UE Newsletter Spring 2007 English by Universal Edition

05 MusikTriennale Köln. A celebration of Luciano Berio

07 Georg Friedrich Haas. Bruchstück in Munich

25 Zoltán Kodály. World première in Budapest

29 Leos Janácek. Boulez and Chéreau present From the House of the Dead in Vienna

Ernst Krenek Festival in Linz ‘Ernst Krenek Musician of Speech’

newsletter 02/07 • spring 2007

Contents

FESTIVAL MusikTriennale Köln — 4 - 6 COMPOSERS Berio — 5 Haas — 7 Baltakas — 8 Sotelo — 9 Schwartz — 9 Staud — 10 Borisova-Ollas — 11 Panufnik — 11 Halffter — 12 Lentz — 12 Kurtág — 13 Boulez — 13 Rihm — 14 Pärt — 15 Sawer — 15 Cerha — 16 Ligeti — 16 Reich — 17 Bennett — 17 Feldman— 18 Krenek — 19 Schreker — 21 Weill — 23 Eisler — 24 Vladiguerov — 24 Kodály — 25 Bartók — 26 Szymanowski — 27 Schmidt — 27 Janácek — 29 Mahler — 30 Zemlinsky — 31 Milhaud — 31 Berg — 32

contents 02/2007

Schoenberg — 33 Marx — 33 Martin — 34 Liebermann — 34 Einem — 35 Haydn — 35

ANNIVERSARIES — 36 - 37 WORLD PREMIÈRES — 38 - 39 NEW RELEASES — 40 - 41 NEW ON CD — 42 - 43 WORKLIST Kodály — 44 - 46 ACKNOWLEDGEMENTS — 48

Dear Readers, Do you know that tingling feeling you get when you hold a freshly written manuscript copy of a score in your hand? We do, and we love it. We make every effort to turn composers’ often enigmatic ciphers, to the best of our abilities, into legible, clearly performable playing instructions – sheet music, scores and orchestral materials. This is an important step, but at the end of the day a pointless one if no-one engages with the work and responds to the composer’s yearning for its realisation. Only the curiosity of musicians, singers, conductors, producers and choreographers such as you can breathe life into scores, and only then is the work revealed and ‘outed’. Without your passion to discover new sound worlds, all our efforts would be in vain and remain ‘unheard of’. The Editorial Team

27. April – 20. Mai 2007

MusikTriennale Köln Während der MusikTriennale Köln 2007 werden über 50 Werke von Luciano Berio in einem umfassenden Werkportrait aufgeführt.

Accordo Air A-Ronne Calmo Chamber Music Chemins II & VI Corale (über Sequenza VIII) Cries of London Divertimento Due Pezzi Erdenklavier Feuerklavier Folk Songs Formazioni Kol od (Chemins VI) Laborintus II Luftklavier O King Opus Number Zoo Points on the curve to find... 4 canzoni popolari Récit (Chemins VII) Ritorno degli snovidenia Sequenze I – XIV Sinfonia SOLO für Posaune und Orchester und viele weitere

MusikTriennale.de

»Luciano Berio: Komponist« wird gefördert durch die

BERIO

A celebration of Luciano It was no anniversary as such, but rather the unchanging contemporary relevance of Luciano Berio’s work which gave Cologne’s MusikTriennale 2007 the impetus to honour the composer with a comprehensive portrait of his output over a series of concerts from 27 April to 20 May. The timelessness of his work and the expressive strength of his music will be showcased in around 25 events which the festival has dedicated to the composer, who would have been 82 years old in 2007. The programme offers a cross-section of the most important landmarks of Berio's composing career: Sinfonia, Folk Songs, Formazioni for orchestra; all the Sequenze and their derivatives Chemins II and IV,

Récit and Corale; the concertante works “points on the curve to find…” for piano and 22 instruments, SOLO for trombone and orchestra and Ritorno degli snovidenia for cello and 30 instruments; the music theatre pieces Laborintus II, Naturale and a-ronne; his arrangements of Mahler Lieder and Boccherini’s Quattro versioni originali della Ritirata Notturna di Madrid; plus numerous chamber works such as Linea, 4 Canzoni popolari, Cries of London, Opus Number Zoo, O King, 6 Encores, etc. ‘Berio – Music and Language’ is furthermore the central theme of events running in parallel with the festival in local schools, which have even been made part of graduation examinations in North RhineWestphalia. Dates and performers can be found on the UE Website or at: www.musiktriennalekoeln.de

berio

HAAS

Drifting, changing soundscapes A newly commissioned orchestral work, Bruchstück, by Georg Friedrich Haas is receiving its first performance at the Philharmonie in Munich on 13 May 2007, with the Munich Philharmonic under the direction of Markus Stenz. This is the first time the orchestra has commissioned a composition from Haas. Two further performances will follow on 14 and 15 May. The new work forms part of the same series as the previous orchestral works natures mortes and Hyperion (premièred respectively in 2003 and 2006, both in Donaueschingen): compositional elements, contents and experiences from these earlier works have been further developed in the new

piece. Here, too, overtone harmony plays its role – changing soundscapes drift into one another. As listeners slowly get into the spirit of the work, they gradually discover a wealth of new acoustic experiences. The microtonality and harmonic richness of Haas’ works present a (rewarding) challenge for any ensemble. The expansion of the sound spectrum attained here, and Haas' involvement with extremely precise differentiations of pitch, promise both performer and listener a rare and highly musical experience. Meanwhile at MaerzMusik – the Berlin Festival’s contemporary music section – Peter Hirsch is to perform Monodie (1998) for 18 instruments with the Collegium Novum Zurich (22 March).

haas

BALTAKAS

receives Siemens Grants-in-Aid The young Lithuanian composer Vykintas Baltakas has received one of the most prestigious distinctions awarded to exceptionally talented artists of the new generation, the Ernst von Siemens Grantsin-Aid. As part of the award ceremony on 3 May in Munich’s Kammerspiele a new version of his RiRo for soprano and tape (originally soprano and trumpet) will be heard. ‘I’m now focusing on the voice,’ writes Baltakas,‘and see electronics as a means of extending it.

Electronics can transcend the limitations of the actual voice – harmonically, polyphonically, timbrally … . Imaginatively handled, the voice offers infinite possibilities for transformation, and can develop in limitless directions.’ In Witten the Arditti String Quartet is giving the first performance of the string quartet bell tree, composed in response to a commission from Harry Vogt (West German Radio). The idea for the music apparently came from ‘a rhythmic assemblage of Swiss cowbell sounds’. Finally, Ouroboros for ensemble will have its Spanish première on 9 May in Valencia by the Espai Sonor Ensemble under Voro García.

baltakas

SOTELO

Spectral

SCHWARTZ

flamenco

8 double basses

A friend of Mauricio Sotelo once described his music as ‘spectral flamenco’. In Sotelo’s own words, his music contains ‘the pulsating beat of memory’ – and indeed, at the heart of his Muros de dolor III lies the echo of a musical memory which recalls the ancient, dramatic song of Andalucia. Anne Manson is to give the première of the orchestral work on 4 May in Las Palmas / Gran Canaria. Green Aurora dancing over the night side of the earth is the name given by NASA to a spectacular photograph of the aurora borealis, which provided Sotelo with the title for his set piece for the Clara Schumann Piano Competition – since Clara can (figuratively, at least) also be translated as ‘aurora’ (dawn). Inspired by flamenco, Green Aurora ends with a paraphrase of Scarlatti (K.184 in F minor); its first performance is in Düsseldorf on 5 May.

