05 Newsletter Survey Tell us what you think!
07 Mauricio Sotelo Homage to Luigi Nono
09 Johannes Maria Staud Visionary short stories
11 Wolfgang Rihm Proserpina at the Rokoko Theatre
14 Luke Bedford / Vykintas Baltakas into Johannesburg and Dubai
Mauricio Sotelo Sonnets of Dark Love in Salzburg
newsletter 02/09 • spring 2008/2009
Contents
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= World Première
NEWS New Study Scores — 4 Editors’ report — 4 Newsletter survey — 5 COMPOSERS Sotelo — 7 Staud — 9 Rihm — 11 Pärt — 12 Haas — 13 Luke Bedford — 14 Baltakas — 14 Sawer — 15 Lentz — 15 Schwartz — 16 Borisova - Ollas — 16 Cerha — 17 Pousseur — 17 Halffter — 18 Schnyder — 18 Boulez — 19 Birtwistle — 20 Reich — 20 Berio — 21 Kagel — 22 Stockhausen — 22 Ligeti — 23 Feldman — 23 Einem — 24 Messiaen — 24 Krenek — 24 Weill / Brecht — 25 Milhaud — 26 Tansman — 26 Shostakovich — 26 Martinu — 27 Martin — 27 Eisler — 28 Kodály — 28
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content 02/2009
Dear Readers, Braunfels — 29 Dallapiccola — 29 Bartók — 30 Schönberg — 31 Webern — 32 Atterberg — 32 Berg — 33 Casella — 34 Zemlinsky — 34 Szymanowski — 35 Schmidt — 35 Schreker — 36 Delius — 36 Mahler — 37 Janáček — 38
WORKLISE Lentz — 47
The persistent question of a composer’s final intention is closely linked to questions of how the music can be presented in general. Scores for large-scale symphonic works are full of thousands of instructions – pitch, tone length, directions for performance, interpretation and so on – all of which must correspond to the vocal material: a Herculean task. There is, however, still more besides, as musicologists are constantly unearthing new findings that must be included in critical editions. Performers ordering material from a reputable publisher have a right to this detailed information. UE has taken on the task of not merely publishing new works in an easily readable quality, but of also constantly updating and improving editions of works that have long since had their place in the repertoire. Page 4 features our new editors’ report – an impressive overview of last year’s musical score production.
ACKNOWLEDGEMENTS — 48
The Editorial Team
ANNIVRESARIES — 39 - 40 WORLD PREMIÈRES — 41 - 42 NEW RELEASES — 43 - 44 NEW ON CD & DVD — 45 - 46
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UNIVERSAL EDITION
UNIVERSAL EDITION
New study
Editors’ report
scores We have been tremendously pleased by the positive reactions to our first 20 study scores (see last newsletter). The collection of works offers a unique insight into the music of the 20th and 21st century. Our music editors have not been resting on their laurels though, and we are now happy to report the next nine new editions to be added to the series. They are: Béla Bartók Cantata profana Béla Bartók Konzert für Klavier und Orchester Nr. 1 Béla Bartók Tanz-Suite Alban Berg Lulu-Suite Pierre Boulez sur Incises Pierre Boulez Pli selon Pli – No. 3, Improvisation II Olivier Messiaen Oiseaux exotiques Arvo Pärt Fratres Kurt Weill Die Dreigroschenoper Once again, these new editions present key works from the last 100 years in beautiful, newly designed and carefully prepared, practical study scores. See www.universaledition.com/ studyscores for a list of all available editions.
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news
For the first time ever, we are offering an insight into the activities of our team of music editors. It’s not always clear what a publisher’s responsibilities consist of, and this brief overview might help give an impression of what we’re up to behind the scenes. In 2008, we produced 29 completely new works, from the first engravings to the finished, corrected instrumental parts. We also produced 10 new arrangements of existing works, including Berg’s Der Wein by Eberhard Kloke, a ‘Symphonic Synthesis’ of The Makropulos Case by José Serebrier, and a children’s version of The Cunning Little Vixen by Alexander Krampe. In addition, considerable time was spent on refreshing and re-editing older works – new editions of Berio’s Compass and Eindrücke, Boulez’ … explosante fixe … and Feldman’s Patterns in a Chromatic Field were produced. As is natural in the life of a work, composers often make changes to existing works. As a result of this, we also produced 13 revised materials in 2008. And if that weren’t enough, our editors also found time to produce 29 new study scores for our new series! We’ve prepared a full list of scores prepared in 2008. See www.universaledition.com/ editorsreport for full details.
UNIVERSAL EDITION
Complete our 2-minute Newsletter survey Our newsletter has been appearing in the current format for over four years now. We recently put the whole archive online, which is really useful for finding out about past premières and other major events. We are of course always happy to hear from our readers about how useful it is for concert programming and learning about our composers and their works. But just how useful is it? We want you to tell us. Is it too much, too little or, as Goldilocks said, “just right”?
The survey will be online until the 31st March 2009. We will report on the results in the next issue of the newsletter.
We've prepared an online survey with 10 short questions. Please help us by taking a couple of minutes to complete it. You can find the form online in English, German, French, Spanish and Italian at www.universaledition.com/ questionnaire All of us in the editorial team enjoy preparing our newsletter. It gives us a chance to take a moment and reflect on the rich content of the UE catalogue of works. We hope you enjoy reading it as much as we do writing it – now’s your chance to let us know!
