bohuslavmartinu ° the international martinů circlesection (). concert programmes and other...

SEPTEMBER—DECEMBER 2008 / VOL. VIII / NO.3

Martinů

Revisited

Forgotten Polkas

Voices from the Past

B.Martinů & The Czech

Philharmonic Orchestra / II

New publications

NEWS & EVENTS

New CDs

The Bohus lav Mar t inů Foundat ionThe Bohus lav Mar t inů In s t i tu te

The In te rna t iona l Mar t inů C i r c l eBOHUSLAVMARTINU°

≠ spec◊al ◊ssueģ

SELECTED FESTIVALS, CONCERTS & EVENTSOPENING CONCERT / 11 and 12 December 2008 – Magdalena Kožená,Steve Davislim, Sir Charles Mackerras, Czech Philharmonic OrchestraThree Fragments from Juliette, H. 253A (world premiere)

INTERNATIONAL FESTIVALS / Prague Spring 2009–2010 /Moravian Autumn 2009 / Internationale Musikfesttage B. Martinů Basel 2008–2009 /Bohuslav Martinů Days Prague 2008–2010

CONCERTS / Czech Philharmonic Orchestra, Prague Symphony Orchestra,Prague Philharmonia, Brno Philharmonic Orchestra, Ostrava Philharmonic Orchestra,Berliner Philharmoniker,Vienna Philharmonic Orchestra, New York Philharmonic,BBC Symphony Orchestra, London Philharmonic Orchestra and many others during the 2008/9/10 seasons

OPERA / New productions of operas at the National Theatre in Prague,National Theatre in Brno, Garsington Opera in Oxford

ŠPALÍČEK / a dance/educational project with over 100 children from Pragueprimary and secondary schools and the students of the Dance ConservatoryDuncan Centre

POLIČKA / opening of the Bohuslav Martinů Center, 4 April 2009

EXHIBITION at the Czech Museum of Music in Prague:“Martinů Phenomenon”(13 May 2009–26 October 2009)

AND MANY MOREJoin the martinůrevisited celebrations!

UNDER THE AUSPICES of the Minister of Foreign Affairs, Karel SchwarzenbergSUPPORTED by the Ministry of Culture of the Czech Republic and The Bohuslav Martinů FoundationSome of the projects have been selected for the official cultural programme of the Czech Presidencyof the Council of the European Union.

PATRONS / Gabriela Beňačková, Zuzana Růžičková, Josef SukPARTNERS / City of Prague, Czech CentresMEDIA PARTNERS / Czech Radio, Czech Music Quarterly, Harmonie, Hudební rozhledy,

The Bohuslav Martinů NewsletterLINKS / www.martinu.cz / www.czechmusic.orgCONTACTS / [email protected], [email protected]

All artists and events are subject to change

Contents–

√“It’s suffocating me, I shall explode!

That’s the way music should affect its listeners.”

Arthur Honegger after the premiere of Martinů’s Double Concerto in Basel

International project to mark the 50th anniversary of the composer’s death11 December 2008—10 December 2010

Martinů Revisited Highlights …eMartinů Revisited …r—The Martinů Phenomenon –

exhibition theme —Luxembourg and Martinů Revisited

International Martinů Circle …tResearch …y—Voices from the Past

GREGORY TERIAN

Interview …i—with Christopher Hampson

JUSTIN KRAWITZ

News …a—30 years had passed since

the death of Charlotte Martinů—Ančerl conducts Martinů in London—A Celebration of the Chamber Music

of Bohuslav Martinů

Special Series …s—List of Martinů’s Works IV

Research …f—Bohuslav Martinů & The Czech

Philharmonic Orchestra – Part 2KAREL ŠPELINA

News …h—Martin Turnovský celebrated

his 80th birthday—Bohuslav Martinů Institute Corner

Research …j—Forgotten Polkas

JANA HONZÍKOVÁ

Events …lNews …;—New publications—New CDs

Highlights—

eBOHUSLAVMARTINŮNEWSLETTER3)2008

IN 2009 THE CULTURAL WORLD will commemorate the 50th anniversary of Bohuslav Martinů’s death(28 August 1959). In anticipation of this anniversary year, many organisers in the Czech Republic and abroadare preparing music productions at which the composer’s works will be performed. Considerable attentionwill also be devoted to the artistic and cultural-political context of Martinů’s œuvre.

M A R T I N Ů R E V I S I T E D U P C O M I N G H I G H L I G H T S

MARTINŮ REVISITED DIARY 2009

We are preparing a MartinůRevisited 2009 Diary which willinclude details about eventsconcerning Martinů (concerts,exhibitions, operas, ballets) in theyear 2009 and significant eventsof Martinů’s life.

It will also contain:— short Martinů biography— selected texts written by the composer— photos of the composer— list of Martinů’s works with the

information about the publisher

Languages of the diary:English & CzechDate of issue:December 2008/January 2009Number of copies: 1.000 pcsPublisher:The Bohuslav Martinů FoundationEditor:Lucie Berná,The Bohuslav MartinůInstitute, PragueOrders and further information:[email protected]

∑

> DEAR IMC MEMBERS, this issueof the newsletter is consideredas Martinů Revisited special issue,therefore the usual content orderslightly differs from the previousissues. Please, the information formembers you will find on page 5.Thank you for yourunderstanding. Yours Editors–

HOW YOU CANPARTICIPATEAT THE MARTINŮREVISTED PROJECT

PLEASE send us information aboutthe programme of the concert youare organising to be able to promoteit on our websites and in the musicjournals. Please download the logoof the project in the “Martinů Revisited”section (www.martinu.cz).Concert programmes and other docu-mentation we would like to collect in ourarchive. Please send these materials [email protected] or on the address:The Bohuslav Martinů InstituteBořanovická 14182 00 Praha 8Czech Republicwww.martinu.cze-mail: [email protected]

National Theatre BrnoJuliette H. 253

(premiere) 27 March 2009

www.ndbrno.cz

opera performance—

exhibition—POLIČKA

Opening of the Bohuslav Martinů Center

4 April 2009www.muzeum.policka.net

opening concert—CZECH PHILHARMONIC ORCHESTRA

Sir Charles MackerrasThree Fragments from Juliette H. 253 A

(world premiere) 11 & 12 December 2008

Magdalena Kožená,Steve Davislim & others

www.ceskafilharmonie.cz

rBOHUSLAVMARTINŮNEWSLETTER3)2008

KATEŘINA MAÝROVÁ

THE EXHIBITION at the Czech Museumof Music in Prague presenting the life andwork of Bohuslav Martinů will follow twolines:The first will capture his complicatedpersonal and musical life through originalperiod materials, including real autographsof works, literary records, period musicprints, the composer’s personal and officialcorrespondence, his own literary recordsand diaries, caricatures, period photo-graphs, posters and print documentationof significant premieres of Martinů works.The exhibition’s second line will primarilyfocus on presentation of his musico-dramatic works, including ballets, operas,radio and television operas, stage andfilm music. In exhibition terms it is anattractive theme, making it possible togive visitors a comprehensive overviewof one of the most important areas ofthe composer’s creative legacy by meansof visually interesting original materialssuch as original set and costume designs,prop mock-ups, photographs of leadingperformers and dancers, television, radioand video recordings of significant musico-dramatic performances, etc.

The two-line approach logically arisesfrom the fact that throughout his lifeMartinů constantly devoted to stageworks.Accordingly, the possibility suggestsitself to make use of this representative

genre for documenting the developmentof his overall creative artistic profile.

Another reason is the fact that thecollections of the National Museum(Czech Museum of Music,TheatreDepartment of the National Museum),Brno museums (Theatre Departmentof the Moravian-Silesian Museum, BrnoCity Museum) and the Bohuslav MartinůMemorial in Polička comprise materialsdirectly suggesting themselves for theselection of a display of Martinů’s balletand opera works, and, with regard to thehistorical-artistic significance of thepreserved exhibits and their visual andaesthetic attractiveness, enable theexhibition visitors to orientate to thedevelopment of modern Czech opera setdesign (designs by, in alphabetical order,Květoslav Bubeník, Daniel Dvořák, ZbyněkKolář, František Muzika,Vladimír Nývlt,Otakar Schindler, Josef Svoboda, KarelSvolinský, Oldřich Šimáček,Vojtěch Štolfa,František Tröster and others).

The exhibition will not limit itself todisplaying selected items relating toBohuslav Martinů’s life and oeuvre whichare available in the territory of the CzechRepublic and Slovakia. It will also presentinteresting set and costume designs fromforeign opera productions up to thepresent day.

The musical-theatrological part will bemostly made up of original domestic andforeign artistic exhibits, including props

GEOFF PIPER, member of the IMC, whoruns a small voluntary society in Luxem-bourg whose main activity is placing Czechmusicians in that country (MusicEnterprise),has put together amost entirely single-handed a programme of eleven concerts,with two more still to be decided,spanning the two years 2009 and 2010.

In addition, the Czech Embassy in Luxem-bourg will host the Martinů exhibitionfrom mid-May to mid-June 2009 and thewell-known Luxembourg artist of Czechorigin, Ota Nalezínek, will have an exhibi-tion devoted to Martinů and Czech musicthroughout the month of May 2009.

A Luxembourg choir will performOtvírání studánek / The Opening of theSprings, H. 354 in Ostrava and Hukvaldyin collaboration with the OstravaUniversity choir.

The original idea behind the overallproject was not only to combine worksby Martinů and Luxembourg composersbut also Czech and Luxembourgmusicians; this has proved unrealistic butmost of the programmes involve, whollyor partly, Czech artists; in addition,symphonic, chamber, piano solo, vocalmusic are all represented; only operais excluded.

Czech artists include:• In Modo Camerale• Zemlinsky Quartet• Eva Garajová, mezzo-soprano• Smetana Trio• Kaprálová Quartet• Kateřina Chroboková, organ• Czech National Symphony Orchestra

Anyone who would like furtherinformation is invited to contactGeoff Piper on [email protected]

THE MARTINŮPHENOMENON –EXHIBITION THEME

WHEN & WHERE

11 May 2009 / 6 pm / gala openingAssembly Hall, Czech Museum of Music – National Museum,Karmelitská 2, Prague 1

13 May 2009–26 October2009Exhibition rooms and Assembly Hall, Czech Museum of Music

14 January 2009–28 February 2009the itinerant version of the exhibition “THE MARTINŮ PHENOMENON”will be on display in the exhibition hall of the Czech Centre in Brussels

and original costumes from selectedCzech opera productions representingthe following leading opera houses:the National Theatre in Prague, StateOpera Prague, National Theatre in Brno,Moravian-Silesian National TheatreOstrava, J. K.Tyl Theatre in Plzeň, SouthBohemia Theatre České Budějoviceand Moravian Theatre Olomouc.

Foreign theatre stages will include,for example,Theater Bregenz (Austria),Opéra National de Paris – Palais Garnier(France), Oper Köln am Rhein andDasVolkstheater Rostock (Germany)and Thessaloniki Theatre (Greece).

The exhibition’s author:PhDr. Kateřina Maýrová, National Museum –Czech Museum of MusicThe exhibition’s co-author:Mgr.Taťána Součková, National Museum –Bedřich Smetana Museum The exhibition’s commissioner:PhDr. Jana Vojtěšková, CSc., National Museum– Czech Museum of Music

LUXEMBOURG & MARTINŮ REVISITED

Museum of Music – National Museum –Assembly Hall

Martinů——

Revisited——MARTINŮ REVISITED BY MOUVEMENTJANÁČEK

PATRICE CHEVY

IN JANUARY 1985 ‘Mouvement Janáček’was created by Guy Erismann to pro-mote, not only Janáček, but all Czechand Slovak music in France.As Janáčekis now deservedly recognized in France,(as evidenced in the repertoire of theParis Opera House and elsewhere) Guywanted to achieve the same recognitionfor Martinů, to whom he devoted oneof his most heartfelt biographies.

Faithful to the wishes of Guy which wereexpressed very strongly in the lastmonths of his life, Gauthier Coussement,President of the Mouvement, andthe Committee, including GenevièveChaduteau-Ricou, Kašpar Páleníček andPatrice Chevy – well known by the IMC– are preparing the next ‘Cahier’ No 57.This will be published at the end ofNovember 2008 with the support ofthe Czech Centre in Paris and its newdirector Martin Bonhard.

The subject of this ‘Cahier’ No 57 willbe “What happened in France for Martinůsince the 1990 centennial celebration?”

This issue will include a large selectionof previously published contributionson Martinů in the ‘Cahiers’ emphasizingmajor papers by Guy Erismann andother authors.

The Martinů Foundation offers itsfull support in promoting of the musicof Martinů by Mouvement Janáček,by means of all the resources at theirdisposal.This ‘Cahier’ will also includeAleš Březina’s view about MartinůRevisited programme.

Further ahead, there are also GeoffPiper’s initiatives in the Benelux area.

‘Cahier’ No 57 will include a list ofthe main articles published so far inthe Bohuslav Martinů Newsletter, withabstracts in French, and a full translationof the article by Eva Velická about thediscovery of the String Trio No.1,H.136.

Contributions will also include a sum-marized discography (the missingrecordings as well as recommendedchoices).

This will certainly be a special double‘Cahier’, and two further Martinůissues are planned in 2009. Gauthierhas initiated numerous meetings andcontacts in France, hoping to makethe anniversary the beginning of alove story between Martinů’s musicand France, and finally a deservedrecognition.

Author is a member of the IMC

Welcome–

IMC Members receive the illustratedBohuslav Martinů Newsletter published threetimes a year plus a special limited editionCD containing world premieres, historicarchive performances and recordings fromthe annual Martinů Festival not obtainablecommercially.The IMC is supported by the BohuslavMartinů Foundation and Bohuslav MartinůInstitute in Prague.

