitive to the composer’s refined sound world inthis fascinating piece, which held my attentionthroughout, being so full of fantasy and imagina -

tive touches always somehow connected withnature. In his comments about the piece, thecomposer writes about “the tiniest of elements”joining to form “abstract shapes or stylised naturemotifs” and at one point I sensed an almostravelian evocation of daybreak. after the verysuccessful performance, the shy and self-effacingIvo bláha took a bow and congratulated theplayers. I felt that a piece like this fully justifiedhis appointment as composer-in-residence andI looked forward to encountering more of hismusic later on in the festival. after the interval, weheard Martinů’s cycle of seven settings ofMoravian folk poetry in their orchestral guise, sungwith unaffected charm by the Slovak mezzo-soprano Lucia Duchoňová. Personally, I felt thatJiří Teml’s orchestrations, skilful though they were,contradicted the simplicity and purity of the

original piano accompaniments. The concertculminated with a genuine classic of romanticmusic: Dvořák’s Czech Suite, a work not oftenheard in the concert hall nowadays, at least in theuK. It received a joyful performance with a lilt andlift to the rhythms just as it should be, the playersevidently and understandably being in love withthe music. It was such a pity that this excep tion -ally enjoyable concert was so sparsely attended;something to do with it being Saturday nighta fortnight before Christmas, I was told, plus thefact that a famous Spanish tenor was singing atanother Prague venue.

For the next event (Sunday 11 December)we gathered in the characterful akropolis Palacetheatre to witness a double bill of Martinů’s comicoperas in reduced orchestrations performed andproduced by the Music and Dance Faculty of aMu.I always enjoy student productions of this kindbecause of the enthusiasm and commitment ofthe young musicians and their often remarkableacting and singing skills. I was not disappointedand it was so refreshing, after the extravagantexcesses of some modern opera productions, to

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see such simple, appropriate and effective stag -ings. I am sure that Martinů, a lover of theatre astheatre, would have approved. First off was the TVopera The Marriage, H 341, conducted with clearand energetic gestures by Marie erlebachová.The whole enterprise revealed a fine feeling forsituation comedy, characters emerging from onedoorway while others disappeared through theopposite one. The costumes for this motleycollection of russian expats living in new yorkwere colourful and of the right period, i.e. early1950s, when Martinů composed this opera basedon Gogol’s comedy. The hapless agafya was wellcharacterised by Kateřina Mikšíková, who hada good voice for the role and Vít nosek wassplendid both in voice and acting as the indolentwould-be husband Podkolyosin. The alternativeending without the return to the opening scene

Katarína Mikšíková & Vít Nosek, Marriage, 11 December

Alexander bis, 11 December

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received its semi-private premiere in 1978. Hanuš,a greatly respected figure in Czech music, wasa pupil of Otakar Jeremiáš. He succeeded in trans -forming himself from the composer of a neo-Dvorakian Symphony in G major in the early 50sinto an atonalist in the 70s and 80s. His use of thefashionable bass clarinet is typical of the period,this instrument having been popularised by thelegendary Due boemi di Praga; but though the piecewas well performed and demonstrated somestartling sonorities, I found it musically too arid tosustain one’s interest. It seemed to me just thekind of composition that Martinů would havedisapproved of; not so the entertaining and good

humoured piece that followed: Jiří Teml’s Pidluke-Padluke, a recently composed sextet for wind instru -ments in four short movements inspired by JiříŠalamoun’s graphics. It brought the first half of theconcert to a happy close. The promised premiereopened the second half: Ivo bláha’s Fair Play:Concertino for flute, clarinet, French horn, bassoon andpiano. The intention here was to treat each indi vid -ual instrument in an even-handed manner, hencethe title. a native of Litomyšl and a former pupil ofJaroslav Řídký and Vladimír Sommer at aMu, bláhacomposes in a loosely tonal style, without applyingany strict system but simply following his poeticfantasy to the last detail. One could well apply hereGoethe’s description “exact fantasy”. Since the1970s, he has shown a penchant for chambermusic, often writing for single instruments. I recallhis Two Inventions for solo flute as being among themore interesting compositions presented at theWeek of new Works which I attended back in 1975,and before writing this review I listened again tothe live recording issued by Supraphon shortlyafterwards. Judging from this new composition, hismusic has shown remarkable stylistic consistency,demonstrating a fine feeling for instrumentalcharacterisation, with filigree attention to detail.This was subtle, civilised and positive music of thekind that Martinů himself would surely haveadmired and it was a pleasure to have been drawn

violin and piano. He played this virtuoso piece,written in america for Fritz Kreisler, with greatconfidence, even adding portamenti as a periodtouch. Then it was his father’s turn to play solosand we heard the Three Czech Dances, H 154, inwhich he brought out most effectively the livelydance elements in what was surely written byMartinů in homage to Smetana. He followed thiswith Three Polkas Op. 52 by Viktor Kalabis, quitepossibly written in homage to Martinů, albeitatonal in character. The concert was rounded offwith a stirring performance by Trio bergerettes ofan early work by Martinů’s one-time teacher JosefSuk: Piano Trio in C minor Op. 2, a composition that

starts off in brahmsian mode and becomes in -creas ingly individual as the music progresses, thesecond movement even incorporation the rhythmof a tango. Here, barbora Sejáková showed herselfto be a chamber musician of refined sensibility.What a pity Prof. Leichner could not be present;he would have been very proud of his formerpupils.

