05 Georg Friedrich Haas Melancholia at the Paris Opera
08 Victoria Borisova-Ollas World Première of Angelus in Munich
11 Wolfgang Rihm Verwandlung 3 in Weimar
15 Ernst Krenek Karl V at the Bregenz Festival
31 Alexander Zemlinsky A memorial in Vienna
Georg Friedrich Haas World Première of Melancholia at the Paris Opera
newsletter 03/08 • summer 2008
Contents
NEWS UE goes China — 4 UE Email Newsletter — 4 COMPOSERS Haas — 5 Borisova-Ollas — 8 Pärt — 9 Luke Bedford — 10 Rihm — 11 Panufnik — 12 Sotelo — 12 Sawer — 13 Ensemble Modern Project — 13 Krenek — 15 Eisler — 16 Braunfels — 16 Halffter — 17 Furrer — 17 Staud — 18 Baltakas — 18 Birtwistle — 19 Boulez — 19 Stockhausen — 21 Schnittke — 22 Ligeti — 22 Feldman — 23 Berio — 23 Martin — 24 Messiaen — 24 Weill — 25 Milhaud — 25 Bartók — 27 Szymanowski — 28 Delius — 28 Skalkottas — 28 Kodály — 29 Shostakovich — 29
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= World Première
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contents 03/2008
Dallapiccola — 30 Larsson — 30 Liebermann — 30 Zemlinsky — 31 Schreker — 31 Berg — 32 Webern — 32 Schönberg — 33 Einem — 33 Mahler — 34 Janáček — 35 ANNIVERSARIES — 36 - 37 WORLS PREMIÈRES — 38 - 39 NEW RELEASES — 40 - 41 NEW ON CD & DVD — 42 - 43 WORKLIST Cerha — 44 - 46 ACKNOWLEDGEMENTS — 48
Dear Readers, We at UE are sometimes asked why we don’t offer our orchestral materials for purchase, like many other (predominantly American) music publishers. But we stand firmly by our principle of offering copies for loan only, to make certain – both for our composers’ sake and yours – that we are able to deliver the finest performance materials; those representing ‘the composer’s last thoughts’. Composers revise their work; conductors and musicians discover mistakes, then new sources are found and supply new information; old materials are replaced by new, digitally produced ones. These are core concerns for a professional publisher, and apply to Rihm and Pärt as much as to Mahler and Berg. Think of the UE loan department as part of its score archive: we look after it for your sake. The Editorial Team
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UNIVERSAL EDITION
UE goes China Last autumn Universal Edition participated for the first time at Music China in Shanghai, which has established itself as the most important music fair in south-east Asia. China’s importance as a future market for the music business is well confirmed by our experiences. The UE stand received several wellinformed Chinese visitors who were familiar, above all, with the Wiener Urtext Edition through its licensed Chinese version. UE has agreed on projects with the most important Chinese music publishers and, in future, will also be increasingly represented in the field of educational publications there. A strong relationship have also been initiated with Chinese key orchestras. The orchestral managers in Hong Kong, Shenzhen, Guangzhou, Shanghai and Beijing displayed a great deal of interest in scholarly-informed performance materials. Consequently, almost 100 UE orchestral works can now be ordered directly from Beijing via the People’s Music Publishing House.
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Shanghai UNIVERSAL EDITION
E-Mail Newsletter In addition to our quarterly UE Newsletter, we’ve recently introduced a new monthly E-mail Newsletter, which brings our readers succinctly up-to-the-minute with everything UE. You’ll read about special events, first performances, premières and new publications, or learn more about the selected topics that feature each month. In addition to all of this, we also occasionally offer things like free scores to download! Sign up at: www.universaledition.com/ emailnews
HAAS
Transcendental hope Georg Friedrich Haas’ latest opera Melancholia (following Nacht [1996] and Die schöne Wunde [2003]) is based on the novel Melancholie by the Norwegian author Jon Fosse, who has also written the libretto. The story revolves around the Norwegian landscape painter Lars Hertervig (1830–1902), and – though fictional – takes much from biographical accounts of his life.
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Haas describes his fascination with Hertevig’s paintings and his resulting musical approach thusly: ‘It is a spiritual, lyrical world, a practically frightening photographic realism; but these pictures have a sadness about them, a metaphoric fear and, at the same time, a light (albeit indefinable) that has something to do with a transcendental hope. That is what I have tried to capture musically.’ The world première of Melancholia takes place on 9 June at the Opéra National de Paris (also 12, 15, 18, 22, 24 and 27 June). Emilio Pomàrico conducts Klangforum Wien and the Vokalensemble Nova; stage direction is by Stanislas Nordey. Further performances are taking place in Stavanger/N and Oslo/N (Sep/Oct), and the Austrian première will be in Graz/A on 24 and 25 Oct as part of the steirischer herbst festival. Klangforum Wien and Pomàrico will remain in Paris for the French première of in vain on 16 June – part of the Agora Festival. On 12 June, Ulm Theatre is presenting Andris Plucis’ newly staged choreography of Haas’ 7 Klangräume, which are intertwined with Mozart’s Requiem. The seven brief soundscapes unfurl themselves between the fragmentary Mozart excerpts.
Georg Friedrich Haas
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Melancholia
Musique GEORG FRIEDRICH HAAS Livret JON FOSSE Emilio Pomarico | Stanislas Nordey | Emmanuel Clolus
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www.mphil.de
BORISOVA-OLLAS
Première bells When Victoria BorisovaOllas received a commission from the Munich Philharmonic to write a piece commemorating the 850th anniversary of the City of Munich, she immediately set off to visit the city as she had never previously set foot there. One of her most powerful first impressions was encountering the sound of the Angelus bell of the Frauenkirche. This bell has also given its name to her orchestral work, which will be premièred on 8 June under Sylvain Cambreling, and the structure of the composition traces the Angelus over the course of its daily cycle. Further performances on 9 and 11 June: www.mphil.de
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superb command of the instrument, but also because of his unique style of stage appearance, which always includes visual and performance elements derived from the music. His free, virtuosic way of handling the instrument and his eccentric stage presence distinguish him from all other trombonists. Now he has collaborated on a joint composition for trombone and orchestra with Victoria BorisovaOllas, Hamlet, which will receive its première on 14 June in Malmö, with the Malmö Symfoniorkester under Lawrence Renes. As well as fully scored sections, the work includes spaces for improvisation and text passages: www.mso.se
Elias Faingersh is one of the most sought-after trombonists in the world: not just because of his
Victoria Borisova-Ollas
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Wiener Singverein, rehearsed by Johannes Prinz. www.tonkuenstler.at
PÄRT
New Stabat Mater Stabat Mater for string trio and three voices was first written in 1985 – a commission from the Alban Berg Institute to commemorate Berg‘s 100th birthday. Now, as part of the Vienna Festival concerts at the Vienna Musikverein, an expanded version of the Stabat Mater for choir and string orchestra, commissioned by the Tonkünstler Orchestra, is receiving its first performance on 12 June. In the instrumental parts especially, Arvo Pärt has made numerous changes which give these a new form: the three instrumental lines of the string trio are expanded to five orchestral parts, while the three vocal lines are given to a mixed chorus. Kristjan Järvi is to conduct the first performance with the
WP
On 30 June, Gidon Kremer and the Kremerata Baltica are for the first time bringing Pärt’s Passacaglia for two violins and string orchestra to Riga, Kremer’s home town. Arvo Pärt dedicated the score to Gidon Kremer to mark his 60th birthday in 2007. Alina Ibragimova will play the second violin part. www.kremerata-baltica.com The Flemish Musica Sacra Festival in Bever (Belgium) is concluding its programme of lectures, discussions and concerts in a manner that has already become traditional: with a complete performance of the Kanon Pokajanen on 16 Aug – and for the first time, in the composer’s presence. Once again, the Choir Aquarius will be singing under Marc Michael De Smet. www.goeyvaerts-consort.be www.rosario.be
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BEDFORD
Timely notions As part of their celebra tions of John Milton’s 400th anniversary, SingAkademie zu Berlin have commissioned a new work from Luke Bedford. The piece is scored for choir and orchestra; its three movements and text are based upon Milton’s poem On Time, with which it shares its name. The new work toys with the notions of time and metre as the poem does: its opening movement has a sense of elongated ‘timelessness’ about it; its second sees a division of the choir singing parts of the text backwards as reverse phonetics, set against others singing the original text; its final movement is strongly contrasted with the first, effecting an acceleration
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Luke Bedford
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bedford
that can be heard across the breadth of the piece. The world premiere will take place on 5 July in Berlin, where the Kammersymphonie Berlin will join forces with the Berlin Singakademie, under the baton of Kai-Uwe Jirka. Bedford has also recently completed a short song for tenor and guitar. Upon St. George’s Hill joins several other songs, including a new work by David Sawer – The Source, for soprano, mezzo and tubular bells – in a large collaborative project with record label NMC. The piece takes part of the “Diggers’ manifesto” The True Levellers Standard Advanced as its text, St. George’s Hill being the Diggers’ first target in April 1649 – the same month said manifesto was published.