MEMBERSHIP & SUBSCRIPTION INFORMATIONYearly subscription:20 Euros / 25 USD / £14 UK

Subscription for corporatemembers: 100 Euros includes 10 copies the each NewslettersPLUS 3 copies o the non-commercial CDrecording from the Bohuslav MartinůDays Festival in Prague

Single copies of the Newsletter:50 CZK / 2 Euro / 3 USD + postage

For further details and for single copiesof the Newsletter contact:Jana Honzíkováe-mail: [email protected] International MartinůSociety (IMC), o. s.Bořanovická 1779/14 182 00 Praha 8-Kobylisy Tel.: +420 257 320 076,

+420 284 691 529

THE IMC CORDIALLYWELCOMES THE FOLLOWINGNEW MEMBERS(alphabetical order)• Raffi Armenian, Montreal, Canada• Gerald Bishop, UK• Jesse Bryson, USA• Children’s Orchestra Society, NY, USA• Soňa Jelínková, Montreal, Canada• Lawrence J. Lemer, USA• G. Schirmer Music Publisher, New York,

USA• Northwestern University Music Library,

USA• Petra Richter, Germany• Michele Zukovsky, USA

>> A MEETING OF THE BOARDOF DIRECTORS WILLTAKE PLACE AT 10 AMON 13 DECEMBER 2008ATTHE BOHUSLAVMARTINŮ FOUNDATIONHALL, BOŘANOVICKÁ 14,PRAGUE 8-KOBYLISY. <<

M U N I C I PA L M U S E U M —BOHUSLAV MARTINŮ MEMORIAL IN POLIČKA OFFERS short-term exhibitionsdedicated to the life and work ofB. Martinů, a guided tour to Martinů’sbirthplace in the St. James churchtower and for registered researchersarchive materials concerning Martinů.Further information available atwww.muzeum.policka.netand www.policka-mesto.cz

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THE BOHUSLAV MARTINŮ NEWSLETTER is published by theBohuslav Martinů Foundation in collaborationwith the Bohuslav Martinů Institute in Prague

EDITORS

Zoja SeyčkováLucie Berná

TRANSLATION

Hilda Hearne

PHOTOGRAPHS

The Bohuslav Martinů Foundation’s and Institute’sarchive, collections of the Municipal Museum –Bohuslav Martinů Memorial in Polička

GRAPHIC DESIGN

David E. Cígler

PRINTING

BOOM TISK, spol. s r.o.

PRICE

CZK 50 The Bohuslav Martinů Newsletteris published three times a year.

COVER PHOTO

Bohuslav Martinů in Vermont, USA, 1950 © PBM

EDITORIAL OFFICE

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

ISSN 1214-6234

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tBOHUSLAVMARTINŮNEWSLETTER3)2008

THE INTERNATIONAL MARTINŮ CIRCLE NEWS

WITH THE MARTINŮ REVISITED festivities about to commence, 2009 presents a uniqueopportunity to consolidate the membership of the International Martinů Circle.

We presently have some 150 regular subscribers about half of whom come from or via theDvořák Society of Great Britain which provides invaluable assistance and acts as our collectingagent in the UK.We anticipate a matching level of support in the United States where JustinKrawitz and Robert Simon are actively engaged in expanding the membership from a lowbase.

In Europe we are also hoping for a substantial increase in membership numbers.The pastyear has seen encouraging progress in France, the Netherlands and Belgium/Luxembourg.We also continue to enjoy support from a solid nucleus of members in Japan and fromindividuals across the globe.

We are presently looking for a regional representative in Germany.The qualities required areextreme levels of enthusiasm, initiative and perseverance! Our Secretary Jana Honzíková isable to give assistance and is to be commended for dealing with the many difficulties whichhave arisen over the formal establishment of the Martinů Circle. Not least, we mustacknowledge the continuing and essential support of the Bohuslav Martinů Foundation andthe Bohuslav Martinů Institute.

During the course of the coming year a permanent Board will come into being. Details of theprocess leading to its establishment will appear in the next Newsletter. In the meantimeI would ask all our members to use their best efforts towards growing our membershipnumbers. One of the most effective ways of enlisting new supporters is through personalcontacts at Martinů events.

May I take this opportunity of wishing you well in 2009. It promises to be a memorable andrewarding year for Martinů devotees. Gregory Terian, interim Chairman

2009 SUBSCRIPTION

DEAR MEMBERS, SUBSCRIPTIONS FOR 2009 will be due for payment commencing inJanuary. It will help us a lot if you can make your payments promptly by sending them tothe regional contact who previously collected your subscriptions. Those wishing tomake their payments here in Prague can do so by giving the amount by cash to me.I prefer receiving the payments made only from Czech Republic, because every pay-ments from abroad is charged by 100 CZK at least. Those wishing to pay in Czechcurrency or by cash should contact me at [email protected] the meantime I wish you krásné a klidné Vánoce a šťastný nový rok 2009!

Jana Honzíková, Secretary

REGIONAL CONTACT FOR SUBSCRIPTION PAYMENTS

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

Gert Floor (Netherlands), [email protected], +31725095262,Gortersweg 6, 1871 CC Schoor, Netherlands

Geoff Piper (Luxembourg, Belgium, Germany,Austria), [email protected],+352-474269, 24, rue des Cerisiers, Luxembourg, L – 1322 Luxembourg

Robert Simon (USA), [email protected], mobile number 216-973-7716 home number +1-1-608-554-4216, 2531 Jackson Ave.Apt 1E, Evanston, IL 60201, USA

Jaroslav Šonský (Scandinavia), [email protected], +4611318475,Knopgatan 6, 603 85 Norrköping, Sweden

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

Mari Tokuda (Japan), [email protected]

NEW CD — BOHUSLAV MARTINŮ DAYS 2007

THE NON-COMMERCIAL CD will be sent with the next issue of Bohuslav MartinůNewsletter to members of the International Martinů Circle who have subscribedfor 2009.The CD will contain rare historical recordings (Sinfonietta Giocosa,New Špalíček) and performances taken from the recitals at the Martinů DaysFestival 2007. Details in the next issue.

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yBOHUSLAVMARTINŮNEWSLETTER3)2008

GREGORY TERIAN

BY JUNE 1940, with much of Europeunder German occupation, there wasa rapid expansion of broadcasting to theoccupied countries by the newly estab-lished BBC Overseas Service based inBush House, London.The music contentwas an important element in the sched-ules. Its emotive power made a potentinstrument in arousing resistance to theoccupying forces. In the case of Czecho-slovakia, the performances were mostlycontributed by Czech artists who hadescaped to Britain.Their efforts are nowall but forgotten and little has survivedin the way of recordings from that period.

So that it was with considerable interestthat I heard from Zoja Seyčková in 2005that Janis Susskind had donated a setof BBC 78rpm records to the MartinůInstitute in Prague.They featured a per-formance by her late husband WalterSusskind of Martinů’s piano workEsquisses de danses, H. 220. Althoughthe date of the performance was notknown, it would have been amongst theearliest recordings of a work by Martinůto have surfaced.

WALTER SUSSKINDBorn in Prague in 1913, Susskind hadstudied composition with Suk and Hába,piano with Hoffmeister and conductingwith Szell. During the mid-1930s heconducted opera performances at theGerman Theatre in Prague where Szellwas the music director. But it was in hisparallel career as a pianist that he achievedinternational recognition both as a soloperformer and as a member of the CzechTrio. He was performing in Holland atthe time of the German occupationof Czechoslovakia and the artist JulianTrevelyan was instrumental in securing hisentry to Britain. He quickly re-establishedhis career and the Czech Trio successfullytransplanted itself in London. In 1943 con-ducting became Susskind’s prime activitywhen he was appointed music director ofthe Karl Rosa Opera Company.

Susskind set up home in St John’s Woodand was later joined by his youngerbrother who escaped on one of the lastKindertransports to reach England.Miraculously their mother, who remainedin Prague, survived years in the Terezin andBelsen camps to join her sons in Londonat the end of the war.

With the details shown on the 78 recordlabel (London Transcription Service BBC10PH 11891), I set about trying toestablish the origins of the discs.TheBritish Library Sound Archive has

preserved some such recordings and hasdetails of others which have not survived.However, my searches for the Susskindperformance drew a blank. It latertranspired that one side of the 78 setcontained a folk song arrangement ofUž mou milou (She is mine) sung by OtakarKraus accompanied by Susskind.

OTAKAR KRAUSFollowing an acclaimed Brno debut asAmonsaro in Aida in 1935, Kraus becameprincipal baritone at Bratislava Operafrom 1936. His career reflected theturbulent times which were to follow.Leaving Czechoslovakia after the Germanoccupation, he reached Paris via Italy inNovember 1939 having sent ahead hiswife Marie.They joined the Czech refugeecommunity which, among others, includedMartinů and his wife Charlotte, the youngcomposer Vítězslava Kaprálová, the pianistRudolf Firkušný and the writer Jiří Mucha.They made a home at the studio of theartist Rudolf Kundera.

Kraus participated in a Christmas Evebroadcast to occupied Czechoslovakiatransmitted by French Radio. Kaprálovácomposed an orchestral Prelude de Noël

specially for the occasion.The script forthe programme was written by Mucha,who later married Kaprálová. Martinů alsotook part.The programme was recordedprior to transmission. Flush with the feesreceived for the broadcast, the group

celebrated a traditional Czech ChristmasEve at Mucha’s apartment where they alllistened to the transmission linking themto their homeland.

At this time Martinů was engaged in com-pleting his Field Mass, H. 279 a cantatafor baritone, chorus and orchestra(without strings). Mucha contributed thetext. It appears that the composer hadKraus in mind as the soloist for the workas is mentioned in Mucha’s memoir Podivnélásky (Strange Loves) published in 1988.Destined for performance by the CzechArmy Band led by Vilém Tauský, it wasdedicated to the Czechoslovak volunteersserving on the French front line. Anyprospect of a first performance was soonto be overtaken by events.

In June 1940, with the advancing Germanarmies closing in on Paris, Kraus and hiswife were obliged to flee again.With othermembers of the Czech refugee communitythey set off on 10 June in a lorry headingsouth, the day before the Martinůs madetheir own last minute escape.They eventu-ally reached Bayonne, hoping to find theirway to England. Instead they found thatthe only vessel available was boundfor Casablanca. It was to be the first ina tortuous series of sea journeys spreadover the next four months which tookthem from Casablanca to Tangier and back,then to Lisbon where they were interned,and finally to Gibraltar where theyobtained a passage to Liverpool.Theyarrived on 25 October.

From Liverpool they travelled to Londonarriving at 2am the following morningwith a heavy raid in progress.They spentfour days at the Norwood Refugee campbefore moving into rented accommo-

Research– VOICES FROM THE PAST

By the mid 1930s Kraus had already established a reputation in Czech musical circles.This postcard was sent to him from London at 26 November 1935 during the Czech Phil-harmonic tour of Britain and is signed by Václav Talich, Jarmila Novotná & Jan Masaryk

Walter Susskind practising at the piano at his London home in 1940

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uBOHUSLAVMARTINŮNEWSLETTER3)2008

dation.This was at the height of the blitzon London and most nights were spentin air raid shelters. Kraus applied to jointhe Free Czech Army but was rejectedon medical grounds.There was no workbut he had relatives in London who gavesupport. His fortunes were to change inthe New Year when he was engaged by

the Carl Rosa Opera Company. He latertook part in many concerts for Alliedforces and for workers in war factories.

RECORDING TREASURESI had previously spoken to Otakar’s sonCharles about a song Dopis whichKaprálová had composed for Otakarshortly before her death in June 1940and which he had performed in Paris on3 May (the manuscript had been handedto Jiří Mucha after Otakar’s death andwas reproduced in his book but has sincedisappeared).

I approached Charles again to see if hecould help with the date of the folk songrecording. It transpired that he possesseda large collection of similar 78s, inheritedfrom his father. It proved to be a veritabletreasure trove of some 35 items sung byOtakar, most with piano accompanimentsprovided by Susskind, others with smallinstrumental ensembles in arrangementsby Susskind.The majority were of Czechfolk songs but the collection also includedsongs by Janáček, Novák and Martinů.

The latter was represented by the cycleof eight Nový Špalíček, H.288 songs setto Moravian folk poetry. Martinů com-

posed the songs in 1942 and dedicatedthem to his friend Jan Masaryk, ForeignMinister of the Free Czech Governmentbased in London. Masaryk was a fluentEnglish speaker who often participated inprogrammes on the BBC Home Serviceas well as broadcasting to his homeland.He was also an accomplished pianistand music lover and knew both Krausand Susskind.Their broadcast of theNový Špalíček would have been amongthe earliest performances of the work.

Charles was able to confirm that the 78swere all taken from BBC broadcasts toCzechoslovakia between 1942–45. I wasable to hear a tape made from the original78s.The quality is surprisingly good andafter more than sixty years a piece ofhistory came vividly to life.The depthof emotion conveyed by these wartimeperformances is striking, delivered by theartists with a compelling warmth.

POSTWARAfter the war Kraus’s career went fromstrength to strength. He joined the EnglishOpera Group in 1946, moving to CoventGarden in 1951. He took part in thepremieres of Stravinsky’s Rakes Progress,Britten’s Rape of Lucretia and Tippett’sMidsummer Marriage and he sang at theBayreuth Festival. In 1956 Martinů’soriginal intention was fulfilled when Krauswas the soloist in a performance of theField Mass with the Concertgebouw

Orchestra in Amsterdam conducted byRafael Kubelík.