The following evening (13 December) wefound ourselves in the Martinů Hall for what wasdescribed as a “Chamber Concert with Premiere”given by Duo du rêve and friends, mainly windplayers. The Duo itself was founded in 2011 bythe flautist Jana Jarkovská and pianist bohumírStehlík. They presented an interesting and daringprogramme; apart from the premiere – a work bycomposer-in-residence Ivo bláha commissionedfor the festival – it included pieces by Jan Hanuš,Jiří Teml and Jan rychlík. The Martinů work washis rarely performed Sextet for piano and windinstruments H 174 from 1929, which opened theprogramme. I confess to being rather disap -pointed by the performance: it failed to bring outthe Parisian charm or the humorous jazz elements,though the “Dream Duo” were able to demon -strate their brilliance in the Scherzo movement,scored just for flute and piano. This was followedby Jan Hanuš’s Tempo ostinato for flute, bassclarinet, percussion and piano Op. 91 which had

was chosen. after the interval, we were presentedwith Martinů’s pre-war comic opera Alexander Bis,H 255, a surrealistic affair and very French. Herethe reduced orchestra conducted by Sebastienbagnoud was perhaps better suited to the moretransparent Paris- style textures. The set con -sisted of an empty stage with a pair of eyes inpicture frames on the back wall and betweenthem a large nose, while huge red lips in the fore -ground served as a sofa on which much of theaction took place. added to the mix was a charm -ing bevy of young girls in ballet dresses. For thetitle role, we again heard Vít nosek (with andwithout detachable beard), and the role of hisflirtatious young wife armanda was vivaciouslysung and played by barbora Řeřichová. The wholeevening was a celebration of opera buffa, playedwith a great sense of fun, though as a non Czechspeaker I would have welcomed surtitles.

The next evening (12 December) we were inthe intimate surroundings of the deconsecratedSt. Lawrence Church in Malá Strana for a recital intribute to the pianist and pedagogue Prof. emilLeichner, well known for his lifelong championshipof Martinů’s music, especially through his Supra -phon recordings of the piano concertos and solopiano works. The original plan was that he wouldbe performing works by Suk and Martinů as pianistin the bohuslav Martinů Piano Quartet, an ensem -ble he had founded back in 1964. unfortunately,now in his late seventies, he was indisposed andwas unable to be present at this special event, soinstead we heard the younger Trio bergerettes, anensemble also closely linked with Martinů, havingwon the bohuslav Martinů Institute Competitionin 2001. Their pianist, barbora Sejáková, a pupil ofProfessor Leichner, had earlier been the winner ofthe 1999 Competition, when she performed theextremely difficult Piano Sonata, H 350. It waswith her revelatory interpretation of this key workfrom 1954, that she opened the concert. underher exceptionally nimble fingers the sonataemerged as a compelling masterpiece, her virtuosotechnique completely at the service of the musicand virtually creating orchestral textures. by theend, I found it difficult to reconcile Martinů’sfamiliar cartoon drawings of himself as a littlemouse with such a powerfully dynamic andexpressive composition, though the image of himdoing battle with a grand piano was fleetinglybrought to mind. barbora Sejáková followed thesonata with the last three pieces from KlementSlavický’s cycle Studies and Essays, again pianowriting that requires the highest level of virtuosityand her playing of this scintillating music wassimply astonishing. aleš březina, the presenter forthe evening, invited her to read out her memoriesof Prof. Leichner as a teacher. She was followedby another former Leichner pupil Jiří Kollert part -nering his very young and clearly very talented soneduard in Martinů’s Czech Rhapsody, H 307, for

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Barbora Sejáková, 12 December Eduard Kollert, 12 December

into the composer’s imaginative world. This excep -tionally stimulating concert, which was conductedby Petr Louženský, ended with Jan rychlík’s AfricanCycle for eight wind instruments and piano, an iconicand elemental work from the early 1960s whenCzech composers were escaping Zhdanov dictatesand discovering serialism instead. It was writtenfor the newly founded Musica viva Pragensis andtheir recording of this composition appeared inSupraphon’s Musica nova bohemica series at thetime. The five brief movements are dodecaphonicto varying degrees and clearly intended to shocka conservative audience. The work opens provoca -tively with an isolated note passed from one

instrument to another in Webernesque manner,progressing to jungle noises complete with therhythmic stamping of natives and Messiaen-likebirdsong motifs on the piano, while the finalmovement consists of the repetition of a singlemotif fading to silence. It received an excellentperformance especially from the pairs of hornsand trombones, and perhaps to bring an addedtouch of authenticity all the players appeared inbare feet! It was good to be reminded of rychlík’smusic in his centenary year.

The next concert of the festival (14 Decem -ber) took place in the fine new concert hall of thePrague Conservatiore and was given by its Sym -phony Orchestra of students under the baton oftheir inspirational conductor Miriam němcová. Theprogramme consisted of two classics of Czechmusic – Smetana’s symphonic poem Hakon Jarland Fibich’s melodrama Štědrý den (Christmas eve)– plus Martinů’s Cello Concerto No. 1, H 196 andthe premiere of Violin Concerto No. 2 by theDirector of the Conservatoire, Pavel Trojan, whohad studied composition with Ilja Hurník and JiříPauer. In addition, the eminent Irish musicologistand organist Dr. Patrick Devine, a graduate ofuniversity College Dublin, would be receiving theaward of the Czech Music Council. When the timecame, he gave a brief speech in Czech, which wasmuch appreciated by the audience. The youthful

orchestra rose to the occasion, giving effectiveperformances of the 19th century pieces, with theexperienced narrator, Marta Hrachovinová, highlyimpressive in the melodrama, conveying persua -sively the power of the verses and convincinglyintegrating her voice with the orchestra. Despitethe title, erben’s ballad is not really a very Christ -massy piece, rather a warning not to peer too farinto the future in case one discovers tragedy lyingin wait. The new Violin Concerto was quite a shock,overlong and very conservative in style; it couldalmost have been written by Khatchaturian, butwith ideas too commonplace to hold the atten -tion. Perhaps one should expect the director of

a conservatoire to produce conservative music.The players were certainly given every opportunityto shine, espe cially the brass section. The accom -plished young soloist Marie Hasoňová, a fourth-year student, brought her delightfully sweet toneto everything, bravely making the most of herrather ungrateful part. I was very thankful for theuplifting ending to this concert: Martinů’s gem ofa concerto most beautifully played by the cellistVanda Fuchsová, who had graduated from theConservatoire the previous year. The orchestrasounded at its best in this piece with goodensemble and an excellent contribution from thewoodwind. The soloist demonstrated her refinedtone and sensitive phrasing especially in theprayer-like central move ment, in which Martinůwas surely alluding to the St. Wenceslas Chorale.but in the joyful finale the mood is lightened sothat the very appreciative large audience wenthome well satisfied.