‘music for 8 double basses is an 8-part canon, in which the basses are stationed round the audience so that the circulation of the canon is transformed into a spatial circulation. The number 8 inspired me to use diatonic scales, which ‘form a circle’, so to speak, with their eighth note. The musicians play not only double basses but also bass drums, which gives the listening experience a spatial, percussive dimension’ (Jay Schwartz). First peformance: Frankfurt, 12 May, with the bassists of the HR Symphony Orchestra.

Jay Schwartz

sotelo / schwartz

STAUD

Self-contained sound worlds One Movement and Five Miniatures for harpsichord, live electronics and spatially distributed ensemble by Johannes Maria Staud – commissioned by the Birmingham Contemporary Music Group – has its première on 22 April under Ilan Volkov. The soloist will be Clive Williams (duration 12–15 min). Staud says of it: ‘Placing the “early music” instrument (harpsichord) in a context with the “new music” instrument (computer) is a very stimulating exercise. It is by no means a question of incompatible sound worlds mutually agreeing their own borders, but rather of a symbiosis, whose goal is the total absorption of both spheres into a new, self-contained sound world.’ The chamber opera Berenice, first performed in 2004 at the Munich Biennale, now also exists as a twopart suite, jointly commissioned by das neue werk Hamburg, Ensemble Modern and Porto’s Remix Ensemble. ‘In both these ensemble works … music from Berenice has been reassembled from totally independent dramatic viewpoints, often in radically re-orchestrated form. Here the most difficult questions were: What should I leave out?

staud

Break up? Shorten? Which scenes should I join together? Where should I write something extra? How can I compensate for the absence of singers?’ First performance: Hamburg, 31 May, Ensemble Modern/Franck Ollu. The day after Alejo Perez conducts the NDR Symphony Orchestra in the German première of A Map is not the Territory in Hamburg, while Ars Musica in Brussels has invited Carolin Widmann to play Towards a Brighter Hue for solo violin (18 March).

PANUFNIK

US and UK Victoria Borisova-Ollas BORISOVA-OLLAS

Opera or musical? As we’ve already reported, Victoria Borisova-Ollas is currently working on a music-dramatic setting of a love story derived from a Salman Rushdie novel. The Ground Beneath Her Feet appeared in 2000 and is a modern version of the Orpheus myth. The libretto concentrates on the two central characters of the novel, the lovers Vina and Ormus (mezzo soprano and baritone, suitable for operatic or musical voices), and a speaking role. The first performance will take place in summer 2007. Where? To be announced shortly.

Premières Even before her 40th birthday year in 2008, Roxanna Panufnik already has a great deal to celebrate in 2007. The composer has three premières between March and May this year, two of which are in the USA. Christ Church Cathedral Choir in Indianapolis will perform the US première of A Kind of Otherness on 11 March, under the direction of Frederick Burgomaster, and on 24 March, The Choral Arts Society of Philadelphia will give the world première of Love Abide – a substantial, 20’ work for two soloists, mixed choir, harp, organ and string orchestra. Meantime, back in the UK, the choir of St Edmundsbury Cathedral will première Declair the Wonders for choir on 6 May; interestingly, this commission is to commemorate the 400th anniversary of the founding of Jamestown, Virginia, by Bartholomew Gosnold (who came from Bury St Edmunds), and as such will have an American theme.

borisova-ollas / panufnik

HALFFTER

Fifty years bear fruit Palimsesto means writing or painting something new on a page or canvas on which something already exists. Cristóbal Halffter became interested in this practice when he started work on his orchestral work of the same name, which reflects the experience of the last fifty years of his creative life. After its successful première in Dresden it is now to enjoy its first Spanish performance in Madrid on 29 March.

When Halffter wrote his Dortmund Variations he didn’t have a conventional variation form in mind. His intention was rather to allow the individual groups of the orchestra to take part in a slightly humurous competition. The closing D major chord refers to the ‘D’ of Dortmund. The composer is conducting the work on 24 May in Madrid with the Orquesta Sinfónica de Madrid. LENTZ

Monh tours Germany Monh, written by Georges Lentz between 2001–05, will feature greatly in the concert houses of Germany in March. The work, which is written for solo viola, orchestra and electronics, is being performed three times by the Bochumer Symphoniker, in Bochum and Mülheim from 8–10 March, and then a further three times by the Düsseldorfer Symphoniker (in Düsseldorf) on 23, 25 and 26 March. The soloist for all six performances will be the critically acclaimed viola player Tabea Zimmerman, and the conductor Steven Sloane.

halffter / lentz

KURTÁG

A kind of ritual The full title of György Kurtág’s concert-length compilation of his own music, first heard in Berlin in 1993, is: Rückblick. Old and new for four players. Homage to Stockhausen. The oldest of the works assembled from different creative periods and arranged for trumpet, double bass and keyboard instruments – the 8 Piano Pieces Op. 3 – is used unaltered. All the other short movements appear in the most diverse combinations and result in a kind of ritual (Cantus Ensemble, Zagreb 5 March).

Boulez is also touring Spain in March with Ensemble Intercontemporain, in a programme featuring sur Incises (Zaragoza, Barcelona and Grenoble, 10–13 March). Mémoriale can be heard twice: in Paris (a concert celebrating Ensemble Intercontemporain’s 30th anniversary, 17 March under Peter Eötvös) and London (12 April, LSO / Daniel Harding). Simone Young is conducting Notations I–IV and VII on 20 and 21 May in Hamburg, and Jörg Widmann is to play Dialogue de l’ombre double in Munich (19 April).

BOULEZ

Brussels portrait This March Ars Musica is presenting a small portrait of Pierre Boulez. Tino Haenen has invited musikFabrik from Cologne to perform Dérive 2 under former chief conductor Peter Rundel (24 March), Le Marteau sans Maître can be heard at the Palais des Beaux-Arts (18 March), and Ensemble Recherche are playing Improvisé – pour le Dr. K. (1969/2005) at the Théâtre Marni (10 March).

Pierre Boulez

kurtág / boulez

RIHM

Messages in bottles Compositions are rather like messages in bottles which, after completion, embark on a long voyage across the seas of music, in order perhaps here or there to reach a shore. Sometimes these messages find numerous listeners – for example Ernster Gesang, one of Wolfgang Rihm’s most performed works, which is to enjoy its 61st performance on 12 April with the Leipzig Gewandhaus Orchestra under Neeme Järvi. A unique case is Deus Passus, which is sung every second year at St Michael’s Church in Hamburg (conductor: Christoph Schoener); this year, on 6 April, it can be heard together with a light installation by artist Michael Batz.

rihm

Hamburg is also the venue for the opening concert of ‘Ostertöne’ conducted by Simone Young on 6 April, at which Rihm’s Das Lesen der Schrift shares the bill with Brahms’ German Requiem. The bottle containing Abschiedsstücke (1993) for soprano and 15 players went missing for 5 years, and has now resurfaced in Portugal (Rosemary Hardy, Remix Ensemble / Peter Rundel, 12 and 13 May, Lisbon and Porto). This programme also features Gejagte Form (1995/2002), which two months earlier (9 March) can also be heard at the Oberlin Conservatory of Music under Timothy Weiss. Elswhere, Jonathan Nott conducts “CONCERTO”, dithyramb for string quartet and orchestra in Lucerne (Arditti Quartet / Lucerne SO, 21 and 22 March) and Daniel Harding has chosen IN-SCHRIFT for his London concert with the LSO (9 May).