Walter Susskind’s career also flourished.In late 1945 he conducted the firstrecording to be made by the newlyformed Philharmonia Orchestra. GinetteNeveu was the soloist in the Sibelius ViolinConcerto and the EMI recording has sinceachieved legendary status. In 1946 he wasappointed conductor of the ScottishOrchestra, taking this post in preferenceto an offer from his near neighbourBenjamin Britten to become director ofthe English Opera Group. He later becamemusic director of the Toronto SymphonyOrchestra and the Aspen Music Festival.He took over the St Louis SymphonyOrchestra in 1968 where, among otherworks, he recorded Smetana’s Má Vlast andthe Dvořák’s Piano Concerto with RudolfFirkušný. Following the death of his formerconducting mentor in 1970, Susskind per-fomed Szell’s transcription of Smetana’sString Quartet No.1 From my Life with theCleveland Orchestra.

Susskind and Kraus both died in 1980.

POSTSCRIPTWhen preparing this article, Janis Susskindkindly provided some photographs fromthe wartime years which led to furtherdiscoveries.Two photographs werecaptioned as showing Susskind conductingthe London Symphony Orchestra anda related press clipping identified theoccasion as a performance of music byMartinů broadcast to Europe. Enquiriesdirected to the BBC archives at Caver-sham identified the performance as havingtaken place on 22 July 1942 at the BBCMaida Vale Studios and the work per-formed as Tre Ricercari, H. 267.Theywere also able to establish that Susskind’sperformance of Esquisses de dances wasrecorded on 29 September 1942 by theLondon Transcription Service for latertransmission to Europe.There was aregular slot at 9.45 am each day reservedfor such music programmes.

Best of all, after further searches it wasalso possible to identify the broadcast ofthe Martinů Nový Špalíček songs as havingtaken place on 27 January 1943. It waslisted as a first performance, broadcastlive on the BBC Overseas Service BlueNetwork.

(With special thanks to Rachel Bowles atCaversham for her efforts in unearthing thisarchive material)

© The Author

Research–

Susskind conducting the London Symphony Orchestra in the BBC Maida Vale Studioson 22 July 1942 in a performance of Martinů’s Tre Ricercari, H. 267 for broadcasttransmission to Europe

The reverse side of the postcard

Otakar (Otto) Kraus circa 1938

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78rpm disc from Bohuslav MartinůInstitute Library

The text of the reverse side of photo„Susskind conducting…“

iBOHUSLAVMARTINŮNEWSLETTER3)2008

JUSTIN KRAWITZ

World-renowned choreographerChristopher Hampson hasa penchant for the work of BohuslavMartinů. He has created a ballet toMartinů’s Sinfonietta Giocosa, H. 282and has plans to return to thecomposer in the near future.Wemanaged to catch up with Hampsonwhile he was in Prague presentinga series of international balletmasterclasses.

Mr Hampson, in 2005 you createda ballet to Bohuslav Martinů’sSinfonietta Giocosa. How exactlydid this project originate?

My version of Sinfonietta Giocosa cameabout in response to a commission fromthe Atlanta Ballet in the US.The companywanted a short work for one of theirtriple bills.While I was thinking about theproject the dates got moved, so I landedup taking on other commissions and thelast one I took on was Giselle here at theNational Theatre in Prague. I was here forthree months, buying up CDs – especiallyfrom Supraphon - and I started to listento Martinů. I knew some of his music fromwhen I was about 13 or 14, when I hadlistened to the Serenades and some thesmall chamber works, and had comeacross Sinfonietta Giocosa. I recognisedit because I’d seen a ballet to it in London,and I remember really liking that formal,quasi-Baroque sound.

So it was really the neo-classicalqualities which attracted youto the work?

Yes, I like to describe the music as kindof like Bach that’s sitting on the edge –that just won’t sit where you want it to.The neo-classical style does lend itselfwell to being choreographed becauseit has a formality which is particularlyappropriate to ballet.Another feature ofMartinů’s music for which I feel a specialaffinity is his use of rhythmic play.WithSinfonietta Giocosa for example, I firstbecame acquainted with the work througha recording. I listened to it over and overagain and was really taken with the build-up in the first movement – layer uponlayer of the same theme, but alwaysbeginning just half a beat later, or just onthe off-beat. So it was a surprise whenI found the score and discovered that thewhole movement is written in commontime! It’s so simple and yet the wholething is written completely on the off-beat.One of my dancers described the effectof the music as akin to sitting on the edgeof your chair with someone tipping the

chair forward and you not quite knowingwhen you’re going to fall off.

Some of Martinů’s later music is quitestriking from a visual point of view:it’s often written completely withoutbarlines, often with no regular meteras such, but rather with shiftingmeters.Would you contemplatechoreographing such a work?

Yes, absolutely. It’s about whathe’s communicating rather than howit’s communicated notationally. I thinkinitially I would have been more likely togo for the rhythmically clearer works, butnow I have such a passion for his musicthat with Martinů I feel as if I couldchoreograph to pretty much anythinghe’s written.That said, I must admit thatwhat drew me in initially was, indeed, the

very clear rhythmic structure. I find that inmy choreographic work I do tend towardsworks with a clear rhythmic structurebecause I wish to play on the rhythmicdeviations with dance and if a work is toorhythmically complex then there’s just noroom for my voice.

You originally created the SinfoniettaGiocosa for the Atlanta Balletand it was subsequently takeninto the repertoire of the EnglishNational Ballet. Did you find therewas a difference in the responseof audiences in the US to thatof audiences in the UK?

I did, actually. It surprised me as there wasquite a stark difference. In the US theaudience was very enthusiastic straightaway. It was a major hit.You could feel the

energy of the audience, the energy of thedancers. It was quite electric. One shouldnot forget that this audience had come tosee a ballet, not to hear a concert. I,however, came at it from the other side,wanting to present a concert performance,visualized.That’s what I want the audienceto experience and I think the Americanaudience was receptive to this.The Englishaudiences on the other hand were quitestubborn in approaching it as a ballet andI think there was actually a sense of disap-pointment.The English audiences enjoyed itin a much more muted, cerebral way. I can’tpresume to speak for the two-thousandpeople, but the energy in the auditoriumwas more that of contemplation.Theyseemed more interested in discerning who

was a principal, who was a soloist. But therearen’t any in my version of the SinfoniettaGiocosa – it’s a very egalitarian work.Interestingly, the American ballet history ismore familiar with this type of work, fromBalanchine and with Stravinsky, so they’reused to seeing concert music visualized.In the UK, our history is one of ballet thatcommunicates narrative, or emotionalthemes, and while such elements are partof the Sinfonietta Giocosa, I think it’sa work which lends itself much more to anAmerican audience than to a British one.

Martinů did, indeed, compose specifi-cally for ballet, but for your first forayinto his music you chose a work notoriginally intended for ballet.Whatis your opinion of Martinů’s balleticworks? Do you prefer to choreographworks that were not originallyintended for dance?

I do prefer to work with music that hasn’tbeen written specifically for dance. I woulddescribe Martinů’s ballet scores as verymuch ‘of the time’. Most of them stem fromsuch a specific time in theatre – not justin ballet.They exemplify a very particularavant-garde attitude, in which it was allabout an author, composer and artistcoming together to produce a work. Andit was usually a mess! [laughter] I recentlyreconstructed a piece called Trapeze tomusic by Prokofiev and the photographs

Christopher Hampson

Christopher Hampson

Interview—

…with

oBOHUSLAVMARTINŮNEWSLETTER3)2008

I was working with were just crazy! ButI don’t think the productions were evermeant to work in the same way weperceive theatrical productions to worknow. It’s a different way of looking attheatre. I think Martinů’s ballets belong tothat era. I’d be interested to look at hiswork now and try to translate it in termsof how we today view ballet and theatre.What makes it difficult to create some-thing to Martinů’s ballet music is the factthat we are not privy to the dialogues thattranspired between the composer andthe choreographers with whom he musthave worked. I don’t know whether thechoreographer dictated the libretto,whether Martinů did, or if it was a collabo-rative effort. So if I were to reconstructMartinů’s ballets, I think I’d approachthem as I would any of his other works:as a concert score. I’d contemplate mycontemporary response to the work:what does the work say to me today?What the work said to the originalaudience is probably irrelevant to us now.

Which of Martinů’s works would youlike to approach next?

I really want to choreograph the ThirdSymphony, H. 299. In its entirety. I’mmad about the work. I envision it asa ballet exclusively for male dancers.It would need a large company – maybe25–30 dancers.

What are the challenges involvedin choreographing such a long work,aside from the sheer physicalstamina required?

The challenge would be to sustain visuallythe journey which Martinů takes us on inthe work. For me the work is all aboutconflict: conflict and resolution.There ismassive conflict evident from the verybeginning – the conflict of the timpaniagainst the full string sound, the metricalconflicts.The opening of the work is somoving! One feels at once in a very darkand antagonistic place.The secondmovement has an incredible tenderness toit, which is all the more striking after theblackness of the opening.And then theincredible resolution at the end, almostlike a love theme… The massive switchesof emotion would be a challenge toportray and it would be a particularchallenge to draw these from a group ofmen. But when I listen to the work I reallydo see only men. Right at the end there isa little femininity, some tenderness. Butwhen I listen to the Third SymphonyI see war.

2009 and 2010 are big anniversaryyears for Martinů.You recentlyvisited the Bohuslav MartinůInstitute at its new home in Kobylisyand discussed the possibility ofincorporating ballet into Martinů

Revisited project.What are yourideas for this project?

I am contemplating the possibility of anevening of ballet to the music of Martinů.There is an incredible array of concertsplanned as part of the Martinů Revisited

project, but I realised that ballet had notbeen represented. It seems that the balletworld had not stepped up to the chal-lenge.This is a shame since Martinů is oneof the few Czech composers who haswritten specifically for ballet and who,even with his concert music, has inspiredso many people to create ballets. So I seean opportunity to celebrate what he hasinspired within my art form. ObviouslyI have my own personal interest inMartinů and how he inspires me, but hehas also inspired other choreographers –and great choreographers: Glen Tetleywith his ballet Sphinx to Martinů’s DoubleConcerto for Two String Orchestras,Piano and Timpani (H. 271), KennethMacMillan with his ballet Anastasia toexcerpts from Martinů’s Sixth Symphony(H. 343), the Bubeníček brothers havecreated works to his music… And there’sstill a wealth of Martinů’s music that canbe used.The anniversary years presenta great opportunity to look back on whohe’s inspired, but also forward: it’s anopportunity to remind choreographersand theatre directors of the wealthof music which lives on. So that’s thereasoning behind my contemplating anevening of Martinů within the frameworkof Martinů Revisited.

We’ll be holding thumbs for youhere in Prague. ChristopherHampson, thank you very much!

A pleasure! n

AUTOGRAPH /CORRESPONDENCE

THE BOHUSLAV MARTINŮ Foundationhas acquired from the Schmolt auctionhouse a precious letter written in Martinů’shand to the cellist Pierre Fournier.Theletter contains information about the thirdrevision of Concerto for Violoncelloand Orchestra No.1, H.196 II. It is writ-ten in French and is dated 19 June 1955.In the letter, Martinů confirms havingreceived the 1939 version of the concerto’sscore and expresses his disappointmentat the manner he made the composition’sorchestration at the time. He promises torewrite the score “for peace of conscience”since he likes the concerto very muchand would like the work to assume theappropriate final form.The dedication toPierre Fournier will remain intact. SinceMartinů wanted to make changes in thesolo part too, he asks Fournier to conveyhis opinion at their planned meeting inSeptember 1955. n

Christopher Hampson

Ballet performance of Sinfonietta Giocosa, H. 282

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aBOHUSLAVMARTINŮNEWSLETTER3)2008

IVAN ŠTRAUS

CHARLOTTE Quennehen came froma relatively poor French family. Born on21 July 1894 in Ochancourt, from the ageof five she grew up in the village of Vieux--Moulin about eighty kilometers northeastof Paris. She was trained as a ladies’ tailorand soon found employment in Paris asa seamstress. It was there on 10 Novem-ber 1926 that she made the acquaintanceof the composer Bohuslav Martinů, whichradically changed her life. She began to getto know the enchanting world of an artist

PATRICK LAMBERT

IN THE PREVIOUS ISSUE, on p. 17, waspublished information about historicalrecording of Symphony No. 2, H. 295by the Czech Philharmonic conducted byKarel Ančerl, a CD copy of which has beenforwarded to the Martinů Institute byMark Todd. Going through my collection ofopen-reel tapes, hoarded since my studentdays, I discovered this recording, made off-air when I was eighteen. It testifies to myenthusiasm for Martinů’s music at a ratherearly stage in my musical education. I hadby then acquired Supraphon recordingsof the 5th and 6th Symphonies by thewonderful Czech Philharmonic under

GREGORY TERIAN

THE ROYAL COLLEGE OF MUSICin London is this year celebrating its125th anniversary. One of the many eventsmarking the occasion took place on7 October with a unique and imaginativeday’s programme devoted entirely to themusic of Bohuslav Martinů. It featuredlunchtime and evening recitals in an earlycommemoration of the 50th anniversaryof the composer’s death.

If Martinů’s rich and varied legacy ofchamber music works is to retain its placein the repertoire over the next 50 years,it is essential that the new generation ofyoung musicians should become engaged

News—

- a world full of interesting and famouspeople but also a world of wandering andof modest means, a world at the side ofa man with no regular income. And she,the wife of a famous composer, workedhard in tailor shops as a matter of courseuntil 1953. She took care of the householduntil the end of her life, and she wasa support for her husband in difficulttimes.Through all this she gave him themost valuable gift a composer can receive– the possibility to compose undisturbedin a calm environment.