Wolfgang Rihm RIHM
Dense instrumental web After the première of Wolfgang Rihm’s Verwandlung 2 the Frankfurter Allgemeine Zeitung had this to say: ‘With this second Transformation Rihm has finally left behind his period of exploring material: here only music is created, nothing else.’ Whether or not the instrumental web has become yet denser still in Verwandlung 3 will be revealed at the first performance in Weimar, on 15 June. Also hosting Rihm premières are the Bad Kissingen Summer Festival (Vier späte Gedichte von Friedrich Rückert, 28 June) and Bad Wildbad (Auf Kolonos for alto and small orchestra, 20 July). The first performance of his Doppelgesang No. 3 can be heard
WP
at the Leipzig Gewandhaus (12/13 June), and the Hanover Hochschule is showcasing Rihm’s work on 7 June, with performances including Fremde Szene II, the Concerto for Piano and 8 Instruments and selected vocal works. Stefan Asbury is conducting Vigilia – a pivotal vocal work of recent years – in Cologne on 22 June, the Doelenensemble is playing Séraphin (2nd version) in Rotterdam on 1 June, and Unbenannt III for orchestra can be heard on 6 June with the SWR SO BadenBaden and Freiburg under Lothar Zagrosek, who are also playing INSCHRIFT – this time with Johannes Kalitzke conducting – in Darmstadt on 19 July. Rihm’s nocturnal scene Das Gehege is also enjoying a revival at the Munich Opera Festival (26 and 29 July, Gabriele Schnaut, S, c. Kent Nagano); a little further south, at the Salzburg Festival, Erscheinung has been programmed to tie-in with their Schubert theme (7 Aug).
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PANUFNIK
Double-première After the many premières surrounding her 40th, you could be mistaken for thinking that Roxanna Panufnik might slow down! Far from it; she now has a double-première and repeat performance of her Dante Quartet commission This Paradise coming up.
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On 3 June, Nathan Vale and Julius Drake will give the first performance of Winter's Near for horn and piano. In Westminster Cathedral later that evening, Harry Christophers will conduct The Sixteen in the world première of Stay With Me. Two days later, the Dante quartet will take their new work to Sheffield Cathedral, this time performing with the cathedral choir. SOTELO
Cry of freedom Mauricio Sotelo collaborated with the Spanish poet José Angel Valente on his opera Bruno, a meditation on the life of Giordando Bruno. The project was abruptly broken off by Valente’s death in 2000, but Sotelo has now taken a poem by Valente
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Mauricio Sotelo
as starting point for El Rayo de Tiniebla, his work for voice (cantaor), chorus and orchestra. The 30minute work begins with a kind of ‘burning‘ instrumental texture, like that of pile of wood in flames: a ‘Rayo de Tiniebla’ (flash of lightning in the darkness). The dense texture is gradually transformed into ashes (Ceniza), but out of the flames there rises the cry of freedom – the voice of the fantastic Flamenco singer Arcángel. The chorus and Orchestra of the City of Madrid perform the work on 4 June, under José Ramón Encinar.
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BALTAKAS / BEDFORD SAWER
Acerbic satire An exciting collaboration first reported in the press some two years ago is now nearing completion. David Sawer, working closely with renowned TV satirist Armando Iannucci, is currently work-shopping his new operetta Skin Deep.
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The story is of an exclusive plastic surgery clinic in the Swiss Alps and its demented surgeon. As one would expect of Iannucci, the libretto is dark, witty, acerbic and topical – a perfect match for the music of Sawer, whose last opera From Morning to Midnight was premièred in 2001. The world première of Skin Deep will take place in spring 2009.
Music experiment Two of our composers, Vykintas Baltakas and Luke Bedford, along with 14 other composers from around the world, have been invited to take part in the new music project into … organised by Ensemble Modern and the Siemens Arts Program (in collaboration with the Goethe Institute). Starting in February 2008, into … represents an attempt to convey the essence of a city in music. For this, four groups of four composers will spend a month each in one of four megalopolises – Istanbul, Dubai (Baltakas), Johannesburg (Bedford) and Pearl River Delta – composing a work for Ensemble Modern based on their experiences. These musical cityscapes will then be performed from Oct 2008 onwards. With its aim of transforming sensory experience into music, into … is both an exciting experiment and challenge for its participants.
David Sawer
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sawer / ensemble modern project
k Oper im Festspielhaus
23. JULI BIS 23. AUGUST 2008
Bühnenwerk mit Musik von Ernst Krenek
© ZÜNDEL, BILDBEARBEITUNG: BLAUPAPIER
KARL V.
T. +43/5574/407-6 WWW.BREGENZERFESTSPIELE.COM
KRENEK
Musical history Karl V. is not just one of Ernst Krenek’s (1900–1991) key works, it is one of the key works of the 20th century. The opera was first performed in Prague in 1938, after the Vienna State Opera had cancelled its planned première in 1934 due to political pressure. Karl V deserves a fixed place in the repertoire not only as the first full-length twelvetone opera in musical history, but also as gripping music drama. Spurred on by this awareness, the Bregenz Festival is including it in
this year’s programme – a mighty dramatic feat. ‘Like his contemporaries Picasso and Stravinsky, Krenek too holds up a mirror to the 20th century – and it is deplorable that, back then, only a few were prepared to listen to him,‘ says director David Pountney, who is fully convinced of the work’s value. The première is to take place on 24 June at the Bregenz Festspielhaus, in a staging by Uwe Eric Laufenberg, with Lothar Koenigs conducting the Vienna Symphonic. Around it the Bregenz Festival has also organised performances of important works from other creative periods of Krenek’s life. For example, both of his Violin Concertos can be heard; No. 1 on 10 Aug (soloist: Hanna Weinmeister) and No. 2 on 4 Aug (soloist: Ernst Kovacic). Additionally, the Vienna Symphonic will perform Potpourri for orchestra on 28 July under Carlo Rizzi, and the opening concert of the Festival on 24 July includes Eight Songs from the Journey through the Austrian Alps.