Da Pacem under Tõnu Kaljuste on 19–20 May, and Lamentate with Alexei Lubimov as soloist under Pier Carlo Orizio on 4–5 June.

Arvo Pärt PÄRT

Honorary doctorate in theology For his services to sacred music, the Faculty of Catholic Theology at the Albert Ludwig University of Freiburg is to award Arvo Pärt an honorary doctorate in theology on 4 May. The celebrations reach their climax on 6 May with a papal mass in Freiburg Cathedral, during which the Berliner Messe and The Beatitudes will be performed. ‘Beethoven, Pärt: Sounds of the Soul’ is the motto of the 44th Festival Pianistico Internazionale Arturo Benedetti Michelangeli, which is taking place between 14 April– 12 June in Bergamo and Brescia. The list of works performed includes Credo and Festina Lente on 22–23 April under Neville Marriner, Magnificat on 6–7 May, Te Deum, Mein Weg, Orient & Occident, L’Abbé Agathon, Wallfahrtslied and

SAWER

Music of Today David Sawer’s Take Off and Hollywood Extra will be featured by the Philharmonia Orchestra in its ‘Music of Today’ series on 26 April. The concert will also feature an interview with the composer, and takes place at the Queen Elizabeth Hall in London, with Edward Gardner conducting. On 12 February, a CD of four substantial works by Sawer, performed by the BBCSO and BCMG (conductors Martyn Brabbins and Susanna Mälkki) and featuring the new From Morning to Midnight: Symphonic Suite was released on the NMC label.

pärt / sawer

Friedrich Cerha CERHA

Golden Moments Friedrich Cerha’s Momente, commissioned by the Munich musica viva, was successfully premièred under Arturo Tamayo on 1 December 2006. Both audience and critics were clearly highly impressed by the wealth of ideas and freshness of this score. ‘Fantastically thought out,’ wrote Egbert Tholl in the Süddeutsche Zeitung: ‘this is pure music of ideas, utterly remorseless at every turning.’ Tobias Hell in the Münchener Merkur thought that ‘here the listener … is at once thrown into the thick of things with little beating about the bush, and is threatened with being overwhelmed almost from the first outburst of the entire string section …’

On 3 March Klangforum Wien are playing the string sextet Eight Movements after Fragments by Hölderlin in Vienna, and the SWR Symphony Orchestra of Stuttgart under Brad Ludman performs Langegger Nachtmusik III (16 March). LIGETI

Musical labyrinths Several of the ideas for his orchestral work Apparitions – composed between 1958–9 – already occupied György Ligeti while in Budapest: a first version was already in his luggage as he fled to Austria, bearing the title Viziók (Visions). For the Cologne première under Ernest Bour on 19 June 1960 Ligeti wrote: ‘My initial idea was a vision of widebranching musical labyrinths filled with sounds and gentle noises’. Toshiyuki Shimada conducted the work on 3 February with the Yale Symphony orchestra in New Haven/USA.

cerha / ligeti

REICH

Polar Music Prize The Polar Music Prize, one of the most internationally known music awards, will this year be given to Steve Reich. King Gustav of Sweden will present the award on 21 May 2007 in Stockholm. ‘The award recognises Reich's unique ability to use repeats, canon technique and minimal variation of patterns to develop an entire universe of evocative music, endowed with immediate tonal beauty.’ Continuing its spectacular tribute to Reich during the celebrations of his 70th birthday last year, the Belgian dance company rosas is now taking its 'Steve Reich Evening' on a tour of no less than 26 dates, involving performances which started on 15 February in Luxembourg and

Bruges, and continuing on to Essen, Brussels, Cavaillon, Paris, Granada, Seville, Antwerp, Utrecht and Charleroi (until 9 June). Information: www.rosas.be

BENNETT

Grammy nomination The superlative recent recording on Chandos of Richard R. Bennett's masterful opera, The Mines of Sulphur, was nominated for the 49th Annual Grammy Awards in the USA. In October 2006, his children’s opera All the Kings Men was successfully produced in Aldeburgh by the Jubilee Opera Group. This exciting musical pageant for young people is beautifully written, perfectly idiomatic and a natural choice for school performances.

rosas

reich / bennett

FELDMAN

Still in demand The music of Morton Feldman still proves to be as much in demand in 2007 as it has ever been. Ensembles Recherche and Intercontemporain will perform Samuel Bekkett, Words and Music in Basle, Switzerland (17 March) and at the

Centre Pompidou in Paris (29 March, conducted by Susanna Mälkki) respectively. Shortly after this, on 10 April, the Moscow Forum Festival has invited Ensemble Recherche to play Instruments 3. On 20 April the Vlaams Radio Orkest, with cellist Arne Deforce, will perform Cello and Orchestra at the deSingel Theater in Antwerp under the guidance of Thierry Fischer. There are then two performances at the Mozarteum in Salzburg. The first features the Österreichisches Ensemble für Neue Musik with Johannes Kalitzke performing Rothko Chapel on 11 May, and the second, on 13 May, features the Minguet Quartett playing String Quartet No. 2. Twenty years after his death, the fascination with the oeuvre of Feldman shows absolutely no sign of abating.

feldman

KRENEK

All-round genius under the spotlight Between 12–22 April 2007 the Festival ‘Ernst Krenek – Musician of Speech’ is taking place in Linz/A. A symposium with top-class participants will illuminate Krenek’s musical rhetoric, the grammar of his expressivity and ‘Krenek as musician of speech’ – in other words

his veneration of poets and writers. The accompanying programme of concert and stage performances includes three highlights being heard for the first time in Austria: the ballet Eight Column Line Op. 85 (1939) choreographed by Rose Breuss, the chamber opera Tarquin Op. 90 (1940) in co-operation with the Linz Landestheater, and Marlborough s’en va-t-en guerre Op. 52 (1927), a marionette play reconstructed and adapted from Marcel Achard.The Festival is rounded off by a workshop on song interpretation with Axel Bauni and an exhibition of Krenek’s watercolours in Linz’s LENTOS Museum. ‘Project TJO’(youth theatre orchestra) in Münster/D enables talented young instrumentalists, under the guidance of players from the Münster SO, to take part in a production under professional conditions. This year’s production is Krenek’s tragic opera Der Diktator, in which he paints a bleakly ironic picture of the approach of fascism and which he himself called ‘a bloody murder story from the private life of a contemporary dictator’. First night: Städtischen Bühnen Münster 29 April; subsequent performances until 19 May.