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SOTELO
Sonnets of dark love Spanish philosopher Emilio Lledó once wrote that his friend Luigi Nono’s work lives on “in Mauricio Sotelo’s wonderful universe of sounds”. The Sonnets of Dark Love by Federico Garcia Lorca – a work that Nono loved and wanted to set to music – becomes a fascinating experience of space and sound in Mauricio Sotelo’s ‘musical mausoleum’ for his teacher. The piece is infused with cante jondo, the intensive flamenco vocal style that Nono introduced his Spanish student to: music of heartfelt humanity in the “chambers of dawn”. Cripta – música para Luigi Nono will receive its world première in a new version on 5 Mar at the new Biennale festival in Salzburg/A,
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where Beat Furrer – another of Sotelo’s important peers – will conduct the Österreichisches Ensemble für Neue Musik. Audéeis for voice and string quartet will also be performed at the same venue. As in Cripta, the soloist for this performance is the great Spanish flamenco singer Arcangel (7 Mar). Arcangel also has a major role in Arde el alba for soprano, flamenco singer and orchestra (2008) – a love song that weaves verses by José Ángel Valente into a dialogue of incredible devotion. Principle conductor Josep Pons is to conduct the world première with the Orquesta Nacional de España in Madrid (13– 15 Mar). With his musicality and sonorous tone, Roberto Fabbriciani has exerted a profound influence on Sotelo’s music over the last 15 years. On his 60th birthday, Sotelo dedicated a new piece, A Roberto: la chiarezza deserta, to him as an expression of his deep gratitude and affection. The work will receive its world première on 26 Apr in Zagreb/HR.
Mauricio Sotelo
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STAUD
In memory of visionary Bruno Schulz The world premières of two large orchestral works by the Cleveland Orchestra and the Gewandshaus Leipzig bring Johannes Maria Staud into the international spotlight this summer. Both are inspired by Bruno Schulz' (1892–1942) great short story collections, along with his graphic works. Together they will form a diptych in memory of this great visionary. The Cleveland carries the title On Comparative Meteorology, and is sparked off by Schulz's hypertropic descriptions of nature as well as their peculiar reflections in the inner life of humans. It isn’t an attempt to replicate Schulz’ images, however, but rather to present the unique process by which Staud approaches this mysterious world. Première: 28 May, further performances on 29 and 30 May, Cleveland/USA, conducted by Franz Welser-Möst. In his Leipzig work, entitled Über trügerische Stadtpläne und die Versuchungen der Winternächte, Staud adds a solo string quartet (the Gewandhaus-Quartett) to the orchestral forces. The inspirations
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Johannes Maria Staud
here were Schulz' infamous demiurgic manipulations and bizarre interpersonal interactions, continuously oscillating between dream and reality. Performances: 21 and 22 May, under Riccardo Chailly. Both of these works will also attempt to traverse Bruno Schulz's many temporal sidetracks and dead ends, and consist together of 12 miniatures and an “illegal” thirteenth. Violent Incidents has its Dutch première in Amsterdam on 21 May (conductor: Kasper de Roo, Marcus Weiss (sax), Windkraft Tirol). Ensemble Recherche performs Lagrein for violin, clarinet, cello and piano on Mar 19 in Freiburg.
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RIHM
The stigma of despair The girl abducted by the god of the underworld carries the stigma of despair. As Goethe’s monodrama Proserpina opens, she is aware that: “endless realms of grief lie ahead of you and what you are searching for lies always behind you”. Wolfgang Rihm composed this monodrama, for soprano, female choir and small orchestra, for the Schwetzinger Festspiele. Proserpina is set to première on 2 May in the Rokokotheater (soloist: Mojca Erdmann, conductor: Jonathan Stockhammer, director: Hans Neuenfels). Here follow other world premières in chronological order: Nietzsche-Notate for the Bayerischer Rundfunk choir can be heard on 9 May in Munich/D, conducted by Rupert Huber. Commissioned by the Berliner Philharmonie, Rihm is writing Mnemosyne, for 13 musicians and coloratura soprano, to celebrate the 75th birthday of Claudio Abbado (world première on 20 May, Berlin/D). Der Maler träumt, for baritone and small orchestra, will be performed for the Zatertag Matinee concerts in Amsterdam with soloist Matthias Goerne on 23 May. Reinbert de Leeuw
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Wolfgang Rihm
is to conduct Asko|Schönberg. Rihm is currently composer in residence for the Philharmonie Essen and the Ensemble Resonanz will soon be performing Ricercare, Cantus firmus, In nuce, Male über Male, abgewandt 2 and other works under Peter Rundel (4 and 5 Apr). In Essen, the Michael Pattmann Schlagzeugensemble will perform Tutuguri VI on 7 May. The Staatskapelle Halle will present La lugubre gondola/Das Eismeer, for two orchestral groups and two pianos, on 29 April. Soloists from the Ensemble Intercontemporain will perform Paraphrase for cello, percussion and piano in Paris on 4 Apr.
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PÄRT
New sounds from old wood Arvo Pärt’s Symphony No. 4 ‘Los Angeles’ is arousing considerable international interest: the world première on 10 Jan (and 11 Jan, Los Angeles Philharmonic, Esa-Pekka Salonen) was followed by three other performances in the USA between 22–24 Jan, again under Esa-Pekka Salonen (Chicago Symphony Orchestra). The Finnish première is now set to take place on 16 Apr in Helsinki under Turkish conductor Cem Mansur (Helsinki Philharmonic Orchestra). Two chamber music pieces received their world première in February 2009, the first being the new piano duet version of Pari Intervallo, which was heard for the
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Arvo Pärt
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first time at the piano festival “Keys to the Future” in New York on 9 Feb. The second traces the unusual tale behind Sei gelobt, du Baum as inspiration – a story that begins with the discovery of an ancient piece of wood in the early 1960s during water excavations in Switzerland. Scientific investigations showed that the silver fir wood was some 2,000 years old. With tiny annular rings and barely any branches, the wood made perfect tonewood. It was used to make a quinterne (Mediaeval stringed instrument resembling a lute) and a baroque violin. The story of this ancient piece of wood inspired Estonian writer Viivi Luik and composer Arvo Pärt to work together on Sei gelobt, du Baum (for baritone, violin, quinterne and double bass). The world première took place on 27 Feb in Willisau/CH.