Ernst Krenek
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Musicalised theatre Hanns Eisler’s Die Maßnahme written in 1930, is one of the boldest aesthetic and political experiments of modern music theatre. Returning from their mission, four communist agitators face the party tribunal. They have fulfilled their political duty, but in the process shot one of their comrades. They claim the measure was necessary, and as proof point to the behaviour of their comrade in various situations. The case is anything but clear, though: what price must the individual pay for a collective act? Under the direction of Tore Vagn Lid, the Transiteatret of Bergen is working on their realisation of this ‘musicalised theatre’, which will have its première at the Salzburg Festival on 7–10 Aug; Eberhard Kloke conducts. BRAUNFELS
Johanna aflame On 27 Apr Walter Braunfels’ Scenes from the Life of Joan of Arc received its rapturously acclaimed stage première at the Deutsche Oper in Berlin. The press were full of praise,
the Frankfurter Allgemeine Zeitung commenting that the Berlin première ‘confronted us with a spellbinding work both textually and musically … Braunfels wrote an opera on a grand scale with outstanding choral passages and vividly contrasted contours’. The ‘armour-plated instrumental timbres and [the] wealth of contrasts in musical coloration’ were particularly admired by the Süddeutsche Zeitung, whilst the Salzburger Nachrichten spoke of a musical discovery ‘for which we can only be grateful’. We’re all in particular agreement with the Münchner Merkur though: ‘Braunfels has finally received [his] triumphant vindication’.
Walter Braunfels Scenes from the Life of Joan of Arc Deutsche Oper Berlin 2008
EISLER
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Cristóbal Halffter Lázaro Opera Kiel 2008 HALFFTER
FURRER
Prophetic magic
Associative theatre
Following Don Quijote, the Kiel Opera has now staged Christóbal Halffter’s second opera Lázaro, a ‘masterpiece of music theatre’ (Die Welt) that received its much-acclaimed première on 4 May. Its central focus is the figure of Lazarus of Bethany and his miraculous resurrection. Die Welt further lauded Halffter as now having ‘nothing left to prove: from the freedom of his maturity he has gained a symphonic style packed with expression’. The reaction from others was similarly exemplary: ‘the work constantly unlocks new soundscapes of iridescent, subtly orchestrated structures’ (FAZ); ‘as ever, his music burns with a timeless modern quality’ (Kieler Nachrichten); ‘Halffter’s new opera is a triumph in Germany … musically it is outstanding!’ (El Pais).
Die Blinden, Beat Furrer’s earliest foray into music theatre, is a chamber opera in one act based on texts by Maurice Maeterlinck, Plato, Friedrich Hölderlin and Artur Rimbaud. Its première was one of the highlights of the 1989 Wien Modern Festival. Furrer’s theme is the ambivalence of knowledge, but rather than working with a narrative text, he constructs one that is ‘associative, fragmentary and enigmatic’. ‘Perhaps,’ says Furrer, ‘one can already sing what one cannot yet say.’ The Junge Oper Rhein-Main, under Uli Maier, are now to produce this important work of Furrer’s in the Schlachthof, Wiesbaden from 27 July–3 Aug.
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STAUD
Iridescent sound worlds In 2000, in his strictly organised orchestral work … gleichsam als ob …, Johannes Maria Staud already demonstrated what an immensely varied palette of expressive sound gestures lay at his fingertips. Christian Arming is now to perform the work in Tokyo (New Japan Philharmonic Orchestra, 19 June). Two solo works are also beginning to establish themselves in the concert hall repertoire. Peras. Music for Piano can be heard as part of the Festival de Radio France in Montpelier (17 July, soloist Jonathan Powell), while on 12 June the solo violin piece Towards a Brighter Hue is receiving a performance in Vienna. Im Lichte, Music for 2 pianos and Orchestra – the title deriving from
Nietzsche – was premièred with great success this January during Salzburg Mozart Week. This ‘kaleidoscopic exploration of sound worlds’ can be heard again on 27 Sep in Bamberg, once again with Jonathan Nott conducting. BALTAKAS
Shalom Vykintas Vykintas Baltakas joins the renowned list of teachers at the Darmstadt Summer Courses this year, where Poussla for orchestra and Instructions for the use of an old lovespell … will be performed by the SWR SO on 19 July and the Neue Vocalsolisten on 15 July respectively. Ouroboros for ensemble will receive its first Israeli performance on 21 June in Tel Aviv. Ed Spanjaard conducts the Israel Contemporary Players, and again a day later in Jerusalem. www.ensemble21.org
Georg Friedrich Haas, Vykintas Baltakas, Johannes Maria Staud
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BOULEZ
Marteau choreographed
Sir Harrison Birtwistle BIRTWISTLE
Symmetry in dance On 4 July there will be a performance of Harrison Birtwistle’s Tragoedia at the Hochschule für Musik in Karlsruhe. Scored for ten players, this work from 1965 (and dedicated to Tippett) relates its discrete sections to ritual and formal elements of Greek tragedy, and the principle behind the whole structure is one of symmetry. Tragoedia, literally meaning ‘goat-dance’ was the first of Birtwistle’s works to receive widespread critical acclaim, and was also the first of many important pieces for ensemble.
Pierre Boulez has established an important artistic niche at the Lucerne Festival. Not only does he occupy a central role as conductor and orchestral trainer, but also as composer: Alain Damiens is to perform Dialogue de l’ombre double in Lucerne on 21 Aug. The same work can also be heard in Paris on 13 June. Boulez is also appearing as the conductor of his own works: he is performing Mémoriale (… explosante-fixe … Originel) for flute and eight instruments, also on 13 June in Paris, with the Ensemble Intercontemporain (soloist: Sophie Cherrier). Maurice Béjart choreographed Le Marteau sans maître for alto and six instruments several years ago, with sets by Roger Bernard. The choreography can now be seen in a revival in La Sinne-Mulhouse (6–8 June) and Strasbourg (1–5 July). Meanwhile Dérive 2 for 11 instruments is being performed in Stockholm, with Franck Ollu conducting (23 Aug).
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birtwistle / boulez
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Karlheinz Stockhausen STOCKHAUSEN
Visionary and prophet This year Karlheinz Stockhausen would have celebrated his 80th birthday. When he died on 5 Dec 2007, the music world mourned the loss of a bold innovator and uncompromising prophet, without whom the music history landscape of the 20th century would have looked quite different. What were planned as birthday concerts, have now become memorial concerts. Their concern, nevertheless, remains the same: to present Stockhausen’s music in all its boldness and beauty and introduce it to a younger audience. In Kürten, Stockhausen's home town, the Stockhausen-Courses take place for the 11th time this summer, including numerous concerts of his works. On 18 July a 4-track 'tape
projection' of Carré for 4 orchestras and 4 choirs is being presented. The BBC SO is performing Gruppen for 3 orchestras – another epicscale modernist classic – on 2 Aug in London with conductors Pascal Rophé, David Robertson and Ludovic Morlot. Maurizio Pollini, a long-standing, passionate champion of Stockhausen’s piano music, is playing Klavierstücke 7, 8 and 9 as part of the Lucerne Festival (21 Aug). Ensemble Recherche is also joining the ranks of Stockhausen interpreters, performing Prozession on 8 Jul in Darmstadt (together with the experimental studio of the Heinrich Strobel Institute of SW German Radio) and Kontra-Punkte for 10 instruments and Zeitmasse for five wind instruments at the WDR Concert Hall in Cologne (22 Aug). In Portugal the Evor Ensemble Contemporaneo is playing KontraPunkte (21–23 July), which Ensemble Modern are also performing in Aix-en-Provence (1 July).