Ernst Krenek Marlborough s’en va t’en guerre

And – out now: Krenek Studies Vol. 2: Krenek’s Music Theatre; more information at: www.krenek.com

krenek

Franz Schreker 1878 -1934

Die Gezeichneten Director Martin Kusˇej Conductor Ingo Metzmacher Royal Concertgebouw Orchestra

18 20• 23 26 30 May 3• 6 9 June 2007 Het Muziektheater Amsterdam 19.30 / • 13.30

Box Office T + 31 20 625 5455 www.dno.nl

H e t M U Z I E K T H E AT E R A M S T E R DA M

SCHREKER

Psycho-thriller in Amsterdam In 1915, with World War I raging all round him, 27-year old Franz Schreker – exempted from call-up on health grounds – wrote his opera Die Gezeichneten. Only three years earlier the première of Der ferne Klang in Frankfurt had turned him overnight into one of the most important operatic composers of his time, but Die Gezeichneten, on account of its modernity and social criticism, could not initially secure a performance. Over eighty years later it was to achieve renewed fame thanks to the new production by Martin Kusej in Stuttgart. Back then in 2002 the press was unanimous: operatic history had been written. This ‘war work’, according to the Tagesspiegel, returned to the stage with force and refinement. Die Welt spoke of a ‘psycho-thriller’ with a ‘film-music-like score’. The Stuttgart production is now to be revived at Het Muziektheater in Amsterdam under the direction of Ingo Metzmacher from 18 May. In Los Angeles, James Conlon is to conduct the LA Opera Orchestra on 7 and 10 March in a concert of ‘rediscovered voices’ – music which was suppressed during the Third Reich.

Parts of Die Gezeichneten, Jonny spielt auf by Ernst Krenek and Alexander Zemlinsky’s A Florentine Tragedy are being performed. Der ferne Klang can be heard for the first time in the USA (15 April) at a concert in the Avery Fisher Hall, New York, with the American SO under Leon Botstein.

Franz Schreker Die Gezeichneten Staatsoper Stuttgart 2002

schreker

WEILL

An Irish Winter’s Tale The Wexford Opera Festival is no longer an insider’s tip. In terms of quality, performances there can confidently stand up to international comparison, and the Irish festival has also shown great skill at restoring rediscovered, less familiar works to the repertory. The 2007 Festival is taking place for the first time at picturesque Johnstown Castle. Its inaugural event – and at the same time highpoint – is the new production of Kurt Weill’s winter’s tale Der Silbersee in a new English translation, produced by Keith Warner. Timothy Redmond is musical director, and there are performances from 31 May–15 Jun; see www.wexfordopera.com

The Kurt Weill Festival 2007 (Dessau, 2–11 March) is highlighting the mutual inspiration of contemporary dance and Kurt Weill’s music. In over 35 events listeners can make the acquaintance of this both popular and, at the same time, unknown oeuvre. The Festival opens with Tango Palace performed by the Gregor Seyffert Company of Dessau; the three-part show is a passionate, quirky and witty defence of the tango and its triumphal march across cultures. The oldest dance troupe in the UK, the Rambert Dance Company, is to present Anthony Tudor’s (1940) ballet The Judgement of Paris to music from The Threepenny Opera. Finally there is a guest appearance of Ensemble Modern under HK Gruber, and a revival of The Rise and Fall of the City of Mahagonny at the Anhaltisches Theater. www.kurt-weill-fest.de

Johnstown Castle, Ireland

weill

Hanns Eisler Die Massnahme Berlin 1997 EISLER

Fierce controversies

Now the path has been cleared for the controversial work again: on 30 May Eberhard Kloke conducts the Norwegian première as part of the Bergen Festival. PANTCHO VLADIGUEROV

Since Brecht’s heirs removed the embargo on Die Massnahme, didactic piece in 8 numbers (1930), at the end of the 1990s nearly 50 performances have taken place – not only in Europe but in Australia as well. At its first performance on 13 December 1930 the ideological content of the work led to fierce controversies. For the right Die Massnahme was a ‘shameful Bolshevistic piece’, for liberals a ‘longrange Bolshevistic artillery piece’, for the communists a ‘travesty piece’. The Communist Party purges in the Soviet Union made Die Massnahme look like a prophetic apology for Stalin’s terror, and after World War II Brecht and Eisler decided to forbid further performances.

Vardar Only two weeks after Bulgaria’s entry into the EU Rossen Milanov conducted Pancho Vladiguerov’s Bulgarian rhapsody Vardar Op. 16 at Rutgers University in New Jersey (13 January). Vladiguerov was born in Zurich in 1899, but spent the greater part of his life in his Bulgarian homeland. Vardar appeared in 1922 in a version for violin and piano, and in 1928 the composer produced the orchestral version. The patriotic symbol of the river Vardar is emblematic of the work’s Bulgarian character.

eisler / vladiguerov

KODÁLY

Háry János to visit Vienna One of the most important events of this Zoltán Kodály anniversary year (on 16 December 2007 the music world commemorates his 125th birthday) is to take place at the Vienna Konzerthaus on 28 May: General Secretary Christoph Lieben-Seutter has invited the RSO Budapest to give a concert performance of Kodály’s opera Háry János under Adam Fischer. In recent years this Singspiel has been performed in French in Strasbourg and Montpellier, but its fairytale world, rooted in Hungarian folk music, has more often found a home in the concert hall than on the operatic stage: the Suite is to enjoy 14 performances in the next three months, in Vienna, Berne, Stockholm, London and Stuttgart. The Dances from Galánta are being performed 17 times, in venues extending from Vienna to Tübingen via Dresden. The memorial year also offers a first performance: Zoltán Kocsis has arranged the 20 Hungarian Folk Songs for voice and orchestra, and after a preview of four songs will present the entire cycle for the first time in Budapest (16 March). Kocsis writes in his preface to the score: ‘Since in the course of my reworking I deliberately

avoided those compositions which can already be found in Kodály’s stage works in his own instrumentation, these twenty arrangements are by no means to be regarded as a cycle in the strict sense of the word. This naturally means that the performer can, if necessary, make a selection from the pieces or link them together to form little garlands.’

kodály

BARTÓK

Elementary opposition Opera is kept alive by constantly questioning its social relevance and comparing different interpretations. Now, shortly after the Paris production of Belá Bartók’s Bluebeard’s Castle, French music lovers also have the opportunity to experience this central work of Bartók’s oeuvre in Lyon (première: 19 April, conductor Juraj Valcuha). It will certainly be exciting to see how producer Laurent Pelly deals with its elementary opposition between the male role’s impenetrable soul and his wife’s curiosity.

perform Bartók’s first two Piano Concertos. The soloist is Hungarianborn András Schiff, one of the most profoundly knowledgeable experts on his compatriot’s piano works, with an unmistakable feeling for the music’s nuances (7–15 March). Only a week later another Hungarian pianist, Dezsö Ránki, will perform Piano Concerto No. 2 again in Zurich (Orchestra de Sao Paulo / John Nesling) – a rare opportunity to make a direct comparison of the way two Hungarian pianists approach their great legacy. Bartók’s virtuoso Piano Concerto No. 2 can also be heard in Israel: Lang Lang, the 24-year old Chinese piano prodigy, will perform the work with his mentor Zubin Mehta and the Israel Philharmonic Orchestra (Tel Aviv 1 March, Haifa 6 March).