HAAS
Complex harmonics Georg Friedrich Haas grew up in the mountains – an interesting fact, considering the Alpine theme of his new Orchesterstück. For Haas, the Alps are not just a sanctuary for tourists: he is also aware of the dark side of the idyll (world première on 29 Apr in Dornbirn/A). In Musik für Sopran und Kammermusik, which he is writing for Cologne, Haas is setting texts by Georg Trakl, Theodor Storm, August Stramm and Else Lasker-Schüler to music. The soprano part will be microtonal and performed by soloist Sarah Wegener. Haas is also working on a version for soprano and piano, to be premièred on 3 May in Cologne/D. Nach-Ruf ... ent-gleitend ... will be played by students at the University for Music and Performing Arts on 20 Mar at the Musikverein in Vienna.
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“In iij. Noct”, the string quartet performed in total darkness, is lined up for the festival “Imago Dei. Music at Easter” (10 Apr in Krems/A). Open Spaces II (for 12 stringed instruments and two percussion; in memoriam James Tenney) will be performed by the Ensemble Resonanz on 19 Apr in Hamburg’s Johanniskirche church.
Georg Friedrich Haas Open Spaces (here the musicians are not dispearsed, instead playing in a compact group) is interpreted in a scenic production this spring. In a total of ten performances (18– 30 Mar) choreographer Sasha Waltz, together with 70 dancers (the soloist ensemble Kaleidoskop and the dance company Sasha Waltz & Guests), explores the currently empty rooms of the Neue Museum in Berlin. In a way, it’s the artistic inauguration of the building, before the valuable exhibits of the Egyptian Museum (such as the papyrusm collection) are displayed there.
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LUKE BEDFORD / BALTAKAS
into Johannesburg and Dubai Ensemble Modern’s into … project was launched last year with the first performances of into Istanbul. This spring, it is the turn of Johannesburg and Dubai to be portrayed in musical form, including new works by Luke Bedford (Johannesburg) and Vykintas Baltakas (Dubai). Of his time spent in South Africa, Bedford says he was “quite shocked by the extreme contrasts between how people lived: some people living in large, high-security palaces, whilst numerous others live in the most abject poverty imaginable. I loved the energy and vibrancy of the city and met some amazing people – but found that the constant fear of violent crime really
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started to weigh me down.” The resulting work, By the Screen in the Sun at the Hill on the Gold, can be heard on 6 Mar in Berlin and 7 Mar in Frankfurt. Sian Edwards conducts. Baltakas was in Dubai twice last year. He describes the fascination of the city as the fact that “there are so many different kinds of people, so many different ideas, everything is so fast. This creates many independent processes which are impossible to completely control.” Baltakas’ new work will be performed by Ensemble Modern on 27 May in Berlin and 28 May in Frankfurt. Franck Ollu conducts.
Luke Bedford
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“Stravinskyan clarity”, but singles out “some particularly beautiful choral writing” as favourite. Several reviewers had specific praise for the musical direction: “Opera North do it proud musically” writes The Guardian, whilst The Times salutes the maestro himself – “Richard Farnes conducts it superbly.” The good news is that you’ve still got time to enjoy this feast for the senses: Newcastle/UK, 4 Mar; Glasgow/UK, 10 and 11 Mar; Bregenz/A, 17 Aug. www.goskindeep.com
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David Sawer Skin Deep Opera North Leeds 2009
LENTZ
Three stars
SAWER
for orchestra
Feast for the senses “A potent brew in every sense … [the] score buzzes with Stravinskylike rhythmic energy, ingenious orchestral textures and clever ways of drifting between speech and song” (The Times). “Sawer’s orchestration … is beautifully subtle” (The Observer). Evidently, these were not the only reviewers present at the first night of David Sawer’s new work Skin Deep that felt this way: The Telegraph also agrees, recognising the “highly gifted composer” and his
Georges Lentz’ Mysterium is the last part of the cycle Caeli enarrant … and is itself an ever-evolving conceptual work. Three pieces resulting from this process are: Ngangkar (2000), which mirrors Lentz’ passion for the wide spaces of the Australian outback; Guyuhmgan (2001), influenced by contemporary Aboriginal art; and Monh (2005), a concerto for viola and orchestra in which the viola acts more as a guide through the work. The titles are taken from Aboriginal words for ‘star(s)’. www.universaledition.com/lentz
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SCHWARTZ
Echoes of Germany On 29 Nov 2008, Jay Schwartz’ Music for Voices and Orchestra was premièred in Stuttgart. The work opens a window to another world, another kind of musical thought. Schwartz works with broad brushstrokes – ‘sound-scapes’, if you like – with the sound itself playing a fundamental role in the work. With the singers placed amongst the orchestral players, you often couldn’t tell whether you were hearing voices or instruments. The audience received the piece with great enthusiasm. On 24 Jan, Music for Five Stringed Instruments II was premièred at the WDR’s ensemble[:E:]uropa series in Cologne by the NYYD Ensemble from Tallinn. The composer is currently working on a new version of his chamber
opera Narcissus & Echo, which will be performed at the Opernfestspiele in Munich this July. BORISOVA-OLLAS
Orchestral highlights Victoria Borisova-Ollas’ Angelus (2008) for orchestra is “a refined mixture. In the end, the orchestra is transformed into the full but never-violent ringing of a bell, with an intoxicating effect.” (Süddeutsche Zeitung) Open Ground (2006) is a 10-minute preface to the larger work The Ground Beneath Her Feet based on the novel by Salman Rushdie. Kingdom of Silence is a 15-minute work evoking something between a dream and a nightmare. Ask us for perusal scores and recordings. See www.universaledition.com/ borisova-ollas for more information.
Victoria Borisova-Ollas
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Henri Pousseur CERHA
POUSSEUR
Uninhibited
Interactive opera
sensuality Alban Berg's first inspiration for the composition of the opera Lulu proved a decisive experience for the twentyyear-old composer. On 29 May 1905 he saw a performance of Frank Wedekind’s Büchse der Pandora staged by Karl Kraus in Vienna, and was entranced by the play's uninhibited sensuality and sexuality – a theme which still grips audiences today. Friedrich Cerha's three-act completed version of Lulu sees a significant new interpretation in Lyon from 20 Apr (conductor Daniele Gatti, director Peter Stein). Cerha's Saxophonkonzert sees its German première on 4 Mar in Meiningen/D with soloist Theodore Kerkezos and Stefanos Tsialis conducting the Meininger Hofkapelle.