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SCHNITTKE
Virtuosic double concerto The incomparable artistry of the oboist Heinz Holliger, and his harpist wife Ursula, has served as inspiration for countless composers, including Alfred Schnittke – who wrote his Concerto for Oboe, Harp and String Orchestra for them, to a commission from the Zagreb Biennale, in 1970–71. Originally, Schnittke intended to call the work Funeral Concerto – he had dedicated the piece to the memory of his friend, the Soviet painter Juli Soster – but in the end a more dance like caracter triumphed over the mourning. Edoardo Rosadini conducts the Orchestra da Camera ‘I nostri Tempi’ in Fiesole/I on 23 June. LIGETI
Static music In a 1970 interview György Ligeti described a nocturnal walk he took around Budapest castle in 1950, during which the idea came to him for a kind of music that presented not a process, but a state. He called it a ‘static combination of sounds’. Back then he did not dare hope
György Ligeti
that, one day, an actual composition would arise from this idea. But this was the origin of his first, radically novel orchestral piece, Apparitions (1958/9) – the basis for one of his most frequently performed works, Atmosphères (1960), which for the first time put this idea of static music into practice. The two pieces are very rarely programmed together, although Leon Botstein will soon do just that when he conducts both of them with the American Symphony Orchestra in New York on 1 June.
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schnittke / ligeti
FELDMAN
Restraint beauty There are many important works by Morton Feldman to hear in the coming months: on 10 June the renowned Feldman interpreter John Tilbury will perform the epic Triadic Memories at St. John’s Smith Square, London, whilst a few days later, in Berlin, Trio Nexus will begin a run of four performances of Crippled Symmetry (14, 15, 17, 18 June). Finally, on 29 June, Siegfried Mauser will perform Palais de Mari in Gelsenkirchen/D. All proof that Feldman’s unique voice continues to appeal the world over.
Berio, who accorded the human voice a special role in his works, set himself the goal of ‘exposing and commenting on the expressive’ in the Folk Songs; ‘the cultural roots of each song’. The Folk Songs may only be played as a complete cycle. Amongst other places, they can soon be heard in Berlin (5–7 July) with the Berliner Philharmonic – under Mariss Jansons – and mezzosoprano Elīna Garanča.
BERIO
“Black is the colour … ... of my true love’s hair”. This is how Luciano Berio’s Folk Songs begin, compiled in 1963 and 1964 for his favourite interpreter – and at that time, his wife – Cathy Berberian. They are not a folk song collection in the conventional sense, but rather an anthology of 11 folk songs or songs of folk-like character. The characters and themes of the individual songs are as diverse as their sources and origins.
Luciano Berio
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feldman / berio
MARTIN
Bright and buoyant A work by Frank Martin has travelled all the way to Santiago de Chile, where it will be performed for the first time on 14 Aug (c. Nicolas Rauss). The Concerto for 7 Wind Instruments, Timpani, Percussion and String Orchestra was written in 1949, and is one of the many works for solo instruments and orchestra in which Martin pays particular attention to soloistic display. Here, Martin gives all the soloists space
to present themselves and the characteristic capabilities of their instrument. With astonishing compositional virtuosity, he overcame the challenge of allowing all the Concerto’s seven wind instruments to step into the limelight in all their diversity and specific characters. The bright, buoyant character of Martin’s music derives from harmony that is tonally connected, yet extremely differentiated chromatically. MESSIAEN
Exotic bird songs During the 1950s, Olivier Messiaen’s compositions were dominated by the sounds of birds. Messiaen, whose centenary falls on 12 Dec this year, travelled to exotic locales to expand his catalogue of notated birdsong even further. He accorded these avian motifs an intrinsic aesthetic value and used them as the basis for several whole compositions. His frequently heard Oiseaux exotiques (1956) has even winged its way to Seoul! Stefan Asbury will conduct the Seoul Philharmonic Orchestra with Wilhelm Latchoumia at the piano on 13 June.
Frank Martin
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martin / messiaen
Kurt Weill Rise and Fall of the City of Mahagonny Aalto Theater Essen 2008 WEILL / BRECHT
Mahagonny in Edinburgh The Edinburgh International Festival was founded in 1947, as expression of an optimistic attitude towards the rebuilding of a broken Europe. The dream of a new community was to be nurtured through the common experience of music, theatre, opera and dance. Today, too, the Festival is still committed to these principal values and ideals. On 8 Aug the Festival will open with a concert performance of the opera Rise and Fall of the City of Mahagonny (in English). Kurt Weill is the perfect example of a composer whose music straddles boundaries, weaving together strands from the worlds of cabaret, opera and the concert hall in his music. HK Gruber will conduct the Royal Scottish National
Orchestra and Edinburgh Festival Chorus, with the four main roles sung by Susan Bickley (Begbick), Sir Willard White (Moses), Anthony Dean Griffey (Jimmy) and Giselle Allen (Jenny). www.eif.co.uk MILHAUD
Life partner dies The widow of Darius Milhaud, the French librettist, actress and author Madeleine Milhaud, passed away on 17 Jan 2008 at the age of 105. She married Milhaud in 1925, wrote the libretti for his operas Médée and Bolivar, and was a lifelong champion of her husband’s compositional work. Milhaud’s six pastoral songs Machines agricoles (1919) for voice and instruments, a setting of texts found in a catalogue of farm machines, can be heard on 4 July at Stelzen/D by ad hoc orchestra.
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SALZBURGER FESTSPIELE 2008
Béla Bartók
Herzog Blaubarts Burg sowie Vier Orchesterstücke • Cantata profana – Die neun Zauberhirsche
Peter Eötvös, Musikalische Leitung • Johan Simons, Regie Daniel Richter, Bühnenbild • Greta Goiris, Kostüme Mit Falk Struckmann, Michelle DeYoung, Lance Ryan Wiener Philharmoniker Konzertvereinigung Wiener Staatsopernchor
Béla Bartók, um 1930: Harenberg Komponisten Lexikon, hrsg. von Klaus Stübler und Christine Wolf. Dortmund 2001
GROSSES FESTSPIELHAUS 6., 14., 18. und 23. August 2008
TICKETS: Tel: +43-662-8045-500 www.salzburgfestival.at/bartok
THE BÉLA BARTÓK SERIES sponsored by
BARTÓK
Unusual combination Béla Bartók’s only opera Herzog Blaubarts Burg is over in just one act and, in everyday operatic life, must therefore be combined with another work. Arnold Schönberg’s monodrama Erwartung has often proved popular in this respect. The Salzburg Festival, however, is trying another pairing, presenting Bluebeard alongside the Four Orchestral Pieces Op. 12 and that passionate ode to life’s vicissitudes, the choral work Cantata profana. The producer is Johan Simons, and Peter Eötvös is to conduct the Vienna Philharmonic (6–23 Aug). There are also concert performances in Zurich (28 June, with Christoph von Dohnányi) and Munich (1 Jun, under Hartmut Haenchen). In Salzburg, Daniel Barenboim is playing the rhythmically complex Piano Concerto No. 1 with Pierre Boulez conducting (27, 28 July) and the Hagen Quartet are performing Bartók’s String Quartet No. 3 (26 Aug). In Mulhouse, Adrian Oetiker is taking on the solo part in the Piano Concerto No. 2 (13, 14 June, c. Daniel Klajner). The Miraculous Mandarin is currently enjoying performances all
Grosses Festspielhaus Salzburg
over the world: Sir Simon Rattle is taking the work on tour to France with the Berliner Philharmoniker (Aix-en-Provence, 30 June); also conducting in France is Tugan Sokhiev (Toulouse, 14 June). Further performances by Franz WelserMöst – with the Cleveland Orchestra in Salzburg, 24 Aug – and Stefan Asbury (Seoul, 13 June) are also planned. Meanwhile in Freiburg, Michael Gielen and the SWR SO are tackling The Wooden Prince (21 June).
