| Content | Bohuslav Martinů is waiting for a letter from Karel Šebánek with answers to his questions. He is still receiving telegrams about the material for the CONCERT FOR HOUSEL AND ORCHESTRA No. 2, to be performed in Rochester and on the radio. If they want to play from his material, it will be all right, if not, they will miss a suitable opportunity. He has already put the whole text to JULIETTE, and the Metropolitan Opera and Center Opera New York are interested. Even there, however, he doesn't know what will happen with the material. He will have to re-edit the entire text, but he would do that with the singers. He got the score of the Juliette suite from Paris. Television is interested in THE MESSAGE ON THE BRIDGE, and has to do a translation, but has little time. The [FIELD] MASS will be performed at Princeton on May 1. The [English] translation is nice, but it can't be sung; Princeton, with the help of a student, has made a completely new one. The CS is to be careful in the future that the translations are usable. He asks how his royalties from OSA and Melantrich are being paid. He doesn't know how to make arrangements for the future. He is outraged about the matter of the records [SYMPHONY No. 4, recorded by Rafael Kubelík with the Czech Philharmonic?], no one has sent him any copies or money for sales, let alone permission to record the work. BM asks for the name and address of the company that did so, he will write to them. He complains that all his life composition has not been enough to support him, and now that he is starting to play, he has nothing from it either, and others are profiting. He wants concrete evidence that he is appreciated, not just to hear about it all the time. Soon he'll need PLAYS ABOUT MARY too, maybe just a copy of the piano lift, he'd hate to waste the chance himself. |