The following evening (15 December) wewere in the packed-out Dvořák Hall of the rudol -finum to hear the Prague Philharmonic Choir undertheir remarkable conductor Lukáš Vasilek, a sub -scription concert in their regular Choral Series.as in previous years, this was a welcome collabo -ration with the Martinů Days festival. naturally,the choir has a close commitment to Martinů’smusic and the evening also saw the launch of

their Supraphon recording of the complete cycleof cantatas to Miloslav bureš’s texts. For thisconcert, the second cantata was chosen: Legendof the Smoke from Potato Tops, H 360, and thiswas placed in juxtaposition to Janáček’s Říkadla(nursery rhymes). both works require an inter -esting assortment of accompanying instruments,including an ocarina in the Janáček and anaccordion in the Martinů. The vivid performanceswere entertaining and thoroughly enjoyable. assoon as he stands before his choir, Lukáš Vasilek istransformed through some strange alchemy intoa veritable live wire and he directed the musicianswith total concentration and admirable precision

without the score and living every moment. Themood became more serious in the second half ofthe concert, a further juxtaposition: Martinů’sProphecy of Isaiah H 383 for male choir, soloistsand a sparse accompaniment of trumpet, viola,piano and tympani followed by Janáček’s Otčenáš(Our Father) for mixed choir, tenor, harp and organ.Martinů’s cantata, sung in english, came acrosswith almost shocking force, the magnificent malevoices of the Philharmonic Choir creating darktones of great intensity in this vision of the worldturned upside down and laid utterly to waste.With its text from the Old Testament, it is themoving final testimony of an artist forced to live inexile because of the realities of the cold war, whowas only too aware of the threat to humanitythrough nuclear annihilation. as I listened to thiscompelling music, performed with such commit -ment, I felt that Martinů had succeeded in makinga far more powerful anti-war statement than allthe “peace cantatas” composed in his homelandduring the 1950s. Janáček’s extended setting ofThe Lord’s Prayer, contemplative and exclamatoryby turn, served as a welcome balm, bringing an ex -ceptionally fine concert to a peaceful conclusion.

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Duo du Rêve and friends, 13 December

Vanda Fuchsová, 14 December

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famous swan was played with the smoothest oflegato by Jitka Vlašánkova, cellist of the MartinůQuartet. The ensemble conducted by Jiri Petrdlík,was joined by the remarkable Soňa červená forthe recitation of This sparkling performance, inwhich Karel Košárek was joined by Terezie Fialováas the other pianist, brought the recital toa riotous conclusion and was much appreciatedby the large audience.

And so to the final concert of my stay

but it nevertheless makes a delightful concertitem, as demonstrated in this lively and charmingperformance. With his notable sense of humour,Martinů himself must surely have admired Saint-Saëns’s depiction of assorted animals, especiallythose condemned to practising endless scales(Pianists). Carnival of the Animals was narratedby the veteran Soňa červená (Ogden nash’shumorous verses in a Czech adaptation) in herhighly accomplished theatrical manner and the

On Saturday (17 December) a rather sparseaudience gathered in the Martinů Hall to hear arecital given by the Kalliope Trio of Prague, whowon first prize in the 2014 bohuslav Martinů Foun -dation Competition. They began with Sme tana’sTrio in G minor, which I felt required a more imagi -native and romantic approach. Petr eben’s PianoTrio from 1986, which followed, suited them betterand in fact was conceived as an anti-roman ticpiece in which the composer set out to explore theincompatibility of the sound of stringed instru -ments with that of the piano (just as ravel haddone very successfully sixty years earlier in hisViolin Sonata). I found this to be a rather dry, intel -lectual exercise and longed for more appealingthematic material, but the third of the four move -ments was interesting with its funereal tread ofpiano chords contrasted with waltz elements andthe suggestion of a polonaise in the strings. Thefinal work Martinů’s Bergerettes, H 275, com -posed in Paris in February 1939, came as a breathof fresh air and it was the best performed item inrecital, the players being clearly in love with themusic. and what delightful pieces these are, fullof joie de vivre, even the Dumka-like central move -ment.

For Sunday evening (18 December) we wereback in the Martinů Hall for a chamber recital thatbrought together a “dream duo” of two championsof Martinů’s works in their respective fields, theviolinist bohuslav Matoušek and the pianist KarelKošárek, who, as well as playing less known piecesby Martinů, were joined by the celebrated MartinůQuartet and friends in works by two Frenchcomposers; not the obvious candidates such asDebussy and roussel, but important figures fromthe second half of the 19th century, whom Mar -tinů would surely have also been aware of: Saint-Saens and Chausson. The opening item, Elegy H 3,for violin and piano with its strange subtitle “evilreturns” (not mentioned in the programmebooklet) showed the young bohuslav flexing hiscompositional muscles in 1909. apart from theoccasional awkward harmonic turn, the piece,eleven minutes in duration, could almost havebeen written by Suk. The same perhaps could besaid of ernest Chausson’s over-ambitious Concertoin D major Op. 11 for solo violin partnered bya chamber ensemble consisting of piano andstrings. Despite Matoušek’s persuasive advocacy,I found that the piece rather overstayed itswelcome. In the second half of the concert Mar -tinů’s Intermezzo, H 261, for violin and piano wasjuxtaposed with the chamber version of Saint-Saens’s Carnival of the Animals. Martinů’s beguilingset of four short pieces under the collective titleIntermezzo, composed in Paris in 1937, are didacticin intention – I recall the third number withits three against four rhythms being selectedin britain as a Grade examination piece by theassociated board of examiners some years ago –

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Ludmila Kronková, Lukáš Vasilek & Jiří Brückler, 15 December