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bartók
SZYMANOWSKI
A breath of fresh air One of Karol Szymanowski’s earliest works is his Concert Overture for orchestra (1904–5), written just after the young composer had completed his studies in Warsaw. At this time, Szymanowski belonged to a group of young composers who sought to revive Polish music, breathing new life into it from the inspirational contemporary European music styles they were experiencing. The International Youth Orchestra is taking this work on a short summer tour of Germany (Weingarten, Ehingen, Ochsenhausen 13–15 Aug). DELIUS
An unending flow of music
nuances, showing a close affinity with Impressionism. His ‘English Rhapsody’ Brigg Fair (1907) can be heard on 17 July in Kawasaki/J, with the Senzoku Master Orchestra under Kazuyoshi Akiyama. SKALKOTTAS
Fiery musicianship Amongst those of Schönberg’s pupils who achieved independent significance, Nikos Skalkottas (1904–1949) is perhaps the most exotic. Particularly successful are his cycles of short virtuoso pieces like the Ten Sketches for strings, which throw new light on such diverse traditional forms as the passacaglia, ragtime or rondo in a highly original manner. Fiery musicianship and complex free tonality are here blended with grotesquery, humour and poetry. Ernst Kovacic is taking the work to Wroclaw/PL on 15 June.
Frederick Delius had developed his own, very personal compositional style by the end of the 19th century. Influenced by Debussy, it could be seen as a musical expression of the fin de siècle: a distinctive harmonic language; an apparently unending flow of music; and a sensitive rendering of exquisite emotional
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szymanowski / delius / skalkottas
KODÁLY
Genuine Hungarian music
the Dances from Galánta or Háry Janós Suite. Jan Söderblom is conducting Summer Evening in Korsholm/FIN on 18 June. SHOSTAKOVICH
Zoltán Kodály composed his first orchestral work, Summer Evening (1906), at the age of 24. With it he obtained his diploma from the Budapest Music Academy, where he had studied with Hans Koessler. It was an attempt to create genuine Hungarian music, as a protest against the musical life of Budapest: dominated by German music and, above all, by Wagner. 23 years later – at the suggestion of Arturo Toscanini – Kodály undertook a fundamental revision of the piece. The new version was first performed under the great Italian conductor’s baton on 3 Apr 1930 in New York. It has since acquired a firm place in the orchestral repertoire, although it has never quite achieved the huge popularity of
Yearning hearts As the musical accompaniment to his dance production of Shakespeare’s Anthony and Cleopatra, choreographer Darrel Toulon has decided to use five suites of film music by Dmitri Shostakovich: The Gadfly, Pirogov, King Lear, Hamlet and Lady Macbeth of Mtsensk. The dance tableaux each depict the romantic love between two famous historical characters, who are each torn between their political career and their yearning hearts. The production will run from 19 Apr–12 June at the Opera House, Graz/A.
Dmitri Shostakovich Antonius and Cleopatra Opera Graz 2008
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kodály / shostakovich
DALLAPICCOLA
Personal freedom Fascinated by Saint-Exupéry’s Vol de nuit, Luigi Dallapiccola (1904– 1975) succeeded brilliantly in turning the original novel – much of it presented as internal monologue – into a stage-worthy one-act opera: Volo di notte (1940). In the process, he fought to evoke the humanistic worldview that affirms the individual’s right to personal happiness and freedom that he found within the text. His music is couched in very illustrative language, depicting the beauties and dangers of the landscape, the howling of the wind and the glistening of the stars. The Frankfurt Opera are presenting the work again – in Keith Warners’ production – from 20 June. LARSSON
Bridled passion
sensitive string music, without forfeiting any of its originality and freshness. The Höörs Kammarorkester will be playing this mercurial work on 6 June in Höör/S. LIEBERMANN
Boogie-woogie and mambo In his Concerto for Jazz Band and Symphony Orchestra (1954), Rolf Liebermann (1910–1999) attempted to incorporate popular dance forms of the 1950s into symphonic music, so arriving at his concerto grosso-like composition – its seven movements played without interruption: Introduction, Jump, Scherzo I, Blues, Scherzo II, Boogiewoogie, Interludium and Mambo. The Orquesta Nacional do Porto will be performing it on 19 July, under Alexander Shelley, at the Casa da Música in Porto/P.
The south-Swedish composer LarsErik Larsson (1908–1986) is principally known tri-fold for his unmistakable ‘Scandinavian sound’, his restrained passion and the burgeoning lyricism of several of his slow movements. His Little Serenade (1934) for string orchestra reflects this Scandinavian tradition of
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dallapiccola / larsson / liebermann
SCHREKER
Missing costumes Alexander Zemlinsky ZEMLINSKY
Memorial in Vienna Commissioned by the Alexander Zemlinsky Fund, a memorial by the artist Josef Symon was unveiled on 26 Mar near the birthplace of Alexander Zemlinsky, in the Leopoldstadt district of Vienna. The memorial commemorates the composer, conductor and teacher Zemlinsky, and also those who became unfortunate victims of banishment or annihilation at the hands of the National Socialists. Following Zemlinsky’s wishes, his ashes were transferred from New York to Vienna some 20 years previously, where he received a grave of honour in the Vienna Central Cemetery. This monument is yet a further contribution to his final homecoming.
Although today Der Wind (for vln, cl, hn, vc and pf) is one of Franz Schreker’s most popular concert works, this was not always the case. It was written in 1909 for a mime performance, using a prose scenario by Grete Wiesenthal. The Wiesenthal sisters took Der Wind on tour, but had to drop it from programmes after their costumes mysteriously went missing en-route to a guest appearance in Paris. It is suspected that the sisters’ agent organised this ‘loss’ himself, as he considered the work too challenging for the dancers’ usual audience. Der Wind can be heard in Hamburg on 1 Jun (www.laeiszhalle.de) and in Zurich on 1 July (Collegium Novum Zurich).
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zemlinsky / schreker
BERG
Tomorrow’s Wozzecks’
at Christine Schäfer’s performance under Paavo Järvi with the HR SO in Frankfurt and Cologne (12–14 June). Pierre Boulez conducts Laura Aikin in Paris on 6 June. WEBERN
After Christoph Marthaler’s production in Paris (one of ‘tomorrow’s Wozzecks’ as the FAZ writes), Philipp Himmelmann presents ‘his’ version of Alban Berg’s Wozzeck in Graz/A. Dirk Kaftan conducts, with Martin Winkler and Nicola Beller Carbone in the leading roles. Première: 7 June. Alina Ibragimova, at just 22, takes Berg’s 3 Pieces from the Lyric Suite on a tour through Australia with the Australian Chamber Orchestra (Aug/Sep). Berg’s Orchesterlieder Op. 4 (Altenberg-Lieder) were the catalyst of one of the most famous uproars in Viennese concert life. During the première in 1913, conducted by Schönberg, chaotic scenes and even brawling broke out. No such scenes are expected
Concentrated forms Anton Webern, whose 125th anniversary falls on 3 Dec, created a finely nuanced, strictly constructed form of twelve-tone music. In his compositions he takes the art of tiny, highly concentrated forms to perfection. Among many performances of his works, particular mention should be made of 4 concerts at the Zurich Tonhalle where the Passacaglia, 3 Little Pieces, 4 Pieces, 6 Pieces for orchestra/chamber orchestra, the String Quartet and Das Augenlicht (Zurich Tonhalle Orchestra, Collegium Novum Zurich) can all be heard (24 June–3 July).
