notes to the catalogue | research by karla hartl

    Childhood compositions. | Agraf Nt.: 1. In the Realm of Myths: Noc, Prisery, Prichod rusalek, Rusalky tanci, Svita, Blesk, Boure, Smutek rusalky, Boure se vzdaluje, Vily pribehnou a tesi ji tancem. / Night, Monsters, Arrival of water nymphs, The water nymphs dance, Dawn, Lightning, Storm, A Water nymph's sorrow, The storm dies down, nymphs are running to her and try to cheer her up with dancing. 2. War: Cihani, Prepadeni, Rozptyleni nepritele, Na bojisti klid, Doznivani. / On a lookout, Storming the enemy lines, Scattering the enemy, Quiet on the battlefield, Subsiding. 4. The Harbour: Vlnky, Rozjizdejici se lod, Zpev lodniku, Doznivani v dali, Pristav opusten. / Small waves, A ship setting sail, Sailors sing..their voices subside in the distance, The harbour is deserted.
    Ms Nt.: Vitulka jela do Smokovce na rekreaci / Vitulka left for a recreation stay in Smokovec.

    Interview with Vitezslava Kapralova (fragment), in Czech. | Divka hudebni skladatelkou a dirigentkou. Rozhovor s Vitezslavou Kapralovou z Brna. Fragment. Zdroj neurcen, pravdepodobne magazin pro zeny (ca listopad 1936).
    "Drnkala jsem na klavir, sotva jsem nan dosahla, ale neznala jsem samozrejme noty. Nikdo se take nenamahal me je naucit. Tatinek byl ve valce, maminka vedla skolu a na mne nebylo kdy, zejmena, kdyz se jeste nevedelo, zda ze mne jednou opravdu neco muzikalniho muze byt. Tony jsem tehdy rozeznavala pouze sluchem, nu, a protoze jsem jinak nemela co hrat, komponovala jsem si leccos podle fantasie. Predevsim jsem zhudebnovala slysene vypraveni z pohadek, hlavne carodejnice a jine strasidelne zjevy. Sbirka se jmenuje "Z mych nejranejsich skladeb", je ovsem urcena pouze pro soukromi, nikoliv pro verejnost, ackoli jedna ze skladeb vysla dokonce tiskem - Na dalekou cestu.. Rozhodne si tyto vecicky prilis necenim. Hledim na to jako na prve pokusy, avsak nekdy se prece jen divim, ze se mi to uz tenkrat darilo. Jenze v nasem oboru neni clovek nikdy zcela spokojen, stale chce pokracovat a snad je to tak dobre. Slozim-li nejakou skladbu k me spokojenosti, tu mne to ovsem tesi, moc tesi, ale velmi brzy mi to uz nestaci a snazim se pracovat dale a lepe..."

    Pisne s orchestrem (Orchestral songs) | The collection is mentioned (for the first and only time) in a list of works that was attached to a curriculum vitae prepared by Kapralova at the request of Alois Haba for the 1938 ISCM Festival brochure. The list was sent to Haba in Kapralova's letter dated February 3, 1938. It is possible that the collection was one of the projects that Kapralova later abandoned, since it is never mentioned again in any of her correspondence and lists of works that followed. The collection might have also included the orchestral version of Kapralova's song Navzdy (For Ever) from the cycle of the same name. The orchestral version of Kapralova's Sbohem a satecek (Waving Farewell) was also likely intended for the collection, as Kapralova started orchestrating the song around the same time she had compiled the list for Haba. | © Karla Hartl, July 2006.

    Smyccovy kvartet, op. 8 | 1. Con brio. Po kratkem bourlivem uvodu 6 taktu nasleduje hlavni tema s rytmickym pruvodem, ktere konci zvukovou tesnou. Po dvojim uvedeni tematu nastupuje Meno mosso jako vedlejsi myslenka, pruhlednejsiho vyrazu, ktere vyustuje do scherzoviteho Vivace, zastupujiciho zaverecnou myslenku. Po teto exposici nasleduje provedeni, ktere prechazi do reprisy, obvykle stavby. 2. Lento. Ze soloveho tematu ve violoncele se rozvine ctyrhlas, jenz se brzo zuzi, aby pokracoval v hbitych prerusenich pizzikatovymi motivy az do nastupu zpevneho Cantabile. Po opetnych zvukovych tesnach nastupuje zakladni tema. 3. Allegro con variazioni. Tema 3/8 jest obmenovano v sedmi variacich, ponejvice zvukoveho a rytmickeho charakteru. | F.B., Rytmus, IV/9-10, April 1939, p.65.

    Three Pieces for Piano, op. 9. | Agraf Nt.: Slovutnemu prof. dr. Vlad. Helfertovi, hudebnimu spisovateli, dekanu filosoficke fakulty Masarykovy University venuje v hluboke ucte oddana V. Kapralova / To Prof. Dr. Vlad. Helfert, Dean of the Department of Philosophy, Masaryk University, music writer and a distinguished scholar, respectfully dedicates this work V. Kapralova.
    Originally several versions of passacaglia, included an instrumentated version, existed - it was the 2nd version that was published, after winning the Tempo competition among 24 works submitted.