Kalliope Trio, 17 December

Bohuslav Matoušek & Karel Košárek, 18 December

(19 December) and the one I was most lookingforward to since it included Martinů’s folk cantataKytice (Bouquet of Flowers), H 260. This wasamong the first of Martinů’s compositions thathad appealed to me as a student after I hadacquired the LP of Karel ančerl’s recording with itshaunting fourth movement Kravarky (Cowgirls or,perhaps better, bergerettes), radiantly sung byLibuše Domanínská and Soňa červená as they callto each other in the manner of “halekačky” acrossimagined pastures. The work was commissionedin 1937 by Czech radio and premiered under thebaton of Otakar Jeremiáš in May 1938. It wastherefore appropriate that this present concert

was to be given by the Symphony Orchestra ofCzech radio in its series “Czech footsteps in theworld”. The opening item provided a welcomeopportunity to hear a composition by Martinů’spupil Jan novák from the mid 50s: PhilharmonicDances. This was written for the newly-foundedbrno State Philharmonic Orchestra as a gestureof thanks after the composer and his pianist wifeeliška had performed his double piano concertowith that orchestra at the first “Warsaw autumn”festival in 1956. recognising that this entertainingset of three dances makes an effective showpiece,the orchestra took it into its repertoire andpresented it in London on a visit in the mid 60s.The composition demonstrates that even eightyears after novák’s brief period of study inamerica, he remained very much in thrall to histeacher. The scoring is brilliant with solos forfavourite Martinů instruments such as the coranglais, a side drum that launches the outermovements and with rather too much attentionpaid to a row of four trombones – Martinů’steacher Suk would undoubtedly have exclaimed“Out with those trombones!”(as he did when hewas shown one of Martinů’s early orchestralscores). under the experienced baton of Tomášnetopil, the performance made a good case forthe music and the final over-the-top peroration

won the expected enthusiastic applause. Thecentre-piece of the programme, was a PianoConcerto by Miroslav Srnka, receiving its Czechpremiere. Srnka, who is now in his early forties,was a pupil of Milan Slavický and this work isdedicated to the memory of his teacher, who diedin 2009. Srnka is a prolific composer who hasachieved considerable success abroad, especiallyin Germany. His opera South Pole was premiered in2016 by the bavarian State Opera in Munich andtaken into its repertoire, also a CD of his chamberworks has recently appeared on the naive Clas -siques label. The Piano Concerto was commis -sioned by the austrian radio Symphony Orchestra

and premiered in Vienna in november 2012 withnicolas Hodges, an english pianist specialisingin contemporary music and based in Stuttgart,as soloist. He was also the soloist in this Pragueperformance, playing his part with remarkableaccuracy as far as one could tell; the notes some -times appeared to be struck seemingly at random.However, there is no doubting the serious intentbehind this concerto, a single movement lastingrather longer than the promised 25 minutes. notknowing what the piece was trying to convey was

the problem. The opening section was built fromoften repeated ascending and descending scalessuggestive of some powerful wind, and there weremany interesting moments along the way, leadingone to suspect some undisclosed extramusicalimpulse behind the music. but without beingprovided with a key, I found it difficult to gainaccess into Miroslav Srnka’s world. This Czechpremiere was well received by the audience –though I have to report an isolated “boo” – andI had the impression that the composer is widelyregarded as one of the great hopes of contem -porary Czech music. Martinů’s Bouquet of Flowerscame as something of a relief; it is so brimful ofmusic and colour, the scoring underpinned by twopianos, a favourite device of the composer’s atthat period (in addition to the Concerto grosso, onethinks of Tre Ricercare). The contribution by thePrague Philharmonic Choir was magnificent, asone would expect, and the Kühn Children’s Choiracquitted themselves confidently in their charm -ing Koleda (Carol) about adam and eve. all thesoloists were good and the overall effect, height -ened by the folk wisdom of the texts, was verymoving. In order to dispel the sombre thoughts inthe final movement člověk a smrt (Man and Death)and to remind us that Christmas eve was lessthan a week away, the audience joined in to roundoff the concert (broadcast live) with a well-knownCzech carol Narodil se Kristus Pán, the words of thefour verses having been supplied with the pro -gramme booklet. afterwards when collecting our

coats, I bumped into Ivo bláha, who was beamingwith pleasure: “Music straight from heaven!” heexclaimed. I know for certain that he was notreferring to the piano concerto or even to novak’sdances, but of course to Martinů’s life-affirmingcantata Kytice. Mar tinů’s widow Charlotte liked totell people that if you listen carefully to bohuslav’smusic there is always a passage that is “a windowinto heaven”. Long may the Martinů Days inPrague remind us of this rare quality! �

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Conductor Tomáš Netopil & soloists, 19 December

Tomáš Netopil, Miroslav Srnka & Nicolas Hodges, 19 December

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northern Colorado for a guest residency.Prof. eugene Corporon, who now serves on thefaculty of the university of north Texas, recallsHusa’s visit during his time at unC. We aregrateful to Prof. Corporon and the ColoradoQuartet for sharing their recollections of KarelHusa. Special thanks go to violinist Julie rosen -feld for compiling the memories of the ColoradoQuartet given below. I have always been struckby the palpable sense of humanity that charac -terizes Husa’s music. I hope that these remem -brances give a sense of the humanity of Husathe man.

Eugene Corporon remembers Karel Husa:In april of 1982, we invited Karel Husa to be

our first guest for the Celebrity Symposium inMusic at the university of northern Colorado.His residency included a series of lectures,rehearsals and concerts with the northernColorado Wind ensemble and Symphonic band,as well as the Colorado all-State High Schoolband. I found him to be the most gracious andcaring individual I have ever had the pleasure ofworking with. It was a very special three days.The university ensembles played the apotheo -sis of this earth and the Concerto for Trumpet(William Pfund, soloist). Maestro Husa cappedoff the weekend by conducting Music for Prague1968 with the all-State band. The rest of hisprogram included Fanfare and Prelude byJ. robert Hanson and Festive Overture Op. 96by Dmitri Shostakovich.

Karel was warm and genuine in a way thatdrew people to him. everyone wanted to dowhatever it took to please him because thatwas the way he was with everybody else. Karelalways made you feel like you were more impor -tant than he was. Something we all knewwasn’t true.

I do remember that, following an eveningrehearsal of the Wind ensemble, I asked him ifhe wanted to join us for pizza and beer ata local hangout. He was thrilled to be a part ofthe evening and I recall that he played a meangame of Pac-Man. In fact, even though almostall of them tried, none of the students couldbeat him.

I also recall finding an error in the saxophoneparts in Music for Prague. I hesitated to call it tohis attention, however I thought it best to get

and generosity of spirit were simply astounding.During the days I spent working with the com -poser, there were no airs and graces. I willalways remember his kindness and, especially,his wonderful sense of humour.