Canberra, Australien
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berg / webern
SCHÖNBERG
First name terms with Arnold Choreographer Robert Glumbek takes Arnold Schönberg’s Transfigured Night back onto the stage in Per Du II mit Wolfgang, Arnold und Joseph (On First Name Terms 2 with Wolfgang, Arnold and Joseph) in Mannheim this June. ‘Schönberg’s music is so dramatic, almost narrative, that when listening, the choreographer has a virtually cinematic experience.’
Arnold Schönberg EINEM
The première of the Gurre-Lieder in 1913 was a great success, but Schönberg, unhappy with years of indifferent treatment by the Viennese audience, refused to acknowledge its applause. We expect drama of a purely musical kind at the Bergen Festival, where Andrew Litton conducts the Bergen Philharmonic Choir and Orchestra (3 and 4 June). David Zinman conducts the Aspen Festival Orchestra and the Colorado Symphony Chorus at the Aspen Festival/USA on 17 August.
Music with dignity Quite early on, Gottfried von Einem had developed a completely independent musical style. In 1962 Harold C. Schonberg wrote in the New York Times: ‘Einem is an original, down-to-earth composer, who expresses himself musically with dignity, feeling and pre-eminent artistic strength.’ In his opera Dantons Tod (1944), first performed in 1947, he alludes to the myths and realities of the French Revolution. The four character pieces extracted from it – Dantons Tod, suite for orchestra Op. 6a (1949) – can be heard on 12 June at the Theater Meiningen/D under Hans Urbanek.
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schönberg / einem
MAHLER
Almost 100 years ago … … in September 1908, Gustav Mahler completed the score of his Lied von der Erde. The hammer blows of fate which previously befell him after the completion of his Symphony No. 8 in 1907 – the death of his five-year-old daughter, his resignation from the directorship of the Vienna Court Opera and the diagnosis of a heart disease which compelled him to alter his lifestyle drastically – forced Mahler to radically change his lifestyle. All of this influenced his outlook on life and had an audible effect on those works that he never heard performed in his lifetime – works in which he nevertheless reached the peak of accomplishment: Das Lied von der Erde, the Symphony No. 9 and his sketches for the Symphony No. 10. It is true that Mahler did not explicitly include Das Lied von der Erde in his symphonic canon (perhaps from fear of the number 9?), but he did describe it as a ‘symphony for alto and tenor voices and large orchestra’. In addition to the version for large orchestra, the UE catalogue also includes versions that can be performed with chamber orchestra (by Schönberg/Riehn and Glen Cortese)
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mahler
Yu Long
or chamber ensemble (Glen Cortese). Das Lied von der Erde can be heard in the coming months in the following cities (under the following conductors): Lille (Jean-Claude Casadesus); Stuttgart (Andrey Boreyko); Munich (Daniel Harding); Napa, USA, and Bielefeld (Jac van Steen); Hildesheim, Berlin, Frankfurt, Salzburg and Lucerne (Franz Welser-Möst). In Guangzhou/China the orchestra is ending its season with Mahler’s Symphony No. 3 under principal conductor Yu Long (12 July). More information: www.universaledition.com/mahler
JANÁČEK
House of the Dead reborn Last year, when Pierre Boulez and Patrice Chéreau re-joined forces for the first time in decades to produce Leoš Janáčeks From the House of the Dead, the press hailed them as ‘opera’s true dream team‘. Their electrifying production can be seen during the 2009–10 season at the New York Metropolitan Opera (conducted by Esa-Pekka Salonen), but thanks to a film of the production – which screened earlier this year in Paris – those who can’t make it to New York now also have a chance to see this spectacle, as it is now available commercially on DVD. Salonen, though, is already scheduled to descend into the House of the Dead this Aug. He is conducting concert performances of Janáček’s last opera in Finland (Helsinki Festival, 21 Aug) and Stockholm
(Baltic Sea Festival, 23 Aug), on both occasions with the Finnish RSO. Another successful production is also going on tour: The Makropulos Affair. The Paris staging by young Polish director Krzysztof Warlikowski received rave reviews and is now travelling to Madrid for 10 performances at the Teatro Real (16–30 June), with Paul Daniel conducting the Orchesta Sinfónica de Madrid. Warlikowski’s production will also form part of Gérard Mortier’s first season at the New York City Opera. Calixto Bieito’s hotly disputed interpretation of Jenůfa is also making a re-appearance at the Stuttgart Opera (3 July). It seems Janáček’s operas conceal a great deal of socially explosive material, which – once ignited – can shake us to our very core. What more could one ask of opera?! The Glagolitic Mass is receiving three performances: Boulez conducts the BBCSO in London on 15 Aug, and Lothar Zagroszek conducts the Munich Philharmonic in Munich (17/18 July).
Pierre Boulez and Patrice Chéreau at the rehearsal for Leoš Janáčeks From the House of the Dead Vienna Festival 2007
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janáček
2008 25th 125th 90th 70th 80th 100th 60th 60th 75th 70th 75th 80th 100th 125th
Anniv. of Death Anniversary Anniversary Birthday Anniversary Anniversary Birthday Birthday Birthday Birthday Anniv. of Death Anniversary Anniversary Anniversary
Cathy Berberian † 06 March 1983 Alfredo Casella * 25 July 1883 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 * 18 July 1933 Tona Scherchen * 12 March 1938 Max von Schillings † 24 July 1933 Karlheinz Stockhausen * 22 August 1928 Eugen Suchon * 25 September 1908 Anton Webern * 03 December 1883
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 Sir 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
2009 50th 75th 75th 80th 150th 90th 50th 200th 50th 80th 75th 100th 75th 75th 100th 90th 50th
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anniversaries
2010 50th 75th 80th 80th 100th 150th 75th 80th 125th
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
2011 75th Birthday 75th Birthday 100th Anniversary 75th Birthday 80th Birthday 75th Birthday 100th Anniv. of Death 75th Birthday 75th Anniv. of Death 50th Birthday 50th Birthday 125th Birthday 50th Birthday 25th Anniv. of Death 75th Birthday