    Ukolebavka. Jablko s klina, op. 10 | Ukolebavka v hudebni priloze Evy je komponovana pro stredni zensky hlas. Oznaceni tempa a prednesu: "klidne a proste", vystihuje charakter skladby, jiz vedle toho obestira take nadechem ticheho smutku a resignace. V dusledku toho nemohou byt dynamicke kontrasty prilis velike a vyrazovy vzruch musi se stlumit vzdy do zakladni nalady proste ukolebavky. / Vsechny osminy v hlavnim doprovodu, ktere jsou vazany obloucky, hraji se velmi jemne a lehce na rozdil od melodie, ktera je zpravidla nesena ve ctvrtkach a predpoklada ponekud vyraznejsi prednes, zvlaste ve stredni casti skladby a jejim zaveru. | Eva, 15.12.1936, IX/4, p. 25.

    Spring on the Meadows | The work's title was suggested by Kapralova's cousin Vera and her aunt Polda Uhlirova.

    Military Sinfonietta, op. 11 | Draft analysis by Kapralova: Vojenska symfonietta ..vznika pozvolna, dorustajic od prvnich naznaku hudebnich temat v kvetnu 1936, do konecneho tvaru orchestralni partitury v lednu 1937. Autorka v ni vyjadruje svuj citovy vztah k otazkam naseho statniho byti hudebni reci .. se sujetem, jehoz hroty miri primo do nitra dnesni doby .. Jadrem neni signal k boji, ale hudebne psychologicka kresba valky, vychazejici z mentality naseho chapani obrany toho, co je nam nejsvetejsi. Uz prvni zvuk maleho bubnu pred kratkym fanfarovym uvodem trompetovym.. pripravuje zakladni naladu dila. Utocne hlavni tema (v aiolske tonine) zazni nekolikrat se opakujic ve stalych obmenach, aby dorostlo nejvetsi intenzity a zlomilo se do vrouci vety zpevne s mekkym rytmickym zduraznenim. Zaverecne tema jeste vetsi merou akcentuje vybojny charakter skladby, stavic na britkosti kvartovych harmonii. Expozice konci. Pozvolna se vynoruje hluboky zpev kontrabasu a violoncel, ktery reprezentuje v Symfoniete volnou vetu a je prerusovan v dalsim svem prubehu rytmem tanecnim. Teprve po tomto strednim dilu skladby prichazi provedeni, zbudovane z uvedenych temat expozice v nejruznejsim charakterovem pojeti, vrcholicim v prozpevovani trumpet - radostnem kvartsextakordu F dur. Ve stejne afektove barve nastupuje repriza, pretavujic v podobu hlavni myslenky i vetu zpevnou. Ze zaverecneho tematu je ponechan jen interval kvarty, uplatnujici se v siroce zalozene kode, ktera vrcholi vybusnou gradaci celeho orchestru az k viteznemu a majestatnimu rozjasani poslednich tonu. | The final form of the Military Sinfonietta emerges gradually from the first musical themes in May 1936 into the full orchestral score in January 1937. In it the composer uses the language of music to express her emotional relationship towards the questions of national existence, a subject permeating the consciousness of the nation at the time. The composition does not represent a battle cry, but it depicts the psychological need to defend that which is most sacred to the nation. The mood is set at the very beginning by the sound of the small drum which precedes a short trumpet fanfare. The attacking main theme, in the Aeolian mode, is sounded in several repeated variations and reaches a climax which breaks into a tender singing theme gently accented by soft rhythms. The closing theme emphasises even more forcefully the combative character of the composition, building on the brittle harmonies of the fourths. As the exposition ends, the deep singing voices of the basses and cellos slowly emerge representing the slow movement whose progress is interrupted at intervals by a dance rhytm. In the middle part of the composition the execution of the theme built from the previous thematic material of the exposition culminates in the singing of the trumpets in the joyful fourth with the sixth over the root in F Major. The recapitulation continues in the same emotional tone, moulding even the song motif into the character of the main theme. The concluding theme retains only the interval of the fourth which is used in the broadly based coda, culminating in the explosive climax of the whole orchestra and the majestic and victorious exultation of the last notes. Courtesy of the Kapralova Estate. English translation © Leda Hatrick.

    Cs-Bm card catalogue: K slave bozi dokonceno dne 23.2.1937 o 12ti hod. v noci / To God's glory this was finished at midnight on 23.2.1937.) Compare with Kapralova's 1937 diary: orchestration from 4.1.1937 to 26.2.1937.

    The 1937 Diary. | Diary entry on 26.2.1937 [Fri]: Dokoncena instrumentace Symfoniety. Trvala 50 dni, z cehoz ale tri tydny lze nebrat na me lenoseni / It took me 50 days less three weeks that I idled away.