In 2014, I relocated to Colorado to take upa position at the university of northernColorado. I would not have anticipated findinga particularly strong Husa following in Colorado,but upon the loss of the our dear colleague justbefore Christmas, it became clear just howdeeply he had touched the past and presentmusical community even in this unexpectedcorner of the united States. The marvellouspianist Jennifer Hayghe, who worked with Husaduring her many years on the faculty at IthacaCollege, lamented the loss from erie, Colorado,where she had moved to take upa professorship at the univeristy of Colorado-boulder. The Colorado Quartet, which co-com -missioned Husa’s Fourth String Quartet, deeplymourned the loss of a composer with whomthey had closely collaborated. Husa even hadold ties to my current institution. Severaldecades ago, he had visited the university of

/ Justin Krawitz

On 14 DeCeMber 2016, the Czech-americancomposer Karel Husa passed away at the age of95. as the recipient of the Pulitzer Prize (1969)and the Grawemeyer award (1993), Husa hasbeen widely acknowledged as one of the greatcomposers of the 20th century. Despite this,he never achieved the same super-star statusas some of his peers who enjoyed similar acco -lades. In Husa’s recollections of his compatriotMartinů (reprinted in this volume), he notes that“Martinů had remained a humble man.” I daresay that a deep and earnest humility wassomething that characterised Husa himself,and perhaps this humility goes some way toexplaining Husa’s modest position in musichistory. as an educator and a human being,Husa always sought to help others in theirpaths, rather than seeking to magnify his ownreputation. Musicians who had the privilege ofworking with this selfless man invariably feltthey had gained a friend. and this was true inmy case too.

My interest in Czech music was kindled over -whelmingly by the music of Martinů. and so,as I continued to explore the Czech pianorepertoire as a young doctoral student anddiscovered the works of Karel Husa, it was toa large extent Martinů whom I had to thankfor this discovery. Husa’s acclaimed Music forPrague 1968 shows his concern with justiceand human rights in the context of his musicaloutput. Of the few piano works that he wrote,the early Piano Sonata no.1 spoke to meespecially directly. This powerful work lays bearthe psyche of a young composer who recentlyhad to make the difficult decision to defect tothe West, leaving behind his beloved family andcountry in the clutches of the communistregime. The work is especially pertinent today,invoking issues of citizenship, migration, andimmigration. Just a few years ago, Husa sharedwith me that he still dreamed of Prague everynight.

Imagine my excitement when, after trackingHusa down back in 2010, the highly decoratedcomposer invited me to his home in northCarolina to work with him on his sonata. I wasa mere student; nevertheless, Husa’s openness

music for prague, music for an obituary for karel husa /1921–2016

14 | martInůrevue12017

Karel Husa on the campus of Ithaca College

I was in regular contact with Husa, then livingin Ithaca, ny and teaching at Cornell, whoassured me that he very much wanted to writea fourth quartet, so we were patient.

The Fourth String Quartet was worth the wait.Work ing with Husa on thenew piece was wonderful,because he knew exactlywhat he wanted, and couldhelp us produce his ideas.The seven-movement work,titled ‘Poems’, incorporatedmany coloristic soundeffects to reproduce theimage of each movement.We loved the piece, audi -ences loved it, and so werecorded it (for albanyrecords, Troy 259) andperformed it in concert for

the rest of the Colorado Quartet’s 30-yearcareer.

The World Premiere took place in brno,Czecho slovakia in 1991. Our friends in the Janá -ček Quartet invited Husa to appear in brno withus for the premiere.

This was an important time for Czecho -slovakia (still unified), right after the Velvetrevolution. While we were there, we saw themhanging the apple Computer store sign, and the

street names changed overnight. It is ourunderstanding that for Husa, this was his firsttrip to his homeland since the 1940s when hedefected to the West. He was honored asa favorite son, as his music was well-known,particularly his Music for Prague 1968. That piecehas been performed more times than any otherwork for concert band.

The Quartet flew to Prague with Husa andspent the day with him sight-seeing. He hadmore energy than any of the four of us andtook us on an unforgettable tour of the city.The most moving part of the experience wasperforming the Fourth Quartet in Czecho -slovakia with Karel Husa in attendance,receiving the lauds he deserved.

He was a brilliant, innovative composer, butalso a kind, sweet gentleman. after getting toknow him, his wife Simone and their daughters,his grand-daughter, Maria evola, attended ourQuartet Institute SoundFest several times asa violinist, and we delighted in watching herdevelop as a musician.

We all carry very fond memories of KarelHusa and cherish the time we spent with him,as well as the legacy he left us in the FourthQuartet. �

martInůrevue12017 | 15

humanity:

it right. There was a single note that did not fitthe vertical scheme in the tenor sax part.I called it to his attention and he said "it mustbe wrong because I would never give a pitch tojust one player in a section like this.” becausethat note was sustained and the section wascut and pasted later, we actually had to revisea number of notes. Months later he called me toask exactly what we had changed because hewas getting ready to conduct a performanceand wanted to be sure to make the correction.

I admired him for being humble and patientwith everyone. He provided the perfect modelfor how to live in this world with a generousspirit while writing music that defines socialconsciousness. This experience was one of themost influential of my life. I will always begrateful for the time he was willing to share.

The Colorado Quartet remembers Karel Husa:In 1985, The Colorado Quartet was asked to

join a consortium of three quartets applying foran nea Commissioning Grant. each group wouldchoose a composer, and all the Quartets wouldplay all three works. Our choice was Karel Husa,who would write his Fourth Quartet for us.

We were excited about a new work by Husa,as were concert presenters. We scheduleda World Premiere on a prestigious series for1987. When it became obvious the piece wouldnot be completed in time, we rescheduled onanother good concert series for the followingyear. That premiere was also postponed.

by now, the other two composers hadfinished their pieces, they had been premiered,and we had also learned and performed them.

Karel Husa in 1956

Karel Husa in his final years

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talked about the injury he had sustained when hefell from a terrace; I recall him telling me that hecould not write music at the table, since wheneverhe bent over his head started spinning. He addedthat he worked by an upright piano, to which hehad fixed a large easel.

and then of course he spoke of Czecho slovakia,with such great affection and a glint in his eyesthat I at once knew that he had always kept in histhoughts the little fields, the forests, the red roofsover there at home.