Gilbert Amy * 29 August 1936 Sir Richard Rodney Bennett * 29 March 1936 Paul Burkhard * 21 December 1911 Cornelius Cardew * 07 May 1936 Mauricio Kagel * 24 December 1931 Ladislav Kupkovic * 17 March 1936 Gustav Mahler † 18 May 1911 Steve Reich * 03 October 1936 Ottorino Respighi † 18 April 1936 David Sawer * 14 Seotember 1961 Daniel Schnyder * 12 March 1961 Othmar Schoeck * 01 September 1886 Mauricio Sotelo * 02 October 1961 Alexandre Tansman † 15 November 1986 Hans Zender * 22 November 1936
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anniversaries
LUKE BEDFORD On Time for choir and orchestra Sing-Akademie zu Berlin, Kammersymphonie Berlin, c. Kai-Uwe Jirka 05 July 2008 · Gethsemane Church Berlin/D VICTORIA BORISOVA-OLLAS Angelus for orchestra Munich Philharmonic, c. Sylvain Cambreling 08 June 2008 · Gasteig Munich/D VICTORIA BORISOVA-OLLAS / ELIAS FAINGERSH Hamlet for trombone and orchestra Malmö Symfoniorkester, c. Lawrence Renes Elias Faingersh, trb 14 June 2008 · Malmö/S CRISTÓBAL HALFFTER Espacio de silencio String Quartet No. 7 Leipziger Streichquartett 30 August 2008 · Festival Internacional de Santander/E ARVO PÄRT Stabat Mater for mixed choir (SAT) and string orchestra Tonkünstler Orchester NÖ, c. Kristjan Järvi, Singverein der Gesellschaft der Musikfreunde in Wien 12 June 2008 · Musikverein Vienna/A ROXANNA PANUFNIK Stay With Me for double choir and organ The Sixteen, c. Harry Christophers 03 June 2008 · Westminster Cathedral London/D Winter’s Near for horn and piano Nathan Vale, Julius Drake 03 June 2008 · London/GB WOLFGANG RIHM Verwandlung 3 for orchestra Staatskapelle Weimar, c. Carl St. Clair 15 June 2008 · Weimar/D
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world premières
GEORG FRIEDRICH HAAS Melancholia opera in 3 parts Klangforum Wien, Vokalensemble Nova, c. Emilio Pomàrico, Otto Katzameier, Melanie Walz, Johannes Schmidt, Angelika Luz, Daniel Gloger stage: Stanislas Nordey 09 June 2008 · Palais Garnier Paris/F
WOLFGANG RIHM Vier späte Gedichte von Friedrich Rückert for voice and piano Hans Christoph Begeman, bartione, Axel Bauni, pn 28 June 2008 · Bad Kissingen/D MAURICIO SOTELO El rayo de tiniebla for voice (cantaor), mixed choir and orchestra c. José Ramón Encinar, Orquesta e Coro de la Comunidad de Madrid, Arcángel, cantaor 04 June 2008 · Madrid/E Green Aurora dancing over the night side of the earth for piano student of the Robert Schumann Hochschule Düsseldorf 17 May 2008 · Düsseldorf/D
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world premières
MIKE CORNICK Clever Cat for 4-hand piano with CD pupil & teacher duets to enhance the earliest stages of learning UE 21407 CARLOS GARDEL Tango Violin Duets for 2 violins, ed. by Diego Collatti UE 33651 ROXANNA PANUFNIK A Wind at Rooks Haven for flute UE 70307 ARVO PÄRT Fratres for 4 percussion players study score UE 33375 JAMES RAE Repertoire Explorer – Flute for flute and piano Graded pieces for beginners UE 21457 JAMES RAE The Best of James Rae for alto-saxophone and piano with CD UE 21408 ROBERT SCHUMANN Works for 4-hand piano Vol. 2 Editor: Joachim Draheim; Fingerings and Notes on Interpretation: Ljiljana Borota and Christian Knebel Urtext of the New Schumann Complete Edition UT 50079 WOLFGANG RIHM Akt und Tag 2 studies for soprano and string quartet score UE 21407 parts UE 33371
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new releases
ANTONIO VIVALDI
Complete Sonatas für cello and basso continuo Editor: Bernhard Moosbauer; Notes on interpretation: Gerhart Darmstadt; Piano score with a realized figured bass, parts: violoncello solo and basso continuo (figured bass not realized) UT 50175 New Edition according to Vivaldi’s corrections The nine sonatas by Antonio Vivaldi are among the most famous cello works of the Baroque era. Thanks to their moderate technical demands, the pieces are an integral part of music lessons as well as of private music-making. But even for the professional ancient music scene, they form a focus of the cello repertoire. The new edition of the Wiener Urtext Edition serves the needs and demands of all three target groups alike, providing a reliable musical text which is no longer based on the unauthorized first Paris edition by Le Clerc & Boivin, but on a copy from Naples revised by Vivaldi himself, as well as on two other manuscripts associated with the composer from the Bibliothèque Nationale in Paris and the music library of the Counts of Schönborn at Wiesentheid.
More detailed information on the performance practice is provided in the notes on interpretation by Gerhart Darmstadt which are based on contemporary sources. Vivaldi
The Complete Sonatas for Violoncello and B.c. UT 50175
Vivaldi Sämtliche Sonaten für Violoncello und Basso continuo Moosbauer / Darmstadt
Wiener Urtext Edition Schott / Universal Edition
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new releases
BÉLA BARTÓK The Wooden Prince Bournemouth SO, c. Marin Alsop NAXOS CD 8.570534 BÉLA BARTÓK Piano Concerto No. 1 and No. 2 András Schiff, pn, Budapest Festival Orchestra, c. Ivan Fischer Warner Maestro CD 2564696558 LUCIANO BERIO Psy Jean-Claude Delache, cb Dissemina Production CD NM 30 17 001 MORTON FELDMAN For Philip Guston Julia Breuer, Matthias Engler, Elmar Schrammel Wergo 4 CDs WER 67012 MORTON FELDMAN For Samuel Beckett Ensemble Modern, c. Arturo Tamayo HatArt CD 142 MAURICIO KAGEL Die Mutation WDR Rundfunkchor Köln, Aloys Kontarsky, pn, c. Herbert Schernus DMR/RCA CD 7432173 5562 ERNST KRENEK String Quartet No. 3 and No. 5 Petersen Quartett Capriccio CD 67 197 LARS-ERIK LARSSON Little Serenade SW-Deutsches Kammerorchester Pforzheim, c. Sebastian Tewinkel AULOS CD AUL66156 GUSTAV MAHLER Das Lied von der Erde Brigitte Fassbaender, MS, Thomas Moser, T, Cyprien Katsaris, pn Warner Maestro CD 2564697361 GUSTAV MAHLER Symphony No. 9 Berliner Philharmoniker, c. Sir Simon Rattle EMI Classics CD 5 0999-5-01228-20 ARVO PÄRT Memento WOLFGANG RIHM 7 Passions-Texte Singer Pur Oehm Classics CD OC 812 ARVO PÄRT Spiegel im Spiegel, Variationen zur Gesundung von Arinuschka, Für Alina, Mozart-Adagio Benjamin Hudson, Sebastian Klinger, Jurgen Kruse Brilliant Classics SACD 8847 ARVO PÄRT Fratres, Litany 5 Ballette von Hans van Manen (Déjà vu, Two pieces for HET) Arthaus/Naxos 2 DVD 101501 WOLFGANG RIHM Dis-Kontur, Lichtzwang, Sub-Kontur János Négyesy, vln, SWR-SO Baden-Baden und Freiburg, c. Sylvain Cambreling, Ernest Bour Hänssler Classicc CD 930202 WOLFGANG RIHM Klavierstück Nr. 1, 4, 5, 6, 7, Ländler, Brahmsliebewalzer, Nachstudie, Zwiesprache, Auf einem anderen Blatt ... Markus Bellheim, pno Neos CD 10717/18
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new on cd & dvd
LUCIANO BERIO Folk Songs Percorso Ensemble, c. Ricardo Bologna, Celine Imbert, MS SESCSP CDSS 007/07