    "And than (the class with) Novak from 9 to 12! Once again, we corrected everything and, after the corrections were made, we decided to discard them too - and we were back to square one. Actually, he wanted to leave it as it was but I did not. It is a world upside down, isn't it. But I was able to persuade him that I would do another introduction and correct everything else. The orchestration should be done again - and frankly - everything should be done again! I do not remember anything that happened during those three hours, only that once it was he, the other time it was I who was shouting - but what, only God knows. I do remember something about Roman soldiers who were trained to run with small but heavy lead plates fastened to their legs, and when they finally took them off, how well they could run! Anyway, I will keep all the versions of the introduction for you to look at, as it is really interesting. The "night music", i.e. the part just after the exposition has to be done again, almost in a style of a serenade. Well, had I not got up and taken the score from him, he would have kept me there till 2 p.m. He must really like it! And he likes the idea of the concluding section. I wanted to get rid of it but he started shouting: 'No, don't do that, no .... well, if you think that you must ..but rather not, it is not at all bad.' He's a lot of fun. | Kapralova to Vaclav Kapral, November 1936? Courtesy of the Kapralova Estate. | Translation © Karla Hartl, 2000.

    Ve Vojenske symfoniete snazi se autorka zachytit a vyjadrit prostredky ryze hudebnimi svuj citovy vztah k otazkam naseho statniho byti, jak je prinasi dnesni doba, v niz nejsvetejsi statky idei demokratickych a dustojnost lidska i statni musi byt hajeny v krajnim pripade i argumentaci duraznejsi než pouhou filosofickou diskusí. Jadrem obsahu není signal k boji, nybrz hudebne psychologicka kresba vise valky, vedena na obranu toho, co je nám nejsvetejsi. Uz prvni zvuk maleho bubnu a kratky fanfarovy uvod trompetovy pripravuje zakladni naladu dila. Utocne hlavni thema (v aiolske tonine) zazni nekolikrat stale v novych obmenach, aby dorostlo nejvetsi intenzity a zlomilo se do vrouci vety zpevne, s mirnym rytmickym zvlnenim. Zaverecne thema jeste s vetsi merou akcentuje vybojny charakter skladby, stavic na britkosti kvartovych harmonii. Expozice konci. Pozvolna se vynoruje hluboky zpev kontrabasu a violoncel, ktery representuje v symfoniete vetu volnou a je obcas prerusován kontrastujicim rytmem tanecnim. Teprve po teto stredni casti skladby prichazi provedeni, zbudovane z themat expozice. Vrcholi v hlaholu trompet na radostnem kvartsextakordu F-dur. V temz vzrusenem tonu nastupuje i reprisa, pretavujic v podobu hlavni myslenky i vetu zpevnou. Ze zaveredneho thematu zbude pak jen kvartovy interval siroce rozvedeny do zaveredne kody, ktera vrcholi vybusnou gradaci celeho orchestru az k viteznemu a majestatnimu jasotu poslednich tonu. | The text appeared in a rather misleading translation (compare to the translation above) in the ISCM Festival brochure as follows: The composition is dedicated to President of the Czechoslovak Republic, Dr. Benes. ... Its title, 'Military', is not an appeal for war but an appeal for a conscious defensive attitude mobilizing psychical feelings and enthusiasm for the preservation of national independence. In this work the composer tries to catch and to express by purely musical means her sensitive relation to questions of the State's existence, questions which may finally lead to argument sharper than mere philosophical discussion. The first note of the small drum and short fanfare on the trumpets prepare the basic mood of the whole work. The aggressive main theme (in the Aeolian mode) is heard several times in different keys, rising to great intensity and breaking into a singing movement with peaceful, rhythmical waves. Another theme emphasizes still more the fighting spirit of the work, based on fourths. This ends the exposition. Slowly the deep singing of the basses and cellos rises, representing freedom. They are interrupted at intervals by contrasting dance rhythms. After this the development of the themes begins. It reaches its climax in the call of the trumpets on a joyous fourth-sixth chord in F major. The main theme and the singing movement recur, and the fourths are heard again in the final coda, which culminates in an outburst of the whole orchestra in victorious jubilation. | The ISMC Festival Guide, 1938, p.12. Translated in 1938 by Mme Würzburgova.