I lived abroad for many years, I met numer ousartists – musicians, poets, painters – and otherpeople born in Czechoslovakia, yet I have neverbeen as close to all the memories and evocationsas when Martinů voiced them at the time; perhapshe was talking in notes…

That my first and last encounter with Martinů.even though later I lived close to new york City(“close” is rather inaccurate, since my town,Ithaca, is about 320 kilometres away), we nevergot together in the uS. When I was in america,Martinů was in europe; but I must admit thatI didn’t make frequent trips to the city. I possessseveral letters from bohuslav Martinů. regret -tably, I have lost the most wonderful letter – onehe wrote to me and my student orchestra atCornell university follow ing our performance ofthe Sinfonietta La Jolla, a recording of which wehad sent him. The letter – much like many of theothers – revealed that Martinů had remaineda humble person. although we could by no meansmatch the boston Orchestra or the Czech Philhar -monic, Martinů showed an interest in – and ex -pressed his having been moved by – a per form -ance of an ordinary student ensemble.

everything about Martinů has not yet been said– let us hope that one day it will be…

Reprinted from the Zprávy (Report) of the Bohuslav Martinů Society, 1996,

Issue 21, pp. 13–15. Abridged.

Violin and Viola, H 313, Sinfonietta La Jolla, H 328,(a splendidly orchestrated composition I trulyrelish conducting, with the moving adagio in thesecond movement) and The Parables H 367.I would like to add that Mar tinů’s music possessesanother great advan tage: the orchestra playersdon’t get bored, they understand it. because ofthis, the atmo sphere at rehearsals is positive,which is not the case when rehearsing manyother, albeit eminent, compositions.

I met bohuslav Martinů sometime in the sum -mer of 1948, at the end of June or the beginningof July, in Paris, nearby the arc de Triomphe. at thetime, I was staying at the Cité universitaire, andmy neighbour on the same floor at the americanFoundation, who had studied with Martinů in newyork City, told me that bohuslav and his wifeCharlotte would be visiting Paris. I was happy atthe prospect of finally getting to meet a composerwhom I admired and whose music I adored.

Well, I cannot say that our encounter wasmerry, as Martinů mainly talked about the troubleshe had faced around the world (as though prepar -ing me for that which was ahead of me). He also

bOHuSLaV MarTInů’S music is extremely per -sonal; one can recognise it after just a few bars.That is what makes it so original. back at the timewhen I was studying at the Prague Conservatoryand when I would listen to his compositions orread through his scores, I accepted that whichwas then being said in the Prague music circles:that Martinů was writing in the French style. Thatis rather difficult to explain briefly, but in a nut -shell it means that, though he used Czech orMoravian motifs, or imitated these, Martinů’sstyle, instrumentation, thinking, form, and almosteverything else, were greatly impacted by theFrench milieu in which he had lived for so long. butwhen I myself lived in France, from 1946 to 1954,I realised just how “Czech-Moravian” Martinů was.

Whenever I heard his music, I immediately feltat home, my thoughts would shift to Polička, toPrague, to the Czech forests; I could simply feela direct connection between his music and themusic of Janáček, Dvořák, Fils, Stamic, Mysliveček,and other composers. The more years that havepassed since my time in Paris, and the more Mar -tinů scores I have con ducted, the more convincedI am of this. I do not believe that when living out -side his native land, the artist necessarily becomesestranged from his country, his nation, his mother,father, sister, friends. and I would even venture togo further: I don’t think that an artist would everforget the place where he was born, just as hewould never forget his mother and father.

[…]The Martinů works I have explored or con -

ducted include Symphonies Nos. 4 and 6, theDouble Concerto, H 271 (one of his best pieces),Memorial to Lidice, H 296, Three Madrigals for

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memorie

s recollections of bohuslav martinůkarel husa

guy erismann / 1923–2007On 7 SePTeMber 2007, France’s Guy erismann, a great loverof Czech music, that of bohuslav Martinů in particular, diedat the age of 84. In the next Martinů revue, we will publishreminiscences of his relatives and close friends. The obituary,written by his friend, Patrice Chevy, was included in Martinůrevue no. 3 (September – December), 2007. �

reminiscence

Karel Husa, April 1991

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Dr. HIDeO SeKIne needs no introduction. Hewas known by every Czech who has spent anytime in Japanese cultural circles. We would seehim at the concerts given in Japan by Czechorchestras and soloists. He would turn upwherever a Czech event occurred in Tokyo,sitting or standing somewhere, walking aroundor assisting. an otorhinolaryngologist by pro -fession, Dr. Sekine was a relentless and ener -getic connoisseur and champion of Czech musicand culture, a man who filled his Tokyo flat withaudio recordings and books on music, a manwho used to invite to his home Czech artistsand other Czechs who were visiting Japan orlived and worked there. back when I wasa student, I read in an article in a Czech maga -zine that “should a devastating earthquakestrike, the flat (of Dr. Sekine) would withstandit owing to the vast piles of LPs featuring Czechmusic.”

Sadly, on the evening of 18 January 2017,Dr. Hideo Sekine passed away in Tokyo at theage of 88. He was sprightly until the very end.The last time we saw him was on 12 December2016, at the reception marking the 10th an -niversary of the establishment of the CzechCentre in Tokyo, which I have had the honour tohead as its first director. On 22 and 23 January,the vigil and funeral service were held at theM2 building, a postmodern structure designedin 1991 by the world-famous Japanese architectKengo Kuma and today used by the funeralservice provider Memolead Tokyo.

not only was Dr. Sekine an expert on Czechmusic: he also mastered the Czech languagesufficiently to be able to translate into Japan -ese. We will come to this later, but for now letus focus on his eventful life.

