UE Newsletter Spring 2006 English by Universal Edition

05 Georg Friedrich Haas A Poem for Cleveland

08 Cristรณbal Halffter Tilting against Windmills in Kiel

14 Mauricio Sotelo Dulcinea for Children in Madrid

25 Kurt Weill New Caspar-Neher Stage Designs Discovered The Threepenny Opera on Broadway

Georg Friedrich Haas

newsletter 02/06 โ ข spring 2006

Contents

NEWS New Caspar Neher Stage Designs — 4 COMPOSERS Haas — 5 Halffter — 8 Rihm — 9 Staud — 11 Cerha — 13 Sotelo — 14 Pärt — 15 Berio — 17 Baltakas — 17 Birtwistle — 18 Lentz — 18 Boulez — 19 Borisova-Ollas — 20 Stockhausen — 20 Sawer — 21 Kagel — 21 Furrer — 22 Schwartz — 22 Kurtág — 23 Kupkovic — 23 Burt — 24 Bennett — 24 Weill — 25 Janácek — 28 Mahler — 29 Zemlinsky — 30 Alma Mahler — 30 Berg — 31 Schönberg — 31 Bartók — 32 Kodály — 33 Krenek — 34 Schreker — 34

contents 02/2006

Casella — 35 Foerster — 35 Szymanowski — 36 Martin — 37 Mozart — 38

ANNIVERSARIES — 39 - 40 WORLD PREMIÈRES — 41 NEW RELEASES — 42 -43 NEW ON CD — 44 - 45 WORKLIST Burt — 46 ACKNOWLEDGEMENTS — 48

Dear Readers, First performances command the highest ‘interest rates’: and rightly so. They are attractive. But what comes afterwards? What is left over? A new work – above all a piece of music theatre – needs a second chance, needs to be seen differently. For composers, moreover, the second performance is just as important as the first: for the experiences of the première enable minor deficiencies to be rectified, the dramaturgy to be tightened. And not until the second performance can we really make any cautious prophecies about the life expectancy of a new opera. The Heidelberg Opera has subjected the young composer Johannes Maria Staud’s first opera Berenice to re-examination in a new production – and scored a triumph both for the composer and its ‘second performance policy’. Meanwhile in the UE catalogue, other stage works still await a second chance to display their powers… The Editors

WWW.UNIVERSALEDITION.COM

New Caspar Neher stage designs online In a private archive in Vienna, Universal Edition has discovered sixteen sketches by Caspar Neher, one of the most significant stage designers of the twentieth century, that until now have remained unknown and unpublished. Thanks to his friendship with Bertolt Brecht and Kurt Weill, Neher was responsible for designing the sets of almost all their most important productions, and made an essential contribution to the scenic realisation of Epic Theatre. His stage designs are unparalleled in their rendering of the 1920s and â&#x20AC;&#x2DC;30s Zeitgeist.

Caspar Neher The Threepenny Opera

news

Now Universal Edition is offering these sketches for use as attractive sets in theatrical or concert productions, or simply as reproductions in programme booklets. The sketches can be found on the UE website at www.universaledition.com/neher

HAAS

Lines and spaces Composed for Franz Welser-Möst and the Cleveland Orchestra, Georg Friedrich Haas’ most recent orchestral work, Poème, receives its first performance in Cleveland on 23 March 2006. The work is concerned with exploring the area of interaction between soloistic lines and large masses of sound. Here Haas largely refrains from notated microtonality and instead expands musical space by means of slow glissandi and dense accumulations of sound. Haas himself describes the work in a very poetic fashion: A quarter-tone step in the solo clarinet melody as starting point… Surfaces born from the echoes of song, eluding capture… Endless rising, endless falling… Lines and spaces… Vibrating standstill… Echoes… (The work is dedicated to my wife Yasuko)

In Basle on 31 May, the Basle Symphony Orchestra under Bernhard Wulff, with Nicolas Altstaedt as soloist, will give the Swiss première of the Concerto for Cello and Orchestra (2004), first performed at the Munich Festival musica viva in 2004.

Torso for orchestra (1999/2001), based on Franz Schubert’s unfinished C major piano sonata D840, will receive its Norwegian première in Bergen as part of the Borealis Festival on 16 March 2006, with the Bergen Filharmoniske Orkester under Reinbert de Leeuw.

haas

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400 Jahre Don Quijote | Deutsche Erstaufführung

Don Quijote Deutsche Erstaufführung: 30. April 2006

Oper in einem Akt über den Mythos des Miguel de Cervantes Musik von Cristóbal Halffter

 Text von Andrés Amorós nach Miguel de Cervantes und anderen spanischen Dichtern nach einer szenischen Idee von Cristóbal Halffter

Musikalische Leitung: Johannes Willig Regie: Alexander Schulin

Ausstattung: Stefanie Pasterkamp

theater

oper

philharmonisches

orchester ballett

schauspiel

theater im

werftpark

www.theater-kiel.de

HALFFTER

Powerful musical language To look into Cristóbal Halffter’s music is always to peer into his life as well. This becomes clear enough when one considers his opera Don Quijote. Halffter chose material by an author who, like himself, always worked in the area of conflict between artistic freedom and political tyranny. Yet in their art both these figures committed themselves exclusively to humanity. With his Don Quijote Cervantes became a Spanish national hero; Halffter, through his artistic autonomy under Franco’s dictatorship, grew into a moral authority, a role model for a new Spain committed to humanist values. Halffter’s opera is based on the essential scenes of his literary source but, not least in its fictitious conversations between Cervantes and his knightly hero, develops into a grandiose discussion on the political meaning of mythic dreaming. Halffter cloaks this utopian subject matter in a power-

halffter

Cristóbal Halffter Don Quijote Madrid 2000

ful musical language that runs the gamut of almost all the emotions, from the ethereal amorous whispers of Dulcinea and Aldonza, to the brutal passion of the fanatic crowd which believes that it has destroyed the works of the West’s greatest spirits by fire. The German première of Halffter’s Don Quijote, under Johannes Willig’s musical direction, takes place on 30 April at the Kiel Opera House. This production by Alexander Schullin, one of the most promising music theatre directors of his generation, can be seen until 29 June.

RIHM

Rich harvest Merely to list the performances of Wolfgang Rihm’s works occurring during the next quarter would fill this newsletter. Most impressive of these is undoubtedly the tour of the chamber opera Jakob Lenz, a co-production between Muziektheater Transparant, the Centro de Experimentación Teatro Colón, deSingel and deMunt. The conductor is Alejo Perez, the director Caroline Petrick, and Hagen Matzeit in the title role, the première takes place on 7 March in deSingel, Antwerp, after which the work goes on tour for 15 more performances in Rotterdam, Brussels, Paris, Utrecht, Bruges and Copenhagen. With Jakob Lenz the 25-year old Rihm produced perhaps the most successful music theatre work of recent decades; speaking of its

