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MRTHE BOHUSLAV MARTINŮ FOUNDATIONTHE BOHUSLAV MARTINŮ INSTITUTETHE INTERNATIONAL MARTINŮ CIRCLE

may–august 2014 / vol. XIV / no.2julia fischer at praguespring festivalopera what men live bymartinů: a bridge betweentwo culturespeephole into the bohuslavmartinů center in polička

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6BOHUSLAV MARTINŮ’S SOLDIERAND DANCEROLGA JANÁČKOVÁ

THE SOLDIER AND THE DANCER IN PLZEŇEVA VELICKÁ

8GEOFF PIPERMARTINA FIALKOVÁ

10JULIA FISCHER AT PRAGUE SPRINGFESTIVALFRANK KUZNIK

TWO STARS ENCHANT THE RUDOLFINUMPRAVOSLAV KOHOUT

12WHAT MEN LIVE BY GREGORY TERIAN

14JULIETTE IN BREMENMIRANDOLINA IN MUNICH

16BOHUSLAV MARTINŮ: A BRIDGE BETWEEN TWO CULTURESJULIA FADY-WELTERLEN

FOUR MARTINŮ CANTATASLUBOŠ STEHLÍK

18THE LEGEND OF THE SMOKE FROMPOTATO FIRESPAVEL ŽŮREK

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30 NOVEMBER 2014 . 7.00 pm . HAMU, Martinů Hall, PragueConcert of the winners of Bohuslav Martinů Competition in the Category Piano Trio and String Quartet

2 DECEMBER 2014 . 7.30 pm . HAMU, Martinů Hall, PragueKühn Children's Choir, choirmasters: Jiří Chvála, Petr LouženskýPanocha Quartet members (Jiří Panocha, Pavel Zejfart – violin, Miroslav Sehnoutka – viola), Jan Kalfus – organ, Petr Kostka – recitation, Ivan Kusnjer – baritone, Daniel Wiesner – pianoMARTINŮ . Three Sacred songs, H 339, Opening the Springs, H 354(+ J. NOVÁK, KURZ, TEML)

5 DECEMBER 2014 . 7.30 pm . HAMU, Martinů Hall, PragueAcademic Chamber Soloists, Leoš Svárovský – conductorŠtěpán Drtina – cello, Hana Hrachovinová – harpMARTINŮ . Toccata e due canzoni, H 311(+ ŠAROUN, FELD, VON WILM)

10+11 DECEMBER 2014 . 7.30 pm . Municipal House, Smetana Hall, PraguePrague Symphony Orchestra, Tomáš Brauner – conductorRoman Janál – baritone, Tomáš Jamník – celloMARTINŮ . Concerto No 1 for Cello and Orchestra, H 196(+ KLUSÁK, DVOŘÁK)

15 DECEMBER 2014 . 7.30 pm . St. Vavřinec Church, PragueSoňa Červená – recitation, Karel Košárek – pianoMARTINŮ . Film en miniature, H 148, La revue de cuisine, H 161(+ ULLMANN, KUBELÍK)

17+18+19 DECEMBER 2014 . 7.30 pm . Rudolfinum, Dvořák Hall, PragueCzech Philharmonic, Jiří Bělohlávek – conductor, Martinů Voices, Lukáš Vasilek – choirmasterIvan Kusnjer – baritone, Jan Martiník – bass, and othersMARTINŮ . What Men Live by, H 336(+ DVOŘÁK)

BOHUSLAV

MARTINU.DAYS

4 7 6 CA

DAYS2014

BOHUSLAVMARTINŮ IN THE YEAR OF CZECH MUSIC&

www.martinu.cz

PROLOGUE

14+15+16 SEPTEMBER 20149.00 pm . Lesser Town of Prague CemeteryEva Blažíčková – choreographerMARTINŮ . The Bouquet of Flowers, H 260

7 OCTOBER 2014 . 8.30 pm . HAMU, Martinů Hall, PragueConcert in the occasion of 100th anniversary of Josef Páleníček’s birthSmetana Trio, Wenzel Grund – clarinetMARTINŮ . Piano Trio No 2, H 327(+ PÁLENÍČEK, JANÁČEK)

2 NOVEMBER 2014 . 7.00 pm . National Theatre, PragueBallet ensemble of the National Moravian-Silesian Theatre,Nataša Novotná – choreographerMARTINŮ . The Strangler, H 314(+ SMETANA, JANÁČEK)

2 DECEMBER 2014 . 5.00 pm . Hall of Prague ConservatoryConcert Marking the 40th Anniversary of the Dvořák Society for Czech and Slovak Music – programme see page 3

BOHUSLAVMARTINŮ

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8 September 2014> Suntory Hall, Tokyo, Japan

www.tmso.or.jpSymphony No. 4, H 305 Bouquet of Flowers, H 260Yukiko Šrejmová Kinjo, Markéta Cukrová, Peter Berger, Adam Plachetka (Soloists)New National Theatre ChorusTokyo Metropolitan Symphony OrchestraJakub Hrůša (Conductor)

15 + 16 + 17 October 2014> Rudolfinum, Dvořák Hall, Praha, CZSymphony No. 4, H 305Czech Philharmonic Jiří Bělohlávek (Conductor)

2 December 2014 > Hall of Prague Conservatory, Praha, CZConcert Marking the 40th Anniversary of the DvořákSociety for Czech and Slovak MusicK. Janovický: Preludium and double Fugue for String OrchestraK. Janovický: Piece for cello and piano (2013) (in the occasion of 80th anniversary of Graham Melville Mason)A. Dvořák: Trio g minor, Op. 26B. Martinů: Trio No. 2 d minor, H 327 J. Hanuš: Sonata quasi una fantasia for Oboe and Piano Op. 61 A. Dvořák: Serenade E major Op. 22 for Strings (excerpts) Quattro String Ochestra, Marek Štilec (Conductor) Orbis trio, Vilém Veverka, Martin Kasík, Jitka Vlašánková

11 + 12 December 2014> Janáček Theatre, Brno, CZ

www.ndbrno.czThe Epic of Gilgamesh, H 351 – premiere of the Critical EditionAdriana Kohútková (Soprano), Peter Berger (Tenor), Jiří Hájek (Baritone), Adam Plachetka (Basbaritone), Czech Philharmonic Choir of Brno, Petr Fiala (Choirmaster)Brno Philharmonic Aleksandar Markovič (Conductor)

8 + 10 + 11 + 19 + 30 November 2014, 2 December 2014> Bayerische Staatsoper, München, Germany

www.bayerische.staatsoper.deMirandolina, H 346Christian Stückl (Director), Oksana Lyniv (Conductor)

21 September / 9 November 2014> J. K. Tyl Theatre in Plzeň, CZ

www.djkt-plzen.czThe Soldier and the Dancer, H 162Tomáš Pilař (Director), Petr Kofroň (Conductor)

20th MARTINŮ FESTTAGE 201415-29 November 2014Basel, Switzerlandwww.martinu.ch

15 November> Stadtcasino Basel/FestsaalKAMMERORCHESTER BASEL – CHRISTOPH POPPENJUILLIARD STRING QUARTETConcerto for String Quartet and Orchestra, H 207Sinfonietta “La Jolla”, H 328

19 November> Museum Tinguely“RENDEZ-VOUS MIT MARTI… NOUS”Tanz & PerkussionImprovisation on Martinů’s Film en miniature, H 148

23 November> Museum TinguelyENRICO PIERANUNZI / PIANOVERONICA HARCSA / VOCALSongs by Honegger, Poulenc and Martinů

25 November> Stadtkino BaselANDREAS HOMOKI PRESENTS: JULIETTE

29 November> Stadtcasino Basel / Hans Huber SaalDORIC STRING QUARTETROBERT KOLINSKY / PIANOPiano Quintet No. 2, H 298

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news

NEW PUBLICATIONSNew publication on Martinů in SpanishJAROSLAV MIHULE: Bohuslav Martinů – Símbolo y música.1 a ed. – Buenos Aires: Ekumene – Comenius Cultural Center, 2012, 580 p.Translated by Helena VoldánováISBN 978-987-9484-32-6

ROBERT C. SIMON:Bohuslav Martinů: A Researchand Information GuideRoutledge 2014, 284 p., ISBN-10: 0415741947

This annotated bibliographyuncovers the wealth of resourcesavailable to prospective researchersand supports emerging scholarship

and inquiry into the life and music of this Czech composer. It includesall secondary sources on Martinů and his music, as well as chronologyof his life and a complete list of works.