After her marriage with Martinů on21 March 1931 in Paris, Charlotte experi-

enced her husband’s greatest successes asa composer at his side, but also fear duringtheir flight from the Gestapo to Americain 1941, and disappointment at post-warpolitical developments in Czechoslovakiawhich prevented him from returning

home. She fell in love with her husband’snative country: already in 1959 – the yearof his death – she began visiting it veryoften and furthering the disseminationof his musical legacy. In 1975 she wasawarded honorary citizenship in the city ofPolička, and two years later she foundedthe Společnost Bohuslava Martinů (Bohu-slav Martinů Society) of which she becamean honorary member.

Charlotte Martinů died on 23 November1978 in Villiers le Bel, France, and accord-ing to her wish to be buried with herhusband in the cemetery in Polička sherests there with the Martinů family by theChurch of St. Michael.A year after herdeath her husband’s remains were broughtthere from his original grave in Schönen-berg, Switzerland.

Translated by David Beveridge

ON 23 NOVEMBER,30 YEARS HAD PASSED

SINCE THE DEATH OF CHARLOTTE MARTINŮ

CHARLOTTE LÉONIE VICTORINE MARTINU-QUENNEHEN 1894–1978

Charlotte Martinů

Ančerl and had become more thancurious to hear the remaining works inthe cycle. Of course, I had no idea howtruly unique my amateur recording of the2nd Symphony would become. As KarelŠpelina has confirmed to me, it is the onlyoccasion Ančerl conducted the CzechPhilharmonic in this Symphony and indeedthis was the first time the orchestra hadplayed the work since introducing it toCzech audiences under the baton ofRafael Kubelík in 1946. I am grateful toMark Todd for searching out details aboutthe broadcast from BBC Written Archives.It turns out that this was a specialrecording – a studio concert withoutaudience – made in the BBC Maida ValeStudios during the orchestra’s 1962

with his music. From that point of viewalone the Martinů Day was a resoundingsuccess.The event was devised by JanetHilton, Head of Woodwind at the College,herself a staunch advocate of the com-poser’s music. Nine complete workswere performed and a total of 37 youngmusicians took part in the performanceswhich were delivered with obvious enthu-siasm and enjoyment.

A good sized audience filled the InnerParry Room including some members ofthe International Martinů Circle.With itsheavy wood panelling, the Room formspart of the original College building andproduces a particularly fine acoustic. Posi-tioned in close proximity to the musiciansat the lunchtime concert, a group of seven

A CELEBRATION OF THE CHAMBER MUSIC OF BOHUSLAV MARTINUAT THE ROYAL COLLEGE OF MUSIC IN LONDON

ANCERL CONDUCTS MARTINU IN LONDONtour of eleven English towns and cities(21 February–8 March).The other worksin the broadcast were Beethoven’s EgmontOverture and Dvořák’s great D minorSymphony (both of which I unfortunatelyfailed to record) and Vaughan Williams’Tallis Fantasia, which Ančerl and hisorchestra had taken into their repertoiresolely for the tour. After first presentingthe Fantasia in Prague (18th February),they included it in five of their publicconcerts (Leeds, Huddersfield, London,Nottingham, Hastings). Interestingly, theyalso included Martinů’s 6th Symphony(Leeds, 24th February; Ipswich, 4 March)but not No. 2, which must have beenprepared specially for their BBC recordingat the request of the producer Robert

Simpson. Rejecting the prevailing opinionof certain colleagues of his in the BBC, hefound merit in symphonies by a composerwho upheld the virtues of tonality. Someyears later, at the start of my BBC career,I well remember attending a recordingin St. John’s Smith Square of Martinů’s5th Symphony for which Robert Simpsonwas also the producer.

My amateur recording of the 2nd Sym-phony, now transferred to CD, though byno means technically perfect, is certainlygood enough to enable one to hear a veryfine interpretation, greatly enhanced bythe wonderful flute playing of Géza Novákand František Čech.What a pity that thepolitical climate in the 1950s and 60s wasnot sufficiently benign for Ančerl and hisorchestra to make commercial recordingsof all six Martinů symphonies! n

to eight year olds from the music classof a local primary school sat engrossedthroughout.The impact made by a vibrantperformance of the Revue de Cuisine,H.161 will surely remain with them foryears to come.

The standard of performance attainedthroughout the day was admirable.Theevening concert ended with a nicely pacedand executed performance of the Nonetdirected by Janet Hilton herself. It sentthe audience on its way uplifted at theend of a memorable day.

Not content to rest on her laurels, Janetis already planning another all-Martinůcelebration during the course of theSummer Term 2009. It will be keenlyanticipated. n

Isobel Clarke and Danielle Jalowieckawho performed the rarely heardDivertimento for two recorders

sBOHUSLAVMARTINŮNEWSLETTER3)2008

Series—Special—LIST OF MARTINŮ’S WORKS IV

> LIST OF MARTINŮ’S WORKS IV > Category ORCHESTRAL MUSIC > Subcategory SYMPHONIES AND WORKS FOR CHAMBER ORCHESTRA

CATEGORY/| ORCHESTRAL MUSICSUBCATEGORY/ | SYMPHONIES AND WORKS FOR CHAMBER ORCHESTRA

u

IN THIS ISSUE of the Newsletter we con-tinue with our publishing of the completelist of Bohuslav Martinů’s works.We beganwith the operas and have since consideredthe ballets, incidental music and film musicand works for large orchestra.The nextsubcategory are the symphonies and worksfor chamber orchestra (listed in alphabeticalorder).The basic data on the works listedhere have been taken from the online cata-logue of Martinů’s œuvre at www.martinu.cz,which is continuously updated as issues fromthe latest research are documented by thestaff of the Bohuslav Martinů Institute.In the next issue you will find a list ofMartinů’s suites and abstracts of the stagemusic.

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

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

SUBCATEGORY / SYMPHONIES

SYMPHONY No. 1

Halbreich number: 289Durata: 34’Place of composition: 1st mov. – Jamaica,

NewYork (USA)2rd mov. – Mah-Kee-Nac Lake,Massachusetts (USA)3nd mov. – Middlebury,Vermont (USA)4th mov. – Manomet, Massachusetts (USA)

Date of composition: May 1942–1. 9. 1942Performing forces: 3333-4331-timp.-batt.-ar.-

pf.-archiDedication: “In memory of Mrs. Nathalie

Koussevitzky”Performer(s) of premiere: Boston Symphony

Orchestra, S. Koussewitzky (cond.)Premiere: 13. 11. 1942, Boston, Massachusetts,

USAArchive: Washington, DC, Library of Congress,

USAFacsimile: Bohuslav Martinů Institute, PraguePublisher: Boosey & Hawkes, London–New

York , B & H 9062, 1947Copyright: Boosey & Hawkes

SYMPHONY No. 2

Halbreich number: 295Durata: 23’Place of composition: Darien, Connecticut

(USA)Date of composition: 29. 5.–24. 7. 1943Performing forces: 2222 3332-4331-timp.-batt.-

ar.-pf.-archiDedication: “To my Countrymen-Workers

of Cleveland”Performer(s) of premiere: Cleveland Orchestra,

E. Leinsdorf (cond.)Premiere: 28. 10. 1943, Cleveland, Ohio, USA Archive: Prague, National Museum – Czech

Museum of Music, Czech RepublicFacsimile: Washington, DC, Library of

Congress, USAPublisher: Boosey & Hawkes, London–New

York, B & H 19354, 1947Copyright: Boosey & Hawkes

SYMPHONY No. 3

Halbreich number: 299Durata: 30’30”Place of composition: Ridgefield, Connecticut

(USA)Date of composition: 2. 5.–14. 6. 1944Performing forces: 3332-4331-timp.-batt.-ar.-

pf.-archiDedication: “To Serge Koussevitzky and

Boston Symphony Orchestra for20th Anniversary”

Performer(s) of premiere: Boston SymphonyOrchestra, S. Koussevitzky (cond.)

Premiere: 12. 10. 1945, Boston, Massachusetts,USA

Archive: London, Boosey & Hawkes,Great Britain

Facsimile: Bohuslav Martinů Institute, Prague Publisher: Boosey & Hawkes, London–New


SYMPHONY No. 4

Halbreich number: 305Durata: 31’30”Place of composition: 1st, 2nd, 3rd mov. –

NewYork (USA)4th mov. – Cape Cod, Massachusetts (USA)Date of composition: 1. 4.–14. 6. 1945Performing forces: 4432-4331-timp.-batt.-pf.-

archiDedication: “To Helen and Bill Ziegler”Performer(s) of premiere: The Philadelphia

Orchestra, Eugene Ormandy (cond.)Premiere: 30. 11. 1945, Philadelphia, USA Archive: Harry Halbreich, BelgiumFacsimile: Bohuslav Martinů Institute, Prague;

Bohuslav Martinů Center, Polička; NationalMuseum – Czech Museum of Music, Prague

Publisher: Boosey & Hawkes, London–NewYork , B & H 16616, 1950

Copyright: Boosey & Hawkes

SYMPHONY No. 5

Halbreich number: 310Durata: 30’Place of composition: New York (USA)Date of composition: February 1946–13.5.1946Performing forces: 3333-4331-timp.-batt.-pf.-

archiDedication: Dedicated to the Czech

PhilharmonicPerformer(s) of premiere: Czech Philharmonic,

Rafael Kubelík (cond.)Premiere: 28. 5. 1947, Prague, CzechoslovakiaArchive: Manuscript missingFacsimile: Bohuslav Martinů Institute, Prague;National Museum – Czech Museum of Music,

PraguePublisher: Boosey & Hawkes, London–New


SYMPHONY No. 6 (FANTAISIES SYMPHONIQUES)

Halbreich number: 343Durata: 27’30”Place of composition: New York, ParisDate of composition: 1951–26. 5. 1953Performing forces: 4333-4331-timp.-batt.-archiDedication: Dedicated to Charles Munch

on the occasion of the 75th birthdayof the Boston Symphony Orchestra

Performer(s) of premiere: Boston SymphonyOrchestra, Charles Munch (cond.)

Premiere: 7. 1. 1955, Boston, Massachusetts,USA

Archive: Manuscript missingFacsimile: Bohuslav Martinů Institute, Prague;National Museum – Czech Museum of Music,

PraguePublisher: Boosey & Hawkes, London–New


SUBCATEGORY / WORKS FOR CHAMBERORCHESTRA

BOROVÁ (CZECH DANCE NO. 1)FOR SMALL ORCHESTRA—BOROVÁ (ČESKÝ TANEC Č.1)

PRO MALÝ ORCHESTR—BOROVÁ (TSCHECHISCHER TANZ

Nr. 1) FÜR KLEINES ORCHESTER

Halbreich number: 195 APlace of composition: Paris, PoličkaDate of composition: 1931Performing forces: 0b-cl-tr-pf.-archiArchive: Manuscript missingCopyright: Alphonse Leduc, ParisNote: Orchestral sound of first from Borova

(7 czech dances) H.195

CONCERTO GROSSOFOR CHAMBER ORCHESTRA —CONCERTO GROSSO

PRO KOMORNÍ ORCHESTR—CONCERTO GROSSO

FÜR KAMMERORCHESTER

Halbreich number: 263Durata: 16’Place of composition: Paris (France)Date of composition: 1937Performing forces: 1330-2000-2 pf.-archiDedication: Munch CharlesPerformer(s) of premiere: Boston Symphony

Orchestra, S. Koussevitzky (cond.) Premiere: 14. 11. 1941, Boston, Massachusetts,

USAArchive: Basel, Paul Sacher Foundation,

SwitzerlandPublisher: Universal Edition,Wien, U. E. 11883,

1948Copyright: Universal Edition

DIVERTIMENTO (SERENADE No. 4)FOR CHAMBER ORCHESTRA—DIVERTIMENTO (SERENÁDA Č. 4)

PRO KOMORNÍ ORCHESTR—DIVERTIMENTO (SERENADE IV)


Halbreich number: 215Durata: 7’30”Place of composition: Paris (France)Date of composition: 1932Performing forces: 2 ob.-pf.-archiSolo voice 1: vl vlaDedication: A la société d`Études

Mozartiennes á ParisPerformer(s) of premiere: FOK Premiere: 16. 10. 1947, Prague Archive: Prague, National Museum –

Czech Museum of Music, Czech RepublicPublisher: Melantrich, Prague, M. 366, 1949Copyright: Editio BärenreiterDedication Note: A la société d`Études

Mozartiennes de Paris

dBOHUSLAVMARTINŮNEWSLETTER3)2008

DOUBLE CONCERTOFORTWO STRING ORCHESTRAS,PIANO ANDTIMPANI—DVOJKONCERT PRO DVA SMYČCOVÉ

ORCHESTRY, KLAVÍR A TYMPÁNY—KONZERT FÜR ZWEI

STREICHORCHESTER, KLAVIERUND PAUKEN (DOPPELKONZERT)

Halbreich number: 271Durata: 21’Place of composition:Vieux Moulin –

Schönenberg – PrattelnDate of composition: 1938Performing forces: archi (10-10-8-8-4)-pf.-timp.Dedication: Paul SacherPerformer(s) of premiere: Das Basler

Kammerorchester, P. Sacher (cond.)Premiere: 9. 2. 1940, Basel, Switzerland Archive: Basel, Paul Sacher Foundation,

SwitzerlandPublisher: Boosey and Hawkes, London,

B & H 20540, 1946Copyright: Boosey and HawkesComment on manuscript: Draft is stored

in Paul Sacher Stiftung as well.Dedication Note: A mon cher ami P S en

souvenir de séjour calme et angoisséa Schönenberg entre les chevreuils etla menace de guerre

GREETING TO SOKOLS AND SOKOL MEETING –FESTIVE FANFAREFOR WIND INSTRUMENTS—POZDRAV SOKOLSTVU A SLETU –

SLAVNOSTNÍ FANFÁRA PRO DECHOVÉ NÁSTROJE

—GRUSS AN DIE SOKOL-JUGENDUND AN DAS SOKOL-FEST –TUSCH FÜR BLECH

Halbreich number: 320Place of composition: New York (USA)Date of composition: 1948Performing forces: 9 wind instrumentsArchive: Manuscript missingPublisher: Časopis Konfontace, Zürich, 1976Copyright: freeNote: Only piano score published in the

magazine Konfrontace.