Hamburg première in 1979, he said: The stage representation of someone like Jakob Lenz is complicated simply by the fact that he hides several ‘stages’ within himself. These everpresent stages must be re-presented in the music. Hundreds of performances in the subsequent 27 years testify to the fact that Rihm succeeded brilliantly in this aim. Under the simple title Gütersloh 2006: Wolfgang Rihm, Klaus Klein has assembled his second concert series devoted to the composer’s works. On 18 March Christoph Poppen conducts the Munich Chamber Orchestra in a programme they have known for years, including Music for Clarinet and Orchestra (with Rihm pupil Jörg Widmann as soloist) and Aria / Ariadne, on this occasion with soprano Mojca Erdmann. Rihm’s music has long been an established part of the Minguet Quartet's repertoire. This group is making

rihm

a guest appearance on 19 March, and is also at present engaged in recording his entire work for string quartet on CD. With impressive dedication, plus financial support from several institutions and the assistance of Christian Wolff, priest of St Thomas’, musicians in Leipzig have joined forces to make possible a performance of Deus Passus. It will take place on 18 March under the direction of David Timm, with members of the University Choir and Leipzig Vocal Ensemble joining the Leipzig Mendelssohn Orchestra. Ingo Metzmacher, intimately acquainted with Rihm’s music for over fifteen years, is conducting the North American première of Verwandlung with the San Francisco Symphony on 2, 3 and 4 March. The work, written in 2002, can also be heard on 26 and 27 March in Weimar, where Rihm is

rihm

composer-in-residence this season, with the Weimar Staatskapelle under George Alexander Albrecht. Meanwhile Pierre Boulez has once again programmed the violin concerto Gesungene Zeit (in Basle on 28 April, with Anne-Sophie Mutter and Ensemble Intercontemporain), George Benjamin is to conduct the trumpet concerto Marsyas with soloist Gábor Tarkövi and the Berlin Philharmonic (5, 6 and 7 May), and Lothar Zagrosek is bringing Ins Offene II to Hanover (23 and 24 March). Reports on the above premières will appear in our next issue.

STAUD

Creative friendship Since 2000 composer Johannes Maria Staud has been in creative contact with trombonist Uwe Dierksen. This Ensemble Modern soloist gave the première of the first Incipit for alto trombone and five instruments (an EM commission), and has performed it repeatedly since. The second product of their collaboration, Esquisse retouchée (Incipit II) for solo trombone with bass drum (2001/2) returns to the earlier work, treating it as a kind of sketch from which a powerfully dramatic dialogue has developed between Dierksen and the two instruments. This commission from WDR Cologne has now made a re-examination possible of Italo Calvino’s ‘Incipit’ idea (‘Incipit … which throughout its whole length preserves the possibility of beginning’). Incipit III (Esquisse retouchée II) for solo trombone, string orchestra, 2 horns and 3 percussionists, dedicated to Uwe Dierksen, can be heard for the first time on 10 March in the Philharmonie, Cologne, with Lothar Zagrosek and the WDR Symphony Orchestra.

A Map is Not the Territory for large ensemble, composed in 2001, receives its Czech première on 19 March; Michael Swierczewski will conduct the Prague Chamber Philharmonic in the Rudolfinum. Thanks to Ernst Kovacic the violin piece Towards a Brighter Hue will receive its first British performance on 2 April at London’s Wigmore Hall.

staud

CERHA

Virtuosic intensity Austrian composer Friedrich Cerha belongs to that ever-dwindling band of creative artists who are glad to comment on their work in writing and speech: Cerha’s introductions to his work are helpful guides to the new compositions he has regulaly produced. Without a doubt the most important event of coming months is the première of his Concerto for Soprano Saxophone and Orchestra in Frederiksvaerk, Denmark on 9 March. Johannes Ernst is the soloist and dedicatee who inspired the work, and HK Gruber will conduct the Sjaellands Symphony Orchestra. Cerha wrote of the saxophone: ‘I cherish its ability to vary tone colour, its cantabile possibilities, its capacity for dreamy flights of fancy and virtuosic intensity’.

absurdity’. Walter Raffeiner is soloist with members of Klangforum Wien (percussion, piano, bass). Another highpoint of Cerha’s output, Baal-Gesänge, based on his opera after Brecht, is being performed in the Vienna Konzerthaus on 23 May, with Rudolf Rosen (bar) and the Vienna Symphony Orchestra under Michael Boder.

Listeners to Eine Art Chansons in Salzburg on 18 March will experience a quite different side of the composer. Here he attempts the difficult balancing act of ‘operating in the dangerous territory of “cabaret” and, while preserving musical quality standards, exaggerating obsessive gestures and responses, cranking them up to the pitch of

cerha

SOTELO

Human beings are what they dream Miguel de Cervantes’ adventures of Don Quijote de la Mancha have inspired an enchanting children’s opera by Mauricio Sotelo. Dulcinea has its première on 18 May in the Teatro Real in Madrid, in co-production with Barcelona, Bilbao, Valencia, Oviedo and Seville. Production is by Gustavo Tambascio, and Joan Cerveró conducts the Orquesta Sinfónica de Madrid. The story revolves around the dream of a young boy who has fallen asleep reading the ‘old and boring’ Don Quijote. The figures of Don Quijote and Sancho Panza, with all their fantasies and adventures, come to life before his very eyes, and Cervantes himself (as ‘the learned Freston’) and Don Quijote’s

Mauricio Sotelo Dulcinea stage design

sotelo

imaginary lover Dulcinea also appear as products of his fantasy. ‘Just as Cervantes’ novel permits many different kinds of reading,’ says Sotelo, ‘so the opera, among other things, is a reflection on the status of fiction and on reading: for it is only through reading that the adventures come to life in the inner theatre of fantasy.’ The Instituto Cervantes and Radio Bremen are broadcasting a composer portrait containing several Sotelo works on 24 April. On 13 May, at the Ensems Festival in Valencia, there will be a repeat performance of Sonetos del amor oscuro, Soleto’s homage to his teacher Luigi Nono, in the version heard at the work’s Granada première in 2005. And at the same festival, on 11 May, the Qatuor Diotima will perform Audéeis (with Cantaor Ancángel) and Degli Eroici Furori.

I will lift up mine eyes unto the hills – which Pärt had already set, in German, in his Wallfahrtslied of 1984.

PÄRT

at the Frauenkirche, Dresden The Dresden Staatskapelle is to open its three concerts on Palm Sunday weekend with the first German performance of Arvo Pärt’s Cantique des degrés. Also taking part are the Chorus of the Saxon State Opera, Dresden and the Dresden Symphonic Choir, with Asher Fischer at the rostrum. The concerts will take place on 9 and 10 April in the Semperoper, and on the 11th in the newly restored Frauenkirche. Cantique des degrés for chorus and orchestra was written in 1999 at the suggestion of Princess Caroline of Monaco (and Hanover) for her father, Prince Rainier III, on the occasion of the fiftieth anniversary of his reign. The solemn 10-minute work is based on Psalm 121 sung in Latin –

A second German première will take place on 18 May in Leipzig: the Gewandhaus Orchestra under Jiri Belohlavek is introducing Pärt’s Como cierva sedienta in the version for female voices and orchestra, with women from the MDR Radio Chorus. Como cierva sedienta was originally written for soprano and orchestra in response to a commission from the 15th Festival de Música de Canarias in 1999 (with Patricia Rozario as soloist). The first performance of the version with female chorus followed in June 2000, with the Swedish Radio Symphony Orchestra and Swedish Radio Chorus, who went on to record the work on CD for ECM (New Series 1795).

pärt

BERIO

On a Saturday in Amsterdam...