Henri Pousseur’s Votre Faust (new version 1981), a “variable performance in the manner of an opera” (libretto by Michel Butor), questions everything we accept about ‘normal’ opera. It is what we would today call an ‘interactive’ opera, with the audience deciding how the narrative is to continue. The Frankfurter Allgemeine Zeitung was convinced “that the authors [had] succeeded in creating a work that can be regarded as one of the significant works of the century”. Contact us for more information. Henri Pousseur celebrates his 80th birthday on 29 June.
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HALFFTER
Meditative depths Critics sung the praises of Cristóbal Halffter's Lázaro after its première at the Oper Kiel in May 2008: “the work opens up new sound worlds of iridescent, subtly orchestrated structures. Halffter's composition gives the piece meditative depths. With Lazaro, Halffter has produced an opera which is a worthy successor to the great works of the confessional tradition”, wrote the Frankfurter Allgemeine Zeitung.
The work is heard for the first time in Greece in a concert performance. The composer conducts the State Orchestra of Athens on 8 Mar. Also in Athens, Oda para felictar a un amigo is performed by the Internationale Ensemble Modern Akademie (14 Mar, Kasper de Roo). Martin Haselböck brings Ricercare for solo organ to the rostrum of the great organ of Konzerthaus in Vienna on 18 Mar. SCHNYDER
Gripping drama Swiss composer Daniel Schnyder's Violin Concerto (1997) is a technically demanding work full of complex tensions, with dreamy romantic passages standing alongside wild runs of gripping drama and great passion. Interpreted by the MDR Sinfonieorchester, with soloist Nora Chastain, under Michael Sanderlin, the work will receive two performances on 8 Mar in Dessau/D and on 10 Mar in Leipzig.
Cristóbal Halffter Lazáro Oper Kiel 2008
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Pierre Boulez BOULEZ
Birds of a feather This May, three American ensembles join forces for the continuing celebration of Olivier Messiaen’s 100th birthday, in a concert featuring US premières of four of his leading protégés, including Pierre Boulez. The Stony Brook Contemporary Chamber Players perform Messiaen’s Oiseaux exotiques with Gil Kalish at the piano. Michel Galante conducts the Argento Chamber Ensemble in the US première of Boulez’ Improvisé – pour le Dr. K. (a four minute work for fl, cl, pno, vla, vc). Face the Music is the third ensemble at the concert on 5 May in New York. The Leipzig Ballet pays tribute to its former ballet director Uwe Scholz, who would have been 50 in
December 2008. A quartet of Scholz choreographies includes music by Stravinsky, Pergolesi and Schumann, alongside Boulez’ Notations I–IV for orchestra. Andreas Schüller conducts the Gewandhausorchester on 21, 24 and 30 May. On 11 Mar, the Birmingham University New Music Ensemble presents a concert of music by Dallapiccola, Hoyland, Reich and Boulez, amongst others. Jonty Harrison conducts Éclat along with a performance of Vic Hoyland’s Pierrot for Boulez – premièred in 2008 during a visit by Boulez to Birmingham. The concert is at the CBSO Centre, Birmingham. This spring, two new study scores of works by Pierre Boulez are published in our new study score series: sur Incises and Pli selon Pli – No. 3, Improvisation II. Finally, a reminder of Boulez’ 85th birthday on 26 March: just one year away.
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BIRTWISTLE
Birthday preparations
the occasion of Dr. Kalmus’ 80th birthday, Some Petals from my Twickenham Herbarium; and finally, on the same day, Ensemble Contrechamps performs the 1984 chamber-work Secret Theatre in Geneva. REICH
2009 marks the 75th birthday of one of Britain’s most distinguished living composers, Harrison Birtwistle. The occasion, on 15 July, is already surrounded by a wealth of performances across America and Europe. Here are just some of the highlights coming up over the next few months: Klangforum Wien takes the seven-player Tombeau in memoriam Igor Stravinsky to the Lincoln Centre (4 Apr) and then back to Hamburg’s Laeiszhalle (12 Apr), under Jean Deroyer; the Kuss Quartet features 3 Movements in Salzburg’s Mozarteum on 12 May; Ensemble Recherche presents the 1981 work, Pulse Sampler for oboe and claves, on 15 May in Donaueschingen; on 23 May, BCMG present Birtwistle’s UE commission for
Steve by Reich In a thrilling collaboration, the principal Salzburg concert organisers have joined forces to present the first ever Salzburg Biennale. The festival is championing four composers over its four weekends and, from 12–15 Mar, Steve Reich takes centre-stage. His 4 Organs, Piano Phase and Clapping Music (performed by the composer!) are all presented during the weekend, the opening two concerts complemented by choreography from Anne Teresa De Keersmaeker and her dance ensemble Rosas. For further information visit www.salzburgbiennale.at
Steve Reich
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Luciano Berio BERIO
Paris, 14 March 1959 Exactly 50 years ago, a concert held in the Salle Gaveau in Paris made musical history. During his “Domaine musical”, Pierre Boulez conducted the first piece ever to use electronic music and live instruments simultaneously: Différences (for five instruments and tape) by Luciano Berio. The complexity of the resulting sound-mix was due to the combination of instrumental transformations played live and the electronically transformed sounds on the tape. The revised edition of Différences has just been released.
even if the solo part is extremely, almost absurdly difficult”, wrote Berio. “The orchestral element is partially generated from the trombone voice, but the development and substance of the discourses differ enormously. The trombone and orchestra occasionally share the same key note, but they do not communicate with each other. SOLO is thus less of a concerto and more of an encounter between two solitudes.” It can be heard on 28 Mar during MaerzMusik at the Philharmonie Berlin and on 31 Mar at the Ars Musica festival in the Palais des Beaux-Arts, Brussels/B. On both occasions the work will be performed by the SWR Sinfonieorchester Baden-Baden/Freiburg under Sylvain Cambreling, with soloist Frederic Belli on trombone. On 24 Oct Luciano Berio would have celebrated his 85th birthday.