Robert Simon is the Music Librarian at the University of Notre Dame,Indiana, USA. He has worked extensively on the music of Bohuslav Mar -tinů, frequently collaborating with the Bohuslav Martinů Institute in Prague,and currently serves as Chairman of the International Martinů Circle. ❚

NEW CDsFROM BOHEMIA TO WESSEX Cello Music from the Twentieth CenturyJohn Barton Armstrong, Bohuslav Martinů, Peter Thompson.Bohuslav Martinů: Sonata No 2 for Cello and Piano, H 286Lionel Handy – Cello, Nigel Clayton – PianoSleeveless RECORDS 2014, LC 20736. Recorded 2013Distribution: Fand Music Press, www.fandmusic.com

MARTINŮ CELLO SONATAS 1–3+ Sibelius, Mustonen

Bohuslav Martinů: Sonata No 1 for Cello and Piano, H 277, Sonata No 2 for Cello and Piano, H 286, Sonata No 3 for Cello and Piano, H 340

Steven Isserlis – Cello, Olli Mustonen – PianoBIS Records AB, BIS-2042 SACD. Sweden, 2014. Recorded 2013.

IMC NEWSmartinů strings pragueand jaroslav šonský to tour slovakia and hungary LED BY Jaroslav Šonský, the 12-member ensembleis an exponent of the Czech string tradition, whichhas always been characterised by musicality,melodiousness and a distinct Slavonic sound.Martinů Strings Prague (MSP) is made up ofsuperlative instrumentalists who have gainedexperience both as soloists and in the finest Czechorchestras and chamber ensembles. The violinistJaroslav Šonský, MSP’s founder and artistic director,and also a member of the Board of the InternationalMartinů Circle, is a seasoned soloist, chamberplayer and music manager. Based in Sweden,he travels to Prague to work with his ensemble.2014 has been designated the Year of Czech Music,and also marks the 55th anniversary of BohuslavMartinů’s death. As part of the Year of Czech Music

120th anniversary of charlotte martinů's birthMONDAY 21 JULY 2014 marked the jubilee120th anniversary of the birth of Martinů´s wifeCharlotte Martinů (née Quennehen), a lifetimecompanion of the composer who establishedthe Bohuslav Martinů Foundation in Prague. ❚

More info: www.martinu.cz

programming, MPS is scheduled to tour Slovakiaand Hungary from 7 to 11 October 2014. All theconcerts on this tour will include two Martinůworks: Serenade No. 4 (Divertimento) for stringorchestra, H 215, and the Concerto for Flute, Violin,Piano and Strings, H 252 in a new arrangement madeby Šonský and approved by the Bohuslav MartinůFoundation. MSP will be joined by two youngsoloists: the flautist Jana Jarkovská and the pianistBohumír Stehlík – both winners of severalinternational competitions.

In Slovakia, Martinů Strings Prague will openthe 21st edition of the Days of Czech Culture inKošice, a city with a large ethnic Czech population.The festival will also take place in other townsin Eastern Slovakia, with MSP scheduled to givea performance in Prešov too. The tour will continuein Hungary, where concerts will be held underthe auspices of the Czech Centre in Budapestin Old Buda and in Pécs, a major cultural centrein the south of the country. The two concerts aresignificant contributions to the Year of Czech Music.The prologue to the MSP tour will take place at theCzech Museum of Music in Prague on Sunday5 October 2014. / Martina Fialková

[IMC BOARD MEETING 2014 )THIS YEAR’S BOARD MEETING will be held on 16 December 2014 at 10 a.m. atthe Martinů Foundation Hall in Prague (Bořanovická 14, Praha 8).This coincides with the opening of a new production of the opera WHAT MENLIVE BY – concert performance (see page 12).We would like once again to express our gratitude to Mr. Geoff Piper for his greatefforts and long-term work as a member of the IMC Board. You can read MartinaFialková's portrait of this assiduous Martinů supporter on page 8.

[CONCERT IN JAPAN )CONCERT in which the IMC will participate will be held in JAPAN, 8 September2014, Tokyo Metropolitan Symphony Orchestra, Suntory Hall, Tokyo – Mart-inů: Symphony No. 4, Martinů: Bouquet of Flowers (see page 3).Jakub Hrůša, President of the IMC, will conduct a performance of Martinů com-positions and will meet the new member of our Board, Mr. PETR HOLÝ, the for-mer director of the Czech Centre in Tokyo. More information about the concertand the new IMC Board member will follow in the next issue of the Martinů Re-vue.We would like to express our gratitude to Mari Tokuda, Regional Board member inJapan, for translating the IMC leaflet into Japanese.

Jana Honzíková

[CD BOHUSLAV MARTINŮ DAYS 2012)Bohuslav Martinů: Symphony No. 5, H 310, rec. 1948 by NBC Orchestra and Ernest Ansermet

Bohuslav Martinů: Cello Sonata No. 2, H 286, Václav Petr – Cello, Alena Kohoutová – Piano

International Martinů CircleGENERAL INFORMATION

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

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

MEMBERSHIP & SUBSCRIPTIONINFORMATION

> YEARLY SUBSCRIPTION:25 EUR / 30 USD / 18 GBP / 450 CZK

> SUBSCRIPTION FOR CORPORATEMEMBERS: 100 EURincludes 10 copies of each RevuePLUS 3 copies of the special limitededition CD

> SPECIAL RATE for music studentsunder 25 years of age: 10 EUR / 250 CZK

> SINGLE COPIES OF THE REVUE: 80 CZK / 3 EUR / 4 USD + postage

For further details and for single copiesof the Martinů Revue contact:

Jana Honzíkováphone: +420 773 656 586e-mail: [email protected]

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

WELCOME NEW MEMBERS

> Rob Collis, London, Great Britain> Ana Janků, Czech Cultural Centre of

Argentina, Buenos Aires> Severin Kolb, Zürich, Switzerland> Fons de Kort, Hillegom, Netherlands > Ray Latham, Great Britain> Christian Poltéra, Zürich, Switzerland> Joeri Wilms, Belgium


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MARTINŮ REVUE (formerly BohuslavMartinů Newsletter) is published by theInternational Martinů Circle in collabo ra -tion with the Bohuslav Martinů Institutein Prague with the financial supportof the Bohuslav Martinů Foundation.Published with the financial supportof the Ministry of Culture of CzechRepublic, code No. MKCRX006Z32Y

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

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

Translation Hilda Hearne

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

Graphic Design David E. Cígler

Printing BOOM TISK, spol. s r.o.

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

CoverBohuslav Martinů with friends, Switzerland, Alps, 1948

ISSN 1803-8514MK ČR E 18911

www.martinu.cz

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

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

Magdalena Kožená,IMC Patron

Jakub Hrůša,President of IMC

incirclenews

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NEW E-SHOP PURCHASEFrom Autumn 2014,new promotional materialswill be available for purchasevia the Bohuslav Martinůe-shop. In addition topublications and CDsalready available for order,there will be Martinů badges,cotton bags and t-shirts.

[DON�T MISS )CONCERT MARKING THE 40th ANNIVERSARY OF THE DVOŘÁK SOCIETYFOR CZECH AND SLOVAK MUSIC IN THE UK, in which the IMC will participate. During the course of this event, there will be a meeting of members of theDvořák Society for Czech and Slovak Music in the UK, the Antonín DvořákSociety in the Czech Republic and the International Martinů Circle. > 2 December 2014 . 5 pm . Na Rejdišti 1, Prague 1 . Hall of PragueConservatory, Prague.