    The following notes were intended for Kapralova's friend, Brno composer and conductor Theodor Schaefer, whom Kapralova consulted on sinfonietta's orchestration: Tak nejak podobne v cornach / Kam dat nyni tu augmentaci nevim, ponevadz chci nyni corny angazovat dal, snad i predtim to hodit a nechat, bud anglicke corny nebo pozouny? / Jsem priserne ospala, tak to prosimte prehledni, je to zda se mne klasicky hloupe, ale co delat. Novak to chtel vlastne vsechno hodit o 8vu vys (to na tehle strance), ale mne se tam libil ten angl. roh a prosim udelej jeste kousek zaverecne, ano? abychom vedeli jak to si Novak predstavuje instrumentaci. Rozhodne ale nic nepreplacavej a na pocatku nech jen dreva. Ten Hanf to nechce nechat tisknout, lump jeden ketaska. Je mne smutno. Musim pridelat pozoun, to bude prace, o je. Vita / Teosku, bud prosimte tak hodny a prehledni to. Tuhle stranku uz nevim a nemam cas dopracovat. Musim jit platit skolne a jit na ten roentgen a stehovat se. Doufam, ze uz budu mit pokoj v tom novem pokoji. To je bajecne s tim vydanim. Ten "balicek" jsem zadny nedostala. Kdys to posilal? Ze by se to ztratilo? At mne maminka posle pristi tyden neco dobreho zas na zub. Ovoce ne, mam dosti. Napisi az z noveho kvartyru a ty se moc neudri. Pry moc behas a shanis. Dej na sebe pozor a zase mne neco napis. Liba te Vita. | "And similarly the horns. / I don't know where should I now place the augmentation because I want to continue engaging the horns. Perhaps it should be done sooner and left that way, either the English horns or the trombones? / I am terribly sleepy, so please go over it, I find it classically dumb but there's nothing one can do. In fact, Novak wanted everything (on this page) an octave higher but I liked the English horn. And please, do a bit of the closing, will you? so that we know what Novak thinks about the scoring. But don't make it too lush and leave only the woods at the beginning. Hanf refuses to get it printed, damned. I am getting depressed. I have to add a trombone, what a chore, oh yeh, Vita." | "Teosek, could you please kindly go over this page - I got stuck and have no time to finish it. I have to go to pay tuition fees, have X-rays done and move to my new place. I just hope that I will finally have some peace there. That's a great news about that publishing. No, I have not received the 'parcel'. When did you send it? Do you think it might get lost? Tell mummy to send me some goodies next week but not fruit, I still have some. I will write to you from my new place. And do not work too hard, I hear you are always on the run. Take care of yourself and don't forget to write to me. Kisses, Vita." | Translation © Karla Hartl, 2003.

    Song of One Evening | Agraf Nt: Svemu sladkemu malemu jeho mala mila / "To my sweet darling his little sweetheart." | The song's dedicatee is most possibly Vladimir Materna, a young man Kapralova acquainted in June 1936 during her stay in a sanatorium in Jince near Prague.

    April Preludes were arranged as a piano trio in 1976 by Josef Ceremuga, Moravian composer, born in Ostrava on 14 June 1920, died in Prague on 6 May, 2005.

    Carol (1937) | Agraf Nt (to her father): Zatim dnes jenom tohle, sebralo mne to moc casu. Prihlasila jsem se do franiny k Aleonovi, byl rad, ze uz tebe ucil, tato, a nyni dceru. Dekuje za pozdrav. Ale stalo me to 60 a uz jsem uplne bez penez. Dopis podrobnejsi zasilam az zitra, aby mne nezavreli Foyer, kam jdu na veceri (jen do osmi). Ta koleda se mne povedla, jen ji umet zahrat. Je to neco jako Groteskni Passacaglia. | "This is all for today, it took a lot of time. I have registered for French with Aleon and he was pleased, since he had already taught you, daddy, and now the daughter. He thanks for your good wishes. But it cost me 60 and now I have no money left. I will send you more details tomorrow, now I have to hurry so that they don't close Foyer where I am heading for my supper (open only till 8). The carol is good, now only to be able to play it. It is something like Grotesque Passacaglia." | Translation © Karla Hartl, 2003.