Hideo Sekine was born in 1929 in the city ofŌmachi in the nagano Prefecture. In 1932, hisfamily moved to Macumoto, where from 1941to 1943 he continued to receive his primaryeducation. From 1943 to august 1945, heattended the army Ground Forces School. In1946, he began studying at the Special MedicalSchool in Macumoto (today the Faculty ofMedicine of the Shinshu university), while atthe same time taking piano lessons at theMacumoto Conservatory, which was headedby the violinist Shinichi Suzuki, inventor of the

international Suzuki Method of music educa -tion. between 1952 and 1959, Sekine wasa postgraduate, studying otorhinolaryngologyat the Teaching Hospital of the Hokkaidouniversity, where he received a doctorate in1958. From 1959 to 1965, he worked in severalotorhinolaryngology centres in yokohama andin Tokyo, before opening his own practice in theakasaka quarter in april 1965. He devoted him -self to this practice until the end of his days.

back in 1962, Sekine launched the “Thursdaysof reading and Translating of Czech Literature”,which he held until 1987. In the 1970s, he or -ganised five-year courses in Polish (on Fridays)and Hungarian (on Saturdays). between 1974and 2004, he paid some 20 visits to Czecho -slovakia and, later, the Czech republic. Con -currently with his medical practice, he studiedbartók’s music (from the 1950s) and, from 1959,Czech music too. In 1996, Sekine received the

martInůrevue12017 | 17

On 18 January 2017, Mr. Sekine, who served as the president of the bohuslav Martinů Societyin Japan, died at the age of 88. I am going to write about him, and it will only relate to mypersonal memories of him since those keen on Czech music are well aware of his enormousknowledge and deep love of Czech music.

In 1990, I came across Martinů’s esquisses de danses. I was fascinated by the music, thecolourful sound and gay rhythm. I immediately began looking for someone who knew Martinůand who could teach me. What good timing! It was at the first concert of the bohuslav MartinůSociety in Japan where I first met Mr. Sekine.

I asked him about many things and he answered all my questions. It seemed there wasnothing he didn’t know. The players of Czech music dubbed him a “walking library”.

If he wanted to ascertain something, he never gave up and went to carry out research inbohemia and Slovakia.

all the people who made events and came into contact with him said that they were gratefulfor his teaching them and providing them with information and materials, and they had a lovelytime with him. Thanks to them, the events were intelligent and great. It will be impossible toforget about Mr. Sekine, who will for ever remain in our memories.

MArI TOKuDA, Member of the Bohuslav Martinů Society in Japan and member of IMC

memories

remembering dr. hideo sekine

mari tokuda recalls mr sekine

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Zdeněk Zouhar, Max Kellerhals, Aleš Březina & Hideo Sekine, Prague, 1996

university who were staying in Tokyo. Theseevening gatherings, which continued for almosta quarter of a century, were crowned by readingSeifert’s memoirs “all the beauties of theWorld”, my translation of which would later onbe published in Japan.

In 1974, I visited your wonderful country forthe first time. ever since, I have travelled acrossbohemia, Moravia and Slovakia on almost20 oc casions, mainly attending music festivalsin Prague and brno, as well as folk events inMoravia and Slovakia. My best Czech friend,Mr. Zdeněk Thoma, a photographer and trav -eller, has driven me everywhere, from Cheb toSvidník.

My most fruitful journey was to the PragueSpring in 1990. I stayed in the city for theduration of the festival, going to theatres andconcerts, all of which featured works bybohuslav Martinů, since that year marked thecentenary of the composer’s birth. One evening,

bohuslav Martinů Medal from the bohuslavMartinů Foundation in Prague; in 2004, he wasgranted an award by the Leoš Janáček Societyin brno. Sekine served as president of thebohuslav Martinů Society in Japan (which hefounded in 1990) and as an adviser to theFriends of Leoš Janáček Society in Japan(established in 1998).

Dr. Sekine translated the following booksfrom Czech into Japanese: The Joke by MilanKundera (Misuzu Shobo, 1970 and 1992, Tokyo),Music of the Homeland: Chapters from the Life ofthe Composer Antonín Dvořák by Karel Vladimírburian (Shinjidaisha, 1983, Tokyo), DiscoveringMusic in Prague by Jan Wenig (Shobunsha, 1989,Tokyo), All the Beauties of the World by JaroslavSeifert (Shobunsha, 1998) and The Cunning LittleVixen by rudolf Těsnohlídek (Hachigatsusha,2005, Tokyo). Moreover, he translated thelibrettos to the Czech operas The Bartered Bride,The Secret, Viola (bedřich Smetana), Dimitri, TheDevil and Kate, Rusalka (antonín Dvořák), TheMiracles of Mary and The Greek Passion (bohuslavMartinů), and the complete operas of LeošJanáček. In addition, he wrote numerousarticles, commentaries and essays on music,which were published in specialist magazines,performance programmes, LP liner notes, andCD and DVD booklets.

On 12 november 2009, Dr. Sekine wasawarded the artis bohemiae amicis medal bythe Minister of Culture of the Czech republicfor his promotion of Czech culture. Dr. Sekinereceived the medal from Minister Václavriedlbauch in person at the embassy of theCzech republic in Tokyo. The Acknowledgementsrendered by Dr. Sekine on this occasion speakvolumes. PETr HOLý, Tokyo

aCKnOWLeDGeMenTS I believe that a fateful moment occurs in thelife of every person.

I myself experienced such a moment in 1959,precisely half a century ago, when I first heardthe Czechoslovak national anthem as per -formed by the Czech Philharmonic, conductedby Ladislav Slovák and Leoš Janáček’s PianoSonata performed by the pianist Mirka Pokorná.at the time, I contracted the Czech affliction,a serious one, as fatal as the “White Disease”itself!

In 1962, a few friends of mine and I launcheda club of Czech language, and subsequently,every Thursday evening we would read Czechliterature in the waiting room of my surgery.We invited along as teachers graduates of theDepartment of Japanese Language of Charles

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bohuslav martinů days 2014String Quartet No. 4, H 256Sedláček Quartet (first prize at the bohuslav Martinů Foundation Competition 2014)

Field Mass, Cantata for Baritone, Male Chorus and Orchestra, H 279HISTOrICaL reCOrDInG, Supraphon, 1958Choir of the Vít nejedlý army artistic ensemble, Czech Philharmonic Soloists Choir, bohumír Liška (Conductor), Theodor Šrubař (baritone)

Field Mass, H 279 – alternative endingrecorded at a concert given by the Prague Mixed Choir in 2016 according to the new resultsof research for the bohuslav Martinů Complete edition. Prague Mixed Choir, members of theband of the Castle Guards and Police of the Czech republic, Jiří Petrdlík (Conductor).

new cd

I saw Macbeth, an interesting ballet productionby Václav riedlbauch, at the new Stage, next tothe national Theatre.