In March Bartók also comes under the spotlight in Zurich: the Tonhalle Orchestra, under their principal conductor David Zinman, are to

Béla Bartók Bluebeard’s Castle Opéra Nancy 2002

bartók

Opera Wroclaw SZYMANOWSKI

Beauty and sensual delight From 30 March Wroclaw’s newly renovated opera house is playing host to Karol Szymanowski’s King Roger, in a production by Polish film and opera director Mariusz Trelinski. Ewa Michnik conducts the Orchestra of the Wroclaw Opera, and Andrzej Dobber sings the title role: further performances will take place on 31 March and 1 April. In a mix of opera, oratorio and mystery play, King Roger uses the historical figure of Norman king Roger II, who ruled over Sicily in the 12th century, to explore the conflict between the established Christian order and a pagan cult of freedom, beauty and sensual delight. ‘My production depicts a man’s encounter with God,’ says Mariusz Trelinksi. ‘The man meets a person who

completely destroys his world-view and leads him to total destruction. This strange act of God has a deeper meaning: the man dies, but is born again.’ SCHMIDT

The ‘Second’ makes a comeback Two works of Franz Schmidt reappear over and over in contemporary concert programmes: his oratorio The Book with Seven Seals and Symphony No. 4. By contrast his Symphony No. 2 has disappeared from the concert hall, even though it developed into one of Schmidt’s biggest public successes in the years after World War II. Fabio Luisi conducts the ‘Second’ on 20 May in Leipzig (MDR SO) and on 31 May in Vienna (RSO Vienna), and re-opens the Book with Seven Seals on 13, 15 and 16 April in Vienna.

szymanowski / schmidt

11. Mai bis 19. Juni 2007

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Festwochen Service Telefon 01-589 22 22 www.festwochen.at

JANÁCEK

Genius in collaboration The event has long since entered operatic lore as the ‘Ring of the century’: when French duo Pierre Boulez (conductor) and Patrice Chéreau (director) produced Wagner’s tetralogy at Bayreuth in 1976, they divided the audience as seldom before. Today their reading counts as one of the milestones of Wagner reception, theatrically and musically. 31 years later Boulez and Chéreau are teaming up again to realise Leos Janácek’s From the House of the Dead with the Mahler Chamber Orchestra for the Wiener Festwochen (première: Vienna, 12 May). The set designer is also the same as at Bayreuth: Richard Peduzzi. The production will also be seen in

Amsterdam (June 2007), at the Festival d’Aix-en-Provence (July), in New York and in Milan. Of his House of the Dead, Janácek wrote to Kamila Stösslová in 1927: ‘What I am now completing is perhaps my greatest work – this new opera. I am so excited, it is as though my blood wanted to gush forth.’ Paris, too, is offering a very promising new Janácek production in collaboration with Madrid’s Teatro Real: The Makropulos Case (conductor: Tomas Hanus, producer Krzystof Warlikowski, 27 Apr). Janácek’s most-performed opera, Jenufa, is also enjoying several premières, including Cologne (under Markus Stenz, 28 April), Nantes (Mark Shanahan, 2 March), Washington (Jiri Behohlávek, 5 May) and Milan (Lothar Koenig, 29 April). Katya Kabanova can be heard in a new production at the Kassel Opernhaus (23 March).

Leos Janácek From the House of the Death Theater Bonn 2004

janácek

Gustav Mahler Das Lied von der Erde Stuttgart Ballet MAHLER

Scarcity value In 1965 the Scottish choreographer Kenneth MacMillan created his ballet Romeo and Juliet for the Royal Ballet in London, later to be filmed with Rudolf Nureyev and Margot Fonteyn in the lead roles. Less well known is his ballet of the same year based on Gustav Mahler’s Lied von der Erde, which he produced in Stuttgart. This version is to be performed at the Bavarian State Opera from 28 April. Ryusuke Numajiri conducts the Bavarian State Orchestra, with Daniela Sindram and Kevin Conners as vocal soloists. The ‘Festtage 2007’ at Berlin’s Staatsoper Unter den Linden is entirely devoted to Mahler’s works between 1–12 April. Even though his symphonies belong to the standard repertoire of all leading

mahler

orchestras, cyclic performances still remain rare, on account of the demands they place on conductors, soloists and orchestras. Daniel Barenboim and Pierre Boulez have now taken up challenge and are presenting the Symphonies 1–9 plus Das Lied von der Erde, with Thomas Quasthoff and Christine Schäfer as soloists. While the Berlin performers are content with the nine completed symphonies, in the Netherlands Mahler’s Symphony No. 10 is being performed for the first time in the reconstructed version by conductor Rudolf Barshai. Barshai himself will direct the Orkest van het Oosten in Zwolle (15 March) and Enschede (16 and 17 March).

ZEMLINSKY

Enthralling music theatre Both of the one-act works A Florentine Tragedy and The Dwarf belong without a doubt to the high points of Alexander Zemlinsky’s output for the theatre. Both works are based on stories by Oscar Wilde and their theatrical power and charm have been rediscovered by numerous opera houses in recent years. Thus the Florentine Tragedy can be seen on 2 and 4 March in Montpellier under Bernhard Kontarsky’s direction and in René Koenig’s staging; on 17 April at the Opéra National de Lyon under

Jonathan Stockhammer with Georges Lavaudant producing; and on 15 April in Frankfurt under Paul Daniel’s direction, produced by Udo Samel. In Frankfurt the opera is to be coupled with The Dwarf; dates of subsequent performances and precise details of forces required can be found at: www.universaledition.com MILHAUD

The joy of music making Darius Milhaud’s Viola Concerto Op. 108 (1929) has seldom attracted much attention from viola players. All the more welcome, then, is the upcoming performance in Amsterdam (20 May), with Suzanne van Els, vla, and the Symfonie Orkest Con Brio under Peter Biloen. ‘This work delights with its unaffected joy in music making’ wrote a 1937 critic; ‘it is a true concerto in the good, old-fashioned sense, giving the soloist the opportunity to display his technical and musical abilities, yet its effect is new and unique.’

Alexander Zemlinsky A Florentine Tragedy

zemlinsky / milhaud

BERG

Tradition of modernism As Music Director of the Teatro Colón, Erich Kleiber – conductor of the première of Alban Berg’s Wozzeck – was a key figure in the musical life of Buenos Aires, where as uncompromising champion of modern music he had been forced to emigrate, and where he gave several works of the Second Viennese School their South American premières. So when, as now, the Teatro Colòn in Buenos Aires stages Wozzeck (under Marcelo Lombardero, 23 March) they are continuing a great tradition which Kleiber helped establish. Meanwhile Eberhard Kloke’s version of Wozzeck for small orchestra (2004) is receiving its Austrian première at the Klagenfurt Stadttheater (from 5 April,

Nikolaus Harnoncourt

berg

conductor Peter Keuschnig, production Olivier Tambosi). The 2-act version of Lulu is in repertoire at Regensburg’s Stadttheater am Bismarckplatz from 3 March, while the Bremerhaven Stadttheater is producing the 3-act version completed by Friedrich Cerha (19 May). Berg’s Violin Concerto is receiving a performance at the Wiener Festwochen with Gidon Kremer and the Vienna Philharmonic under Nikolaus Harnoncourt (5&7 May). The same team first performed this work exactly ten years ago, and the critics of the time spoke of a ‘reference performance’. The 15-minute concert aria Der Wein (1929) is a perfect demonstration of Alban Berg’s instrumental mastery. Ingo Metzmacher is performing the work with the Concertgebouworkest in Amsterdam, with Anne Schwanewilms as soloist (25 and 31 May).

MARX

SCHOENBERG

A masterpiece

Monumental sounds

rediscovered Joseph Marx’s Autumn Symphony was first performed by Felix Weingartner and the Vienna Philharmonic in 1922. A critic of the première wrote of a ‘gigantic work, which surpassed all expectations and overcame all misgivings and presented new, unheard-of challenges for the conductor as well as the performers of the world’s best orchestra … In this four-movement symphony a monument was erected to autumn, of a splendour of coloration and fervour of feeling unique in music history.’ (Duration ca. 75’) Thanks to the efforts of the newly founded Joseph Marx Society, this major score has once again aroused the interest of numerous conductors.