    Variations sur le Carillon de l'Eglise St-Etienne du Mont, op. 16 | In November 1938 Martinu wrote in his letter to Vitezslava this playful analysis of the composition. [A] tak mi nezbyva zase, nez si prehrati ty variace, co jsou psany jenom a jen na zvonecky ze St. Etien, jsou vsechny jako basne uz i to thema je krasne a ta prvni variace to je krasa to je lace a prozradim ti to kratce ze po prvni prijde hned druha variace, ta je v kratkych notach jako kocourek v botach, hraje si skoro sama a je tak trosku nadudana, a ta treti je ma non troppo, no vlece se to co pak o to, hlavne stredni hlas se musi hrati v klece a co se vlece neutece, ale pak ta ctvrta, ta to s nama strka, nahoru a dolu pojedeme spolu, sama stupnice to se mi libi velice, je to quasi etude vivo, proto tam je tak zivo a toci se to dokola, je tam sama triola, stupnice leti jako bic a nez se nadejes uz je to pryc, je to variace vzedmuta ale je zbrodnuta. A to co prijde po ni to zrovna jarem voni, je tam jenom chybicka ze to je jeho od spalicka. Neni spalicka neni to je jen a jen pisnicky peni (to je od slovesa peji, pejes, peje) ach jak ta variace hreje, a reknu Vam, ze by ji byl chtel Sp. napsat sam, protoze ten zvonek je jako medajlonek ktery bys libal do rana, je v nem pisnicka schovana, to ja jsem si ji tam schoval za to ze napsala ten choral, a kdyz si jej hraju, dycky - slysim zpivat andelicky. Ale ted zlati lide, nedivte se tomu co prijde, neleknete se v tom zmatku, vzdyt to je docela bez taktu variace se hezky nese ale piano se trese, je to sice obycejne allegro ale zato se to povedlo, je to spravny kus, zvlaste v prostredku ten rytmus a co vice ze pravice nevi co cini levice a melodie jsou tam jako pijavice a je to jasne ze jsou to melodie krasne, az tu nahle molto rittardando se objevi v cele slave a je to opravdu velika skoda ze uz neprijde nic nez Coda, na konec tohoto dila musi byti opravdu v rukouch sila a to Andante maestoso musi by fffortissimaso a to je prave krasne, at na to piano praskne hned se do toho dame a piano rozsekame musi to byti v siri jako kdyz zvoni vsechny zvony po Parizi, jako kdyz se neco deje a zem se chveje a proto k dilu a nesetreme silu, je to kratky jsou toho jen dva radky v te vasni hraci, vono se to v dalce ztraci, sotva jsi se dostal do raze uz ti tam poco rit. kaze ze se nesmim tak hnat ale pomalu zastavovat a cim dale tim vice se to ztraci a hlavni thema se vraci a pak je subito a chcipne to je tam sice jeste semplice ale lituji toho velice vzdyt to bylo tak krasne v te dalce a zatim jsme uz na obalce... | "So I cannot but play again these variations that are composed only and only on the [melody of] little bells of St-Etienne; all of them are like poems, even the theme is beautiful, and the first variation is a beauty, a bargain; in short, I will reveal it to you that after the first [variation] a second will follow right away and that one is wearing short notes like a little tomcat boots and it plays almost by itself, it is just a little bit haughty; and the third is ma non troppo, well, it drags a bit and why not, the middle voice in particular must be played while kneeling down but 'that what drags shall not run away'; and then the fourth - this one will shake with us, up and down we'll go together on a ride, it's all scales and that's what I like about it, it is quasi etude vivo and that's why it has so much life, it turns around in a round, it's all triols, the scale flies like a whip and before you know it is gone - it is a grand variation but shortlived; and the one that follows smells like spring, it has only one little problem - that it is his, "spalicek's". No, [that's not true], it is not by "spalicek," this singing is - only and only - by "pisnicka" (which is derived from the verb to sing - I sing, you sing, he/she sings), oh, how warm this variation is, and I will tell you that Sp(alicek) would love to be the one who wrote it because this little bell is like a little jewel that you would want to keep kissing until morning, there is a little song hidden in it, it is I who hid it there, for it wrote the chorale, and when I play it, I always hear angels singing; but now, dear fellows, don't get surprised what follows, don't get jumpy in that unruliness, for it is without any measure, the variation carries itself nicely but the piano is shaking, it is just an ordinary allegro but it really works, it is a cool piece, especially that rhythm in the middle, and what's more, the right hand does not know what the left is doing, the melodies are like leaches and it's clear that they are beautiful, but suddenly molto rittardando appears in all its glory and it is indeed too bad that nothing else follows but Coda; one must have strong hands for the end of this masterpiece and the Andante maestosso must be fffortissimaso and that is what's beautiful about it, let's sacrifice the piano, let's go and cut the piano to small pieces, it must have the breadth as if all bells of Paris were ringing, as if something was happening and the earth was shaking; and thus let's get to it, let's not restrain ourselves, it is short, just two lines, and in that passionate playing it is disappearing into the distance; and just at the moment you got really excited, the poco rit. orders you not to rush so much but bring it slowly to the end, and it will retreat more and more into the distance and then the main theme comes back and after that is subito and that's it, although there is still a semplice, and I regret it so much because in that distance it was so beautiful but we are already on the score cover..." | Note: "Spalicek" (meaning: a small thick piece of wood or a pocket book of songs) and "Pisnicka" (meaning: a little song), mentioned in the analysis, are the nicknames that Kapralova and Martinu gave each other. Martinu often used them in his correspondence. The letter was provided courtesy of the Bohuslav Martinu Memorial in Policka. English translation © Karla Hartl, 2006.

    Hymn of the Volunteer Nurses of the Czechoslovak Red Cross (1938) | Agraf Nt (to her father): Posilam to prece. Tati, oprav to sam na dvojhlas, tj. seksty a tercie, ono uz to samo vychazi. Ja na to nemam uz cas, zpozorovala jsem to pozde, ze to ma byt dvojhlas. Co se Ti nelibi, oprav. | "I am sending it, after all. Dad, double the voice, will you, i.e. sixths and thirds, it should come out naturally. I can't spend any more time on it, it was too late when I noticed that there should have been two voices. And correct what you don't like." | Translation © Karla Hartl, 2003.

    Occassional compositions. | Folk songs: Ach synku, synku; Tece voda tece; Bodaj by vas vy mladenci; Nechod Janku pres Polianku.

    My Dear One (Seconds, op. 18) | Agraf Nt (to her mother): Jsem Ti uz dlouho dluzna pisnicku, zde Ti ji tedy posilam, myslim, ze se Ti bude hodne libit, asi jako mne ty slova. Tata at do ni nerejpa ani v nejmensim. Zaroven preji vsechno nejlepsi, stesti a zdravi a brzske shledani. Pariz 31.5.1939. | "I have been owing you, for a long time, a song - so here it is. I think you will like it a lot, as much as I like the words. Tell dad not to touch it in the least. I wish you all the best and (hope) that we'll be reunited soon. Paris 31.5.1939." | Translation © Karla Hartl, 2003.

    Suita Rustica, op. 19 | Folk songs: Preletel slavycek pres Javornycek; Ciaze je to rolicka nezorana; Mela jsem holubka v truhle schovaneho a on mi vyletel do pole sireho; Sedlak, sedlak [furiant]; Esce me nemas, hopaj, supaj; Vysoko zornicka, dobru noc Anicka; Vandrovali hudci; Bude vojna, bude.