8 April, with Emilio Pomárico conducting the Asko Ensemble; all concerts will take place in the Amsterdam Concertgebouw. BALTAKAS

ZaterdagMatinee (Saturday Matinée) is a name which is now known in the music world far beyond The Netherlands. It belongs to one of the longest-running concert series of the Dutch public radio service. The name Luciano Berio is a recurring theme in the programmes of the ZaterdagMatinee this concert season. The homage to Berio began with the Dutch première of Stanze on 3 Sept 2005, followed by that of Epiphanies on 17 Dec. Now two more key works of Berio are being programmed: Coro and Laborintus II. Coro is scheduled for 4 March, with Reinbert de Leeuw conducting the Groot Omroepkoor and the Schoenberg and Asko Ensembles. Laborintus II follows on

Poussla revisited Berlin’s ‘MaerzMusik’ Festival has commissioned from Vykintas Baltakas a revised version of Poussla for ensemble (oboe, clarinet, soprano saxophone, tuba, accordion, piano, violin) and orchestra. Sylvain Cambreling, conductor of the 2002 Cologne première and the SWR SO Baden-Baden and Freiburg give the first performance on 25 March. Also in March, MusikFabrik NRW under Etienne Siebens will play (co)ro(na) (2005) firstly in Cologne (3 March) and secondly as part of an Ars Musica concert in Brussels (24 March).

Luciano Berio

berio / baltakas

BIRTWISTLE

Silbury Air The Remix Ensemble under Matthias Pintscher will give the Belgian première of Harrison Birtwistle’s Silbury Air on 21 March in Antwerp. It was originally commissioned to mark the centenary of the birth of Serge Koussevitzsky and was inspired by the prehistoric, man-made site of Silbury Hill. This greatly admired work, scored for chamber ensemble, was first performed in 1977 by the London Sinfonietta. The University of Manchester is staging a new production of Birtwistle’s Bow Down on 23 March. This early work receives its much-deserved revival under the direction of Garth Bardsley, with the highly regarded Psappha Ensemble in collaboration with students from the university. The text, by Tony Harrison, is taken

from the traditional ballad of The Two Sisters. It is scored for 5 actors and 4 musicians as ‘improvised music theatre’ lasting 50 minutes. LENTZ

Starlit sky On 3 December Markus Stenz and the Hallé gave the UK première of Guyuhmgan…twice! So fascinating are the sounds and effects that Georges Lentz draws from the performers (who include an on-stage sound engineer with a lap-top), that Stenz felt the audience deserved a post-concert workshop on the piece, which was very well received. The audience was invited to sit amongst the players, and as Stenz explained, ‘it finds itself drawn in, gradually becoming aware of how much variety, even drama, can occur at the limits’.

birtwistle / lentz

BOULEZ

Printemps des Arts The coming months are, as always, rich in performances of Pierre Boulez‘s works, from France to the Czech Republic via Italy and Switzerland. Monte Carlo’s Printemps des Arts festival is devoting two concerts to the composer’s work: on 14 April Jean-Marie Conquer and Alain Damiens respectively perform Anthèmes 2 and Dialogue de l’ombre double, whilst the Ensemble Intercontemporain appears under Boulez’s direction in sur incises. Two days later Boulez returns to the rostrum to conduct his Répons and …explosante-fixe…, the last of which will also have performances in Turin (24 March), with members of the Orchestra Sinfonica Nazionale della RAI under Pascal Rophé, and Geneva (28 April) with the Nieuw Ensemble and Contrechamps conducted by Jurjen Hempel. The Nieuw Ensemble, under Ed Spanjaard, is also programming Éclat at concerts in Amsterdam (6 May) and Utrecht (24 May). EIC will give four performances of Le Marteau sans maître, with Hilary Summers and Ursula Hesse von den Steinen, conducted by Valade, Kawka and Eötvös. We can also announce the

appearance of a short ‘new-butold’ work of Boulez. In 1969 he composed Pour le Docteur Kalmus for the 80th birthday of Alfred Kalmus, UE’s long-serving director; in 2005, for the work’s publication, he refined tempo markings, altered dynamics and slightly expanded the ending. Improvisé – pour le Dr. K., scored for piano and four instruments (flute, clarinet, viola and cello), lasts about four minutes.

boulez

BORISOVA-OLLAS

Sonic poetry Soundstreams Canada commissions and presents Canadian and international new music, generating opportunities for dynamic encounters between composers, performers and audiences. Founding and current Artistic Director Lawrence Cherney established Soundstreams Canada in 1982 for the purpose of engaging the public in the music of living Canadian and international composers through concerts, festivals and associated education/outreach projects. Victoria Borisova-Ollas has been invited to Canada as featured composer to present

three of her works to audiences there: Seven Singing Butterflies for clarinet and string quartet, “…im Klosterhofe” for violin, piano and tape, as well as the first performance in its revised version of Creation of the Hymn for string quartet (18 April at Glenn Gould Studio, Toronto). www.soundstreams.ca

STOCKHAUSEN

Pioneering masterpieces On 24 April at the Queen Elizabeth Hall in London there is a rare chance to experience one of Karlheinz Stockhausen’s pioneering masterworks of the 1960s. The London Sinfonietta under Pierre André Valade is performing Mixtur (1964/7) for orchestra, sine wave generators and ring modulators in the reduced scoring. Two other milestones in Stockhausen’s musical development, Kreuzspiel (1951) and KontraPunkte (1952), are being performed by members of the Orchestra Sinfonica Nazionale della RAI Torino on 27 March in Turin.

Victoria Borisova-Ollas

borisova-ollas / stockhausen

SAWER

Hollywood Extra MusikFabrikNRW will again perform David Sawer's Hollywood Extra on 21 May in Donaueschingen. Premièred in 1996, the 15’ work for 8 players was commissioned by the Matrix Ensemble as music to accompany the silent film ‘Life & Death of 9413 – A Hollywood Extra’ (a black & white film made in 1928 by director Robert Florey). The music was conceived to be both a soundtrack to the film as well as a stand-alone piece. The Belgian première of Stramm Gedichte was given on 22 January by the Goeyvaerts Consort in Ghent, cond. Marc Smets.

KAGEL

Metacollage The Bergen Festival is programming a classic work of Mauricio Kagel, the ‘metacollage’ Ludwig van, Hommage à Beethoven for any combination of forces (1969). The composer said at the time that ‘music of the past should also be performed as music of the present’. The score comprises illustrations of interior décor onto which pages of Beethoven scores have been pasted; what the interpreters perform depends on their subjective perception. Kagel himself is taking part in the performance on 30 May.

Mauricio Kagel Ludwig van

sawer / kagel

SCHWARTZ

Prepare to be seduced...