Love

/ OLGA JANÁČKOVÁ

BOHUSLAV MARTINŮ’S first opera, The Soldierand the Dancer, H 162, to J. L. Budín’s librettobased on Titus Maccius Plautus’s comedyPseudolus, has been performed very rarely onCzech stages, with merely three productionsuntil very recently. Completed in 1927, it waspremiered the following year in Brno, yet itsscore would gather dust for almost fourdecades in the archives of the Bohuslav MartinůCenter in Polička until it was resurrected andstaged by a theatre in Olomouc in 1966. Thenext productions took place in Ostrava in 1990and at the State Opera Prague in 2000. The

opera’s strength, as well as handicap, is itskaleido scopic nature, reflecting its interwarorigin in a buoyant burlesque mixture of musicaland theatre forms. Neoclassical restraint iscombined with opera buffa, operetta, comedyfrom Ancient Rome until Martinů’s time, opera,ballet, mime, jazz, inspirations of all sorts,theatre within theatre. The action featuresanimated objects (lanterns, the Moon, fiveducats), mythical characters (the Man in theMoon), and historical figures (Cato, Plautus,Molière), with theatre-makers and otherpersons who under “normal” circumstancesremain concealed to the audience (the director,prompter, critic) appearing in the story too.

opera

However, period documents and, most signifi -cantly, analysis of the score, indicate that thisdoes not seem to have been Martinů’s intention.He evidently wanted to create a feature-lengthcomic opera – a con temporary one (includingechoes of dance and entertain ment music) yet atthe same time a work drawing on tradition. Withthis in mind, it is a pity that the J. K. Tyl Theatrein Plzeň (much like the State Opera in Prague, inthe 2000 production directed by David Pountney)resorted to deletions and transformed a comicopera in three acts into a performance in twoparts. Of course, in this new form the dramatur -gical concept of the whole, as Martinů intended it,is rather distorted. On the other hand, this moveis quite understandable on the part of a contem -porary theatre, with its objective being to keepthe audience enter tained throughout the per -form ance. And indeed, the form chosen by the

The Soldier and the Dancer is a distinctiveexample of his integration of these influenceswithin the setting of a three-act comic opera.In tandem with the librettist Jan Löwenbach(nom de plume: J. L. Budín), Martinů strove toconceive a “new opera buffa”, yet the fruit ofhis labour was misconstrued by contemporarycritics, who, following its 1928 premiere in Brno,often labelled the opera a “revue”. This histori -cal background is essential for the properunderstanding of every new staging. The operacan, of course, be perceived as a madcap revuefrom the “roaring twenties”, one made up ofvariegated musical numbers and blendingPlautus’s comedy Pseudolus with numerousalienating moments and new charac ters.

/ EVA VELICKÁ

THE PRODUCTION of Bohuslav Martinů’sThe Soldier and the Dancer that opened on25 January 2014 at the J. K. Tyl Theatre in Plzeňis a major contribution to the Year of CzechMusic 2014, not only because the work is per -formed rarely indeed, but because it is the veryfirst of the composer’s sixteen operas. Accord -ingly, The Soldier and the Dancer (1926–27)marked the start of Martinů’s long journey insearch of an ideal operatic form. The piece wascreated in the first years of the composer’stime in Paris and the works dating from thisperiod reveal his endeavour to reflect variouscontemporary musical trends and influences.


bohuslav martinů’s soldier

the soldier and the dancer in plzeň

The opera is a real treat for all those con -cerned – the conductor and stage directorin particular! Yet the quick-fire alternation ofvarious styles presents quite a challenge.Such an “operatic form” has to be laid out ona “tabula rasa”, without the burden of anyconventions. Working on Martinů’s opera maybe entertaining, but it is a very tough nut tocrack. The staging team at the J. K. Tyl Theatrein Plzeň, however, could fully rely on the abilityof the conductor and composer Petr Kofroňto negotiate the variegated progression ofmusical styles with the utmost certainty,

clearly drawing on his long-term training in andexperience of contemporary music. Everyonecould depend on his precise, almost militarilyfirm gestures, as well as his ever-present senseof humour, which undoubtedly serves as thebasis for his unswerving stylistic-creative senseeven in music as diverse and rhythmicallycomplex as this Martinů piece. The youngstage director Tomáš Pilař, too, has found inThe Soldier and the Dancer an ideal artwork toshowcase his talents, and it would seem thathe had no serious problem coming up withan original concept for the production. If he

surmised that The Soldier and the Dancer ischaracterised by the supernatural, he haschosen to express this with the principle ofthe magic box that can contain everythingcontained in the opera, and much more too.Pilař spiced up the Budín-Martinů cocktail witha dash of Hans Christian Andersen’s fairy taleThe Shepherdess and the Chimney Sweep, andcompressed it into a story narrated by theDirector, who brings onto the stage a little casefrom which he draws out the puppet of Punch-Pseudolus, whose marionette-like movements

Plzeň team does succeed in this respect. Theopera production, directed by Tomáš Pilař andconducted by Petr Kofroň, primarily serves toentertain the audience, while presenting thequite unex pected traits of Martinů’s operaticlanguage.

Beside the use of traditional operatic tech -niques (often in parodied form), manifestationsof dance music and the influence of the jazz-band prove to be salient features of the work.Both the choir and the soloists acquittedthemselves of this difficult task with aplomb.Especially praiseworthy was the performanceof Jiří Hájek, portraying the lead character, theservant Pseudolus, who is the motivating forcebehind the entire action and who has to “pullthe strings” as well as sing with the crowd.Extremely interesting and truly forceful was thetreatment of one of the opera’s most effective

numbers, containing the song “When I dancedin Arcadia”, sung by the female lead, DancerFenicie. This song subsequently “degenerates”into a wild Charleston, including the BlackWoman’s coloraturas. In the performanceI attended, the original coloraturas set byMartinů were replaced by jazz improvisationsdelivered by a non-opera singer (the renownedsinger Dasha) clad in a costume made frombananas. This solution, together with numerousother details in the musical execution and stagedirection, reveals that the staging teampurposefully opted for this “playful” strategy,which is one of the possible, and relatively well-functioning, keys to the work’s apprehension.The only really disputable aspects are theframework of the production as a whole –a “dream” dreamt by the Old Man/Director –and the conception of the character of

Pseudolus as Puppet-Jester-Punch (with a wiresticking out of his head). These two aspectsdo not always make sense; I actually considerthem redundant. Yet otherwise everything isharmonised into an impressive visual whole –in part fairy-tale, in part influenced by 1920sdesign – made up of a motley mosaic of ideas(splendid ballet numbers, witty use of, forinstance, a picture with Martinů’s photographon the stage, Mrs. Malina’s costume conceivedas a cup of coffee with cream, striking lightingdesign, etc.). The new Plzeň production hasproved that Bohuslav Martinů’s first opera isa truly alluring work, one that invites a numberof possible inter pre ta tions and, most signifi -cantly, is able to entertain and delight theaudience. ❚

(Review of the performance on 23 May 2014)


and dancer

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phony orchestra, he knew no more about Czechmusic than most musicians do. Yet when hebegan collaborating with Czech musicians thischanged, and today Mr Piper has a truly remark -able grasp of the Czech music scene. He foundeda non-profit association whose aim it is to presentCzech music in Luxembourg, yet it pursues otheractivities too… Mr Piper co-finances recordings ofCzech music; until recently, he organised summercourses for amateur musicians in the CzechRepub lic with Czech tutors, and he has alsoplayed a major role in the publication of a Czech-English music dictionary. He was the main repre -sentative of the large-scale international MartinůRevisited project in Luxembourg in 2009. Mr Piperis or has been a member of a number of Czechmusic societies; until recently he was a memberof the Board of the International Martinů Circle,and his name is familiar among Czech musicians.

CONCERTS GALORE

As everyone who has ever worked in this areais well aware, organising concerts requires anenormous amount of effort and work, which maynot always be visible but still has to be done.It requires not only time, but also persistence,enthusiasm and diplomacy. Geoff Piper onlyinvites artists he knows personally to perform atconcerts. MusicEnterprise repre sents a number ofthem in Luxembourg: Jitka Čechová, the SmetanaTrio, Miroslav Sekera, the Kaprálová Quartet andother distinguished figures. The MusicEnterprisewebsite even contains brief and apposite refer -ences to other musicians and ensembles, as wellas the Czech institutions and publishers thathave proved to serve well for other organisers

/ MARTINA FIALKOVÁ

ALMOST 40 YEARS ago Geoff Piper, a mild-mannered English gentleman,settled in Luxembourg, where he workedas a translator. His wife, a nativeLuxembourger, also earned her living throughlanguages, which is quite common inthe country. Geoff Piper worked for theCommission of the European Communities asa translator from French and German. Today,the retired couple live in a nice small houseamidst greenery near the Czech Embassy.Yet Geoff Piper, an amateur cellist andpianist with a great passion for Czech music,owing to which he even decided to retireearly, is by no means taking it easy. Foralmost two decades he has devoted a greatdeal of time, energy, as well as money, toorganising musical events and promotingCzech music, with Bohuslav Martinů’s legacybeing one of his core activities. By meansof this article, we would like to extend ourthanks for his long-time work as a memberof the Board of the International MartinůCircle.

What was the initial impulse that led GeoffPiper to Czech music? Back in 2007, in his firstinterview for Czech Dialogue magazine, he said:“In 1995 Luxembourg was European City ofCulture. I was given a lot of money to organisesomething in the musical line and conceivedthe idea of inviting musicians from sevendifferent countries (Belgium, the Netherlands,Great Britain, Germany, France and, of course,Luxembourg). The last choice fell on the CzechRepublic. This was really a coincidence becauseI had no contacts there, but a friend who waslearning Czech arranged a meeting for me withMrs Benešová in the Rudolfinum. This ladyrecommended me a youth orchestra from themusic school of Prague 1; the teachers whocame to Luxembourg were Eva Bublová (violin),Martin Škampa (cello) and Martin Bally (piano).The orchestra played beautifully and one yearlater I invited these teachers to play inLuxembourg.”

