| Content | Bohuslav Martinů thanks for the long letter and asks for a few more clarifications, mainly concerning the specific activities and practical operation of Artia, especially the way they broker materials from and to foreign countries. For years he had been trying to do something similar with Boosey & Hawkes, but to no avail. If Artia is successful and the question of paying his royalties is settled, he is willing to have some of his stuff published at home (in the Czechoslovakia). It is not clear to him who is in charge of what in the CSR: the [Czech Music] Fund is said to have the exclusive right to lend material, but the "Union" says the same. KS is supposed to (secretly) make him a copy of his contract with Melantrich. BM has the original somewhere in boxes in Vieux Moulin and would need it for negotiations with publishers. He hopes that KS tore up "the little paper" that BM signed in Paris, as BM asked him to do. BM has written home one question, which KS will tell his sibling, and KS is then to write the answer to BM. Ernst Roth is now on holiday. BM hopes to meet ARTIA members in Switzerland, he says it is on track. BM will ask ER to invite KS to the meeting as well. He asks if he could represent Orbis. The "Union" keeps writing to him about SERENADS [it is not clear what specifically], "as if they had published a whole opera, but they are only small pieces". He was saddened by the news about Adolf Heller, he wanted to perform THE MESSAGE ON THE BRIDGE. SINFONIETTA LA JOLLA has nothing to do with him (AH), it was written for an orchestra in La Jolla near Los Angeles. BM objects that "there is no 6th Symphony". He did write "S. fantastique", but changed the title to FANTAISIE SYMPHONIQUE. The work was premiered by Charles Munch and could not be performed at home. BM therefore did not send any author's copies to KS (they are in boxes in New York). He greets cellist František Smetana and tells him that SONATA No. 3 has not yet been published and BM does not have a copy with him. |