Beat Furrer FURRER

An ‘asteroid’ in Düsseldorf In Gaspra for ensemble (1988), Beat Furrer works with timbre and rhythmic patterns. He organises the instruments into small groups within the ensemble and lets them narrate several stories simultaneously, each constantly succeeded by another. ‘Gaspra is named after an asteroid of 5km diameter, a lump of rock, fragment of an exploding star which wandered into our solar system’s gravitational field’ (Furrer). (notabu.ensemble, 5/5, Düsseldorf)

The first performance of Jay Schwartz’s Music for Orchestra took place in June 2005. In the programme notes Schwartz wrote about the positive manipulative power he consciously imparts to his music and about the ‘pull’ he wants to exercise on the listener, and obviously on concert programmers as well: Music for Orchestra appeared at short notice but successfully on the programme of the Berlin Symphony Orchestra under Fabric Bollon on 20 January, and further performances in 2006 are already being planned. Jay Schwartz’s 2003 chamber opera Narcissus & Echo (after Ovid) is now also to be found in the UE catalogue. The instrumentation is as reduced as it is eccentric: countertenor, viola and percussion. Schwartz adheres to an aesthetic of listening to the internal structure of sound in the use of his material. Prepare to be seduced…

furrer / schwartz

KURTÁG

Old and new György Kurtág’s The Sayings of Péter Bornemisza, Op. 7 (1963-8), a concerto for soprano and piano shortly to be given at the Römerbad Music Festival in Badenweiler (11 March), still makes formidable musical and technical demands on both singer (Elena Wassileva) and pianist (Pierre-Laurent Aimard). Its Darmstadt première in 1968 drew the 42-year old composer, at that time still unknown, to the attention of a small circle of experts; the score, which later fell into the hands of Pierre Boulez, led to the commission of the Troussova Songs, which helped the composer win international breakthrough. Soloists of Ensemble Contrechamps are performing Rückblick, Things Old and New for four instruments, on 21 May in Geneva. This Hommage à Stockhausen, a work lasting a whole evening, is scored for trumpet, keyboard instruments and double bass. KUPKOVIC

70th Birthday Slovak composer and conductor Ladislav Kupkovic, born in Bratislava

Ladislav Kupkovic

on 17 March 1936, has for years been regarded as the leading representative and champion of new music in his homeland. Founder of an ensemble and a festival which both won international recognition, Kupkovic has lived for over thirty years in Germany, for a time as Professor of Composition in Hanover. His works of the late 1960s and 1970s are published by UE; Souvenir, for violin and strings, is one of Gidon Kremer’s showpieces.

kurtág / kupkovic

BURT

Francis Burt is 80 He had just turned 22 when, returning from fifteen formative months stationed as a soldier in Africa, Francis Burt decided to become a composer. His studies took him from the Royal Academy of Music in London to Boris Blacher in Berlin, who taught him for three years. There followed a few months in Rome and London before, in 1956, he wound up in Vienna and stayed there. Since then he has been active in Vienna as ahighly esteemed composer and teacher of countless younger composing colleagues. A study of his work reveals a fascinating stylistic development: he himself describes his style as â&#x20AC;&#x2DC;floating, with only slightly perceptible pulse, but with sound layers and textures and an accumulating superimposition of lines which generates a multilinear structureâ&#x20AC;&#x2122;. A complete catalogue of his work appears in the appendix (p. 46). Happy birthday!

Francis Burt BENNETT

70th Birthday Sir Richard is one of the most flamboyant personalities on the contemporary music scene. The variety and scope of his activity both as composer and pianist is stunning, ranging from dodecaphonic operas and orchestral works (he studied with Boulez in Paris from 1957-9) through jazz (e.g. the ballet Jazz Calendar) to film music. His first stage work, The Mines of Sulphur, has just celebrated a brilliant comeback at the New York City Opera, enthusiastically received by audience and press alike.

burt / bennett

WEILL

New Caspar Neher stage designs discovered! No-one can resist the fascination of Caspar Neherâ&#x20AC;&#x2122;s stage designs, which are unparalleled in their rendering of the 1920s and 30s Zeitgeist. Thanks to his friendship with Bertolt Brecht and Kurt Weill, Neher was responsible for designing the sets of almost all their most important productions, and made an essential contribution to the scenic realisation of Epic Theatre. But, even aside from the collaboration with Brecht, his multi-faceted activities makes him one of the most significant stage designers of the twentieth century. His designs have a beguiling expressivity.

In a private archive in Vienna, UE has discovered sixteen sketches which until now have remained unknown and unpublished. Now UE is offering these sketches for use as attractive sets in theatrical or concert productions, or simply as reproductions in programme booklets. The sketches can be found on the UE website at www.universaledition.com/neher. The (thus unpublished) sketches will be used for the first time as a projected backdrop to the production of the Mahagonny-Songspiel at the Kurt Weill Festival in Dessau on 25 February 2006. Threepenny Opera returns to Broadway From 24 March a new production of The Threepenny Opera opens at the Roundabout Theatre on Broadway, and the entire production team reads like a Whoâ&#x20AC;&#x2122;s Who of film and show business. The new, provocative English translation is

Caspar Neher Rise and Fall of the City of Mahagonny

weill

LIMITED ENGAGEMENT PREVIEWS BEGIN MARCH 24 ALAN CUMMING JIM DALE ANA GASTEYER CYNDI LAUPER NELLIE McKAY

By BERTOLT and

KURT BRECHT WEILL

In a New Translation by WALLACE

SHAWN

Directed by SCOTT Photo: Josh Lehrer

ELLIOTT roundabouttheatre.org

Lead support provided by our Musical Theatre Fund partners: The Kaplen Foundation, John and Gilda McGarry, Tom and Diane Tuft. Major support for this production provided by The Blanche and Irving Laurie Foundation.

4 0

T H

N N I V E R S A R Y

E A S O N

ROUNDABOUTTHEATRECOMPANY AT STUDIO 54 254 West 54th Street • NEW YORK CITY • www.roundabouttheatre.org • 212.719.1300 Roundabout Theatre Company is a not-for-profit organization.

by Wallace Shawn, familiar to many as a film actor since his appearance in My Dinner with André. Actor Alan Cumming is Macheath, Jim Dale (whose voice as reader of the Harry Potter audio books is familiar to every child in the English-speaking world) is Mr Peachum, film actress Ana Gasteyer is Mrs Peachum, and Cyndi Lauper (whose 1984 hit Girls Just Wanna Have Fun made her an overnight star) plays Jenny. Singer/songwriter Nellie McKay plays Polly, and Scott Elliott directs. Performances are scheduled to run from 24 March-11 June: see www.3pennyonbroadway.com The Protagonist – new in the Kurt Weill Edition The next volume of the Kurt Weill Edition, containing Weill’s first opera Der Protagonist (composed 1924-5), is due to appear this spring. To accompany the appearance of the critical edition there will, of course, also be a completely new set of performance materials. This critical edition of Der Protagonist is dedicated to the memory of Lys Symonette, who died on 27 November last year in New York aged 90. Lys Symonette was the last surviving artistic link to Kurt Weill and Lotte Lenya: she was Weill’s musical assistant on Broadway from 1945 to 1950 and Lotte Lenya’s accompanist and musical advisor. At the time of her death she was still active as vice-presi-

Caspar Neher Mahagonny Songspiel

dent of the Kurt Weill Foundation for Music, as well as its musical executive, in accordance with Lotte Lenya’s will.

weill

Leos Janácek The Excursions of Mr Broucek , Volksoper Wien 2006 JANÁCEK

The window of the soul It is an art to understand what a person wants to say – but an even greater one is playing what a person wants to hear! Any musician who dares tackle Leos Janácek’s music must possess both these skills. A composer whose musical language does not in the least adhere to the rules of its time, avoiding traditional formal structures and asserting its own instrumentation in opposition to the canon of conventional ensembles. A Moravian musician who elevates the Czech language to the status of opera, who allows the words and music of his compositions to function as ‘window of the soul’. To render this window of the soul audible: that is Janácek’s legacy to

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each interpreter of his music. A legacy whose musical value has repeatedly been questioned by musicians and formalists and yet, today more than ever, still affirms an originality pointing the way forward for the development of twentieth century music. This spring affords a number of opportunities to look into the window of the soul alongside Janácek himself. While the new production of The Excursions of Mr Broucek under Julia Jones’ direction opens at the Vienna Volksoper (2 to 27 March), Graeme Jenkins is reviving David Pountney’s Jenufa at the Staatsoper (29 April to 13 May). And another Janácek event is being organised by the Bamberg Symphony Orchestra under Jonathan Nott on 11-12 March: the Glagolithic Mass and the Suite from the opera From the House of the Dead.