Although by the time Geoff Piper had beenperforming for years with an amateur sym -


portrai

t Geoff Pipercan continuously imitate any characters,includ ing the chorus. Everyone has to be ableto act, sing, move, dance.

The sets, designed by Aleš Valášek, aretransformed and re-arranged as required butare located on a fold-out box, just like theDirector’s case – only far larger. It providesample space for anyone, and on top of it lives(mostly isolated from all the others) theDancer Fenicie – a white swan. Kalidor theSoldier’s task is to set the ballerina free. InMartinů’s piece itself various items sing, butin costumes, created by Ivana Mikloškováthese were joined by a coffee cup in whichMalina, the Soldier’s mother, dwells. The cos -tumes also underline the “woodenness” ofthe figures, mainly Kalidorus the little soldierand the central character of Punch-Pseudolus,while in other instances the designer high -lighted the historical nature of the attire ofthe Greek soldier Harpax (and Pseudolus’sfriend Aloisie in his costume) but undercut itby comically padding the actor’s biceps. Inthe respective passage, Fenicie and Kalidorusare doubled by a pair of ballet dancers. Danceplays a significant role throughout theproduction (choreography: Richard Ševčík).

The members of the staging team werenot daunted in the slightest by the myriadideas contained in this first opera of Martinů.As it should be, they united their creativealphabet with that of the composer andlibrettist, resulting in a performance repletewith wonderful musical and theatrical ideas.After seeing the production’s premiere(25 January 2014), it is difficult to judge eachindividual performance separately. I do,however, feel compelled to mention at leastthe impeccable singing, acting and dancingof Ivana Veberová (the Black Woman), as wellas the performance of Jaroslav Someš, por -traying the Critic and Moliére. Both serve asprime examples of what perfect stylisa tions(including the costumes, of course) can beattained under the guidance of a superlativedirector, conductor and designers. A bigthumbs-up to the staging team and to thePlzeň opera company! ❚

The review is reprinted from the Czech musicmagazine Harmonie, Issue 3, 2014, p. 45,

with their kind permission

AUTUMN 2014 PERFORMANCESJ. K. Tyl Theatre, Plzeň21 September – 7pm9 November – 7pm

/ continued from previous page

in Luxembourg. Geoff Piper, however, doesnot only promote concerts in Luxembourg,he has also financially supported small perform -ances and events organised by non-profitorganisations in the Czech Republic with whichhe has collaborated. A case in point is thisyear’s third edition of the mini cycle MusicWithout Borders, organised in Prague by theInternational Czech Club, which also featureda number of Martinů pieces. But there are manyothers who are obliged to Mr Piper for his help.Owing to him, several really nice chamberconcerts have taken place within the annualmeetings of the Board of the InternationalMartinů Circle, which afforded its foreignmembers the opportunity to get to knowthe artistry of superlative Czech musicians,including the clarinettist Ludmila Peterková,the pianist Ivo Kahánek, the baritone RomanJanál, and many others.

CD RECORDINGS

MusicEnterprise has sponsored a numberof CDs featuring Czech music as performedby Czech (and Slovak) artists and released inthe Czech Republic. These include recordingsproduced by Czech Radio and ArcoDiva.A unique position is occupied by a CD contain -ing Bohuslav Martinů’s cantata The Openingof the Wells, H 354, performed by the OstravaUniversity Choir. Under the guidance of JanSpisar, the chorus sings it in English (theexisting translation being slightly amended byGeoff Piper, the famous baritone solo beingentirely recast by Karel Janovický); Geoff Piperalso undertook the role of narrator. Yet the fulllist of recordings Geoff Piper has supportedis simply too long for the limited scope of thepresent article.

GRATIAS AGIT

As he began devoting himself to Czech music,Geoff Piper also started to study Czech. Asa professional translator with a good naturalsense for languages, he mastered its rudimentswithin a short time and is able to communicatein Czech. Mr Piper is also an ardent readerof magazines dedicated to Czech culture,

published either in English or Czech. At thisjuncture, we would like to thank Mr Piper forhis permanent support for Czech Dialoguemagazine, focused on Czechs and Czech cultureabroad. In 2009, he received the Gratias Agitaward for his selfless long-term promotion ofCzech culture abroad. The Czech Ministry ofForeign Affairs annually bestows the honouron Czech compatriots and foreigners whoseactivities help promote the good name of theCzech Republic abroad. Musicians who havereceived the award include Graham Melville-Mason, Vilém Tauský, Jaroslav Šonský, KarelJanovický, Antonín Tučapský, Magdalena Koženáand Serge Baudo.

Since receiving the award, Geoff Piper hasnot rested on his laurels and continues to workon behalf of Czech music. 2010 saw thepublication of the aforementioned new MusicDictionary, whose much desired Czech-Englishsection he co-created, as well as financiallysupported. The English-Czech version, compiledby Jan Spisar, was first issued in Ostrava backin 1996. At the same time, Ostrava hosted theEnglish-language world premiere of Martinů’scantata The Opening of the Wells, delivered bythe Ostrava University Choir, conducted byJan Spisar. The performance was captured onthe aforementioned recording (still availableat the Bohuslav Martinů Institute).

ALWAYS ON THE GO

Over the past few months, Geoff Piper, themezzo-soprano Eva Garajová and other artistshave been preparing a new music festival inthe Czech Republic, whose first edition is

scheduled to take place at the beautiful KarlovaStudánka spa. In the role of its honorarydirector, Mr Piper intends to provide supportto the finest Czech musicians. There is littledoubt that the festival’s inaugural edition willfeature numerous pieces by Bohuslav Martinů,whose anniversary we are celebrating withinthe current Year of Czech Music. Geoff Piperhas said of his relationship to Martinů: “AsI came to know his music better, I appreciatedit more and more; it was then that I joined theInter national Martinů Circle. When I think ofMartinů, I always think of the tower in Polička(I have climbed up it, though I should not liketo do so today!) and particularly the tickingof the clock. For me, no other composer hasa rhythmic drive to equal Martinů’s!”

MusicEnterprise continues to invite leadingCzech artists to Luxembourg. Czech music hasthus been performed at two romantic localchateaux, at concert halls of European institu -tions, and churches. And what are the audi -ences like? In one of his interviews, Geoff Piperput it as follows: “Demanding. The concertsare attended both by the locals and personsworking for EU institutions, who are used toseeing a plethora of Europe’s top musicians.”His faith in the quality of Czech music and itsperformers has also helped the young gener -ation to showcase their artistry and gainrecognition. And owing to Geoff Piper, BohuslavMartinů, too, has found many new admirers.

We are greatly indebted to Geoff Piper forhis indefatigable work. We wish him plenty ofsuccess in his further activities, satisfactionin his personal life and, last but not least, goodhealth. ❚


Geoff Piper with his wife

/ FRANK KUZNIK

TEN YEARS AGO Julia Fischer was in a CD shopin Vienna when she came across a recordingby Russian violinist David Oistrakh of BohuslavMartinů’s Sonata for Violin and Piano No. 3,H 303. She had never heard the piece before.When she played the disc, it was like a religiousexperience.

“I was immediately taken 100 percent by thepiece,” she said at a Prague Spring pressconference on Tuesday morning. It launchedher into an exploration of Martinů’s music,which turned out to be a perfect fit with herstyle and tastes.

“From the first second I heard this music, itseemed so natural,” she said. “ShostakovichI had to find out how to play. Martinů feels likethe most natural thing in the world.”

Fischer’s position as artist-in-residenceat this year’s festival gave her a chance toplay two Martinů works – the sonata withpiano accompanist Milana Černjavska onMonday night (26 May 2014), and thecomposer’s String Quartet No. 5, H 268,

with her string quartet on Tuesday night.For the audiences, it was a rare opportunityto hear the Czech composer played by a world-class artist who understands and cares abouthis work.

For the performer, it was an opportunity sheseldom gets. As an example of how difficult itcan be to program Martinů, Fischer offereda story about a concert several years ago at theThéâtre des Champs Elysées in Paris, where she

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Mendelssohn-Bartholdy’s three-movementSonata in F major, which was written at thesame time as his celebrated violin concerto andis closely akin to it. The composer, however,never published the sonata, and it brought tolight by Yehudi Menuhin only in 1953. Similarlyto his concerto, Mendelssohn’s typically bright,pellucid Romanticism with an almost Mozarteanairiness reveals his experience with the violin.The inter play between the pianist and theviolinist at the concert was ideal, as though allthe tones were led by a single, preciselyresponding nerve centre of one creative being.And this applied to the entire evening. AlthoughČernjavska was a little bit overshadowed by theglaring sparkle of Fischer, she too is a distinctstar.