LEOŠ JANÁČEK From the House of the Dead Mahler Chamber Orchestra, c. Pierre Boulez, Regie: Patrice Chéreau DG DVD 00440
FRANK MARTIN Polyptyque, Maria-Triptychon, Passacaille Dt. Radio Philharmonie, c. Christoph Poppen ECM CD New Series 2015
KAROL SZYMANOWSKI Hagith Wroclaw Opera Orchestra, c. Tomasz Szreder, Wroclaw Opera 2006 DUX DVD 9589
FRANZ SCHMIDT The Book of Seven Seals Wiener Singverein, Tonkünstler Orchester NÖ, c. Kristjan Järvi Chandos 2 CDs CHSA5061 KARLHEINZ STOCKHAUSEN Chöre für Doris ars-nova-ensemble Berlin, c. Peter Schwarz Sony BMG CD RCA Red Seal 88697 25238 2 KAROL SZYMANOWSKI King Roger, Symphony No. 3, Violin Concerto No. 1, Stabat Mater, 6 Lieder der Märchenprinzessin, Des Hafis Liebeslieder Elzbieta Szmytka, Jadwiga Rappé, Philip Langridge, Thomas Hampson; Thomas Zehetmair; Iwona Sobotka, Katharina Karnéus, City of Birmingham Symphony Chorus & Orchestra, c. Sir Simon Rattle EMI Classics 4 CDs 5145762 KURT WEILL Rise and Fall of the City of Mahagonny Los Angeles Opera Orchestra & Chorus, c. James Conlon, stg: John Doyle EuroArts DVD 2056258
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new on cd & dvd
FRIEDRICH CERHA (b. 1926) – Worklist (a selection) MUSIC THEATRE Baal stage work in 2 parts original version 195’ 1974–1980 reduced version 195’ 1974–1980 Alban Berg / Friedrich Cerha Lulu opera in 3 acts 180’ 1927–1935/1978 completion of the 3rd act and creation of performance material Netzwerk stage work 120’ 1962–1967/1981 Der Rattenfänger opera in 2 parts 180’ 1984–1986/2003 Spiegel I–VII stage work with performers, light and objects 82’ 1960/1961 (Spiegel I–VII can also be performed as a ballet or as separate movements)
VOCAL MUSIC Aderngeflecht for baritone and orchestra 25’ 2006 Baal-Gesänge for baritone and orchestra 52’ 1981 "bevor es zu spät ist..." for tenor and orchestra 13’ 1988/1997 Eine Art Chansons for chansonnier, piano, double bass and 65’ 1985–1987 percussion Eine letzte Art Chansons for chansonnier, piano, double bass 19’ 1989 and percussion Exercises for baritone, speaker and ensemble 57’ 1962–1967/1987 4 Hölderlin-Fragmente for mixed choir a cappella (SATB) 6’ 1996 Im Namen der Liebe for baritone and orchestra 29’ 1999 In memoriam Ernst Kein for voice (chansonnier) and instruments 16’ 1985 Intersecazioni for violin, 4 voices and orchestra 30’ 1959/1973 Jahrlang ins Ungewisse hinab for chember ensemble with voice 27’ 1995–1996 1. Keintate for voice (chansonnier) and instruments 50' 1980/1982 2. Keintate for voice (chansonnier) and instruments 57' 1983–1985 Lichtenberg-Splitter for baritone and ensemble 25’ 1997 Nachtgesang triptychon for tenor and orchestra 14’ 1984–1985 Nichtigkeit ist alles for mixed choir a cappella (SSAATTBB) 13’ 1995 Requiem for large mixed choir a cappella (SATB) and orchestra 9’ 1994 from Requiem der Versöhnung Requiem for solos, choir and orchestra 90’ 1994–2002 Requiem für Hollensteiner for narrator, baritone, mixed 33’ 1983 choir (SATB) and orchestra Requiem für Rikke for tenor and orchestra from 11’ 1984/1989 “Der Rattenfänger” Triptychon for tenor and orchestra 40’ 1983/1997 Nachtgesang • Requiem für Rikke • "bevor es zu spät ist" Verzeichnis for 16 voices or 16 voices choir (4S, 4A, 4T, 4B) 11’ 1969
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friedrich cerha worklist
ORCHESTRA Berceuse céleste for orchestra Fasce for large orchestra Hymnus for orchestra Impulse for large orchestra Langegger Nachtmusik I for orchestra Langegger Nachtmusik II for orchestra Langegger Nachtmusik III for large orchestrar Momente for orchestra Monumentum für Karl Prantl for large orchestra Mouvements I–III for chamber orchestra Scherzino for chamber orchestra Sinfonie for orchestra Spiegel I for large orchestra Spiegel II for 55 strings Spiegel III for large orchestra Spiegel IV for large orchestra and tape Spiegel V for large orchestra Spiegel VI for large orchestra Spiegel VII for large orchestra SOLO INSTRUMENTS WITH ORCHESTRA Concertino for violin, accordion and chamber orchestra new version Concerto for viola and orchestra or ensemble Concerto for violin, cello and chamber orchestra Concerto for cello and orchestra Concerto for soprano saxophone and orchestra Concerto for percussion and orchestra Double Concerto for flute, bassoon and orchestra Phantasiestück in C.s Manier for cello and orchestra
11’ 2006 25’ 1959/1974 24’ 2000 22’ 1992–1993 10’ 1969 12’ 1970 22’ 1990/1991 22’ 2005 22’ 1988–1989 15’ 1959–1960 1’50’’ 2000 12–13’ 1975 9’ 1960/1961 13’ 1960/1961 9’ 1960/1961 23’ 1960/1961 9’30’’ 1960/1961 6’ 1960/1961 17’ 1960/1961
17’ 1994 17’ 2007 23’ 1993 28’ 1975–1976 37’ 1989/1997 35’ 2003–2004 2008 23’ 1982 12’ 1989/1999
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cerha worklist
CHAMBER MUSIC Les Adieux elegy for ensemble new version Catalogue des objets trouvés for chamber ensemble Curriculum for 13 wind instruments Divertimento für 8 wind instruments and percussion Enjambements for instrumental ensemble Parabola I trio for violin, cello and piano Quellen for ensemble 5 Sätze for violin, cello and piano 8 Sätze nach Hölderlin-Fragmenten for string sextet Saxophone quartet Sinfonien for wind instruments and timpani String Quartet No. 1 „Maqam“ for string quartet String Quartet No. 2 String Quartet No. 3 String Quartet No. 4
22’ 2005 22’ 2007 14’ 1969 18’ 1971–1972 12’ 1948/1954 10–16’ 1959 4’ 2007 13’ 1992 22’ 2007 23’ 1995 17’ 1995 10’ 1964 14’ 1989 17’ 1989/1990 19’ 1991/1992 19’ 2001
SOLO INSTRUMENTS Adaxl-Suite for piano 14’ 1970/1987 Klavierstücke für Kinder oder solche, die es werden wollen 12’ 1964 for piano with drawings by Irina Cerha Netzwerk-Fantasie for piano 16’30’’ 1988 Der Rattenfänger for solo trumpet 1’ 1988
Complete worklist available on www.universaledition.com/cerha
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cerha worklist
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 +1-212-461-6940, fax +1-212-810-4565. Web: www.universaledition.com Chief Editors: Angelika Dworak and Eric Marinitsch Contributors: Bálint András Varga, Wolfgang Schaufler, Jonathan Irons, Eric Marinitsch, Angelika Dworak, Rebecca Dawson, Marion Dürr, Kieran Morris and Elisabeth Bezdicek Design: Egger & Lerch, Vienna/Austria Photo Credits: Marion Kalter (3), Yasuko Haas, Dan Eric Ollas, Eric Marinitsch (6), Tom Bedford, UE Archive, Thomas Aurin, Oper Kiel/struck-foto, Stockhausen Verlag, Wiener Konzerthaus (2), Eric Schaal, Aalto Musiktheater/Matthias Jung, Salzburg Festival/Clemens Kois, Oper Graz/Werner Kmetitsch, Gisella SaldenGoth, www.tom.com, Vienna Festival/Ros Ribas, Cerha private; CDs: SESCP, Deutsche Grammophon, ECM, DUX. DVR: 0836702