MAHLER

Under Mahler’s spell Legendary things really happen. A successful publisher and editor of an economic magazine, pursuing his love of music, encounters a work he simply can’t get out of his head. He does everything so that it can be heard in accordance with his own conceptions. ‘Everything’ here means: studying the score and its history, immersing himself in the work’s meaning, learning rehearsal technique, organising and taking responsibility for a performance with a first-class orchestra. Gilbert Kaplan became the sensation of the year in 1982, astonishing even the experts. Since then he has conducted over sixty performances, and several recordings, of the two-act aural drama that is Gustav Mahler’s Symphony No. 2. For several years Kaplan has also been actively involved in the preparation of the Critical Complete Edition of Symphony No. 2, scheduled for publication in autumn 2006. Kaplan is conducting ‘his’ Mahler 2 once again (naturally already using the critical edition) in Munich on 16 April. The instrumentalists are the Symphony Orchestra and Chorus of the Bavarian Radio, soloists Ruth Ziesak and Lioba Braun.

The reconstruction and orchestration of Symphony No. 10 by Rudolph Barshai has been another international success story. Barshai has already been invited to conduct the work in Japan for the third time in a very short period: this time with the Yomiuri Nippon Symphony Orchestra, in Tokyo’s Suntory Hall (27 April).

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ZEMLINSKY

Too conservative and too modern All his life Alexander Zemlinsky found himself caught between two opposing camps: for the progressives his music was too conservative, and for the conservatives it was too modern. Unsuccessful premières repeatedly caused the self-doubting composer to abandon works, among them Die Seejungfrau (The Mermaid), Fantasy for orchestra. The reviews of the first performance in Vienna on 25 January 1905 were disastrous and Zemlinksy responded by withdrawing the piece. Today Die Seejungfrau counts as

one of the most beautiful and brilliant of concert works, impressive proof of Zemlinky’s compositional mastery. It can be heard in Seville on 2 March (Real Orquesta Sinfónica de Sevilla/Christian Arming), Heidelberg on 29 March (Heidelberg City Philharmonic Orchestra/Cornelius Meister) and on 28 May in Wuppertal (Wuppertal Symphony Orchestra / Toshiyuki Kamioka). ALMA MAHLER

Sieben Lieder in Munich In 1995 the composers Colin and David Matthews edited and arranged Alma Mahler’s 7 Lieder for voice and orchestra. Lasting 17’ and setting the poetry of Dehmel, Bierbaum, Hartleben, Rilke and Falke, the cycle has been widely performed in Germany, the US and France, and soon Steven Sloane will conduct the Münchner Rundfunkorchester in a performance (8 March). Now widely considered a serious composer in her own right, it is fitting that Alma’s contribution to the Lied lives on in this most sympathetic version.

Alexander Zemlinsky

zemlinsky / alma mahler

SCHÖNBERG

Erwartung

Alban Berg Wozzeck Salzburg Festival 1971 BERG

Wozzeck reduced Besides Berg’s original version, the UE catalogue contains three other arrangements of Alban Berg’s Wozzeck (1914/21), the most-performed opera of modern times. In 1930 Berg commissioned Erwin Stein to provide a ‘new arrangement for different instrumentation’, which can be seen in Jean Bauer’s staging, conducted by Marc Adam, at the Lübeck Theatre from 22 April; in 1995 John Rea produced a reduced version for 21 instruments; and the latest (2004) version for small orchestra is the work of Eberhard Kloke. All performance materials of each are available for hire.

Arnold Schönberg wrote Erwartung, Monodrama for soprano and orchestra (Op. 17), a setting of an expressive poem by Marie Pappenheim, in the space of a few days in autumn 1909. It presents – and psychologically dissects – a single moment in which the work’s sole protagonist, ‘The Woman’, stumbles on the corpse of her husband in the forest. Schoenberg’s orchestration is powerfully imaginative, and the extravagant wealth of varied sonorities in the score reflects outbursts of horror or despair, and dream visions, with directness and immediacy. (Instrumentation of the original: 4 4 5 4 - 4 3 4 1 - timp, perc(3), xyl, glock, hp, cel, str) In 2004 the Azerbaijani composer Faraj Karaev made an effective chamber version of the score (1 1 2 1 - 2 1 1 1 - perc(3), hp, cel, str.quin). This can be heard on 15 May 2006 in the Vienna Musikverein, with Ensemble Kontrapunkte under Peter Keuschnig accompanying Michaela Lucas.

berg / schönberg

BARTÓK

125th birthday Born on 25 March 1881, Béla Bártok is one of the few twentieth century composers of uncompromising music whose work has become an integral part of the core repertoire, in the realm of concert music as well as opera and ballet. For Hungary he is, together with his friend and comrade-in-arms Zoltán Kodály, the first musical personality of truly international stature the country produced. His work also possesses a symbolic significance: in a period characterised by nationalism he found inspiration not just in Romanian and Slovakian, but also Turkish and Arabian music.

bartók

He stood unequivocably for the principle of the mutual understanding of peoples, and thus had to endure the official disapproval of the Hungarian state. When, in 1940, the threat of right-wing extremism became too much to bear, he left the country and at the age of 59 began a new and extremely insecure life in the USA. At his death in 1945 he took with him, as he put it on his deathbed, ‘a full suitcase’. This year the musical world remembers an important composer and great human being. The list of performances over the next few months reflects this status, for example: Music for Strings, Percussion and Celesta in Edinburgh, Basle, Oviedo, Madrid, San Sebastian, Budapest, Biel, Helsinki and Moscow, the Dance Suite in Cologne, Stuttgart and Esslingen, The Miraculous Mandarin in Paris, Leipzig and Berlin, the Fourth String Quartet in Vienna, Frankfurt and Hohenems…

KODÁLY

Psalmus Hungaricus Zoltán Kodály succeeded in writing profoundly Hungarian music, rooted in his country’s authentic folk music, and yet speaking to an international audience. This is not just the orchestral works, which of course present no language barrier, but also the vocal compositions have found their way into the

repertoire and into people’s hearts all over the world. The UE archive contains the programme booklet for a Viennese performance of the Psalmus Hungaricus, given by the Vienna Philharmonic under Arturo Toscanini on 21 October 1934. C. Schneider’s introduction finds apt words for this phenomenon, given added intensity by the political situation in Europe. ‘…But the language of this music is universally understood, so that it reaches out across these borders to the whole of humanity and becomes a shattering expression of our time and its distress – indeed, its Song of Destiny.’ On 20 and 21 April Mariss Jansons directs the Psalmus Hungaricus in Munich, with soloist John Daszak and the Symphony Orchestra and Chorus of the Bavarian Radio. King David’s psalm will also be sung by Corby Welch on 26 and 27 April, with the Duisburg Symphony Orchestra and Philharmonic Chorus conducted by Jonathan Darlington. And Kodály’s Te Deum, composed to commemorate Hungary’s liberation from 150 years of Turkish domination in 1686, can be heard on 17 March in Munich, with Lothar Zagrosek conducting the Chorus of Bavarian Radio and Munich Radio Orchestra.

