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.