Pablo de Sarasate means for the nineteenthcentury what Giuseppe Tartini means for the

fashionable theories, proving that in manyrespects, including in talent, ability and nature,people simply are not, and cannot be, equal.Precious few are as exceptionable as she is, yetshe should serve others as a source ofinspiration and hope for that which is possible.This was undoubtedly one of the reasons whyher Prague Spring festival audience wasa veritable display of Czech violinists. Well,I wouldn’t be at all surprised if some of thosevirtuosos present were to glue up their violincases with a quick grip adhesive and startearning their living by selling Fischer recordings.The concert was a true musical fairy tale. Thetwo magicians first conjured with Felix

/ PRAVOSLAV KOHOUT

THE VIOLINIST JULIA FISCHER and the pianistMilana Černjavska gave a recital of ineffabletranscendence and power at the Dvořák Hallof the Rudolfinum in Prague on 26 May 2014.Unless you possess the talent of the Czechpoet Seifert, Fischer’s artistry is difficultto describe. And writing a review of sucha phenomenon is just as absurd as trying tovoice your opinion of a kiss given by a beautifulgirl. At the very most, you can say “I wouldhave liked it to have gone on longer…” The JuliaFischer miracle contradicts the egalitariantheses championed by the advocates of


two stars enchant the rudolfinum

julia ≤scher

eighteenth. Both demonstrated new possi bili -ties in violin technique and composition, bothshifted the limits of performance requirements.Sarasate’s Danzas españolas, Op. 23, and CapriceBasque, Op. 24, are a dangerous balancing actencased in the fervent vivacity of Spanish

musicality, whose beauty can only be unveiledby brilliantly faultless overcoming of thetechnical pitfalls. And Julia Fischer did so witha natural lightness of breath. Tartini’s Sonatain G minor, “Le trille du diable”, is a delicacybeloved not only by violinists but painters andwriters too. Legend has it that the devil himselfplayed it to the composer in a dream, and thepiece places extreme technical demands evenon today’s musicians (also owing to Kreisler’scadenza). But perhaps not even Old Nick himselfcan play it in the manner it was delivered byFischer.

The highlight of the evening for me, however,was the performance of Bohuslav Martinů’sSonata for Violin and Piano No. 3, H 303. Theextensive, four-movement work is challengingnot only in its individual instrumental parts,but also, and above all, when it comes to the

understanding and comprehensible renditionof the contents of the multi-layered scoreas a whole. Yet Julia Fischer and MilanaČernjavska gave the impression of playinga single instrument, bringing forth from thepiece colours and shapes previously unthought-of. In their hands, the dreamily playful poetMartinů unexpectedly disclosed his manlyebullient side. I would implore the two ladiesto record this musical gem as soon as possible.Alongside Jiří Bělohlávek’s splendid accountof My Country, the concert given by Fischerand Černjavska was, in my opinion, clearly theclimax of this year’s Prague Spring festival. ❚

Reprinted from music journal Harmonie, No.6/2014,with their kind permission

informed the promoter that she wanted to playMartinů. “Go ahead,” he told her. “But I’m notgoing to put his name on the program. If I do,nobody will come.”

At her recital on Monday night in Prague,Fischer went so far as to rearrange the orderof the pieces – a last-minute changeannounced in an insert in the program book –so that she and Černjavska could play theMartinů sonata not second but last. “I wantedthe audience to leave the hall with the soundof Martinů in their ears,” she said.

Which was not exactly how things worked out.The audience was so taken with the women’s

playing that it called them back for threeencores, and left the hall with the sounds ofYsaÿe, Kreisler and Sarasate in their ears. Buttheir rendition of the Martinů sonata wasriveting, a virtuoso performance that was byturns dramatic, impressionistic, humorous andvividly colorful in the work’s final, jazzymovement.

The Tuesday concert offered an impressivedisplay of versatility, with Fischer playing firstviolin in string quartets by Beethoven andMartinů, and piano in Dvořák’s Piano Quintetin A major. Her keyboard work was lyricaland graceful, and her ensemble’s light, brisktreatment of Beethoven’s String Quartet No. 4was elegant and finely detailed. Martinů,however, was once again the centerpiece ofthe concert, with the quartet playing a fierce,driving version of his String Quartet No. 5,skillfully accentuating its dissonances andpercussive effects.

There was another reason Fischer programmedso much Martinů this week: She is makinga film about the composer with Brian Large,and needs to start taping performances of his

work. She is planning to shoot part of the filmin Polička, his birthplace, and will return toPrague in March next year to perform his ViolinConcerto No. 2, H 293, with the CzechPhilharmonic.

If Fischer had an epiphany when she discoveredMartinů’s music, then apparently her conversionwas total. In discussing her reasons for makingthe film, she was quite clear about her goal:“I want to show people that he was one of thegreatest composers of the 20th century.” ❚

EXCLUSIVE INTERVIEWS with Julia Fischer (in English) can be heard here:www.festival.cz/en/news_detail/julia_fischer_exclusive_interviews

The performance of Violin Concerto No. 2, H 293,by Julia Fischer with Czech Philharmonicwill take place at Rudolfinum in Prague on11, 12 & 13 March 2015.


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cited 20 May 1955 as the date of the first performance.A subsequent trawl of relevant American pressnotices established that the Hunter College OperaAssociation had performed the work on that date inNew York as part of a triple bill of new works byMartinů, Tcherepnin and Meyerowitz. The supportingorchestra was directed by Francois Jaroschy. Althoughannounced as the New York premiere, it appears tohave been the first realisation of the opera withorchestral support and as such, effectively, a world

premiere. The performance took place at the HunterCollege Playhouse. It was not televised or broadcastand there is no extant recording.

The new work attracted some positive reviews.Howard Taubman (NY Times) remarked on its mood"overflowing with melodic and rhythmic feeling evok -ing the composer's home land"; but he was critical ofan over-robust approach on the part of the conductor

listed a performance in New York City in May 1953.Halbreich (1968 & 2007) endorsed the date andindicated that it was a tele vision production.The opera was allocated Halbreich's catalogueNo. H 336. The Marriage being desig nated as H 341.Both works were published by Boosey & Hawkesin 1953.

An extensive search of contemporary noticesin the American musical press failed to identifyany performance of What Men Live By in May 1953.

Additionally, Boosey &Hawkes have kindlyproduced copies ofsome internal corre -spondence dating fromApril-June 1953 whichindicates their inten -tion to publish thescore in the latter partof 1953. The correspon -dence relates to owner -ship of the copyrightof the translated text.

It was alreadyknown that there hadbeen a staging of thework the following yearduring the annualNational Music Camp atInterlochen organisedby the University ofMichigan. Furtherenquiries established that this had been a small-scale student workshop production with pianoaccompaniment in lieu of an orchestra. It was billedas the American premiere and took place on1 August 1954 at the little Grunow Theater whichhad an audience capacity of no more than 250.

At this stage of my enquiries I chanced on a 1994edition of Baker's Concise Musical Guide which

/ GREGORY TERIAN

AS ANNOUNCED in the previous issue of the Revueand also in this issue on the page 2, there is to bea concert performance of Martinů’s chamber operaWhat Men Live By, H 336, during the festivalBohuslav Martinů Days in Prague in December 2014.

Fifty-five years have elapsed since the com poser'sdeath and one would have expected all his matureworks to have been committed to disc by now.

Surprisingly, a few outstanding gaps in the recordedrepertoire remain, the pastoral opera being one ofthem. In 2007 Supraphon planned to record thework coupled with The Strangler, H 317, a balletscore from 1948 (also unrecorded), but the projectwas abandoned.

The year 1951 saw the advent of the televi sionopera. The outstanding success of Menotti's Amahland the Night Visitors led other composers to engagewith the new medium. It coincided with a vogue inone-act chamber operas, the format being popularwith opera workshops, particularly in America.

What Men Live By was completed in early 1952.It was based on a fable by Tolstoy about a cobbler'sdream of a visitation by Christ and related happen -ings. The English language text was devised by thecomposer himself. Of approximately 40 minutesduration, it was planned as a companion piece forThe Marriage, H 341, which followed shortly after.Both were con ceived in the wake of a successfultheatre adaptation of the Comedy on the Bridge,H 247, origi nally composed for radio back in 1935.In an article by Ross Parmenter published in theNew York Times on 13 April 1952 the composeroutlined the circum stances leading to the creationof the new work.