kodály

KRENEK

New publications by and about Krenek For the first time ever the score and orchestral materials of Ernst Krenek’s Symphony No. 4, written in the USA in 1947 and first performed in New York in November of the same year, have now been prepared in collaboration with the Ernst Krenek Institute. Twenty five years had elapsed since his Symphony No. 3, during which Krenek was seeking new stylistic possibilities, located between traditional romantic expressive means and atonality, which could fulfil his

symphonic requirements. By means of a stylistic synthesis, Krenek expressed his concept of integrating an ideal divorced from reality with the ‘here and now’. The first CD recording is already planned for spring 2006. Vol. 1 of the Ernst Krenek Institute’s series of writings on the composer: Ernst Krenek, Oskar Kokoschka and the Story of Orpheus and Euridice (Edition Argus) has also just been released. SCHREKER

Mysterious spirituality Franz Schreker’s most popular work, his Chamber Symphony for 23 solo instruments of 1916, has the character of free association made art. ‘…My ideas possess little ‘literary’ character…Instead, a mysterious spirituality struggles for musical expression,’ Schreker wrote of his music. The Chamber Symphony can be heard in Zagreb on 23 March (Symphonic Orchestra of Croatian Radio and TV, conducted by Mladen Tarbuk) and in the Brucknerhaus in Linz on 17 May (Bruckner Orchestra of Linz under Heinrich Schiff).

Ernst Krenek

krenek / schreker

CASELLA

Neoromantic

FOERSTER

Violin Concerto

Stabat mater

The 30-minute Violin Concerto of 1928 is, according to Christoph Schlüren,‘the most neo-romantic of all Alfredo Casella’s larger works’. Dedicated to distinguished Hungarian violinist Joseph Szigeti, the work was first performed in 1928 in Moscow – though without conductor, in accordance with the statutes of the Persymphan Orchestra.

Czech composer Joseph Bohuslav Foerster (1859-1951) drew his inspiration from three themes: nature (for example in the symphonic poem In the Mountains), love (the opera Eva, rediscovered at the 2004 Wexford Festival, or the Five Love Songs for voice and orchestra) and God. His rarely performed Stabat Mater for mixed choir and orchestra (1891/2) is soon to be performed in Prague: Zdenek Macal conducts the Czech Philharmonic and the Prague Philharmonic Choir on 13 and 14 April.

Despite further important performances with Szigeti, Krasner (who gave the US première), Ida Haendel and other famous violinists, and with conductors such as the composer himself or Celibidache, the work has mostly fallen into oblivion. But, as a critic enthused by a Swiss performance noted, this may be due only to the laziness of interpreters or the caution of promoters…The concerto can be heard in Sao Paulo on 11 May, with Emmanuele Baldini and the Sao Paulo State Symphony Orchestra under Ronald Zollmann.

Alfredo Casella

casella / foerster

SZYMANOWSKI

Sexual temptation In 1913 Karol Szymanowski completed his first opera: the one-act Hagith was first performed in Warsaw in 1922, to a libretto by Felix Dörmann which deals with the Biblical story of the conflict between King David and his son. The dispute revolves around the crown – and a young girl called Hagith. King David’s priests assert that the love of young Hagith would serve to give the ageing monarch a new lease of life. Hagith however loves the young king, who reciprocates her feelings, and refuses to take part in the ritual sacrifice. After a wonderful scene full of sexual temptation, wounded pride, rage, contempt and fear the old king dies, and Hagith is stoned

to death. Richard Strauss’ influence on Szymanowski here is clear: in terms both of music and subject matter, Hagith can be situated somewhere between Puccini’s Tosca and Strauss’ Salome. Nevertheless, despite a certain eclecticism, as an example of expressionistic drama this early work is unique in Polish music. The Wroclaw Opera has taken the work into the repertoire and has been performing Michael Znaniecki’s successful production since 24 February 2006. A dance version of Szymanowski’s Stabat Mater (1926) forms part of the ballet Requiem, to choreography by Tim Rushton, which can be seen at the Royal Theatre in Copenhagen from 24 March onwards.

Karol Szymanowski Hagith costume designs Oper Wroclaw 2006

szymanowski

Prospero’s arias from Act 3 (in Schlegel’s translation): Hast thou, which art but air and Now my charms are all o’erthrown.

MARTIN

Rediscoveries Thanks to Mozart Year interest has been reawakened in Frank Martin’s Ouverture en hommage à Mozart, written to commemorate the composer’s bicentenary. Neither occasional work nor Mozart pastiche, the piece is an eminent musician’s tribute to his great forebear. Over the next few months the work will enjoy seven performances in German and Swiss cities. A further rediscovery is the suite from the opera The Tempest for baritone and orchestra, likewise premièred in 1956. Uri Segal and the Orchestre Symphonique de Mulhouse have adopted the work and will perform it with Thomas Oliemans on 26 and 27 May. Martin selected three fragments from the opera: the Overture plus two of

The music of Frank Martin features prominently in the US in April. Cantori New York, led by Dr. Mark Shapiro, performs the New York premiere (9 April) of the composer’s final work Et la vie l’emporta. For a long time I have felt a deep connection to the music and spirit of Frank Martin, comments Dr. Shapiro. The chamber oratorio Le vin herbé taught me much of what I now understand about the technical procedures of exceptional composers, how they deploy the most ingenious musical devices to convey the flow of emotions, a mood, an action. Journeying from a painful cry of "why" through a surpassingly luminous reconciliation, Martin's transcendent cantata Et la vie l'emporta enacts a searing confrontation between a dying composer and the deity and purpose he has loved and served. Martin does not flinch from the truth; the struggle is intense. That "life" emerges victorious is a profound final expression of this great composer's courage, talent, and humanity.

martin

MOZART YEAR 2006

Even more Mozart! Mozart Year 2006 affords wonderful opportunities to perform works by those composers of our time who, over the decades, have written pieces inspired by the music of Wolfgang Amadeus Mozart in the most diverse ways. (A catalogue of these twentieth and twenty-first century works with a Mozart reference can be found on our website www.universaledition.com) For example, on 5 and 6 Jan 2006 the Anhaltische Philharmonie Dessau under Golo Berg performed all twelve brief, charming movements of Divertimento for Mozart for soloists and orchestra (1956), a collective work by twelve composers (von Einem, Berio, Erbse, Fricker, Bentzon, HaubenstockRamati, Klebe, Wimberger, le Roux, Wildberger, Jarre, Henze) based on the aria Ein Mädchen oder Weibchen from The Magic Flute. One of these movements has also been programmed by the Berlin Symphony Orchestra under Eliahu Inbal on 12 and 13 May in the Berlin Konzerthaus: Giselher Klebe’s Espressioni liriche for horn, trumpet, trombone and orchestra.

mozart

The latest work with a Mozart connection is 7 Klangräume for chorus and orchestra, written by Georg Friedrich Haas for the Stiftung Mozarteum (first performed on 4 December 2005). The work’s instrumentation is identical with that of Mozart’s Requiem, though without soloists, and Haas has conceived it in such a way that Mozart’s surviving sketches have been realised unchanged – as a kind of skeleton for the music – with the ‘seven sound spaces’ intended as ‘reverberations’ after and between them.