    Melodrama "To Karel Capek" (1939) | Agraf Nt (front page): Recitovalo se to francouzsky / It was recited in French (last page): Ten konec byl moc hezky / The ending was really neat.

    Partita, op. 20 | Agraf Nt - Spalicek je oslik usaty, sedivy a hykavy. Ms Nt (BM) - Nech tam tu fugu, chces? Je moc dlouha, ale zato hezka, nech ji tam. Jeste ji muzes protahnout, jen ji nepretrhni. / At zijou husiti. Tu fugu tam nech anebo ji vyhod. / Nezapomen opakovat zacatek. Hloupej jak daleko vidi!!! / | Agraf Nt: Spalicek (Martinu's intimate nickname given to him by Kapralova) is a little donkey, long-eared, grayish and braying. Ms Nt (BM): Leave the fugue there, if you wish. It is too long but pretty (so) leave it there. You can stretch it, just don't rip it. / Long live the Hussites. Either leave the fugue there or throw it out. / Don't forget to repeat the beginning. Silly how far (it) sees!!! | Translation © Karla Hartl, 2003.

    Concertino for Violin, Clarinet and Orchestra, op. 21 | "I've started something new but I am not sure what it is. Well, it is for two solo instruments and orchestra, if only I knew what the other instrument was. One must be violin but the other - oboe? clarinet? trumpet? Now, after forty bars, I had to stop and get an answer before resuming the work. I have been writing it most likely for clarinet, but what a strange combination. ... It is cold here like in Siberia but not colder than in my heart.." | Kapralova to her parents, March 28, 1939. Courtesy of the Kapralova Estate. Translation © Karla Hartl, 2002.

    Prélude de Noël (1939) | "My dearest mom and dad, I am writing to you right after Christmas Eve.. have you listened to my small present for you, my Christmas Prelude, which was broadcast on Sunday at 11:00 o'clock, your time? I could not let you know ahead of time because it was only on Tuesday when Jirka came home and told me: "Tomorrow morning I need a small orchestral work for Christmas and you will be conducting it - on the Radio. Hurry up!" And I gave him a sour look and complained why he did not tell me earlier and that it wasn't to be any good because I didn't have enough time for it, etcetera, but by Wednesday morning it was written as a score and thus I can't send you a sketch because it doesn't exist. It was recorded on Friday ... they liked my performance and the piece too - as a result I got a contract for a half an hour program every month. It is a smart little thing and everybody around here has been whistling its tune. | Kapralova to her parents on December 25, 1939. Courtesy of the Kapralova Estate. Translation © Karla Hartl, 2000.

    Vanocni preludium Vitezslavy Kapralove predstavuje dve a pul minuty sveziho divciho usmevu v podobe komorni hudby. Kraticky celek pusobi uzasne jemnym a prchavym dojmem jako mirne rozostrena fotografie vanocni zasnezene krajiny. Pruzracny pastyrsky motiv v barve horny s hobojem je zabaleny do zamlzene krajky drobnych smyccovych sestnactin oscilujicich v obou modech dur i moll soucasne. Barva harfy s klavirem, ktera pres smycce obcas prosvita, nutne vyvola asociaci s instrumentaci skladatelcina vzoru - s Bohuslavem Martinu, stejne jako radostne vysvitnuti cisteho duroveho souzvuku z jemne disonantniho prediva. | The Czech Radio Publishers website, January 15, 2002

    Christmas Carol (1939) | Agraf Nt (to parents): Stastne a pekne vanoce a vsechno to nejlepsi do noveho roku preje Vitulka. Doufam, ze jste uz muj dopis dostali, posilam okamzite po tomto druhy. Martinu Vam preje take hezke svatecky. Toto na misto darku. Liba Vas oba a nebudte smutni. | "Merry Christmas and Happy New Year from Vitulka. I hope that by now you have received my letter. I am sending another one immediately after this one. Martinu too sends his Christmas wishes. This (carol) is instead of a present. Kisses to both and don't be sad." | Translation © Karla Hartl, 2003.

    Tales of a Small Flute (1940) | Agraf Nt.: I. Jaro bylo a nebylo. Na opravdove jaro to vonelo prilis smutkem, a kdesi v kvetu kastanu se prece jen neco klubalo. II. Jednoho dne to vypadalo, jako by se nic nestalo, a kastany se otevrely docela. III. A za teple noci sestoupila z kvetu vila Laska a udelala pekneho chlapce princem. I.There was and yet was not spring. Air scented too much with sadness for a true spring but somewhere inside the chestnut flower something was about to break out. II. One day it looked like nothing would happen but suddenly the chestnut buds opened wide. III. And during that warm night a fairy named Love came down from the chestnut flower and transformed a handsome boy into a prince. | Translation © Karla Hartl, 2003.

    Military March (1940) | Although only a fragment of the original score survived, Kapralova did finish the work. In his letter to Vaclav Kapral, dated January 29, 1946, Kapralova's husband, Jiri Mucha, mentions that the work received an award but later "got lost at MNO in Paris". The march was composed for a military band of Kapralova's friend Vilem Tausky who originally formed it as a scratch orchestra in September 1939. The ensemble played on instruments reportedly obtained from the Paris Police by Martinu whose Field Mass was also composed for the band. (The Tausky Band information first published in: Rob Barnet, Vilem Tausky, September 2002, http://www.musicweb.uk.net/Tausky.html, (24 September 2002).) | © Karla Hartl, 2002.