On 17 March, at the Cité de la musique in Paris, Pierre Boulez and EIC are presenting the Song of the Wood Dove from Arnold Schoenberg’s Gurre-Lieder. The complete version of the work, with soloists, chorus and orchestra, can be heard on 25 March in Monaco, with the OP de Monte-Carlo under Marek Janowski and Eva-Maria Westbroek and Alfons Eberz as soloists. The choral parts will be contributed by the Berlin Radio Chorus and the MDR Chorus Leipzig. In 1902 – the year Debussy’s opera appeared – Schoenberg began composing Pelleas und Melisande, but early on decided against a dramatic realisation in favour of a symphonic poem. The work can be heard on 15 May in the Vienna Musikverein, with Boulez conducting the Webern Symphony Orchestra.

marx / schoenberg

MARTIN

From the Repertoire Ever since Frank Martin’s fulllength oratorio Golgotha appeared in the 1940s, conductors have gladly fallen back on this exceptionally dramatic work whenever a dignified church celebration of Easter was needed. Martin had reservations about being able to create something to stand alongside Bach’s Passions, but was so fascinated by the three versions of Rembrandt’s Three Crosses that he found the courage to begin. Golgotha is being performed at Easter (31 March– 1 April) in Hamburg and Potsdam. Martin’s Die Weise von Liebe und Tod des Cornets Christoph Rilke has been in repertoire since 17 February at the Thüringer Landestheater, Rudolstadt in Christian Marten-Molnár’s successful production (further performances 16, 23 and 24 Mar). Fabio Lusi is conducting the 6 Monologues from Everyman – remnants of an abandoned opera – with the Dresden Staatskapelle and soloist René Pape, in Dresden (6–8 May) and Vienna (14 May).

LIEBERMANN

Rousing effect A Berliner Philharmoniker programme booklet of 1965 says of Rolf Liebermann’s orchestral work Furioso (1947): ‘Even today Liebermann’s Furioso exercises its rousing effect on the audience. The piece owes its widespread and enduring success … to the stormy élan which pervades it.’ Roman Brogli-Sacher is taking this work to Lübeck (18 and 19 March) with the Philharmonic Orchestra. On 29 April the parable Ferdinand for speaker, slideshow and ensemble will entertain the children of Basel (Ensemble les muséiques).

martin / liebermann

EINEM

Prince Chocolat Theatre and concert promoters on the lookout for children’s pieces might find what they seek amongst Gottfried von Einem’s music. The musical fairy tale in 5 episodes Prince Chocolat (1982–3, libretto Lotte Ingrisch) for speaker and chamber orchestra (1 1 1 1 – 1 1 0 0 – timp., perc. – str.) is a charming 35-minute tale of a lonely little boy who one night sees a chocolatebrown prince standing before his bed, with whom he shares extraordinary adventures. Coming soon to the Vienna Musikverein (26 March).

HAYDN

Lo Speziale in Munich Universal Edition publish six Joseph Haydn stage works, edited by H. C. Robbins Landon and Eva Badura-Skoda. In preparation for the 200th anniversary of his death (May 2009), we have recently issued a booklet about the Haydn operas in our catalogue. Of course the works of this great composer are always being programmed regardless of any anniversary – even his operas, which attract relatively little interest. Ulf Schirmer is conducting Lo Speziale (The Apothecary), a dramma giocosa after Carlo Goldoni, on 18 March at Munich’s Prinz-regententheater, with Mario Bayo, Monica Groop, Jeremy Ovenden, Steve Davislim, Franz Tscherne and the Munich Radio Orchestra. Haydn wrote the opera to a commission from his employer Prince Nikolaus Esterházy for the consecration of what has become known as the ‘Hungarian Versailles’, the Palace of Eszterháza.

Joseph Haydn

einem / haydn

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

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

Eugen d'Albert † 03 March 1932 David Bedford * 04 August 1937 Walter Braunfels * 19 December 1882 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 Richard Meale * 24 August 1932 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 Karol Szymanowski † 29 March 1937 Julian Yu * 02 September 1957

Anniv. of Death Anniversary Birthday Anniversary Anniversary Birthday 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 R. Murray Schafer * 31 October 1933 Tona Scherchen * 12 March 1938 Max von Schillings † 24 July 1933 Karlheinz Stockhausen * 22 August 1928 Eugen Suchon * 25 September 1908

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

anniversaries

2009 50th 75th 75th 80th 150th 90th 50th 200th 50th 80th 75th 100th 75th 75th 100th 90th 50th

Anniv. of Death Birthday Anniv. of Death Birthday Anniversary Anniversary Anniv. of Death 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 Joseph Bohuslav Foerster * 30 Dec 1859 Roman Haubenstock-Ramati * 27 Feb 1919 Josef Matthias Hauer † 22 September 1959 Joseph Haydn † 31 May 1809 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

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

Hugo Alfvén † 08 May 1960 Alban Berg * 24 December 1935 Paul-Heinz Dittrich * 04 December 1930 Cristóbal Halffter * 24 March 1930 Rolf Liebermann * 14 September 1910 Gustav Mahler * 07 July 1860 Arvo Pärt * 11 September 1935 Toru Takemitsu * 08 October 1930 Egon Wellesz * 21 October 1885

2010 50th 75th 80th 80th 100th 150th 75th 80th 125th

anniversaries

VYKINTAS BALTAKAS Piece for soprano and tape on the occasion of the award ceremony of the Ernst von Siemens Grants-in-Aid, Rita Balta, S 03 May 2007 · Münchner Kammerspiele/D bell tree for string quartet Arditti String Quartet 21 April 2007 · Witten Days for New Chamber Music/D GEORG FRIEDRICH HAAS Bruchstück for large orchestra Munich Philharmonic, c. Markus Stenz 13 May 2007 · Philharmonie Munich/D ZOLTÁN KODÁLY Hungarian Folk Music for voice and orchestra Hungarian National Philharmonic, c. Zoltán Kocsis Eszter Sümegi, S, Bernadette Wiedemann, A, Szabolcs Brickner, T, Bence Asztalos, B 16 March 2007 · Budapest Spring Festival/H ROXANNA PANUFNIK Love Abide for alto, bass, mixed choir, harp, organ and string orchestra c. Matthew Glandorf, Choral Arts Society of Philadelphia 24 March 2007 · Philadelphia/USA Declair the Wonders for choir c. James Thomas, St Edmundsbury Cathedral Choir 06 May 2007 · Cathedral Bury St Edmunds/UK JAY SCHWARTZ Music for Eight Double Basses Bassists of the Hessen Radio Orchestra Frankfurt 12 May 2007 · Frankfurt/D

world premières

MAURICIO SOTELO Muros de dolor III for orchestra Orquesta Filarmónica de Gran Canaria c. Anne Manson 04 May 2007 · Auditorio Alfredo Kraus, Las Palmas, Gran Canaria/E