SOLO for trombone and orchestra was written in 1999 for trombonist Christian Lindberg. “It’s not a concerto in the real sense of the word,
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KAGEL
Exotic playfullness Mauricio Kagel’s Exotica offers six instrumentalists the opportunity to play, and the freedom to indulge their vocal improvisational talents. The framework for this is an ingenious score and an incomparably varied instrumentation with exotic instruments from four continents. The central idea of the piece is the dismantling of the word “exotic” – an entirely relative term. Performed on 15 May in the Auditorium Parco della Musica in Rome, here is a rare opportunity to hear this work live! STOCKHAUSEN
progetto pollini Under the title progetto pollini, star pianist Maurizio Pollini has produced a number of top-class interpretations of contemporary music in new configurations. Now he puts Karlheinz Stockhausen at the centre of a series of concerts with Klangforum Wien under Peter Eötvös in Paris (7 Mar, Salle Pleyel), Cologne (11 Mar, Philharmonie) and Milan (16 Mar, Teatro alla Scala). Klavierstücke VII, VIII and IX are on
Maurizio Pollini the programme, along with Kreuzspiel, Zeitmaße and Kontrapunkte. Stockhausen's Dr. K-Sextett is one of the musical miniatures that Luxemburger filmmaker Bady Minck used in her opulent crossover project “Free Radicals – Music and Film in poetic form”. The project caused a furore in 2007 at the Venice Biennale and at the Festival Wien Modern. It will be shown in New York (Lincoln Center, 4 Apr), Hamburg (12 Apr) and Luxemburg (Grand Auditorium, 13 Apr), again with the Klangforum Wien under Jean Deroyer.
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LIGETI
Sonic dream When Stanley Kubrick was looking for music for his film 2001: Space Odyssey, he came across György Ligeti’s Atmosphères and was enraptured by this dream in sonic form. An orchestra had never sounded like this before - colourful; spacious; evocative. Ligeti did not compose events, but states of being; not contours or figures, but only imaginary musical spaces. This modern classic can be seen in the near future in Hamburg, Berlin, Liège and Graz.
original version. The study score is now available in our new series. Pomàrico conducts Feldman’s Coptic Light in Saarbrücken with the Deutsche Radio Philharmonie in a concert entitled “AMERICAN DREAMS”. Klangforum Wien performs his Madame Press Died Last Week at Ninety in New York and Hamburg. See www.universaledition.com/ feldman for full details.
FELDMAN
Complex solutions The notation of Morton Feldman’s music is often extremely complex, and the polymetric passages present particular problems for the performers. The new practical edition of Neither, edited by Emilio Pomàrico, offers a solution to these difficulties. The polymetric passages in the manuscript have been rewritten using a single time signature for all instruments, so that the latter always follow the metre of the vocal part. Whilst the notation has been changed, the resulting sound does not differ from the
2001 - Odyssee im Weltraum
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EINEM
Delicious chocolate
Oiseaux exotiques, which can be heard on 23 Mar in Vienna (Musikverein) and 5 May in New York (Merkin Concert Hall). KRENEK
Gottfried von Einem wrote the musical fairytale Prince Chocolat in 1982 in memory of his pastry-chef ancestors, and inspired by the creations of Swiss chocolatier Camille Bloch. Lotte Ingrisch's libretto is dreamy and adventurous by turns. The story of a lonely boy, lured by the chocolate prince into his sweet kingdom, is combined with the charming, vivid music, together creating an entertaining play. The Théâtre de la Sinne with the Orchestre Symphonique de Mulhouse performs this chocolatey treat as part of a cycle of family concerts from 29–31 May in Mulhouse/F. MESSIAEN
Natural art
Vocal work in Berlin The vocal works of Ernst Krenek are the subject of a special concert in the Kammermusiksaal of the Philharmonie Berlin on 16 May, performed by the RIAS Kammerchor under Hans-Christoph Rademann. The programme consists of Fünf Gebete for a cappella female choir, Kantate von der Vergänglichkeit des Irdischen for solo soprano, mixed choir and piano, Drei Gemischte Chöre for a cappella choir and O Lacrimosa ... for soprano and piano. The soprano soloist will be Caroline Stein, accompanied by Philip Mayers.