JAZZ SUITE FOR SMALL ORCHESTRA—JAZZOVÁ SVITA PRO MALÝ ORCHESTR—JAZZ-SUITE FÜR KLEINES ORCHESTER

Halbreich number: 172Durata: 8’45’’Place of composition: Paris (France)Date of composition: 1928Performing forces: 0111-0220-pf.-archi

(quartetto solo)Premiere: 7. 6. 1928, Baden, GermanyArchive: Polička, Bohuslav Martinů Center,

Czech RepublicPrague, National Museum – Czech Museum

of Music, Czech RepublicPublisher: Panton, Prague, P 1070, 1980Copyright: Panton International MainzComment on manuscript: 1st movement

in Bohuslav Martinů Center in Polička,2nd to 4th in National museum,Czech Museum of Music in Prague.

PARTITA (SUITE No. 1) FOR STRING ORCHESTRA—PARTITA (SUITA Č. 1)

PRO SMYČCOVÝ ORCHESTR—PARTITA (SUITE I) FÜR

STREICHORCHESTER

Halbreich number: 212Durata: 11’Place of composition: Paris (France)Date of composition: 1931Performing forces: archi ad. lib.Performer(s) of premiere: Česká filharmonie,

V.Talich (cond.)Premiere: 3. 12. 1932, Prague Archive: Mainz, Schott Musik International,

GermanyPublisher: Schott, Mainz, Nr. 3323, 1932Copyright: Schott Musik International

RHYTHMIC ETUDES FOR STRING ORCHESTRA—RYTMICKÉ ETUDY

PRO SMYČCOVÝ ORCHESTR—RHYTMISCHE ETÜDEN

FÜR STREICHORCHESTER

Halbreich number: 202 ADurata: 5’30’’Date of composition: 1958Performing forces: archi Performer(s) of premiere: Lucerne Festival

Strings, R. Baumgartner (cond.)Premiere: 00. 08. 1958, Luzern, SwitzerlandArchive: Manuscript missingCopyright: Schott Musik International, MainzComment on manuscript: Orchestral

arrangement by R. Baumgartner 1., 2.,and 6th etude for violin and piano withconsent of B. Martinů

SERENADE FOR CHAMBER ORCHESTRA—SERENÁDA PRO KOMORNÍ ORCHESTR—SERENADE FÜR KAMMERORCHESTER

Halbreich number: 199Durata: 12’Place of composition: Paris (France)Date of composition: 1930Performing forces: 1212-2210-2 vl.-archiDedication: Roussel Albert 1869–1937Performer(s) of premiere: Walther Straram’s

Orchestra,W. Straram (cond.) Premiere: 16. 4. 1931, Paris, France Archive: Manuscript missingPublisher: Schott, Mainz, Nr. 3325, 1931Copyright: Schott Musik International

SINFONIETTA LA JOLLAFOR PIANO AND CHAMBER ORCHESTRA—SINFONIETTA LA JOLLA

PRO KLAVÍR A KOMORNÍ ORCHESTR—SINFONIETTA LA JOLLA

FÜR KLAVIER UNDKAMMERORCHESTER

Halbreich number: 328Durata: 20’Place of composition: New York (USA)Date of composition: 1950Performing forces: 2222-2100-timp.-batt.-pf.-

archiDedication: The Musical Arts Society of

La Jolla, CaliforniaPerformer(s) of premiere: La Jolla Musical Arts

Society Orchestra, N. Sokoloff (cond.),G. Johannesen (piano)

Premiere: 13. 8. 1957, La Jolla, High schoolAuditorium, California, USA

Archive: Polička, Bohuslav Martinů Center,Czech Republic

Publisher: Boosey & Hawkes, New YorkLondon, B & H 17293, 1953

Copyright: Boosey & Hawkes

STRING SEXTET (ARRANGEMENT FOR STRING ORCHESTRA)—SMYČCOVÝ SEXTET

(ÚPRAVA PRO SMYČCOVÝ ORCHESTR)—STREICHSEXTET

(FASSUNG FÜR STREICHORCHESTER)

Halbreich number: 224 ADurata: 18’15’’Performing forces: minimum 6 vl, 4 vla, 4 vlc,

1 cbPerformer(s) of premiere: The Louisville

Orchestra, R.Whitney (cond.)Premiere: 7. 1. 1951, Louisville, Kentucky, USAArchive: Manuscript missingPublisher: Associated Music Publishers,

NewYork, 1948Copyright: Associated Music PublishersNote: Arrangement by B. Martinů.

TOCCATA E DUE CANZONIFOR SMALL ORCHESTRA—TOCCATA E DUE CANZONI

PRO MALÝ ORCHESTR—TOCCATA E DUE CANZONI

FÜR KLEINES ORCHESTER

Halbreich number: 311Durata: 27’Place of composition: New York,Tanglewood

(USA)Date of composition: 1946Performing forces: 1211-0100-timp.-batt.-pf.-

archiDedication: Paul Sacher and the Basler

KammerorchesterPerformer(s) of premiere: Das Basler

Kammerorchester, P. Sacher (cond.)Premiere: 21.1.1947, Basel, SwitzerlandArchive: Basel, Paul Sacher Foundation,

SwitzerlandPublisher: Boosey & Hawkes, London–New

York, B & H 17868, 1952 Copyright: Boosey & HawkesDedication Note: “Á Paul Sacher et son

Kammerorchester de Bale pourla 20me anniversaire.”

TRE RICERCARI FOR CHAMBER ORCHESTRA—TRE RICERCARI

PRO KOMORNÍ ORCHESTR—TRE RICERCARI


Halbreich number: 267Durata: 14’Place of composition: Paris (France)Date of composition: 1938Performing forces: 1202-0200-2 pf.-3 vl.-3 vcl.Performer(s) of premiere: Orchestra del Teatro

la Fenice, N. Sanzogno (cond.)Premiere: 6. 9. 1938,Venedig, ItalyArchive: Manuscript missingPublisher: Boosey & Hawkes, London–New

York, B & H 16732, 1939 Copyright: Boosey & Hawkes

> LIST OF MARTINŮ’S WORKS IV > Category ORCHESTRAL MUSIC > Subcategory SYMPHONIES AND WORKS FOR CHAMBER ORCHESTRA

fBOHUSLAVMARTINŮNEWSLETTER3)2008

KAREL ŠPEL INA

AT THE BEGINNING of the 1960s thesituation began to resemble normality.Ideological pressures either passed overor significantly weakened. It should bepointed out that the Czech PhilharmonicOrchestra’s director (Jiří Pauer) andprincipal conductor (Karel Ančerl)undoubtedly played a crucial role in thisregard. In 1960 the Czech Philharmonicperformed at 9 concerts, Concerto forHarpsichord and Small Orchestra,H. 246 (February 1960, I.Ahlgrim,M.Turnovský) and Concerto for Pianoand Orchestra No. 3, H. 316, dedicatedto Rudolf Firkušný (October 1960,J. Páleníček, K.Ančerl), in addition toSymphony No. 6., H. 343 (performedsix times). In 1961 the orchestra per-formed within 7 concerts repeats ofBouquet of Flowers H. 260, DoubleConcerto H. 271 and Symphony No. 6,as well as, in Czechoslovak premiere,The Parables, H. 367 (February 1961,2x Ančerl). Besides a number of repeats,1962 brought (19x) Symphony No. 5H. 310 and Symphony No. 6 (K.Ančerl),the first performance in Prague of Con-certo for Flute,Violin and Orchestra,H. 252 (January 1962, 2x F. Čech, B. Bělčík,K. Šejna).The two symphonies were per-formed on several foreign tours (England,Norway, Sweden, Finland, East Germany,Austria and Italy). In 1963 the CzechPhilharmonic only played (both 2x) Con-certo for Piano and Orchestra No. 3,H. 316 and Symphony No. 1, H. 289.The interesting composition Concertogrosso, H. 263, was only played in 1964(5x, K.Ančerl, of which 3x in France).1965 was rife with tours (34x): the CzechPhilharmonic presented Double Con-certo (11x,V. Neumann) in WesternEurope (5 weeks in Switzerland and WestGermany), and later on performed thesame composition in the USSR (4x). In theautumn, the orchestra (conducted byAnčerl, Neumann and Turnovský) made itsfirst tour of the USA, performing Martinů16x, mainly Double Concerto and Sym-phony No. 4, H. 305. In 1966 and 1967compositions performed in previousseasons were repeated; for example,Symphonies Nos. 1, 3, and 4, as well asMemorial to Lidice H. 296 and Bouquetof Flowers, H. 260 (a total of 7x). In 1968the Czech Philharmonic Orchestra per-formed Concerto for Piano No. 1,H. 149 and Concerto for VioloncelloNo. 1, H. 196 (J. Chuchro), and played forthe first time Concerto for Violin, Pianoand Orchestra, H. 342 (2x, N. Grumlí-ková, J. Kolář, P. Maag).This was at thetime when Karel Ančerl’s post had beenassumed by the new principal conductor,Václav Neumann, who loved

Martinů’s music and performed it when-ever possible. In 1969 (within a total of10 concerts) the Orchestra performed forthe first time Rhapsody-Concerto forViola and Orchestra, H. 337 (R. Golan,Z. Košler).When it comes to other com-positions, they again included repeats.Significant were the performances ofSymphony No. 6 at the Lucerne Festivaland Concerto for Piano No. 2, H. 237with R. Firkušný at the Edinburgh Festival,all under the baton of V. Neumann. In thefollowing years, the remarkable Rhapsody-Concerto appeared on the programmequite frequently. Soloists, both Czech andforeign, took turns, with J. Motlík and J. Sukbeing among the most noteworthy. Dra-maturgies take composers’ anniversariesinto account.Therefore, in these yearsMartinů’s music was played more oftenand to a greater extent.These are theseasons whose dates end in 9 or 0.

In 1970 the Czech Philharmonic onlyperformed Symphony No. 6 (9x,V. Neu-mann), once at the Prague Spring festival

and 8 times within a tour of Belgium,Greece and Switzerland.A greatopportunity was afforded to J. Chuchro –in 1971 he conducted (14x) Concertofor Violoncello No. 1 – and J. Panenka,who performed (6x) and Concerto forPiano No. 3 on home stages, as well asin West Germany, Romania, Hungary andthe USSR. In the same year, the CzechPhilharmonic Orchestra first performedthe cantata The Epic of Gilgamesh,H. 351 (2x,V. Smetáček), and playedThe Parables, H. 367 (2x). In 1972 tooMartinů compositions were repeated (6x).Worthy of mention are two performancesof Field Mass, H. 279 next to Janáček’sGlagolitic Mass under the baton of theoutstanding W. Sawallisch. In 1973 J. Sukperformed the European premiere ofConcerto for Violin and OrchestraNo. 1, H. 226, after helming its worldpremiere in Chicago.Also performed thatyear was Concerto for Harpsichord,H. 246 (2x, Z. Růžičková and Z. Košler),as well as, after an interval of 51 years,Half-Time, H. 142 (2x,A. Copland).

In 1974 only Concerto for Violin andOrchestra No. 2, H. 293 (2x, B. Bělčík)and Concerto for Violin No. 1 (J. Suk)were played. In 1975 the Czech Philhar-monic again went on long tours (17x),within which it performed under thebaton of V. Neumann The Frescos: inGermany (5x) and also in Great Britain(6x). In this year, Concertino for PianoTrio, H. 232, was performed for the firsttime (2x, Suk Trio,V. Neumann), DoubleConcerto was again heard at the PragueSpring festival, a great experience wasprovided by W. Sawallisch with SymphonyNo. 4 (2x) and Concerto for Flute,Violinand Orchestra, H. 252, performed later(2x, J.Válek, B. Matoušek). It is certainlyworthy of mention that in November1976 the Czech Philharmonic performeda composition by Martinů (SymphonyNo. 6) in Japan for the first time. (It isprobably not far from the truth that it wasone of the first performances of thissymphony at a concert in this country).I know that several years before theCzech Philharmonic Orchestra strovein vain for inclusion of Martinů in itsrepertoire. In 1977 and 1978 the compo-sitions of the traditional repertoire wereperformed (27x in total): SymphoniesNos. 1, 3, 5 and 6, Concerto for ViolinNo. 1 and Memorial to Lidice (at PragueSpring), as well as Rhapsody-Concertofor Viola (8x, both at home and abroad,J. Motlík, Z. Košler). In the jubilee yearof 1979 (20x) the Czech PhilharmonicOrchestra performed: for the first timeConcerto for Piano and OrchestraNo.4,“Incantations”, H. 358 (2x, E. Leich-ner, F. Mechkat), and also such tried-and-tested titles as Bouquet of Flowers,Rhapsody-Concerto, Symphony No. 6and Concerto for Violoncello No. 1 (9x,of which 7x in Japan, J. Chuchro, Z. Košler).

