| Content | Karel Šebánek informs Bohuslav Martinů right at the beginning that he has had a broken finger for 14 days, but still replies to both letters. KŠ writes about ŠPALÍČEK - the Magic Mussel is there with a different name and in that one suite it is in its entirety. The length of the suites is correct, but even so KS reckons a third suite with parts with choruses arranged for orchestra is to be selected, which will still take some work. KS goes on to write that he has had a cursory glance at the biography and finds it a good folk reading, if half of it is removed something could be done with the book. Otherwise it may not be possible to publish it, which would be a pity as it would contain necessary information about BM not yet recorded elsewhere. He urges Sh. to send him a proof copy of his work for his perusal and approval, but BM is not to write to him at the instigation of KS. As for MIRANDOLINA, BM has not yet received any news from Dillia, so he is negotiating with the National Theatre directly through KS. There are two possibilities: either he will get the opera from Dilia, which is represented by Alkor (Bärenreiter) for Germany and Switzerland, and the piano lift and material will be procured by us, or BM will make it available to Alkor after performances in the Czechoslovakia, who will publish the necessary material and Dilia would represent everything for the Czechoslovakia. KS prefers the first option, BM has to make up its mind. In this way, he would receive the entire royalties directly without splitting and MIRANDOLINA would be on the National Theatre's programme during the festival. KS also writes confidentially that there are plans for the National Theatre to commission an opera from BM. Director Jan Seidel is also Chairman of the Panton Publishing Board, BM should be receiving a letter soon, KS urges him to reply soon. Choral and orchestral material for KYTICE is also available with a translation by the late Pavel Eisner. KS wrote to Rudolf Firkušný about the piano concertos. He borrowed the material of the CONCERTO FOR PIANO AND ORCHESTRA No. 2 for RF from the Czech Philharmonic, which is now still chasing it. KS asks BM where he has the manuscript of the score. The materials for the CONCERTO FOR PIANO AND ORCHESTRA No. 3 are to be sent to BM all together and KS will distribute them so that there are no contractual complications. BM is not to give any material to Alcor, KS must first sort everything out with Boosey & Hawkes. He also asks what is going to happen with CONCERT FOR PIANO AND ORCHESTRA #4? KS also informs that EPOS ON GILGAMEŠ will not be in Brno this season, although it was supposed to be in February, because the choral particellas were left only for Frankfurt on 31 January. He mentions Kurt Honolka, Alcor's musical expert for stage adaptations and translations of works, who likes to share royalties with composers. His latest victim is Janáček with his opera The Fate. KS's parents are sending BM two calendars, one to be sent to Rafael Kubelík. |