Olivier Messiaen was a passionate ornithologist. He saw this fascination as an opportunity to examine a form of art entirely based on nature, performed only by completely natural creatures. This inspired him to write three works based almost entirely on birdsong in the 1950s, including the 1953
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WEILL / BRECHT
A secular requiem In 1928, the Frankfurter Sender commissioned a new work from Kurt Weill. The result was the Berliner Requiem, based on existing texts from Bertolt Brecht's Hauspostille. Weill was working at the time on the opera Aufstieg und Fall der Stadt Mahagonny, and used the Berliner Requiem as a welcome opportunity for a stylistic study for the longer opera. But the Berliner Requiem is also a powerful and important work in its own right. “The
title The Berliner Requiem is in no way ironic – rather, we wanted to try to express what the citydweller thinks about death. The piece is a series of laments, memorials and epitaphs – so, in the end, a secular requiem.” (Weill) The version most often played in concert halls has six parts – 1. Chorale of Thanks Lobet die Nacht, 2. Ballad of the drowned girl, 3. Shrine – Hier Ruht die Jungfrau, 4. First report and 5. Second Report on the unknown soldier under the triumphal arch, 6. Chorale of Thanks Lobet die Nacht. ... (da capo). An alternative authorised version (the Lucerne version) also includes the sections Die Rote Rosa and Zu Potsdam Unter Den Eichen. This version is performed in a staged production on 7 Mar in Dessau/D as part of the Kurt Weill Fest 2009 (dir: Errico Fresis). www.kurt-weill-fest.de
Kurt Weill
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MILHAUD
Swedish beats Sweden’s Karlstad University plays host to a performance of Darius Milhaud’s Concerto for Percussion and small orchestra this spring. Milhaud’s seven-minute work scores an array of percussion alongside a small chamber orchestra, with a note explicitly stating that no cadenzas or other additions should augment the musical text. Music students from the Ingesund College of Music, which joined Karlstad University in 2002 to form its music department, will perform the concerto under the direction of Karl Viktorin on 28 Mar. TANSMAN
Le Serment – The Solemn Oath
The polish Teatre Wielki performs this rarely seen “lyrical episode” in a new staging by Laco Adamik in Warsaw on 14, 15 and 24 Feb. SHOSTAKOVICH
Incredibly daring music For his first opera Die Nase (The Nose, 1927/28), a gem of absurdly manic, burlesque musical theatre, Dmitri Shostakovich used Nikolai Gogol’s satire on the Russian bureaucracy from 1836 which tells of the loss of a nose (ie identity). With incredibly daring music dripping with sophistication and aggression, expressionistically unleashed theatre is presented in a cinematic production. The Opera Boston is presenting the piece on 27 Feb, 1, 3 Mar at the Cutler Majestic Theatre.
A man comes home unexpectedly one night and orders a wardrobe to be walled shut, after his wife swears that no-one is hiding in it. However, both of them know that this will condemn her lover to a terrible death. In Le Serment, Alexandre Tansman arranges this material in dazzling post-impressionist style into a melancholy play in a carefully surrealist manner.
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milhaud / tansman / shostakovich
MARTINU
Questions and feelings as ever When Bohuslav Martinu set the Epic of Gilgamesh – the great Assyrian-Babylonian legend – to music, his view was that people had not changed “despite the enormous progress made in technology and industry”. The questions and feelings have remained the same. Matthias Bamert is now presenting the piece with the Kammerorchester Basel in Basel/CH (30 Apr), Essen/D (1 May) and Dresden/D (2 May). Les Fresques de Piero della Francesca is scheduled for 26–27 March in Turin/I. MARTIN
New magic “Even today, Le Vin herbé by Frank Martin is surrounded by the aura of being an ‘insider secret’: truly a ‘magic potion’ of crystal-clear purity, a Tristan setting with its very own attraction; beyond the narcotic delights of Wagner, but nonetheless suggestive.” (Kerstin Schüssler-Bach) Following the success of Willy Decker’s staged version at the Ruhtriennale 2007, we are happy to present the study score of the work
Frank Martin Le vin herbé Ruhrtriennale 2007
in our new study score series. See www.universaledition.com/ studyscores for more information. The coming months see a wide range of performances of Frank Martin’s works. In Switzerland, the Orchestre de Chambre de Genève and the Cercle Jean Sébastien Bach de Genève perform Golgotha, Martin’s ‘Oratorio in two parts’ on 5 Apr in Genève/CH. In Montpellier/F (10/11 Apr) and Langogne/F (12 Apr), the Orchestre National de Montpellier performs the Maria-Triptychon for soprano, violin and orchestra.
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martinu / martin
EISLER
The technique of the teacher In 1924's Palmström, based on texts from Christian Morgenstern's Galgenliedern, Hanns Eisler plays with the techniques of his teacher Arnold Schönberg. Palmström is a parody of Schönberg's Pierrot lunaire. The instrumentation, except for the piano and bass clarinet, is the same as Pierrot, and Eisler uses the system of “composition with twelve related tones” that Schönberg had developed only a short while earlier. The Salonorchester Odeon interprets the piece on 23 Mar in the Tonhalle Zurich.
by the Respons Sinfonietta (28–29 March). After serving in the Imperial Austrian Army, Háry János told of the heroic deeds that only took place in his imagination. These tales are the basis for Kodály’s musical comedy Háry János and the Háry János-Suite for large-scale orchestra, which he wrote a year later and which is being performed on 27 and 28 May in Bonn/D.
KODÁLY
Heroic deeds Several popular works by Zoltán Kodály are set to be performed over the coming months, including the Marosszéker Tänze. In these, Kodály transforms Transylvanian folk material into a free rondo form with a finishing coda. The dances are a marvellous example of how the improvisation potential of folk music can be brought to life. The piece will be presented in Sweden
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eisler / kodály
Zoltán Kodály
Walter Braunfels Szenen aus dem Leben der Heiligen Johanna Deutsche Oper Berlin 2008
conducts the première of this lyrical and fantastical piece at the Los Angeles Opera on 11 Apr (director: Darko Tresnjak).
DALLAPICCOLA BRAUNFELS
Smuggled cello
Flight of
music
conquest The magazine Opernwelt described Walter Braunfels' Szenen aus dem Leben der Heiligen Johanna as the most important re-discovery of 2008. The composer's revival continues with a number of top-class concerts: the cycle of variations Phantastische Erscheinungen eines Themas von Hector Berlioz is performed by both the Staatsorchester Stuttgart, directed by Manfred Honeck (8 and 9 Mar) and the Gewandhausorchester Leipzig under Dennis Russell Davies (7 and 8 May). This piece was composed in 1914–17, and has been hailed by critics as ingenious, dramatic and splendidly orchestrated. Die Vögel (The Birds) fly off to conquer America. James Conlon
It was his dachshund that had the task of distracting the border officials when UE’s director Alfred Schlee smuggled the engraving plates for Luigi Dallapiccola’s solo cello piece Ciaccona, Intermezzo e Adagio over the border into Austria just after the end of the war in 1945 – a time when there was no legal way of sending such items. Ciaccona can be heard – legally – on 7 Apr, played by Asa Akerberg as part of a portrait concert at the Festival Printemps des Arts de Monte Carlo.