In the 1980s Martinů works were per-formed frequently, especially in anniversaryyears and the Czech Music Year. I wouldabove all like to mention the perform-ances of the titles new to the Czech Phil-harmonic Orchestra: in 1980 it concernedConcerto for Piano and OrchestraNo. 5,“Fantasia concertante”, H. 366(2x, K. Havlíková,V. Neumann), Sinfoniaconcertante for Violin,Violoncello,Oboe, Bassoon and Orchestra withPiano, H. 322 (2x, B. Bělčík, K. Novotný,J. Mihule, J. Formáček, Z. Košler), withSymphony No. 4 also performed again(10x, of which 6x in East Germany). In1981 the Czech Philharmonic Orchestratoured the USA and Canada, performinga Martinů composition at each concert(20x,V. Neumann and Z. Košler alternat-ing). 1982 only brought repertoirecertainties (11x), among them, Rhapsody-Concerto (2x, J. Suk,V. Neumann) and,in connection with it, a selection from the

Research–BOHUSLAV MARTINŮ

&THE CZECH PHILHARMONICORCHESTRAPART II

Conductor Martin Turnovský

gBOHUSLAVMARTINŮNEWSLETTER3)2008

suites The Chap-Book, H. 214 A, B.W. Sawallisch discovered for himselfanother Martinů piece and daintilyincluded in his programme Memorialto Lidice (2x) alongside Dvořák’s Stabatmater.This beautiful composition was alsoplayed in Japan (Tokyo,V. Neumann). In1983 (9x) Suite from the Opera Julietta,H. 253 B, was performed in premiere inZbyněk Vostřák’s arrangement (2x,V. Neu-mann), and Concerto for Violoncelloand Orchestra No. 2, H. 304, was playedby the Czech Philharmonic Orchestrafor the first time (2x A. May, F. Vajnar).1984 was Czech Music Year.At a concertto mark its opening, J. Suk presentedConcert for Violin No. 2, and repeatedit at the Lucerne Festival.Tried-and-testedrepertoire titles were played (29x) bothat home and abroad.

At this juncture, I must finally mentionJiří Bělohlávek, who was an assistantconductor with the Czech PhilharmonicOrchestra from the 1970s. Later on hewas a regular guest conductor (alongsideV. Neumann) and in 1990 assumed thepost of principal conductor for twoseasons. He too performed Martinůcompositions on a regular basis. In 1984and subsequently in 1985 Bělohlávekmainly conducted in the Czech Philhar-monic Orchestra Symphony No. 4 andMemorial to Lidice (15x in Prague, theUSA, Great Britain,Yugoslavia and Spain).Alongside him, in 1984 Libor Pešek con-ducted in 1984 (9x) Symphony No. 6 andFrantišek Vajnar (2x) Bouquet of Flowers.One of the most noteworthy events in1986 was the concert performance of theopera Ariane, H. 370 (2x, soloists, PraguePhilharmonic Choir,V. Neumann). Mainlyperformed in 1987 (16x) were Sym-phonies Nos. 1 and 4 (primarily in theUSA,V. Neumann), Concerto for PianoNo. 2 (USA, Carnegie Hall, R. Firkušný,V. Neumann), Concerto for Piano No. 3(Prague, 2x, E. Leichner, J. Bělohlávek),Concerto for Harpsichord (3x, Z. Růžič-ková,V. Neumann) and Rhapsody-Con-certo (2x, J. Suk,V. Neumann).When it comes to 1988 and 1989, worthyof mention are the performances (9x)of Symphony No. 6 at Paris Opera(V. Neumann) and Rhapsody-Concerto(3x in Switzerland, N. Imai).

The 1990s afforded plenty of opportuni-ties to present Martinů pieces on variousstages. In 1990 (30x) the Czech Philhar-monic Orchestra performed for the firsttime Jazz Suite, H. 172 (2x, L. Pešek).Other great events were the performanceof Concerto for Violoncello No. 1(J. Starker, J. Nelson) and the Prague Springperformance of Concerto for PianoNo. 2 (R. Firkušný, J. Bělohlávek).The newlyappointed principal conductor of the

Czech Philharmonic Orchestra, Jiří Bělo-hlávek, also presented Martinů composi-tions at Paris’s Opera Bastille, in Germany,Spain, Switzerland and the USA (11x). In1991 Double Concerto was played (only3x, J. Bělohlávek) in Australia. In Australiathe Czech Philharmonic met its formermember and outstanding oboist JiříTancibudek, to whom Martinů dedicatedhis oboe concerto. In 1992 I. Ženatýperformed Concerto for Violin No. 2(3x, Germany and The Netherlands,J. Bělohlávek). In the following years, thesituation continued to be favourable.In 1993 (16x) the Czech PhilharmonicOrchestra played for the first time Con-certo for Oboe and Small Orchestra,H. 353 (2x, I. Séquardt,V. Neumann), andalso performed Martinů pieces in Austria(9x, J. Bělohlávek), played for the first timeThe Rock, H. 363 (Prague Spring,V. Neu-mann). Martinů’s repertoire compositionscontinued to be performed throughoutthe rest of the decade. Especially worthy

of mention is the Bohuslav MartinůFestival, which has been held everyDecember since 1995 by the BohuslavMartinů Foundation with the participationof the Czech Philharmonic Orchestra.At the first Festival, alongside Incanta-tions and Symphony No. 1, the songcycle Nipponari, H. 68 (D. Pecková,V. Válek) was performed by the CzechPhilharmonic for the first time. MostlyMartinů compositions, and later on piecesby other composers relating to his œuvre,were performed within the followingeditions.The conductors of festivalconcerts include M.Turnovský, N. Järvi,Sir Charles Mackerras, L. Svárovský,T. Sanderling, J. Kout.

I could continue enumerating perform-ances of Martinů’s works in the years thatfollowed but would, however, like to focuson some outstanding performances en-graved in my memory.They are connected,on the one hand, through the milieu and

situation, on the other, through perform-ance, either a conductor or a soloist. On2 October 1980 in Leipzig we opened ourtour with Martinů’s Symphony No. 4. VáclavNeumann was to appear in this city for thefirst time since he resigned in 1968 fromthe post of Generalmusikdirektor of theGewandhausorchester in protest at theoccupation of Czechoslovakia by WarsawPact forces, including those of East Germany.We awaited with extreme tension how theaudience would receive him. Upon the con-ductor’s arrival, everybody in the audito-rium duly stood up and applauded forseveral minutes. He was so loved and sowell understood! That evening we probablygave one of the best performances of thesymphony.The concert culminated inMahler’s Symphony No. 4.The success wasenormous and the ovations sincere.

A great experience for us has always beenperforming Symphony No. 6. Neumannconducted it superbly with, I would say,

Research– BOHUSLAV MARTINŮ & THE CZECH PHILHARMONIC ORCHESTRA

The Czech Philharmonic Orchestra – String section (The Bohuslav Martinů Festival 2002)

Violinist Josef Suk Pianist Emil Leichner (The Bohuslav Martinů Festival 2002)

Soprano Dagmar Pecková (The Bohuslav Martinů Festival 1995)

hBOHUSLAVMARTINŮNEWSLETTER3)2008

greater understanding of the primarilylyrical areas than Ančerl before him, andthus created an exemplary performancefor the Czech Philharmonic Orchestra,which served and still serves as a bench-mark for all other conductors. Bělohlávektoo conducted this composition in an out-standing manner, as did L. Pešek, J. Kout,Sir Charles Mackerras and E. Leinsdorf.The Czech Philharmonic Orchestra hasplayed the symphony on a total of 112occasions, the highest number of perform-ances of a Martinů piece. Every conductoralso likes to perform the beautiful andpopular The Frescos of Piero dellaFrancesca; I particularly recall VladimirAshkenazy, who conducted it (11x) inSpain, the USA,Vienna, London and Parisas well as Prague. Double Concerto,conducted by Sir John Eliot Gardiner(4x, of which 2x in Germany), is deeplyengrained in our memory too. I also recallour first post-war encounters with thelegendary Rudolf Firkušný: in 1969 at theEdinburgh Festival and in 1987 at NewYork’s legendary Carnegie Hall.Then weplayed, just as we did later on, in 1990, atPrague Spring, Concerto for Piano No. 2.It was a great experience and a successwith critics and audiences alike.Through-out the 1990s we performed Martinůcompositions very frequently.Although thelong-yearned-for lifting of the yoke andgradual return to a free society broughtabout certain problems too, or perhapsaccompanying phenomena apparent insociety as a whole, Bohuslav Martinů’sworks have been firmly and permanentlyanchored in the repertoire of the CzechPhilharmonic Orchestra, which has everincreasingly exported them to stagesworldwide. One important number to endwith: in total, in the entire history of theCzech Philharmonic, from its very begin-ning to the end of the 2007/2008 season,one or several Martinů works have beenperformed at 626 concerts.

An entirely independent chapter would beneeded for a complete list of recordings,gramophone records and, later on, CDs orvideo recordings.The Czech PhilharmonicOrchestra has recorded almost all ofMartinů’s symphonic works, many titlesseveral times, with several conductors andvarious soloists. Definitely worthy ofmention are the set of symphonies withVáclav Neumann; both of the violin con-certos and the viola Rhapsody with JosefSuk; the set of piano concertos with EmilLeichner; Bouquet of Flowers with KarelAnčerl and Libor Pešek; Double Concertowith Karel Šejna and Jiří Bělohlávek;the most recent complete recording ofconcertos for violin, viola and doubleconcertos with other instruments (violin,piano, flute) with Bohuslav Matoušek andChristopher Hogwood; and many otherrecordings.With absolute certainty it canbe said that alongside Antonín Dvořák,Bohuslav Martinů is the most frequentlyrecorded Czech composer. It is a pity that(to date) the set of Martinů symphoniesconducted by Jiří Bělohlávek has not beencompleted. Immediately after its release,Bělohlávek’s first CD received great acclaimand was nominated for a Grammy Award.

On 27 August 1979 the Czech Philhar-monic Orchestra was present at theceremonial placing of Martinů’s remainsin the family tomb in Polička.Within theceremony,Václav Neumann conductedSymphony No. 6. On this occasion, werecollected that at the beginning of the1970s we had put bouquets of flowerson Martinů’s grave in Schönenberg nearLiestal, Switzerland.The grave was on openland by the forest.And in those Augustdays of 1979 I especially recalled Bureš’stext, which Martinů so wonderfully set tomusic: the baritone solo in The Openingof the Springs:“…I am at home, at home,and walk an old road, behind me at myheels spring in memory, and just like backthen, the playful village youth rollicking infront of me […] what does it matter thattheir days are gone, from hand to hand wepass a heavy key, the key from home.” n

ERRATA /Dear readers, we would like to take thisopportunity to correct some erroneous datain the first part of the article on the CzechPhilharmonic Orchestra:— Page 14, bottom of first column: Rhapsody,

H. 171, was conducted in Prague for the firsttime by E. Ansermet, not V. Talich.

— Page 14, bottom of second column:La Bagarre, H. 155, was conducted byV. Talichonly in 1935 (4x), not also in 1933.

— , last column: The Frescoes of Piero dellaFrancesca, H. 352, was conducted in Salzburgby R. Kubelík in August 1956, not in March1956.

Please accept our apologies.

THE DILIA publishing house has donated to the library of the Bohuslav MartinůInstitute the hire material – score of the composition Three Fragments of theOpera Juliette, H. 253 A.The autograph of the score was recently discoveredin the publishing house’s archive(see Newsletter 2, 2008, page 19).

A DONATION from a MiroslavBreuer has extended the library of theBohuslav Martinů Institute.The valuableitem in question is a Circle Blue Printcopy of Symphony No. 3, H. 299.This copy is bound in a hard folderand does not contain any notes by thecomposer or anyone else. Martinůcompleted Symphony No. 3 on 14 June1944 in Ridgefield, Connecticut.It was premiered on 12 October 1945by the Boston Symphony Orchestraand Serge Koussevitsky, to whom itis dedicated. n

ON 29 SEPTEMBER 2008 the Czechconductor Martin Turnovský celebratedhis 80th birthday. This year we alsocommemorate the centenary ofthe birth of the conductor KarelAnčerl, who at one time taughtMartin Turnovský.The fate of thetwo conductors is closely con-nected with the events of 1968,when they emigrated andconducted a number of world-renowned orchestras.

Having graduated from the Academyof Performing Arts in Prague in KarelAnčerl’s class, Martin Turnovskýbecame a student of George Szell.After his success in the internationalcompetition of conductors inBesançon, he conducted in Brno andPilsen. Between 1966 and 1968 he wasArtistic Director of the State Operain Dresden. In 1968 he performed allover Europe and overseas. He becamehead of the Norwegian State Opera inOslo, between 1979 and 1982 he directed the Bonn Opera House.Turnovský hascooperated with world-renowned opera and symphonic ensembles, the New YorkPhilharmonic Orchestra, Cleveland Orchestra, Royal Liverpool PhilharmonicOrchestra,Wiener Symphoniker, etc. From 1992 to 1995 he headed the PragueSymphony Orchestra, FOK.

Since 1998 he has been the principal guest conductor of the Gunma SymphonyOrchestra in Japan. In 1999 he was awarded the Austrian Honorary Cross forScience and Arts, 1st class.

Turnovský has recorded with a number of leading Czech and international labelsand his recording of Bohuslav Martinů’s Symphony No. 4 with the Czech Philhar-monic Orchestra was awarded the Grand Prix du Disque.