2006 70th 125th 70th 50th 80th 80th 80th 10th 60th 80th 75th 70th 80th 250th 70th 100th 20th 125th 70th

Birthday Anniversary Birthday Anniv. of Death Anniversary Birthday Birthday Anniv. of Death Birthday Anniversary Birthday Birthday Birthday Anniversary Birthday Anniversary Anniv. of Death Anniversary Birthday

Gilbert Amy * 29 August 1936 Béla Bartók * 25 March 1881 Richard Rodney Bennett * 29 March 1936 Bertolt Brecht † 14 August 1956 Earle Brown * 26 December 1926 Francis Burt * 28 April 1926 Friedrich Cerha * 17 February 1926 Gottfried von Einem † 12 July 1996 Michael Finnissy * 17 March 1946 Morton Feldman * 11 January 1926 Mauricio Kagel * 24 December 1931 Ladislav Kupkovic * 17 March 1936 György Kurtág * 19 February 1926 Wolfgang Amadeus Mozart * 27 Jan 1756 Steve Reich * 03 October 1936 Dmitri Shostakovish * 25 Sep 1906 Alexandre Tansman † 15 November 1986 Karl Weigl * 06 February 1881 Hans Zender * 22 November 1936

Anniv. of Death Birthday Anniv. of Death Birthday Anniversary Anniversary Anniversary Birthday Birthday Birthday Anniv. of Death Anniversary

Eugen d'Albert † 03 March 1932 David Bedford * 04 August 1937 Morton Feldman † 03 September 1987 Michael Gielen * 20 July 1927 Zoltán Kodály * 16 December 1882 Gian Francesco Malipiero * 18 March 1882 Joseph Marx * 11 May 1882 Gösta Neuwirth * 06 January 1937 Paul Patterson * 15 June 1947 Thomas Daniel Schlee * 26 October 1957 Othmar Schoeck † 08 March 1957 Karol Szymanowski * 06 October 1882

2007 75th 70th 20th 80th 125th 125th 125th 70th 60th 50th 50th 125th

anniversaries

70th Anniv. of Death 50th Birthday

Karol Szymanowski † 29 March 1937 Julian Yu * 02 September 1957

2008 25th 90th 70th 80th 100th 60th 60th 70th 75th 80th 100th

Anniv. of Death Anniversary Birthday Anniversary Anniversary Birthday Birthday Birthday Anniv. of Death Birthday Anniversary

Cathy Berberian † 06 March 1983 Gottfried von Einem * 24 January 1918 Zygmunt Krauze * 19 September 1938 Gerhard Lampersberg * 05 July 1928 Olivier Messiaen * 10 December 1908 Nigel Osborne * 23 June 1948 Peter Ruzicka * 03 July 1948 Tona Scherchen * 12 March 1938 Max von Schillings † 24 July 1933 Karlheinz Stockhausen * 22 August 1928 Eugen Suchon * 25 September 1908

Anniv. of Death Birthday Anniv. of Death Birthday Anniversary Anniv. of Death Anniv. of Death Birthday Birthday Anniversary Anniversary Anniv. of Death Anniversary Anniversary Anniv. of Death

George Antheil † 12 February 1959 Harrison Birtwistle * 15 July 1934 Frederick Delius † 10 June 1934 Edison W. Denisow * 06 April 1929 Roman Haubenstock-Ramati * 27 Feb 1919 Josef Matthias Hauer † 22 September 1959 Bohuslav Martinu † 28 August 1959 Henri Pousseur * 23 June 1929 Bernard Rands * 02 March 1934 Karl Scheit * 21 April 1909 Alfred Schnittke * 24 November 1934 Franz Schreker † 21 March 1934 Alfred Uhl * 05 June 1909 Roman Vlad * 29 December 1919 Eric Zeisl † 18 February 1959

2009 50th 75th 75th 80th 90th 50th 50th 80th 75th 100th 75th 75th 100th 90th 50th

anniversaries

VYKINTAS BALTAKAS Poussla for ensemble and orchestra SWR-SO Baden-Baden and Freiburg, c. Sylvain Cambreling 25. 03. 2006 · Maerz Musik Berlin/D FRIEDRICH CERHA Concerto for soprano saxophone and orchestra Sjaellands SO, c. HK Gruber, Johannes Ernst, sax 09. 03. 2006 · Frederiksvaerk/DK GEORG FRIEDRICH HAAS Poème for large orchestra Cleveland Orchestra, c. Franz Welser-Möst 23. 03. 2006 · Cleveland/USA WOLFGANG RIHM Das Namenlose for soprano, clarinet and piano Mojca Erdmann, S, Jörg Widmann, clar, Axel Bauni, pn 09. 04. 2006 · Heidelberg Spring/D Piece for soprano and string quartet Claron McFaddon, S, Arditti Quartet 21. 05. 2006 · Muziekgebouw Amsterdam/NL MAURICIO SOTELO Dulcinea opera for children Orquesta Sinfónica de Madrid, Arantxa Armentia (Dulcinea), c. Joan Cerveró, dir. Gustavo Tambascio 18. 05. 2006 · Teatro Real Madrid/E Raíz del aire for voice and ensemble and Wall of light sky for ensemble Antonio Vélez, cantaor Grup Instrumental de Valencia, c. Joan Cerveró 24. 04. 2006 · Radio Bremen/D JOHANNES MARIA STAUD Incipit III (Esquisse retouchée ll) for trombone solo, string orchestra, 2 horns, percussion WDR SO Köln, c. Lothar Zagrosek, Uwe Dierksen, trb 10. 03. 2006 · Philharmonie Köln/D

world premières

ALBAN BERG Sonate op.1 for piano UE 33070 FLORIAN BRAMBÖCK Afro-Latin Saxophone Duets for 2 alto- or tenor saxophones UE 333060 MIKE CORNICK Blue Baroque – Contemporary arrangements of Baroque keyboard classics for piano UE 21315 MARY KAREN CLARDY Classic Solos for Flute for solo flute with CD UE 70079 FRANK MARTIN Ballade for trombone (tenor saxophone) and piano UE 32359 WOLFGANG AMADEUS MOZART Piano Pieces Vol. 1: Earlier works UT 50229 Vol. 2: Later works UT 50230 ARVO PÄRT Summa for recorder quartet S(T)A(B)A(B)T(B) UE 33030 JOHANNES MARIA STAUD Towards a Brighter Hue for violin UE 32977 KURT WEILL String Quartet No. 1 op.8 study score UE 33304

new releases

JAMES RAE

Centre Stage 3 Mozart / Der Vogelfänger bin ich ja Puccini / O mio babbino caro UE 21318

When Gianni Schicchi meets Papageno A dilemma facing many conductors: how to remain flexible in the instrumentation of your ensemble, and yet be able to incorporate the great musical classics in your repertoire. Following Dvorák’s ‘New World Symphony’, Mussorgsky’s ‘Pictures at an Exhibition’, Weill’s ‘Threepenny Opera’ and Bizet’s ‘Carmen’, the best-known excerpts from Mozart’s ‘Magic Flute’ and Puccini’s ‘Gianni Schicchi’ have also been brought to the chamber music platform. These simple arrangements for flexible instrumentation, with soloist and optional piano support, familiarise young instrumentalists with the standard classics and are ideally suited for performance at concerts and music festivals. Besides teaching young musicians to play together and listen attentively, they also build their self-confidence – and with this combination, joy in music making won’t lag far behind!