MAURICIO SOTELO Green Aurora dancing over the night side of the earth for piano Concours Clara Schumann, sol. participants 05 May 2007 · Düsseldorf/D JOHANNES MARIA STAUD One Movement and Five Miniatures for harpsicord, live-electronics and ensemble Birmingham Contemporary Music Group, c. Ilan Volkov 22 April 2007 · Birmingham/UK Berenice. Suite 1 and 2 for orchestra Ensemble Modern, c. Franck Ollu 31 May 2007 · Rolf-Liebermann-Studio Hamburg/D

world premières

PIERRE BOULEZ Anthèmes 2 for violin and live-electronics UE 31160 MIKE CORNICK Blue Baroque Cello for cello and piano UE 21381 MIKE CORNICK Charleston for Two for piano for four hands UE 21368 MORTON FELDMAN Trio for 3 flutes UE 21379 RICHARD FILZ Rhythm Coach 2 with CD Rhythm Workshop for instrumentalists, singers & dancers UE 32348 FRANZ LISZT 12 Etüden op. 1 for piano Vienna Urtext Edition ed. by Christian Ubber UT 50232 ARVO PÄRT Für Anna Maria for piano UE 33363 JAMES RAE Easy Blue Saxophone Duets for 2 saxophone (A,T) UE 21371 DAVID SAWER Mutability for female choir SSA choral score UE 21289 DANIEL SCHNYDER Trumpet Concerto for trumpets and orchestra version for trumpet (B, C) and piano UE 70029 RICHARD STRAUSS Sonate op. 18 in Es-Dur for violin and piano arr. for flute and piano by Emmanuel Pahud UE 33383

new releases

ALEKSEY IGUDESMAN

Style Workout Studies in classical, rock, world and folk music for violin UE 33338

Music has several ‘strings’ to its ‘bow’! If you already know Aleksey Igudesman’s Catscratchbook, you can guess that extraordinary things await young violinists in his newest work as well. For Western classical music has far from exhausted the sound possibilities of the violin. The diverse styles of today’s music have something to offer too, and any fears of approaching them are quickly dispelled by Igudesman’s helpful tips. Little tricks to acquire the right rhythmic sense, phrasing or technique – and already you’re on a fascinating trip through the entire musical world. And then it might even happen that you bump into Mozart in a dream, your violin turns into a distorted American rock guitar or, while playing, you develop a craving for a Chinese spring roll. Interested already?

new releases

BÉLA BARTÓK Der wunderbare Mandarin Los Angeles Philharmonic, c. Esa-Pekka Salonen DGG SACD Hybrid 4776198 BÉLA BARTÓK Musik für Saiteninstrumente, Schlagzeug und Celesta SWR SO Baden-Baden and Freiburg, c. Michael Gielen hänssler CLASSIC CD 93127 BÉLA BARTÓK Der holzgeschnitzte Prinz SWR SO Baden-Baden and Freiburg, c. Michael Gielen hänssler CLASSIC CD 93 184 LUCIANO BERIO Ritirata notturna, Sequenza I and VIIa RSO Frankfurt, c. Luciano Berio, Severino Gazzelloni, fl, Matthias Arter, oboe Col Legno WWE CD 20513 LUCIANO BERIO Complete Piano Works Francesco Tristano Schlimé, pn Sisyphe CD SISYPHE005 LUCIANO BERIO Complete Sequenzas various artists NAXOS 3 CD 8557661-63 MORTON FELDMAN Three Voices Marianne Schuppe, voc Col Legno WWE CD 20249 MORTON FELDMAN Neither SO of the Bavarian Radio, c. Kwamé Ryan, Petra Hoffmann, S Col Legno WWE CD 20081 CRISTÓBAL HALFFTER Ricercare para organo ALFRED SCHNITTKE Zwei kleine Stücke für Orgel Martin Haselböck, org NCA CD/SACD 60160 OLIVIER MESSIAEN Oiseaux exotiques Cleveland Chamber Symphony, c. John McLaughlin Williams, Angelin Chang, pn NCA CD/SACD 60160 (GRAMMY AWARD 2007) ARVO PÄRT Da Pacem Domine, Salve Regina, Magnificat o. a. Estonian Philharmonic Chamber Choir, Paul Hillier harmonia mundi CD HMU 907401 (GRAMMY AWARD 2007) ARVO PÄRT Zwei Beter Hjo Kyrkas Ungdomskör, c. Mats Bertilsson Caprice CD CAP 21751 WOLFGANG RIHM Dis-Kontur, Sub-Kontur, Unbenannt IV SO of the Bavarian Radio, c. Leif Segerstam, Sian Edwards, Lothar Zagrosek Col Legno WWE CD 20093

new on cd

LUCIANO BERIO Sequenza VIII, Duetti per due violini Irvine Arditti, Rüdiger Lotter Oehms Classic SACD OC 611

EDUARD ERDMANN Ständchen Brandenburgisches Staatsorchester, c. Israel Yinon CPO / JPC CD 777 175-2

DAVID SAWER From Morning to Midnight: Symphonic Suite, Tiroirs a. o. BBC SO, BCMG, c. Martyn Brabbins, Susanna Mälkki NMC CD 116

JOSEF SUK Ein Sommermärchen Orchestra of the Komische Oper Berlin, c. Kirill Petrenko CPO / JPC CS 777 174-2

WOLFGANG RIHM Ende der Handschrift, Nebendraußen, Rilke: Vier Gedichte Christoph Prégardien, T, Siegfried Mauser, pn Caprice CD CAP 21751 WOLFGANG RIHM La musique creuse le ciel, Über-Schrift DSO Berlin, c. Peter Rundel, Andreas Grau, Götz Schumacher, pn Col Legno WWE CD 20226 WOLFGANG RIHM Klangbeschreibung 1 - 3 SWR SO Baden-Baden and Freiburg, c. Michael Gielen, Ingrid Ade-Jesemann, Monika Bair-Jvenz, Christa Muckenheim, Christine Whittlesey hänssler CLASSIC 2 CD 93 010 EGON WELLESZ The Complete Piano Work Margarete Babinsky, pn Capriccio 3 CD 67181

new on cd

ZOLTÁN KODÁLY Worklist

Abend — Evening for mixed choir a cappella 1904 Die Alten — The Aged for mixed choir a cappella 7’ 1933 Ode to Franz Liszt for mixed choir a cappella (SATB) 8’ 1936 Ave Maria for female choir a cappella (SSA) 1’30” 1935 Ballet Music for orchestra 5’ 1925 Ballet Music for piano 5’ 1936 Mátra Pictures for mixed choir a cappella (SATB) 1931 Dreikönigstag — Epiphany for female choir a cappella (SSA) 1933 Duo op. 7 for violin and cello 25’ 1914 Die Engel und die Hirten — The Angels and the Shepherds 3’30’’ 1935 for female choir a cappella (SSA) 5 Gesänge high or medium voice & orchestra arr. Paul Angerer 15’ 1957 Das Häschen — The Leveret for female choir a cappella (SS) 1’30’’ 1934 Das Häschen — The Leveret for 2 descant recorders 1’30’’ 1958 ed. by Carl Dolmetsch and Layton Ring Jesus kündet sich — The Voice of Jesus for female choir (SmezzoSA) 1927 traditional from the Zobor region Jesus und die Krämer — Jesus and the Traders 6’30’’ 1934 for mixed choir a cappella (SATB) Kádár Kata for alto and chamber orchestra 9’ 1943 Transsylvanian Folk-Ballad Die kaiserlichen Abenteuer des Háry János op.15 150’ 1925-1926 comic opera, authorised revised version by Ernst Hartmann 1962 Háry János-Suite for large orchestra 23’ 1927 Háry János-Suite for wind orchestra arr. by Glenn Cliff Bainum 23’ 1996 Háry János for ensemble arr. by Kurt Schwertsik 2000 Háry János for 2 clarinets and piano arr. by Kurt Schwertsik Duo from “Háry János” 4’ 1925-1926/1962 for mezzo-soprano, baritone and chamber ochestra Intermezzo from “Háry János” for large orchestra 4’ 1927 Intermezzo from “Háry János” for salonorchester arr. Emil Bauer 4’ 1929 Intermezzo from “Háry János” for violin and piano arr. by Joseph Szigeti 3 Pieces from “Háry János” for piano 10’ 1998 arr. by Andor Foldes, ed. by Peter Roggenkamp Theater-Ouverture for orchestra 12’ 1927 This overture was composed after the Budapest performances of the singspiel “Háry János”.