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braunfels / dallapiccola
BARTÓK
Indisputable masterpieces When the première of Béla Bartók’s Duke Bluebeard’s Castle did not achieve the success he had hoped for, the composer withdrew for a long time from public life. Today, the work is one of the undisputed masterpieces of the 20th century. Jean-Paul Scarpitta directs a new staging in Montpellier (première: 24 Apr). The opera can also be seen in Seattle (director: Robert Lepage, from 1 Mar).
The Opera National du Rhin (Strasbourg, Colmar, Mulhouse) performs Der Wunderbare Mandarin with choreography by Lucinda Childs from 2–29 May. The once infamous ballet is also enjoying a revival elsewhere – Kent Nagano conducts it on his European tour with the Orchestre Symphonique de Montréal (Vienna, 21 Apr). Der holzgeschnitzte Prinz can be seen twice in Paris – at the Salle Pleyel on 15 May by the Orchestre Philharmonique de Radio France under Philippe Jordan and at the Théâtre des Champs-Elysees on 19 May by the Oslo Filharmoniske Orkester under Jukka-Pekka Saraste. Saraste also conducts the piece in Vienna on May 16. Different interpretations of the Tanz-Suite are also on offer – by the Munich Philharmonic under Tan Dun (2–4 Apr) and the hr-Sinfonieorchester under Paavo Järvi. (24–26 May). The Chinese star pianist Lang Lang performs the Piano Concert No. 2 twice in April: on 11 Apr in Berlin with the Orchestra del Teatro alla Scala under Daniel Barenboim, and 20 Apr in London with the London Symphony Orchestra under Daniel Harding.
Béla Bartók Duke Bluebeard’s Castle Teatro alla Scala 2008
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bartók
SCHÖNBERG
As relevant as ever Arnold Schönberg’s monodrama Erwartung, based on a text by Marie Pappenheim, tells the tragic tale of a woman who is waiting for her lover and who searches madly for him, only to find him dead. Die glückliche Hand, based on a text by the composer, centres around a lonely man who tries in vain to find happiness with a woman once again, despite warnings to the contrary. Both one-act works still remain as relevant as ever. This spring sees them featured once again in concert programmes. Erwartung can be heard in Seattle (dir: Robert Lepage), Gelsenkirchen, Seville, Berlin and Leipzig (here with Die glückliche Hand).
version will be presented in Gelsenkirchen (1, 15 Mar, choreography: Bernd Schindowski) and Mannheim (31 May, choreography: Robert Glumbek). Pierre Boulez is to conduct the Chamber Symphony No. 1 with Ensemble Intercontemporain in Paris (23 May). Maurizio Pollini also has a musical treat in store with Schönberg. He will be playing 3 Klavierstücke, op. 11 in Cologne, Paris and Milan (7, 11, 16 Mar).
Pelleas und Melisande, a work analysed in depth by Alban Berg, who presented the symphonic poem as an immense sonata movement, will be performed by Leon Botstein (12 Mar, Jerusalem), Christian Thielemann (17–19 Apr, Munich) and Bertrand de Billy (29 May, Vienna). Verklärte Nacht will be performed in concert in London, Paris, Vienna (4, 12, 14 Mar, conductor: Esa-Pekka Salonen) and Lucerne (11–12 Mar, conductor: Jonathan Nott). A dance
Arnold Schönberg with wife Gertrud
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schönberg
WEBERN
Journeyman's piece Anton Webern acknowledged only 31 works as his official oeuvre. The works with opus numbers have a total duration of just over three hours – the result of uncompromising selection and extremely high standards. Webern only began to give his works opus numbers once he had completed his studies in composition with Arnold Schönberg. Opus 1 is Webern’s “journeyman's piece” – Passacaglia for orchestra, composed in 1908. The work represents both an end and a new beginning: inspired by Brahm's Symphony No. 4, the work is firmly in the tradition of late romanticism. Ingo Metzmacher and the Deutsche Symphonie-Orchester perform Passacaglia in Hong Kong (5 Mar), Seongnam/Korea (14 Mar) and Kuala Lumpur/Malaysia (17 Mar).
The UE catalogue also includes a version of the piece for small ensemble, arranged by Henri Pousseur in 1987.
ATTERBERG (1887–1974)
Dollar Symphony Swedish composer Kurt Atterberg became an international name with his Symphony No. 6. In 1928, on the 100th anniversary of Franz Schubert’s death, the Columbia Gramophone Company organised an international composers’ competition for works inspired by Schubert. Atterberg won first prize and $10,000, which earned the symphony the nickname “the Dollar Symphony”. The piece will be performed by the Osaka SO under Hiroshi Kodama on 18, 20 and 23 Mar in Osaka and Tokyo.
Anton Webern and Ludwig Zenk
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webern / atterberg
Alban Berg Lulu Oper Frankfurt 2003 BERG
Full sounds and structural clarity It is the 75th anniversary of Alban Berg's death on 24 Dec 2010. In 1927 Berg made arrangements for string orchestra of Drei Stücke (II, III and IV) from his own Lyric Suite for string quartet. Thanks to Theo Verbey's 2005 arrangements of the three remaining movements (I, V and VI), it is now possible to perform the whole Lyric Suite for string orchestra on the concert stage. “The adaptation has kept to the style of the Berg original as far as possible. These ‘six very short movements, more lyrical than symphonic in tone’, as Berg put it, are more easily played by a large group than by a string quartet. The piece gains in fullness of sound and
structural clarity” (Theo Verbey). Roberto Abbado presents the complete Lyric Suite for string orchestra for the first time in the USA with Dawn Upshaw (secret vocal part in the final movement) and the St Paul Chamber Orchestra (Minnesota, 24–26 Apr). All six movements can also be heard in Amsterdam on 19 and 20 Mar: Ed Spanjaard conducts the Koninklijk Concertgebouworkest with soloist Christianne Stotijn. Peter Stein directs Berg's opera Lulu at the Opera Lyon from April 20 in the three-act version completed by Friedrich Cerha in 1978. Cerha completed the third act from numerous documents, including plans, sketches and already instrumented sections.