    Theatre music | The Langer's play, directed by Hugo Haas, was performed by an amateur theatre group recruited from Czech emigrés organized mainly around Sokol in early 1940 in Paris (Mucha 1988, 341; Jirku, 1999, 53; Fuchs, 1997, 78-79). The play was co-produced and co-presented by the Czechoslovak Colony and Sokol in Paris at the "Theatre des Arts", 78 bis, Boulevard des Batignolles in Paris on March 29 and 31 and April 6 and 7, 1940 (as advertised in Ceskoslovensky boj, No.11 (March 22, 1940) and No. 12 (March 29, 1940), p.12). On May 4, 1940, Kapralova writes to Mucha (most likely about the same theatre group): Chteji totiz zase delat 'Lidove hry' a mame s Martinu k tomu delat 'opravdovou' hudbu" / They want to do the 'Folk Plays' again and I and Martinu, we are to provide them with some 'real' music. [Mucha, 1988, p.383. Agraf:Cs-Bm, G7.378]. The folk plays are also mentioned in Martinu's manuscript about the origins of his work Field Mass published in a collection of Martinu's writings [Domov, hudba a svet] edited by Milos Safranek, 1966, p. 282]. | © Karla Hartl, 2001.

    Film music | These commissions were likely facilitated by Kapralova's friend Hugo Hass. In spring 1940, Haas worked on two films in France: Mer en flammes and Ils se sont rencontrés dans l'eau. Haas had a leading role in the former and co-authored the script of the latter (with Guide Freud, nephew of Sigmund Freud). [Ceskoslovensky boj, 17.5.1940, p. 9]. In her letter to parents dated 25.12.1939 Kapralova mentions that she will be doing music for Haas. On 5.3.1940 she writes to them: jeste ze clovek ma tu muziku, to mne tak bavi nejvic, bohuzel mam nyni spoustu objednavek a tak se ji nemohu venovat. Same takove prilezitostne veci, zadna kloudna prace / ... thank God for the music, that's the only thing in which I am still interested [but] unfortunately, I haven't been able to work on my music lately, as I have received a plenty of commissions. All occasional stuff, nothing substantial.. | © Karla Hartl, 2001, 2003. On 8.3. 1940 Vitezslava writes to Mucha that Haas is to shoot a big spy movie and i ten nas, az na hudbu, je uz skoro hotovy, tak budu mit nyni dost prace / .. and even our (movie) is nearly done but for music so I will be quite busy now. [Mucha, 1988, p. 354. Agraf:Cs-Bm, G7.378]. | © Karla Hartl, 2000.

    Letter (1940) | Agraf Nt.: - Un jeune homme repond a son amour: Vous m'avez ecrit "non", soit! Le destin nous a separé, je l'ai regretté, mais je voie que vous êtes heureuse et c'est pourquoi je suis heureux. Je ne veux pas dire qui est coupable et qui perd plus. Autres fois il y avaient deux chemins, aujourd'hui il n'y en a qu'un seul. Enfin, peut-etre tu reviendras, parce que Dieu est un grand artiste et personne ne connaît ses projets. | A young man responds to his love: You said "no". Well, be it... It was fate that separated us. I regret that but I see you're happy - so I accept it. I don't judge who's more guilty, whose loss is bigger. Yesterday there were two paths, today there is just one. Who knows?.. Perhaps, one day you will return. For God is a great artist and has his mysterious ways... | Translation © Karla Hartl, 2003.

    Deux Ritournelles, op. 25 | The last and arguably the best chamber work was completed about a month before Kapralova's tragic death at the age of 25. Of the two pieces one survived thanks to pianist Herman Grab who brought a copy to the United States. Originally both pieces were to be given their premiere by Herman Grab [pf] and Karel Neumann [vcl] at the Théâtre des Arts, 78 bis, Boulevard des Batignoles in Paris on 29.5.1940, but due to rapidly escalating political situation the concert had to be cancelled and the work was premiered by Neumann in London, in 1940. | © Karla Hartl, 2000.

    This annotated catalogue is based on my comparative research of available Kapralova autographs, correspondence, documents, concert programs, published monographs, list of Kapralova's works compiled by Vaclav Kapral; minutes of the National Women's Council executive committee meetings; articles, previews and reviews in the following periodicals and dailies: Hudebni rozhledy 1955/1, p.36; Rytmus [1936/4, p.51; 1938/3-4, p.24; 1945-6/2, p. 14]; Ceskoslovensky boj [26.1.1940, 2.2.1940, 29.3.1940, 5.4.1940, 17.5.1940]; Lidove noviny [29.3.1938, p.7; 22.11.1941, p.7]; Narodni prace [22.2.1939, p.4]; and parts of books: Milos Safranek, 1966, 83-85; Irena Jirku, 1999, p. 53; Ales Fuchs, 1997, pp. 78-79; Olga Settari, l993, 43-47. Details of the publications are listed in this bibliography.