Already available: Centre Stage 1 UE 21172 Centre Stage 2 UE 21266

new releases

PIERRE BOULEZ Notations & Piano Sonatas Pi-Hsien Chen, pn hat(now) ART 162 WALTER BRAUNFELS Prinzessin Brambilla Wexford Festival Opera Chorus, Cracow PO, c. Daniele Belardinelli Naxos 8.225312-13 JOSEPH BOHUSLAV FOERSTER Eva Eva Depoltova, S, Prague Radio SO, Prague Radio Chorus, c. F. Vajnar Supraphon SU 3001-2 612 BEAT FURRER Voicelessness. The Snow Has No Voice Nicolas Hodges, pn KAIROS/HM CD 0012382 CLYTUS GOTTWALD Arrangements for choir a cappella after Mahler, Berg, Webern ao. Chamber Choir Saarbrücken, c. Georg Grün BMG Ariola LC 00316 GEORG FRIEDRICH HAAS Finale Denis Bouriakov, fl WOLFGANG RIHM Quartettstudie Quatuor Ebène DAVID SAWER Parthenope Antoine Tamestit, vla Oehms Classics OC 533 FRANZ LISZT Organ Works Martin Haselböck, org (editor of the UE Organ Edition) New Classical Adventure NCA 5 CDs (60157-215, 60144-210, 60146-215, 60151-215, 60154-215) FRANK MARTIN In terra pax, Pilate, Golgotha Münchner Rundfunkorchester, c. Marcello Viotti, c. Ulf Schirmer Profil/Naxos 3CDs 04037 FRANK MARTIN Concerto for Cello and Orchestra, Ballade for Cello and small Orchestra, Passacaille Netherlands Radio Chamber Orchestra, Quirine Viersen, vlc, c. Kenneth Montgomery KTC 1290 / Codaex BOHUSLAV MARTINU Concerto Gürzenich-Orchester Köln, c. James Conlon Capriccio 71053 ARNOLD SCHÖNBERG / EDUARD STEUERMANN Verklärte Nacht Trio Jean Paul Ars Musici AM 1383-2 FRANZ SCHREKER UND AUSDRUCKSTANZ Der Geburtstag der Infantin, Valse Lente, Festwalzer und Walzerintermezzo, Der Wind, Ein Tanzspiel, Passacaille Luzerner Sinfonieorchester, c. John Axelrod Nimbus NI 5753 FRANZ SCHREKER Die Gezeichneten Arnold-Schönberg-Chor Wien, RSO Wien, c. Gerd Albrecht Orfeo C 5840221 (Salzburg Festival 1984)

new on cd

A. CASELLA Scarlattiana G. MALIPIERO Ricercari Chamber Orchestra Basel, c. Christopher Hogwood, Arte Nova 74321 92765 2

WOLFGANG RIHM Sph채re um Sph채re, Frage Ensemble Recherche, Salome Kammer, S c. Lucas Vis WERGO WER 6677 2

JOHANNES MARIA STAUD Configuration/ Reflet Ensemble XX. Jahrhundert, c. Peter Burwik Gramola 98783

W.A. MOZART / A. ZEMLINSKY The Magic Flute for piano for four hands Dennis Russell Davies, Maki Namekawa, pn Edition KlavierFestival Ruhr 2006 (2CDs)

JOHANNES MARIA STAUD Peras Anika Vavic, pn Edition Klavier-Festival Ruhr 2005 ANTON WEBERN Symphony, 6 Pieces, Concerto, Variations, 3 Lieder, Quartet etc. Twentieth Century Classics Ensemble, Philharmonia Orchestra, c. Robert Craft Naxos 8.557530 KURT WEILL The Eternal Road (highlights) Rundfunk-Sinfonieorchester Berlin, C. Gerard Schwarz Naxos 8.559402 KURT WEILL Le Grand Lustucru Lars Duppler Trio play Kurt Weill Edition Collage/Radio Bremen EC 536-2

new on cd

FRANCIS BURT worklist Bavarian Gentians 13’ 1956/2001 for chamber choir and 6 instrumentalists Blind Visions 17’ 1995 for oboe and small orchestra Duo 1954 for clarinet and piano Echoes 10’ 1988-1989 for 9 players Espressione Orchestrale op. 10 13’ 1958-1959 for orchestra Fantasmagoria op. 12 14’ 1963 for orchestra For William 5’ 1988 for 9 players Für Alfred Schlee A postmodern birthday greeting 1’ 1991 for string quartet Der Golem op. 11 Ballet in 1 scene 35’ 1959/1963 text: Francis Burt; Erika Hanka Hommage à Jean-Henri Fabre A bukolic fantasy 15’ 1993/1994 for 5 players 3 Little Piano Pieces for J. J. 3’ 1949 for piano Morgana 5 pictures 15’ 1985/1986 for orchestra The Skull op. 6 10’ 1955 cantate for tenor and piano, text: Cyril Tourneur The Skull op. 6 10’ 1955/2001 cantate for tenor and orchestra, text: Cyril Tourneur String Quartet No. 2 14’ 1993-1994 Und GOtt der HErr sprach 40’ 1983 Contemplations after a golden wedding for mezzosoprano, baritone, bass, 2 mixed choirs and large orchestra Unter der blanken Hacke des Monds 17’ 1974/1976 for baritone and orchestra, text: Peter Huchel Volpone op. 9 120’ 1952/1958 opera in 4 acts, text: Ben Jonson

burt worklist

UNIVERSAL EDITION Austria: A-1015 Vienna, PO Box 3 tel +43-1-337 23 - 0, fax +43-1-337 23 - 400. Great Britain: 48 Great Marlborough Street, London W1F 7BB tel +44-20-7437-6880, fax +44-20-7292-9173. USA: European American Music Distributors LLC 35 East 21st Street, 8th Floor, New York, NY 10010 tel +1-212-871-0230, fax +1-212-871-0237. Web: www.universaledition.com Editors: Angelika Dworak and Eric Marinitsch Contributors: Bรกlint Andrรกs Varga, Angelika Dworak, Eric Marinitsch, Angelika Dworak, Rebecca Dawson, Marion Hermann, Pippa Patterson and Norman Ryan Design: Egger & Lerch, Vienna Photo Credits: Yasuko Haas-Ueda, Caspar Neher (3), Eric Marinitsch (10), Teatro Real Madrid / Javier de Real u. Ricardo Sรกnchez- Cuerda, Helmut Wiederin, Friedrich Cerha, UE Archive, Georges Lentz, Roundabout Theatre, Vienna Volksoper / Dimo Dimov, ร NB, Salzburg Festival, Charlotte Till-Borchardt, Opera Wroclaw / Ryszard Kaja, OEW; CDs: BMG Ariola, Wergo, Gramola, Klavier-Festival Ruhr.