That year saw the foundation of the Japan -ese bohuslav Martinů Society, and in 1998 theFriends of Leoš Janáček Club was establishedin Japan.

In 16 days’ time, the Suntory Hall will behosting the Japanese premiere of Janáček’sopera The excursions of Mr. brouček. accordingto Svatopluk čech, more than one hundredmillion Czechs live on the Moon! I am reallylooking forward to seeing the performance.

The Czech republic may be a small country,yet it possesses a high standard of culture, andhence I am very fond of it indeed. The Czechlands really are my second home!

I extend my cordial thanks to Minister Václavriedlbauch for conferring on me the artisbohemiae amicis award.

HIDEO SEKInE, 2004

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Hideo Sekine at the Bohuslav Martinů Festival, 1996, Prague

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/ Eva ŽiŽKová

IN 1930, Bohuslav Martinů wrote the Troismélodies sur les poèmes de Guillaume Apollinaire(Three Songs after Poems by Guillaume Apolli -naire, H 197). He dedicated the three songs toAndula Pečírková, a concert artist and pro -moter of modern Czech and internationalsongs. Their premiere was scheduled to begiven in 1933 within an “Evening of Baroqueand Contemporary Music” at the Mozarteum,with Václav Štěpán accompanying Pečírkováon the piano. The concert took place on 13 Jan -uary – yet Martinů’s songs were very nearlydropped from the programme.

During the preparations for the premiere,andula Pečírková decided that she would performthe piece in Czech translation. as she put in thedraft of her letter: “The translation was enthusi as -tically undertaken by Vítězslav Nezval, whom I hadengaged for the task through the architect Feuer -stein. I gave the manuscript to Nezval myself, andthe great poet disappeared with it for a number ofweeks. No one knew where he was, it seemed thathe had vanished into thin air. The evening at whichthe songs were to be performed was quickly ap -proach ing. Express registered letters and despatcheswere sent to all the places where the poet mayhave been staying, but to no avail – he was simplyincommunicado.” That was when the manuscriptwent missing for the first time. In desperation,Pečírková even sent a telegram to Martinů in Paris,in which she probably asked him to send a copyof the songs. The composer was startled by thesinger’s request and in a letter dated 7 January1933 he wrote to her that he possessed neitherthe manuscript nor the sketch, adding that hecould no longer even remember the songs.

“One day before the concert, when Dr. Štěpánand I had to replace the songs already announcedon the posters, I was urgently summoned to theMetro café (B. Feuerstein’s letter). Having no inklingwhatsoever of who or what had called for me,I entered the café. I saw three men bent overthe sheets of a music manuscript – they were IšaKrejčí, B. Feuerstein and V. Nezval. While Feuersteinwas translating the text from French, Nezval wasrewriting it into Czech verse and Krejčí was checkingthe conformity with the music notation. Just asI approached the table at which the three artistswere sitting, the great poet was adding the finalword of the final stanza of the final song toApollinaire’s poetry.”

In the end, the Trois mélodies did receive itsworld premiere on 13 January 1933, as planned.

Martinů’s three songs went missing for thesecond time owing to the nazi secret police’srampage in Pečírková’s flat following her arrestin February 1944, when she was detained at thePankrác prison in Prague, subsequently confinedat the Terezín concentration camp and finallytransferred to ravensbrück. The Gestapo pilferedfrom the singer’s apartment, and her extensivearchive, including the manuscript of Martinů’s

songs, disappeared. although Pečírková did fortu -nately survive the war, she returned home in poorhealth and mentally scarred. Thanks to Dr. VáclavHolzknecht, she was able to assume a post at thePrague Conservatory, where she taught solosinging and, later on, secondary piano.

The fate of Martinů’s Trois melodies is furtherelucidated in the draft of a letter, in which Pečír -ková wrote: “Following the liberation, the manu -script was miraculously discovered in piles of second-hand sheet music by Mr. Šebánek, who, to my greatpleasure, gave it back to me. Ever since that moment,I had maintained it with loving care – that is, untilthe day, when Mr. Šafránek coaxed me into lending itto him – for two days. Grudgingly – but feeling theobligation to help the B. M. biographer – I deliveredthe manuscript to Mr. Šafránek, trusting his honestintent. Yet since that time almost eight years havepassed and, notwithstanding reminders sent to himby myself, my musician friends, as well as the MusicFund, he has failed to return the manu script to me.

He does not respond to letters, he hides from me,and when I happen to encounter him and speak tohim, he scurries away without a word.” Miloš Šafrá -nek borrowed the manuscript in circa 1949 (asdocumented by his letter dated 5 april 1949).

Well, that was how the autograph of the Troismélodies went missing for the third time. andulaPečírková would never see the sheet music again.She died in 1983. The singer forfeited not onlybohuslav Martinů’s but also Vítězslav nezval’smanuscript. In 2003, a copy of one of the cycle’s

songs – Saltimbanques – was found by the mezzo-soprano Olga černá. accompanied on the piano byJitka čechová, she recorded it for naxos. černáalso performed the piece in 2004, at the bohuslavMar tinů Festival, together with other songs by thecom poser. Today, we have no idea where the manu -script may be. Will it ever be unearthed? and will itever get to where it belongs – the bohuslav Mar ti -nů Memorial in Polička? That is actually what andulaPečírková wished, as documented in the draft ofher letter addressed to the Ministry of edu cationand Culture. “I have heard that, with great care, theMinistry of Education and Culture has been gatheringall the available materials relat ing to the late com -poser, above all the manu scripts of his works… In thecase that the songs happen to be found, I would liketo ask you for the permission to copy them beforethey are deposited, hopefully for good, in peace andsafety, in Bohuslav Martinů’s birthplace.”

and, naturally, this would also please the authorof the present article. �

songs thrice lost

martInůrevue12017 | 19

Program for the premiere, 13 January 1933, Prague

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