    Authors of the lyrics of Kapralova's songs (in the songs' chronological order):

    Neruda, Jan. "Maticce." In: Kniha versu. Praha, 1867.
    Bojko, R. "Jitro." In: Proste kvety. Praha: Kvasnicka & Hampl, 1924.
    Bojko, R. "Osirely." In: Proste kvety. Praha: Kvasnicka & Hampl, 1924.
    Jelinek, Bohdan. "V upominkach." In: Snehova ruze. 3rd edition. Praha: Prace, 1948 (previous editons: 1880, 1926).
    Jelinek, Bohdan. "Snehova ruze." In: Snehova ruze. 3rd edition. Praha: Prace, 1948 (1880, 1926).
    Nezval, Vitezslav. "Leden." In: Zpatecni listek. Praha, 1932.
    Seifert, Jaroslav. "Pisen na vrbovou pistalku." Jablko s klina. Praha: F.J. Müller, 1933.
    Seifert, Jaroslav. "Matka a dite." Jablko s klina. Praha: F.J. Müller, 1933.
    Seifert, Jaroslav. "Bezvetri." Jablko s klina. Praha: F.J. Müller, 1933.
    Seifert, Jaroslav. "Jarni pout." Jablko s klina. Praha: F.J. Müller, 1933.
    Carek, Jan. "Navzdy." In: Hvezdy na nebi. Praha: Druzstevni prace, 1934.
    Carek, Jan. "Cim je muj zal." In: Hvezdy na nebi. Praha: Druzstevni prace, 1934.
    Seifert, Jaroslav. "Ruce." Jablko s klina. Praha: F.J. Müller, 1933.
    Nezval, Vitezslav. "Sbohem a satecek." In: Sbohem a satecek. Praha, 1934.
    Podjavorinska, L'udmila. "Lesna panna." In: Balady. Praha: L.Mazac, 1931.
    "Nevdas se!" In: Prikryl, Ondrej. Hanacke pesnicke. Prostejov, 1936.
    Seifert, Jaroslav. "Pisen." Postovni holub. Praha: Plejada, 1929.
    Hora, Josef. Kdyz straze sve cas vymenuje. Praha: Melantrich, 1937.
    Sramek, Frana. "Velikonoce." In: Nove basne. 2nd edition. Praha: Fr. Borovy, 1940 (1st edition in 1928).
    Velkoborsky, Frana. "Pisen nedozniva." 1928?
    Carek, Jan. "Rodny kraj." In: Hvezdy na nebi. Praha: Druzstevni prace, 1934.
    "Koleda milostna. In: Susil, Frantisek. Moravske narodni pisne. 4th(?) edition. Praha: Vysehrad, 1951 (previous editions: 1935, 1840, 1860)
    Nezval, Vitezslav. Karlu Capkovi. Praha, 1939.
    Carek, Jan. "V zemi ceske." In: V zemi ceske. 2nd edition. Praha: Novina, 1942.
    Kripner, Viktor. "Pisen tve nepritomnosti." In: Zpivano do dalky. Praha: Fr. Borovy, 1938.
    Kripner, Viktor. "Polohlasem." In: Zpivano do dalky. Praha: Fr. Borovy, 1938.
    Kripner, Viktor. "Ticho." In: Zpivano do dalky. Praha: Fr. Borovy, 1938.
    Kricka, Petr. "Vy 'ne' jste rekla." In: Hoch s lukem. 1924.

    Dedicatees of Kapralova's music (in alphabetical order)

    Edvard Benes - Czechoslovakia's second president
    Gracian Cernusak - musicologist and professor of music history at the Brno Conservatory
    Jirinka Cernusakova - daughter of Gracian Cernusak and Kapralova's friend
    Rudolf Firkusny - great Czech pianist, promoter of the music of Bohuslav Martinu
    Marie ("Masa") Fleischerova - professor of voice at the Brno Conservatory and the first interpreter of Kapralova's op. 10
    Vladimir Helfert - musicologist, professor of the Masaryk university in Brno
    R. (Rudolf) Kopec - Kapralova's friend whom she acquainted in spring 1938 in Paris
    Otakar (Otto) Kraus - opera singer and Kapralova's friend from her Paris exile
    Milada Kunderova - wife of Ludvik Kundera, concert pianist, professor at the Brno Conservatory and a family friend
    Magda Kühnova - medical doctor and a family friend
    T.G. (Tomas Garrigue) Masaryk ("TGM") - Czechoslovakia's first president
    Jiri Mucha ("Jirkovi") - son of the famous art nouveau painter Alphonse Mucha, husband of Vítezslava Kapralova, and an important Czech writer
    Sasenka Pucova - daughter of Cestmir Puc, Czech-French entrepreneur and generous supporter of Czech artists in Paris
    "Renuska" (Renata) Helfertová-Trtilkova - daughter of Vladimir Helfert
    Otakar Sourek - music writer and critic based in Prague. He was instrumental in assisting Kapralova to renew her French stipend
    Ota ("Otacek") Vach (birth name Otto Wach) - Kapralova's classmate from the Brno Conservatory and her first love

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