Whereas The Marriage achieved an early pro -duction by NBC Television on 7 February 1953,performance details relating to What Men Live Byhave remained obscure. Šafránek's 1964 biography


y Interlochen, Grunow Theatre: Programme of the premiere, 1954

Scene from the American premiere of What Men Live By at the compact GrunowTheatre. Interlochen, home of an annual student arts camp, is a picturesque smalltown situated between two inland lakes near upper Lake Michigan.

reproduced courtesy of the interlochen center for the arts

what men live by

By in Brno using a Czech text with piano accompa -ni ment. In a letter to Zouhar dated 11 March 1956,the composer set out his vision of the work alongwith perform ance suggestions:

"Many thanks for your letter and all the kind newsabout your endeavours to pro mote Martinů.

It gives me great pleasure. I am interested in youridea of promoting Tolstoy. It could be per formed ina concert version with piano. It actually concernsa type of old play called Miracle, religious and at thesame time folk plays that can be per formed anywhere,in fact it is not a theatre play as such, it is static andsomething like the legend of Dorothy.

My own and main condition is that it must not beplayed "pathetically" but joyfully. That is why it iscalled opera-pastoral. The text tends a lot to be veryserious and "deep" but that was not my plan. For meit is a rather cheerful work and the listener mustnot feel a religious-like moral but joy. The moral isprecisely in joy…

With regard to the concert direction aspect, I thinkthat the piece should actually be per formed on stagewithout scenery … the actors would not act but singand reduce gestures to the most essential…

The small chorus would be somewhere on stage.As regards costumes, I think they should be everyday"civvies", i.e not in dinner jacket, but neither somehowcostumed. This is also explained in the text by thespeaker. So that is maybe everything I would want"

Initially it seemed that Martinů's aspirations forhis new chamber opera would be realised. It wasstaged by a number of American colleges and

universities. With the passage of time, however,interest waned and performances became fewand far between. In Czecho slovakia there wereproductions by the opera houses at Plzeň (1964/65)and Brno (1974/75 & 1989/90) using a Czech textbut no record ings appear to have survived.

With artists of the calibre of Jiří Bělohlávek andthe Czech Philharmonic and with an all-Czech cast,the forthcoming festival perform ances in Praguewill present a rare opportunity of hearing the origi -

nal English language version for the first time inmany years, in perform ances of unmatched quality.

With a world premiere recording to follow, allMartinů enthusiasts will soon be able to experiencethe spirit of joy which the composer sought tocreate in his unique vision of a pastoral opera. ❚

The author wishes to acknowledge assistancefrom the following:Karl Miller, Byron Hanson, Interlochen Arts Centerarchivist, Professor Julio Hernandez-Delgadoand Maria Enaboifo, Hunter College Libraries,City University of New York (archive & specialcollections), David Allenby, Boosey & Hawkes,London, Zoja Seyčková, Bohuslav Martinů Institute,Prague


Hunter College Theatre: Programme of the performance

/a rare revival ofmartinů's 1952 pastoral opera

Marvin Snow and Oscar Schlegel, two of the castas they appeared on stage for the premiere ofWhat Men Live By at the Hunter College Theatre.With an audience capacity of 780, the theatre hashosted significant musical events in New York City

and hoped that the volume would be toned downin later performances! In passing, it should be notedthat Jaroschy was born in Prague and was a productof the Prague Conservatoire where he had studiedwith Zemlinsky. An impres sive CV listed perform -ances with Radio Prague and the Berlin State Operaand he was credited with introducing Janáček'sJenůfa to Paris audiences after the war.

The following year Martinů's friend ZdeněkZouhar instigated a performance of What Men Live

Performance in Plzeň, 1964: Karel Křemenák – Avdějič, Jiří Berdych – old pilgrim, Karel Klátil Jr. – a little boy photo věra caltová

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not know whether she represents reality orfiction. Hyoyong Kim, portraying Michel, rendershis great role with the utmost mastery,particularly in terms of his vocal performance.(…)

/ UTE SCHALZ-LAURENZE

www.nmz.de/online/mit-den-traeumen-auf-der-suche-nach-der-realitaet-und-umgekehrt-bohuslav-martinus-oper-juliette

Juliette Theater BremenClemens Heil (Conductor) John Fulljames (Director)Premiere: 29 March 2014

which the audience is gradually drawn too.And in Act 3, in the office of dreams, wheredreams are ordered and sold and wheresuddenly everyone is looking for Juliette, Michelno longer knows whether he still wants to goback. All of a sudden, he hears someindescribably beautiful music, like in paradise.The whole story can thus begin anew. (…)

The creative team, made up of John Fulljames(stage direction), Johanna Pfau (set design), andWilliam Galloway and Joachim Grindel (lightingdesign, which played an especially significantrole in the production), has succeeded inevoking the dreamy world in the form of aneerily illuminated hotel. The body language ofthe performers is splendidly ambiguous:especially impressive is Nadja Stefanoff asJuliette. Until the very end, the audience does

THE SEARCH FOR REALITY IN DREAMSAND VICE VERSA – MARTINŮ’S OPERA“JULIETTE” AT THE THEATER BREMEN

Premiered in Prague in 1938 and seldom stagedsince then, “Juliette” occupies an entirelysingular aesthetic position in the history ofopera: progress in music, whatever we maymean by it, was not exactly Martinů’s forte.Yet his musical phraseology is replete withcolourful consonances, surprisingconfigurations and combinations ofinstruments. Martinů engages the accordion

and solo piano, combining this seemingheterogeneity into monumental orchestraleruptions, reckoning with spatial perspective.At this juncture, we feel obliged to complimentthe Bremer Philharmoniker under the baton ofClemens Heil, who brilliantly combined theindividual sonic layers, while at the same timekeeping them transparent. In the Germanpremiere of the opera’s French version, Heil hasleft an imposing artistic footprint. (…)

The story of the bookseller Michel, who seekshis beloved in a town in southern France andduly ascertains that its inhabitants have noconception of time and lack memory, ischaracterised in John Fulljames’s productionby the comical as well as the ominous – bothcentral motifs of a dream. Michel becomes lessand less certain of being just in a dream, into

The premiere of the opera Juliette, H 253, in the Theatre Bremenwas a success. We present some excerpts from the review in theNeue Musikzeitung Online.

review

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SELDOM PERFORMED OPERA STAGEDIN MUNICH FOR THE FIRST TIME

The Czech composer Bohuslav Martinů basedthe libretto of his 1953 comic opera Mirandolinaon Carlo Goldoni’s comedy La locandiera. Althoughcompleted some 60 years ago, the work was onlypremiered in Germany recently, at the Stadt -theater Gießen. In April, Mirandolina was firststaged at the Bayerische Staatsoper in Munich.

The director of the production, ChristianStückl, Artistic Director of Munich’s Volksoper,seemed to be less interested in the subjectof Goldoni’s play than in showcasing youngsingers from the Opernstudio, which trainstalent from all over the world. (…)

The young British-Russian conductorAlexander Prior, who has been pursuinga sensational international career, is evidentlyfond of Martinů’s opera, a blend of modern20th-century music, Czech symphonismand folk songs, French Impressionism andStravinskian Neo-Classicism, which gives riseto utterly new sound colours. (…)

/ BAYERISCHER RUNDFUNK

www.br.de/radio/br-klassik/sendungen/allegro/martinu-mirandolina-opernstudio-bayerische-staatsoper100.html

THE COMIC OPERA MIRANDOLINAIN BRIGHT, FANCY COLOURS!

The stage director Christian Stückl set BohuslavMartinů’s comic opera in the present day,transferring the action to a holiday paradisesomewhere in Asia. This paradise, however,occasionally turns into hell.

The glaring yellow programme hurts the eyes, as does the multi-coloured stage at the

Cuvilliés-Theater, with the sets being designedin the same bright yellow and sharplyilluminated. When the first protagonists appearin fancy costumes, it becomes clear that thisis the work of none other than Christian Stückland the designer Stefan Hageneier. Stückl’spenchant for the spectacular and zany fits wellwith this light opera.

(…) Bohuslav Martinů wrote the librettoto Mirandolina himself, on the basis of CarloGoldoni’s comedy. The heroine inherits an innand is immediately courted by several suitors,but she ultimately sets her sights on theCavaliere di Ripafrata, who, however, is notoverly interested in women. Mirandolina endsup marrying her servant.