kodály worklist

2 Männerchöre for male choir (TTBB) 1913-1917 Marosszéker Tänze — Dances of Marossék for piano 12’ 1927 Marosszéker Tänze — Dances of Marossék for orchestra 12’ 1927/1930 Méditation sur un Motif de Claude Debussy for piano 6’ 1907 Meghalok, Meghalok — Woe is me... 1957 for soprano solo, 3–4 altos and female choir (SSAA) Monár Anna — Annie Miller 9’ 1925/1956 for medium voice and chamber orchestra Molnár Anna — Annie Miller 9’ 1936 Transylvanian Magyar Folk-Ballad for mixed choir a cappella (SATB) Morgengruß for mixed choir a cappella (SATB) 1’10’’ 1931 Traditional Hungarian Folksong from Nagyszalonta Pange lingua for mixed choir (SATB) and organ 1929 7 Piano pieces op. 11 for piano 22’ 1910-1918 Praeludium from “Pange Lingua” for organ 1929 Psalmus Hungaricus op. 13 23’ 1923 for tenor, mixed choir, (SATB), boys’ choir ad lib. and orchestra Die Ruine — The Ruins for male choir a cappella (TBarB) 2’30’’ 1936 Serenade op. 12 for 2 violins and viola 1919-1920 Sommerabend — Summer Evening for orchestra 18’ 1906 Sonate op. 4 for cello and piano 17’30’’ 1909/1910 Sonate op. 8 for cello 32’ 1915 Spinnstube — Spinnery A scene from Transylvanian village 70’ 1924/1932 for 6 solo voices (SATB), female and male choir and orchestra String Quartet No. 2 op. 10 1916-1918 Strohhans Hungarian Children’s Folksong 1971 for female and children’s choir a cappella (SSAA) Székler Klage — Transylvanian Lament 3’30’’ 1934 for mixed choir a cappella (SATB) Tantum ergo I–V for female choir (SSA) and organ or reed organ 1928

kodály worklist

Tänze aus Galánta — Dances of Galánta for orchestra 13’ 1933 Tänze aus Galánta — Dances of Galánta for symphonic band 13’ 1978 arr. by R. Mark Rogers Te Deum for soli, mixed choir (SATB) and orchestra 20’ 1936 Topfen der Zigeuner kaut Hungarian Children’s Folksong for female and children’s choir a cappella (SSAA) 1925 for mixed choir a cappella (SATB) 1950 Ungarische Volksmusik — Hungarian Folk Music 1925 for medium voice and piano Ungarische Volksmusik — Hungarian Folk Music 1931-1932 for high voice and piano Ungarische Volksmusik — Hungarian Folk Music 2004 for voice and orchestra arr. by Zoltán Kocsis 2 Volkslieder — 2 Hungarian Folks Songs from the Zobor region 6’ 1908 for 3 sopranos, 3 altos and female choir Weihnachtstanz der Hirten — Christmas Dance of the Shepards 1927 - 1935 after a Hungarian Christmas Song for female choir and wind instrument Zu Spät — Too late for mixed choir a cappella (SATB) 2’20’’ 1934

ARRANGEMENTS Bach Johann Sebastian (1685-1750) 3 Choralvorspiele BWV 743, 762, 747 for cello and piano arr. by Zoltán Kodály Bartók Béla (1881-1945) 5 Lieder — Five Songs op. 15 for medium voice and orchestra arr. by Zoltán Kodály

1924

17’ 1916 1962

The complete worklist, with more specific details, can be found at: www.universaledition.com

kodály worklist

DAVID SAWER

NMC D116 (1 CD)

From Morning to Mi night: Symphonic Suite The Greatest Happiness Principle · Tiroirs · The Memory of Water

This release represents an important first full-length CD of the work of the highly acclaime young composer Davi Sawer. Having stu ie with Mauricio Kagel an been the recipient of numerous awar s an scholarships, Sawer has consistently respon e to a string of major commissions since the 1990s. The isc inclu es a specially-arrange orchestral suite taken from Sawer’s opera From Morning to Mi night—commissione by English National Opera an première at the Lon on Coliseum in 2001—for which he receive a Laurence Olivier Awar nomination for Outstan ing Achievement in Opera. BBC SYMPHONY ORCHESTRA · MARTYN BRABBINS BIRMINGHAM CONTEMPORARY MUSIC GROUP · SUSANNA MÄLKKI

NMC’S NEW ONLINE SHOP IS NOW OPEN Visit http://nmc.gree bag.com for the new one-stop shop for both physical an igital NMC recor ings. Here you can or er our CDs which will be elivere irect to your oor, or purchase music through our igital facility an explore the catalogue.

NMC Recor ings Lt · 18-20 Southwark Street · Lon on SE1 1TJ Tel: +44 (0)20 7403 9445 · Fax: +44 (0)20 7403 9446

www.nmcrec.co.uk

UNIVERSAL EDITION Austria: PO Box 3, A-1015 Vienna, Austria tel +43-1-337 23 - 0, fax +43-1-337 23 - 400 UK: 48 Great Marlborough Street, London W1F 7BB tel +44-20-7437-6880, fax +44-20-7292-9173. USA: European American Music Distributors LLC 254 West 31st Street, 15th Floor, New York, NY 10001-2813 tel +1-212-358-4999, fax +1-212-871-0237. Web: www.universaledition.com Chief Editors: Angelika Dworak and Eric Marinitsch Contributors: Bálint András Varga, Angelika Dworak, Eric Marinitsch, Wolfgang Schaufler, Jonathan Irons, Rebecca Dawson, Marion Hermann and Nick Cutts Design: Egger & Lerch, Vienna Photo Credits: O. Pfeifer, Eric Marinitsch (8), Yasuko Haas, Tobias Schneider, Manon Praetorius, UE-Archive (5), Frank Helmrich, rosas, Internationales Musikinstitut Darmstadt, Staatstheater Stuttgart / Gabriel Sadé, Johnstown Castle, Berliner Ensemble / Ute Eichel, Opéra de Nancy, Oper Wroclaw, Theater Bonn, Hannes Kilian, naive records, Christian Jungwirth, A. Henndorf, Reading Railroad Books, Auditorio Alfredo Kraus, Hagaselamusica, Hunnia Filmstudio / Gyula Kertész; CDs: Oehms Classic, CPO / JPC (2), NMC. DVR: 0836702

thema