In 2006 he received a medal from the Bohuslav Martinů Foundation in recognitionof his long-time efforts in promoting the music of Martinů. n

(see Newsletter 3/2006, p. 10)

Research–

Conductor Jiří Bělohlávek

News—

Martin Turnovský

Copy of Symphony No. 3

MARTIN TURNOVSKYCELEBRATED HIS 80th BIRTHDAY

B O H U S L AV M A R T I N ŮI N S T I T U T E C O R N E R

jBOHUSLAVMARTINŮNEWSLETTER3)2008

J ANA HONZÍKOVÁ

On 24 January 2009 THE WORLDPREMIERE OF BOHUSLAVMARTINŮ’S 1916 PIANO CYCLEOF SIX POLKAS, H.101 will takeplace at Prague’s Rudolfinum.Thisvirtually unknown work will be per-formed by Pavel Kašpar, an Ostravanative who has devoted to inter-preting Martinů’s piano compositionsfor many years. During the evening,we will also have the opportunityto hear Film en Miniature, H. 148.The concert will be one of the intro-ductory events of the MARTINŮREVISITED project commemoratingthe anniversary of the composer’sdeath (2009) and, at the same time,his birth (2010). Concerts, operaperformances and other events willtake place worldwide during the twoanniversary years.When it comes toPavel Kašpar’s recordings, especiallyworthy of mention is the completeMartinů piano œuvre project, fromwhich two CDs have already beenreleased by SwissTudor label –“Bohuslav Martinů. Piano Works”I and II.The Polkas from 1916 (underHalbreich No. 101) will also berecorded for a CD, which will be re-leased by Tudor in the spring of 2009.A fourth CD, work on which is nowin full swing, is in the pipeline too.

The Martinů literature does not containmany mentions of Polkas from this period.Their existence is naturally reflectedin the three basic catalogues of BohuslavMartinů’s compositions – Halbreich’s,Červinková’s and Mihule’s.Yet it is neces-sary to point out that their description,number and enlistment are inaccurate.Owing to the opportunity I had to accessall known sources, I managed to clarify thisinformation in my 2000 thesis (Instituteof Musicology, Faculty of Arts, CharlesUniversity).A more accurate descriptionof the cycle appears in the revised editionof the Halbreich Catalogue (BohuslavMartinů,Werkverzeichnis und Biographie,2007).

With regard to only a certain part of thesources having been known, the informa-tion contained in the catalogues is incom-plete and divergent.Autographs of the1916 polkas come from three sources,some of them being in several versions.The Bohuslav Martinů Memorial in Polička,the Museum of Czech Music in Pragueand Mrs Hendrychová’s private archivein Prague feature in the compendium ofsources found to date.This year, MrsHendrychová donated to the BohuslavMartinů Foundation a set of autographs

also including other piano and vocalpieces. Manuscripts from the probateestate of her mother, Zdena Maxová,brought about a fundamental change inthe view of the entire cycle of polkas.These manuscripts included the polkas’autographs and transcripts, representingdiffering versions of the hitherto knownautographs from the Museum of CzechMusic and, moreover, differently num-bered.Through marking in one of theautographs and its copy, they also includedin the cycle Polka in D minor, which isstated as an independent composition inthe Červinková and Mihule catalogues.

Thorough comparison of all these sourceshas revealed that it does not concern five,as stated in the Červinková and Mihulecatalogues (and an older Halbreich listing),but six polkas, whose sequence was not

definitive at the beginning.This assumptionis supported by one of the composer’sautographic lists contained in a smallnotebook from Miloš Šafránek’s probateestate. Besides his purchases, Martinůwrote down “Polkas. 6”.

In this respect, it is necessary to mentionan interesting circumstance that could berelated to the selection and sequence ofthe polkas. In March 1919 Martinů sentto the Czech Academy of Sciences andArts a request for financial support for hisfurther work on the basis of a submittedcycle of piano polkas. Just like previouslyin the case of the orchestral song cycleNiponari, H. 68 (1912) and CzechRhapsody, H.118 (1918), his request wasgranted. In the summer of 1919 Martinůwrote to Stanislav Novák:“I have receivedfrom the Academy 300 K. for the Polkas.”Unfortunately, in his request for support

he does not mention how many polkas itconcerns. However, we have available theinformation from the aforementionednotebook stating “5 at the Academy, 1 atZdena’s”. Hence, it is reasonable to assumethat Martinů chose from the six polkas thefive with the best quality, numbered themand sent them to the Academy for thementioned purpose. Some title pages ofthe autographs from Mrs Hendrychovábear the inscription “Entry. Polkas 1916.”,indicating a connection with the submissionof the polkas to the Academy. In thisrespect, it is also possible to meditate onthe cycle’s title. In his new edition, HarryHelbreich chose his own simple title,“6 Polkas”. Autographs and sourcesrelating to the Academy speak in favourof the title Polkas 1916.

According to all the information available,the cycle of polkas originated in June 1916in the village of Borová, near Polička, yet itis not possible to determine the exact date.Martinů spent part of 1916 there in anevangelical clergyman’s house. During thewar years he was a frequent guest of thepastor Vladimír Čech, with whose familythe Martinůs were close friends. In 1915Martinů was forced to leave Prague so asto avoid conscription and the social life inBorová at least partially substituted for thecultural activity in the city. Distinguishedartists gathered in Borová.This was mainlyowing to Čech’s wife, Gabriela Čechová,a beautiful, educated woman who tothe young Martinů became a great idolfor several years. Accordingly, the smallvicarage was visited by such luminariesas Jan Werich, Max Švabinský and his wife,as well as the painter Herbert Masaryk.In later life, the valuable contacts Martinůestablished in Borová helped him on severaloccasions. In Gabriela Čechová’s companyMartinů also began learning English, playedthe piano and organ and studied hymn-books of the Czech Brethren.

Martinů dedicated one of the polkas toZdena Maxová, mother of Mrs Hendry-chová and friend of Gabriela Čechová.A friendship developed between her andMartinů, and since she was also a skilfulpianist he dedicated some of his composi-tions to her. Her image is captured ona society photograph in Borová.The secondpolka bears the dedication “To Liďásek fromBohouš”.“Liďásek” refers to Lydie Čechová,a niece of Pastor Čech.

In addition to the six polkas, Martinů alsocomposed in Borová (in March of the sameyear) the piece Rujana, reminiscent ofDebussy’s La cathédrale engloutie. Com-parison of these two compositions showsone of the significant aspects of Martinů’searly œuvre, the stylistic diversity oreven disintegration of the 1910–1923compositions. Besides pieces of a purelyImpressionistic nature, there are composi-

ForgottenResearch–

Martinů with nieces of pastor Čech in Borová, 1916, one of the nieces is Lydia Čechová– “Liďásek”

kBOHUSLAVMARTINŮNEWSLETTER3)2008

tions of a more traditional characterwhose harmony does not deviate from theClassical-Romantic model. Bearing witnessto this is the difference between composi-tional methods within a single musical type,as in the case of the Impressionistic balletNight, H. 89 (1914), which is followedby the entirely different composition ofthe ballet The Shadow, H.102 (1916),made up of self-contained numbers witha simple functional-harmonic structure.It serves as proof of Martinů’s deviationfrom Impressionistic techniques, whichbegan back in 1915 and culminated in thecantata Czech Rhapsody (1918).

Martinů’s return to more traditionalcompositional techniques in 1915–1918was probably connected with his almostfour-year stay in his hometown, where healso began deepening his relationship toCzech folk songs. His forced stay in Poličkaduring the wartime years afforded theyoung Martinů the opportunity to moresystematically concentrate on composingand home his compositional technique.When cursorily comparing some of thecompositions of Martinů’s early period,one cannot help but notice a strikingimbalance of these pieces’ quality. It is yetanother salient feature of Martinů’s early

work, primarily determined by the absenceof permanent pedagogic guidance.

Martinů himself judged his pieces from thisperiod extremely critically. He consideredhis first real work the composition Half-time, H.142, written in Paris in 1924.This fact is also documented by one ofhis manuscript listings from 1935, whereMartinů sums up his creation in thisperiod in the following words:“By 1918 –piano compositions – Puppets – etc., twoballets – inconsequential.” More than twentyyears down the road, it is only the threeseries of Puppets he considers of value(and with the passing of the years hecomes to value them even more highly).

Polkas, H.101, are Martinů’s first attemptat composing a cycle of stylised dances.Let us recall that his stylised piano com-positions also include the most essentialand best-known pieces – Three CzechDances, H.156, the Borová, H.195 cycle,Etudes & Polkas, H. 308 from 1945.At the time of composing Polkas, dancestylisation was nothing new for BohuslavMartinů.Above all, he dealt with compos-ing the aforementioned ballets over anextended period. By the end of 1916 hehad written three of them – Night, Danceswith Veils,The Shadow (1912–16), in whichhe had encountered classical danceformations. Stylised works also appearin his early piano oeuvre; all three seriesof the celebrated Puppets can also beunderstood as a cycle of loosely stylisedwaltzes. Now he attempted to compose

highly stylised polkas, whereby the stylisa-tion process affects all parameters ofthe musical structure.The fundamentalprinciple of creating individual pieces is thesame, yet each of the six polkas has itsown specificity. It is possible to observe inthem a certain development from a moresimple type to a more complex structure.The first two polkas are simpler, and alsoless technically demanding.The paramountcomposition of this set of polkas is un-doubtedly Polka No. 4, which is also themost extensive (439 bars), its virtuosonature bearing witness to the high level ofperformance skills possessed by ZdenkaMaxová, to whom the piece is dedicated.

The six Polkas 1916 can be consideredthe first integrated cycle within Martinů’spiano œuvre of this period, amounting tomore than fifty autographic pages. Alsohighlighting their importance is the severalpages of sketches, more than one manu-script version, copies, and, last but notleast, the compositions’ virtuoso elements.According to Harry Halbreich, the setof polkas is interesting evidence of “theSmetana phase” Martinů passed throughduring his impressionistic period.Theyserve as an example of the work of theyoung Martinů, as he is for the timebeing not much known to us from eitherrecordings or concert halls.That is to say,his early period is still frequently (anderroneously) considered the period of the1930s compositions during his stay inParis. Serving to illuminate and make thepublic familiar with his really early work,comprising more than 100 pieces com-posed between 1910 and 1923 in Bohemia,will be some of the first volumes ofthe Complete Critical Edition, which isbeing prepared by the Bohuslav MartinůInstitute.The first in the sequence isthe volume containing the symphonicNocturne, H. 91 (1914–15), which isscheduled to be published in 2010.To coincide, the composition itself willprobably experience its first-ever publicperformance.

The correspondence has revealed thatalready at the time of their composingMartinů ruminated over the polkas beingperformed. In one letter he wrote aboutthe request for making a copy, in anotherhe mentions a specific interpreter – KarelŠolc. Šolc was a close friend of Martinů’s,editor of some editions of his pianocompositions, as well as an occasionalinterpreter of his piano pieces. HarryHalbreich expressed a critical opinion ofthe polkas, saying that the prospects oftheir ever being successfully performedare dim indeed.We will just have to seewhat new fates await them. n

Polkas Research–

Martinů with Čech’s family, from the left sitting Gabriela Čechová(Beli) and pastor Čech, Borová, 1916

Events–

●C O N C E R T S5 December 2008 / 8.15 pm

• Vredenburg, Leidsche Rijn,Utrecht, Netherland

www.radiokamerfilharmonie.nlwww.vredenburg.nlDouble Concerto for Two String Orchestras,Piano and Timpani, H. 271Netherlands Radio Chamber PhilharmonicOrchestra, Richard Hickox (Conductor)Howard Shelley (Piano)

6 December 2008 / 6 pm

• Wigmore Hall, London, UKwww.wigmore-hall.org.ukSextet for Piano, Flute, Oboe, Clarinetand two Bassoons, H. 174Nash Ensemble

13 December 2008 / 10.30 am

• Czech Chamber Music Societywww.ceskafilharmonie.czMartinů Hall, Liechtenstein Palace, Prague, CZSonata for Viola and Piano, H. 355Vladimír Bukač (Viola), Jean Fountain (Piano)

16 December 2008• Gewandhaus, Leipzig, Germanywww.mdr.deSymphony No. 2, H. 295MDR Sinfonieorchester, Stefan Solyom(Conductor)

20 December 2008/ 7.30 pm

• Dvořák Hall, Rudolfinum, Prague, CZ www.fok.czThree Czech Dances, H. 154Jiří Kollert (Piano)

4 December 2008

• Stadthalle, Minden, Germany5 December 2008

• Stadtpark Schützenhof, Herford, Germany6 December 2008

• Concert Hall, Bad Salzuflen, Germany9 December 2008

• Christuskirche, Detmold, Germany19 December 2008

• Liederhalle, Beethoven-Saal, Stuttgart,Germany

Concerto No. 1 for Violoncelloand Orchestra, H. 196Nordwestdeutsche PhilharmonieAndris Nelsons (Conductor),Sol Gabetta (Cello)

7 January 2009 / 7.30 pm

• Czech Chamber Music Society – Dvořák Hall, Rudolfinum, Prague, CZ

www.ceskafilharmonie.czString Quartet No. 1 “French” H. 117 Apollon Quartet

9 January 2009

• Ostrava, CZwww.jfo.czDouble Concerto for two String Orchestras,Piano and Timpani, H. 271Janáček Philharmonic Orchestra,Theodore Kuchar (Conductor),Derek Han (Piano)

12 January 2009 / 7.30 pm

• Czech Chamber Music SocietyDvořák Hall, Rudolfinum, Prague, CZ

www.ceskafilharmonie.czString Quartet No. 3, H. 183Pražák Quartet

13 January 2009 / 7.30 pm

• Czech Chamber Music SocietyDvořák Hall, Rudolfinum, Prague, CZwww.ceskafilharmonie.czSerenade No 2. for two Violins and Viola,H. 216Czech Chamber Orchestra,Andreas Sebastian Weiser (Conductor),JanaVlachová (Violin)