Bohuslav Martinů accompanied the comicsketches and turbulent action with energetic

music, recalling Rossini, yet lacking orchestralcoloratura. The vocally exaggerated sense ofaffect often used by Rossini is absent too,with the parts being easy to sing. Here andthere, we can hear Bartókian dissonances inthe orchestra. (…)

All the singers (members of the Opernstudioder Bayerischen Staatsoper) appearing in theproduction are new on the “market”. Vocallyequal to Mirandolina are Joshua Stewarts inthe role of the “Conte” and Andrea Borghini,with her powerfully sonorous voice, as the“Cavaliere”. The audience at the intimateCuvilliés-Theater did not want the performersto leave the stage. Which of these youngsingers, we wonder, will be the first to be seenat one of the grand opera houses?

/ JÖRN FLORIAN FUCHS – DEUTSCHLANDFUNK

www.deutschlandfunk.de/opernkomoedie-mirandolina-alles-so-schoen-bunt-hier.691.de.html?dram:article_id=284160

Mirandolina Cuvilliés-Theater, MünchenOpernstudio der Bayerischen StaatsoperChristian Stückl (Director)Alexander Prior (Conductor)Premiere: 30 April 2014

Mirandolina in Munich


On 30 April 2014, a new production of Martinů’s opera Mirandolina waspremiered in Munich. We have selected a few press and radio reviews.

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< R. Wilson (Deianira), J. Stewart (Conte), M. Grills(Fabrizio), Y. Sokolik (Ortensia)

'WHAT COULD connect the two cities of Prague andAix en Provence?' This was the question that startedit all. When Tamás Besskó, English teacher at thePrimary School and Kindergarten, Prague 8-Ďáblice,wanted to create a two-year European Comeniusproject to connect his secondary school witha secondary school in France, little did he realizethat his idea would take him, naturally, to BohuslavMartinů, who would become a veritable bridgebetween these two cultures.

While it is well-known in the Czech Republicthat Martinů went to Paris in the 1920s wherehe discovered jazz and Stravinsky, his name wasmuch less known in France. “Initially I had neverheard of him,” admits Julia Fady, English teacherat the International section of the French partnerschool, Collège Mignet, in Aix en Provence. “It wasonly after reading the biography by Guy Erismannthat I realized how strong his connection was withFrance and Aix en Provence,” she adds.

Both teachers began the project by motivatingtheir students to find out more about Martinů and

the culture of their two countries. Tamás took hisstudents to the Martinů Institute and to Polička,while Julia's students visited the Martinů exhibitwhich had been borrowed by the University of Aix-Marseille from the Czech Embassy in Paris, gotin touch with the Czech lecturer for basic Czechlessons and started learning about Martinů's life.The International Martinů Circle in Paris (notablyPatrice Chevy) offered its advice, as did theMouvement Janáček.

To make the connection between the two citiesclearer, Julia also began working on writing an orig -inal theatre play with her students about the life ofMartinů, from Polička to Prague to Aix-en-Provence.

Finally, in July 2013, all 50 students met for thefirst time in Ďáblice where, for ten days, they workedtogether to create a little show for parents andfellow students. They performed their play, sangtheir songs, and some students even played someof Martinů's piano pieces. The show was a wonder -ful success, but the project was still only half-finished.

Next stop: Aix en Provence!The second half of the project was focused on Aix-

en-Provence. Because the connection was so strongbetween the two school groups, Julia invited a smallnumber of students and their teacher Tamás, to visitAix in October. They toured the town, saw the housewhere Martinů and Charlotte had lived in Aix (andwhere he had composed the Sinfonietta giocosa,H 282, among other works), and the city of Marseille,where, in 1940-41, Martinů was helped by numerous

other artists, notably the painter Rudolf Kundera andthe pianist Rudolf Firkušný, along with EdmondeCharles-Roux and the Countess Lily Pastré, to findtransit out of Vichy, France. Julia also showed themthe new Conservatoire de Musique Darius Milhaud(who was also a friend of Martinů and from Aix)where the group was scheduled to perform in June2014 along side the professional musicians of theConservatory.

“M. Jean-Philippe Dambreville, the Director ofthe Conservatory, originally wanted to perform theSinfonietta, because it had been written in Aix, but

project

On the other hand, dull, or ratherembarrassing, were the performancesgiven in the Legend by the flautistLenka Kozderková, the clarinettist JanPařík, the horn player Barbora Černáand the accordionist Josef Hřebík.Neither were the appearances of thesolo singers – Eliška Demel Trnová andLenka Bartošíková – highlights of theevening. The vocally interesting altoLudmila Hudečková, however, with hersecure intonation, presented herselfin a far better light. With displeasuredid I listen to the operatic style of thesoprano Pavla Vykopalová (in theRomance and the Legend), which wasat odds with Martinů’s inspired music.(I fondly recalled the stylistically and

vocally impeccable soprano Milada Čejková in PavelKühn’s 1980s performances.)

The effect of the cantata The Opening of the Springs,perfect in its simplicity, depends to a great degreeon the baritone and narrator. As has always been thecase, Zdeněk Hlávka, a choir member and occasionalsoloist, put everything into his singing; he was

where it would have fittedsplendidly, the concertmight have been betterattended.)

Although not everyaspect of the perform ancewas ideal, all in all it wasa remarkable experience.The choir and its artisticdirector, Lukáš Vasilek,deserve high praiseindeed, with many a detailin the phrasing andagogics being even moreinteresting than in thecase of the authoritativeinterpreters of Martinůcantatas, Jan Kühn andPavel Kühn (this applies particu larly to Mikeš). Anoutstanding performance was given in the Romanceand, above all, Mikeš by the tenor Martin Slavík,an invaluable asset of the PFS. Highly reliable wasthe sturdy support provided to the singers by theZemlinski Quartet (František Souček, Petr Střížek,Petr Holman) and the pianist Marcel Javorček.

/ LUBOŠ STEHLÍK

WHEN the Prague Philharmonic Choir (PFS) is atthe top of its game, its sound reminds me of thatof a romantic organ. I really looked forward to itsperformance of four Bohuslav Martinů cantatas(The Legend of the Smoke of Potato Fires,The Opening of the Springs, The Romance of theDandelions, Mikeš of the Mountains), with whichthe ensemble paid tribute to the composer’s nativeVysočina region. The cantatas have been deliveredseparately quite frequently, yet I had not heardthem all together on a single occasion. Regrettably,on 5 June, during the third concert of the PraguePhilharmonic Choir cycle, the Dvořák Hall of theRudolfinum was only half-full. (Perhaps if theproject had been part of the Prague Spring festival,


four martinůcantatas

what could connect the two citiesbohuslav martinů: a bridge between two cultures


convincing and it was a joy to listen to him, yetsadly it must be acknowledged that his voice nolonger possesses the qualities it did 20 years ago.A surprising disappointment, however, was thenarrator Petr Štěpánek. Even though I would havebeen able to get over the fact that his eyes werevirtually glued to the score (which certainlylooked fairly silly), by no means could I forgivehis sloppy pronunciation, intonation, wrong accents and tectonics of performance. I can’t seeanyone around today who could compete on thesame level as the beautiful creations of RadovanLukavský and Václav Voska.

The described shortcomings notwithstand ing,the Prague Philharmonic Choir’s final con certof the 2013/14 season was a resounding success.The choir continues to maintain its top inter -national level and its choral cycle is a fundamentalcontribution to the Prague music season. We canonly have to hope that the PFS will have enoughmoney, given the parlous situation in the CzechRepublic, to continue its unique series! ❚

Reprinted from the Czech musical magazine Harmonie No. 7 /2014 with their kind permission

realized it would be too long to prepare, so optedfor the wonderful La revue de cuisine, H 161,” Juliaexplains. Meanwhile, the project had expandedto include two more classes at Collège Mignet and8 more songs by Martinů!

In June 2014, the whole group came togetheronce more in Aix-en-Provence. The project nowconsisted of 140 students and 7 professional musi -cians! The performance was scheduled for the20th of June in the Auditorium of the Conservatory.The house was full, the lights dimmed and… themagic began…

in Czech: The Blacksmith and Children’s Riddles,H 373. Two of the Czech students sing profes sion -ally in the opera choir in Prague and added anelegant lyricism to Martinů's music.

Next, the French students sang four songsin English: Four Songs on Czech Folk Poetry,H 282bis, which had been written in Aix forEdmonde Charles-Roux, whose father was theformer ambassador in Prague and who helpedBohuslav and Charlotte during their stay.

The third part of the show was sung in Frenchby the Collège Mignet-Conservatory choir. Theysang a capella Songs for a Children’s Choir, H 373,then the magnificent part 7 of Bouquet of Flowers,H 260: A Carol.

The performance ended with the chamberorchestra of the Darius Milhaud Conservatorydirected by Jean-Philippe Dambreville and thevirtuoso La revue de cuisine, H 161.