14 & 16 January 2009

• Amsterdam Concertgebouw, Small Hall,Netherland

String Quartet No. 7, H. 314Pražák Quartet

17 January 2009

• Prinzregententheater, Munich, GermanyConcert for Oboe and Orchestra, H. 353Symphonieorchester des BayerischenRundfunks, Mariss Jansons (Conductor),Stefan Schilli (Oboe)

22 & 23 January 2009

• Strathmore Hall for 22ndJoseph Meyerhoff Hall for 23rdNorth Bethesda/Baltimore, USA

Oboe Concerto, H. 353Baltimore Symphony OrchestraCarlos Kalmar (Conductor) Katherine Needleman (Oboe)

24 January 2009 / 7.30 pm

• Royal Festival Hall, London, UKThe Frescoes of Piero della Francesca, H. 352London Philharmonic Orchestra,Sir Mark Elder (Conductor)

25 January 2009 / 11.30 am

• Coffee Concert, London, UKwww.wigmore-hall.org.ukSuite La Revue de Cuisine for Clarinet,Bassoon,Trumpet,Violin, Celloand Piano, H. 161Nash Ensemble, Marianne Thorsen (Violin),Ian Brown (Piano)

27 January 2009 / 1:00 pm

• Rachel Porteous Peel Hall, Salford University,Salford, UK

String Sextet, H. 224The Marchini String Quartet,Fiona Petersen (Violin),Jessica Burroughs (Cello)

28 & 29 January 2009 / 7.30 pm

• Smetana Hall, Municipal House, Prague, CZwww.fok.czPiano Concerto No. 2, H. 237Prague Symphony Orchestra,Tomáš Netopil (Conductor),Karel Košárek (Piano)

31 January 2009

• Westmorland Hall, Kendal, EnglandSymphony No. 6 (Fantaises Symphoniques), H. 343BBC Philharmonic, Gunther Herbig(Conductor)

4 February 2009 / 7:30 pm

• Simon Lepper Clitheroe Royal GrammarSchool, Clitheroe

Variations on a Theme of Rossini, H. 290Gemma Rosefield (Cello) and Simon Lepper (Piano)

4 February 2009

• Dvořák Hall, Rudolfinum, Prague, CZwww.pko.cz Rhapsody-Concerto for Violaand Orchestra, H. 337Serenade No. 2 for Two Violins and Viola,H. 216Sinfonietta La Jolla, H. 328Prague Chamber OrchestraDavid Švec (Piano), Jitka Hosprová (Viola)

6 February 2009

• Lewisburg, Bucknell Concert Hall, USA Double Concerto for Two String Orchestras,Piano and Timpani, H. 271Janáček Philharmonic OrchestraP. Jumppanem (Piano),Theodore Kuchar (Conductor)

13 & 14 February / 8.00 pm

• Uihlein Hall,Milwaukee, USA

Symphony No. 6 “FantaisiesSymphoniques“, H. 343Milwaukee Symphony Orchestra,Jakub Hrůša (Conductor)

15 February 2009

• Overland Park,The KU Edwards CampusConcert Hall, USA

Double Concerto for Two String Orchestras,Piano and Timpani, H. 271Janáček Philharmonic Orchestra P. Jumppanem (Piano),Theodore Kuchar (Conductor)

19, 20 & 21 February 2009

• Theater der Stadt Schweinfurt,Schweinfurt, Germany

www.bamberger-symphoniker.deSymphony No. 1, H. 289Bamberger Symphoniker,Thomas Dausgaard (Conductor)

24 February 2009

• Musical Salon Café créme in the St.Vavřinec Church, Prague

Promenades for Flute,Violinand Harpsichord, H. 274Monika Knoblochová (Harpsichord) and guests

20 February 2009

• West Bohemian Symphonic Orchestra,Mariánské lázně, CZ

Concerto for Oboe, H. 353V. Vlna (Oboe), P. Roháč (Conductor)

26 February 2009

• Der Geer Hall, Norrköping, SwedenSymphony No. 6 (Fantaises Symphoniques), H. 343Norrköping Symphony Orchestra,Alan Buribayev (Conducor)

1 March 2009 / 11.00 am

• Großer Saal, Brucknerhaus, Linz,Austriawww.brucknerhaus.atSerenade for Chamber Orchestra, H. 199Czech Chamber Philharmonic OrchestraPardubice, Douglas Bostock (Conductor)

4 March 2009 / 1:00 pm

• Kendal Midday ConcertClub, Kendal Town Hall, Kendal, UK

Three Czech Dances, H. 154Martin Kasík (Piano)

13 March 2009 / 7.45 pm

BOHEMIAN RHAPSODIES PROJECT• Ulster Hall, Belfast www.ulster-orchestra.org.ukIntermezzo, H. 330• Ulster Orchestra Society, Belfast, UK Tomáš Hanus (Conductor),Leon McCawley (Piano)

14 March 2009

• Czech Chamber Music Society Martinů Hall, HAMU, Prague, CZ

String Quartet No. 7(Concerto da camera), H. 314Philharmonic Quartet Prague

20 March 2009 / 7.45 pm

• Ulster Hall, Belfast, UK Double Concerto for two String Orchestras,Piano and Timpani, H. 271Kenneth Montgomery (Conductor)

24 March 2009

• Suk Hall, Rudolfinum Prague, CZChamber Music No. 1, H. 376Chamber Ensembles of Members of CzechPhilharmonic Orchestra and their guests– Chamber Ensemble Variation,Jan Jouza (Artistic Director)

27 March 2009 / 7.45 pm

• Ulster Hall, Belfast, UK Symphony No. 2, H. 295Carlos Kalmar (Conductor),Quirine Viersen (Cello)

27 March 2009

• Barbican Hall, London, UKJuliette, H. 253 – concert stagingBBC Symphony Orchestra, BBC SingersJiří Bělohlávek (Conductor),Magdalena Kožená (Mezzo-soprano)

31 March 2009

• Gläserner Saal/Magna Auditorium Wien,Austria

String Quartet No. 2, H. 150Aron Quartett

PAUL KASPAR TOUR (Piano) www.paulkaspar.com6 February 2009

• Latvian National Sypmhonic Orchestra, Riga,Latvia

Concerto for Piano and Orchestra No. 2,H. 237

1 March 2009

• Grazer Philharmoniker, Graz,AustriaConcerto for Piano and Orchestra No. 2,H. 237

Please, help us to compile the concert calendar – inform us about events involving Martinů’s music at [email protected]ŮNEWSLETTER3)2008

22 March–1 April 2009

Concerto for Piano and Orchestra No. 2,H. 237 Neue Philharmonie Westfalen, Germany

●F E S T I VA L STHE BOHUSLAV MARTINŮ DAYS 2008

30 November–12 December 2008for more details see page 20

CZECH TOUCHES OF ART, EM-ART

26 December 2008–14 January 2009• Prague, CZwww.ceskedotekyhudby.cz

27 December 2008

• Pantheon of National Museum, PragueFive Madrigal Stanzas for Violinand Piano, H. 297S. Hessová (Violin),Š. Kose (Piano)

14 January 2009

• Memorial of National Literature, BoženaNěmcová Hall, Prague

Trio No. 2 in D Minor for Violin,Cello and Piano, H. 327Moravian Piano Trio

13 April 2009

• Musical Hall, Pardubice Songs on One Page, H. 294P. Švestková (Mezzo-soprano),M. Šetáková (Piano)

●O P E R A S11 and 14 December 2008 / 7 pm

• Disk Theatre, Prague, CZwww.divadlodisk.czComedy on the Bridge, H. 247The Marriage, H. 341Students of the Academy of Performing Artsin Prague

22 & 23 February 20092 & 4 March 2009

• National Theatre Brno, CZLa Revue de Cuisine, H. 161Tears of the Knife, H. 169 The Amazing Flight, H. 159Jiří Srnec (Director),Bohemia Balett and Ensemble of the DanceConservatory Prague

27 March 2009 / premiere

• National Theatre Brno, CZwww.ndbrno.cz Juliette, H. 253J. Nekvasil (Director), Jan Hanus (Conductor)

The programme subject to changePrepared by Jana Honzíková & Asami Naka

;BOHUSLAVMARTINŮNEWSLETTER3)2008

ANTHONY BATEMAN, a member of theInternational Martinů Circle, would liketo announce the publication of SportingSounds: Relationships Between Sport andMusic, a collection of essays edited byhimself and John Bale.

The book contains his own essay ‘LudusTonalis’: Sport and Musical Modernisms1910–1939 in which he discusses andcontextualises Martinů’s Half-time,La Bagarre and the composer’s Sokol-related compositions. Sporting Sounds canbe pre-ordered from Amazon or directlyfrom the publishers Routledge. n

THE CZECH PHILHARMONIC Orches-tra in cooperation with the BohuslavMartinů Institute issues the 2009Calendar “BOHUSLAV MARTINŮ2009” containing numerous images fromBohuslav Martinů’s life and historic photo-graphs from the Czech PhilharmonicOrchestra’s archive.

N E W P U B L I C AT I O N S

NEW CDs

News—

Magdalena Kožená: Songs My Mother

Taught Me

• Martinů: Songs on Two Pages, H. 302Magdalena Kožená – Mezzo-sopranoMalcolm Martineau – PianoRecorded in 2007 / Deutsche Grammophon, 477 6665, 2008

Bohuslav Martinů

• Overture for Orchestra, H. 345• Piano Concerto No. 2, H. 237• Piano Concerto No. 4,“Incantation”,

H. 358• Les Fresques de Piero della Francesca,

H. 352Robert Kolinsky – PianoVladimir Ashkenazy – ConductorSinfonieorchester BaselCD Octavia Records 2008

Bohuslav Martinů: Complete Piano Music 4

• Borová, Seven Czech Dances, H. 195• Les ritournelles, H. 227• A Note in a Scrapbook, No. 1, H. 222*• Improvisation, H. 333• Dumka No. 2,‘Elégie’, H. 250• Adagio ‘In memoriam‘, H. 362• For Dancing, H. 158*• A Note in a Scrapbook, [No. 2], H. 241• Dumka No. 1,‘Contemplation’, H. 249• Bagatelle ‘Morceau facile’, H. 323• Rujana, H. 100*• Barcarolle, H. 326• Dumka No. 3, H. 285bis

Martinů: The CompleteMusic for Violin

and Orchestra – 4

• Violin Concerto No. 1, H. 226• Violin Concerto No. 2, H. 293Bohuslav Matoušek – Violin Czech Philharmonic OrchestraChristopher Hogwood – ConductorRecorded in 2001, 2004 / Hyperion Records, CDA67674, 2008

• Quatre mouvements, H. 170• Prelude No. 1 ‘on the theme of the

Marseillaise’, H. 85*• Prelude No. 2 in F minor, H. 86*• Instructive Duo for the Nervous, H.145• Procession of the Cats on Solstice

Night, H. 122• Piece for the Little Evas, H. 242*• Mazurka ‘Homage to Paderewski’,H.284• On T. S. F.Waves, H. 173bis• Scherzo, H. 138bis*• [untitled], H. 141*• Prelude, H. 140* * World premiere recording

To be published in December 2008.For more information about the calendar,write to [email protected] n

Giorgio Koukl – PianoRecorded in 2006 / Naxos, 8.570215, 2007

THE BOHUSLAV MARTINŮ FOUNDATION,IN COOPERATION WITH THE BOHUSLAV MARTINŮ INSTITUTE,

THE FACULTY OF MUSIC OF THE ACADEMY OF PERFORMING ARTS, THE FRENCH INSTITUTE IN PRAGUE, THE MUSIC AGENCY C.E.M.A.,

THE ARTS INSTITUTE–THEATRE INSTITUTE AND THE CZECH PHILHARMONIC ORCHESTRA,

ANNOUNCES THE 14TH EDITION OF THE FESTIVAL

www.martinu.czwww.czechmusic.org

BOHUSLAVMARTIN

.UDAYS

30 November—12 December2008

9media partners——

support—— b

Concert programs subject to change

30 NOV 2008 / 7.30 pm / Martinů Hall / Lichtenštejn Palace / Malostranské nám.13 / HAMU / Prague

Concert of laureates of the Bohuslav Martinů Foundation cello competition—Tickets will be on sale one hour before the concert / Price CZK 50/150 / Reservation: [email protected]

9 DEC 2008 / 7.30 pm / Martinů Hall / Lichtenštejn Palace / Malostranské nám.13 / HAMU / Prague

Concert in honour of Charlotte Martinů (1894–1978)—With financial support from Mr Geoffrey Piper (MusicEnterprise, Luxembourg)

B.Martinů / D.Milhaud / F. Schmitt / J.Françaix / F. PoulencIN MODO CAMERALELudmila Peterková clarinet / Daniel Wiesner piano / Jaroslav Kubita bassoon / Jana Brožková oboe—Tickets will be on sale one hour before the concert / Price CZK 50/150 / Reservation: [email protected]

11+12 DEC 2008 / 7.30 pm / Dvořák Hall / Rudolfinum / Náměstí J. Palacha / Prague 1

Opening concert Martinů RevisitedBohuslav Martinů— Three Fragments from the opera Juliette / H. 253 A (1939) / world premiere

CZECH PHILHARMONIC ORCHESTRA / Sir Charles Mackerras ConductorMagdalena Kožená Juliette / Steve Davislim Michel and others—Tickets will be on sale at the Czech Philharmonic box office / www.ceskafilharmonie.cz

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coordination—— (

bohuslavmartinu ° the international martinů circlesection (). concert programmes and other...

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