The last part of the project was the placing ofa commemorative plaque on the building whereMartinů lived in Aix. “I wanted to have somethingpermanent which would always be part of Aix,”Julia explains. Unfortunately the Czech studentshad already returned to Prague, but a lasting traceof this project was put up officially on the 3rd of Julywith the owners, the principal of Collège Mignet,the young actors and their teacher all celebratingBohuslav Martinů!

Above all this project introduced a new genera -tion to Martinů's music and has genuinelyconnected two cultures. Martinů is a true bridgebetween France and the Czech Republic andwe hope the relationship will be long-lasting!Many thanks to the European Lifelong Learningprogramme for funding this wonderful project.

/ JULIA FADY-WELTERLEN

of prague and aix en provence/ a bi-lateral european comenius project

The show opened with a play in English: studentsneed to write a report about Bohuslav Martinůand have come together in a library to work. Eachbegins by sharing what he or she knows, and thescene changes to the bell tower. We see Martinů'sfamily casually chatting, when suddenly the musicteacher arrives to give young Martinů a violinlesson. The violin solo from Three Riders, H 1, fillsthe air, while the actor mimes playing the violin.The music teacher shakes her head, astounded bythis young virtuoso and the scene changes to thevillage of Polička. The villagers wonder how to sendpoor but talented Martinů to the Conservatory inPrague. All the villagers finally decide to contributeto help send him and he is warmly sent off toPrague. Now we are in the Conservatory and hearthe beautiful strains of Nipponari: Footsteps in theSnow, H 68. Unfortunately, it is only a dream andMartinů is being chastised by his professor becausehe has not been practising. He is then thrown out ofthe Con servatory for “incorrigible negligence” andwalks slowly off stage to the music of the Moderatofrom the String Quartet, H 117. The students returnto comment on what has happened to him and takeus to Paris where Martinů is just taking a seat at theMedrano Circus. Here he meets Charlotte and theyfall in love accompanied by the Andante from StringQuartet No. 7, H 314. But World War II has brokenout and the couple must leave Paris. They rush tothe train station amid the dramatic sounds of thePoco allegro of the Double Concerto, H 271, to finda ticket out. Their only hope: south, towards Aixen Provence! The play ends with the couple leavingFrance and heading to the United States, whereMartinů becomes a world-renowned composer.The music of the Sinfonietta giocosa, H 282,sounds and all the young actors come on stage fortheir bows to the audience.

The next part of the show was performed by theCzech students, who sang two songs beautifully

ballets but of the chamber cantatas to textsby Miloslav Bureš (1909–1968): The Legend ofthe Smoke from Potato Fires, H 360, and Mikešof the Mountains, H 375. The reason whyNosek acquired photocopies of these worksin particular, whether for the sake of studyor intended performance, is not clear.

The photocopy of the score of Mikeš ofthe Mountains was made from the autograph,which is now deposited at the Bohuslav MartinůCentre in Polička under shelf-mark Ag 312.Its discovery, however, does not representany considerable progress as to the sourcesituation relating to this piece.

Totally different is the case of the Legendof the Smoke from Potato Fires. The copyist’smanu script from which the photocopy discov -ered in Nosek’s personal effects was madehailed from the Czech Music Fund. To date,the original manuscript has not been found, norhas the copyist who made it been identified.Accordingly, Nosek’s photocopy is currentlythe one and only item of proof documentingthe existence of this unknown source.

Closer examination of the photocopy of theLegend’s manuscript has given rise to severalquestions concerning the determination of theauthor of the inscriptions made in pencil in theoriginal. Owing to Mrs. Jana Šulcová, daughterof Jan Kühn (1891–1958), who conductedthe cantata’s 1957 world premiere in Prague,we have identified one of the manuscripts.It belonged to Kühn’s wife, the Czech chorusmaster Markéta Kühnová (1905–1994), andmainly contains performance instructionsand notes.

These circumstances appear to be of majorimportance for the composition’s new criticaledition, since we have yet to find the scoreused by Kühn for its Prague premiere, ashas been confirmed by Vít Zouhar, editor ofthe volume of chamber cantatas within theBohuslav Martinů Complete Edition.

“Homo […] fugit velut umbra, et numquamin eodem statu permanet.” These are the wordsof a legend much older than that of Martinůand Bureš. Yes, a human vanishes like a shadow,does not last for ever, just like the smoke frompotato fires. But one such has remained for us.Thank you, Mr. Nosek. ❚

In light of the intensity with which Nosekdevoted himself to Martinů, it comes as nosurprise that, in addition to the aforementionedprogrammes containing notes on the produc -tions of the composer’s works, his personaleffects deposited at the Department of MusicHistory also include two Martinů scores. What,however, is surprising is the fact that they arenot period photocopies of scores of operas or

/ PAVEL ŽŮREK

LAST YEAR, while seeking out musical sourcesfor the Bohuslav Martinů Complete Critical Edi tion, a period photocopy of a previously un known copyist’s manuscript of the Legendof the Smoke from Potato Fires, H 360, was

discovered amongVáclav Nosek’spersonal effects.

The Czechconductor anddramaturgeVáclav Nosek(1921–2000) andhis significancein pro motingBohuslav Martinů’sœuvre and legacy,not only within the

context of Czech musical culture, need nofurther introduction. His long-term andunceasing interest in Martinů’s music dramasand ballets lasted from the early 1950s, whenhe joined the National Theatre in Brno, until hisdeath. Nosek’s relentless and continu ousendeavours culminated in several worldpremieres of Martinů works in Brno, includingLarmes de couteau (Tears of the Knife), H 169;Le trois souhaits (The Three Wishes), H 175;Plainte contre inconnu (Accusation Against theUnknown), H 344; and the ballet On tourne,H 163.

Part of Nosek’s personal effects is currentlydeposited at the Moravian Museum in Brnoand the effects relating to music, filed in theDepartment of Music History, have yet to beprocessed. They contain period copies andcopyist’s manuscripts of scores of works bymainly 20th-century composers which Nosekperformed or explored. Bearing witness to hisanalytical aptitude and giving insight into hiscreative thinking is a set of programmes foropera and ballet productions staged at theNational Theatre in Brno into which Noseknoted down his reflections from the perform -ances. Other materials and papers pertainingto Nosek and his work can be found in theMoravian Museum’s Department of TheatreHistory.


resear

ch the legend of the smoke from potato firesor martinů in nosek’s personal effects

THE POLIČKA MUSEUM collections contain a small groupof about 30 musical instruments. These include a specialrarity: the guitar occasionally played by BohuslavMartinů.

After World War I, an informal student associationcalled “Guitar” was established in Polička and organisedmusical parties in the local pubs. At the time, Martinůwas giving private music lessons in his native town.One of the members of the association, Václav Lichtág,recalls his teacher: “He would often join us students andaccompany our vocal performances, either in the Jílek hotel,where a piano was available in the back room, or in summerin the U Slezáků open-air restaurant, on the guitar.”In 1983, Lichtág and Karel Sommer, the last survivingmembers of the association, donated the guitar to thePolička Museum. Martinů dedicated a piano miniature,“A Parade of the Guitar”, to the student club, yet it is notknown whether it has ever been performed.

/ LUCIE JIRGLOVÁ

BOHUSLAV MARTINŮ FOR SALEBUY / publications, brochures, sheet music and other promotional materials relating to Bohuslav Martinů can be purchased via a new e-shop.

OBTAIN INFORMATION / The e-shop also serves as an information server.We will help you to find products that are not currently on our catalogue.

EF jkMnCA http://eshop.martinu.cz

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< A Parade of the Guitar, H 125bis, the autograph scoreof the 1920 piano piece “composed and dedicated tothe Guitar association by its esteemed member, the music reporter Bogun Martinů.”

BOHUSLAV MARTINŮ Sonata No. 2 for Cello and Piano, H 286 / Bohuslav Martinů Days 2012Václav Petr – cello Alena Kohoutová – piano

join the international martinů circleyou will receive

three issues of martinů revue magazine& an unique cd bohuslav martinů days 2012with these recordings:

See www.martinu.cz International Martinů Circle section for information about IMC CD recordings and Martinů Revue from previous years.e-mail [email protected] + 420 257 320 076mobile + 420 773 656 586www.facebook.com/InternationalMartinuCircle

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Jan Novák / Choral WorksMartinů Voices,

chorusmaster Lukáš VasilekClara Nováková – traverse flute,

Jan Vobořil, Petr Hernych, Kateřina Javůrková,

Zdeněk Vašina – French horn

BOHUSLAV MARTINŮ Symphony No. 5, H 310/ Historical recording, 24 January 1948, New YorkNBC Symphony Orchestra Ernest Ansermet – conductor

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