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berg
CASELLA
Amusing movements Alfredo Casella interwove many elements of other composers’ styles into his early works, which he later combined with his own style. His Serenata for clarinet, bassoon, trumpet, violin and cello is slightly reminiscent of Stravinsky, while containing a very personal, southern Italian flavour as well. The five amusing movements showcase a wide range of sound registers and a wealth of themes. The piece will be performed on 27 May at the Théâtre de la Sinne in Mulhouse/F. ZEMLINSKY
“Ich bin friedlos, … … ich bin durstig nach fernen Dingen” (I am restless, I am thirsty for far-off things) – these are the opening words of the Lyric Symphony by Alexander Zemlinsky. In June 1921, Nobel Prize winner Rabindranath Tagore visited Prague on his tour of Central and Northern Europe, where he read from his poems. After his encounter
34
casella / zemlinsky
Esa-Pekka Salonen
with Tagore, Janáček wrote: “We didn’t understand him, but from the sound of his words, from the melodies, I felt and recognised the bitter pain in his soul.” Zemlinsky was living in Prague at the time and based his Lyric Symphony on seven of Tagore’s poems. In this specific composition, the poems relate the development of a chronological act, from the passionate beginning to the ending of a romantic relationship. The Philharmonia Orchestra under Esa-Pekka Salonen will perform the piece in March in Paris (4), London (12) and Vienna (14).
melodies, late Romantic pathos and expressive song. In Bregenz, Syzmanowski's orchestral works will also be presented in 3 concerts.
SZYMANOWSKI
Exquisite colouration
SCHMIDT
Three Books The Theater der Stadt Bonn is presenting a new staging of Karol Syzmanowski's opera King Roger on 10 and 16 May with the Beethoven Orchestra Bonn under Stefan Blunier. The Bregenz Festival also stages the opera from the 23 July – festival director David Pountney directs, and the Wiener Symphoniker play under Mark Elder. At the centre of King Roger is the conflict between rationality and sensuality, between sensible behaviour and ecstasy. Christian, Arabic and classical cultures meet, and their interplay is brought to life by the exquisite colouration of Szymanowski's orchestration. King Roger is somewhere between Byzantine church music, impressionist sound painting, oriental
in Dresden Fabio Luisi is a valuable champion of the music of Franz Schmidt. We are now looking forward to his ninth performance of The Book with Seven Seals. The Dresdner Staatskapelle is joined by Herbert Lippert (ten.), Annette Dasch (sop.) and others to perform the work at the Frauenkirche in Dresden on the eve of Palm Sunday; and then for two performances at the Semperoper. In Amsterdam this March, Schmidt’s Chaconne for orchestra is performed by the Radio Filharmonisch Orkest, conducted by Edo de Waart.
Karol Szymanowski King Roger Teatr Wielki Warsaw 2007
35
szymanowski / schmidt
which can also be heard in Schreker’s later orchestral works, such as Festwalzer und Walzerintermezzo and Valse lente. The new release includes two rare gems for piano, which were previously unpublished: two impromptu waltzes and three early works (Walzer No. 1 and 2, Melodie, Adagio in F, Appassionata), UE 33685. DELIUS
An Italian English folksong SCHREKER
Unpublished piano music Franz Schreker was not a trained pianist and piano music was not central to his work – but the piano nevertheless plays a major role in his fifty songs, as well as in innumerable chamber music works, choral and orchestral works and operas, and occasionally has solo parts. UE has released Schreker’s piano works in collaboration with pianist Manfred Wagner-Artzt and Schreker expert Christopher Hailey. The pieces are perfect examples of genuine light music, traces of
Frederick Delius’ English rhapsody Brigg Fair is to receive a European reception this spring, when it receives two performances in Turin/I. Delius was inspired to write this set of orchestral variations after hearing Percy Grainger’s choral arrangement of this traditional English folk tune. First performed in 1908, Delius’ variations refer to and expand upon Grainger’s original setting. Jeffrey Tate will conduct the Orchestra Sinfonica Nazionale della RAI Torino on 19 and 20 Mar.
36
schreker / delius
MAHLER
Dancing to Mahler “My symphony will be something the world has never heard before! In it Nature herself acquires a voice and tells secrets so profound that they are perhaps glimpsed only in dreams! I assure you, there are passages where I myself sometimes get an eerie feeling; as if I hadn’t written them myself.” These were the words of Gustav Mahler on his Symphony No. 3, which, with its unusual division into two movements, departed from the established four-movement classical symphony. The first part consists of one single large symphony movement, while the second part comprises five relatively short movements. Mahler wanted to give the work and its individual parts titles which he later discarded to avoid any misunderstandings.
In 1975, John Neumeier choreographed his first ballet to a Mahler symphony. The production Third Symphony by Gustav Mahler has constantly delighted audiences and been celebrated on international tours. From 13 May, this choreography will also be performed at the Opéra National de Paris. All of Gustav Mahler’s symphonies, accompanied by his song cycles, are being performed by the Staatskapelle Berlin under the alternating conductorship of Daniel Barenboim and Pierre Boulez. This major project, which was presented in 2007 in Berlin and began at the Musikverein in Vienna on 28 Oct 2008, continues in spring 2009. More information: www.universaledition.com/ performances
Gustav Mahler Third Symphony by John Neumeier
37
mahler
JANÁČEK
Cunning Little Vixen as a children's opera Leoš Janáček’s The Cunning Little Vixen can be seen in a new version for children for the first time in Paris in a co-production between the Opéra National de Paris and the Théâtre Musical de Besançon, following the Zurich staging in 2006. Denis Comtet conducts the Ensemble Justiniana and Charlotte Nessi directs. Composer Alexander Krampe had already produced a children's version of The Magic Flute. To adapt The Cunning Little Vixen into a children's opera, Krampe orchestrated Janáček’s score for chamber orchestra (string quartet, brass quintet, accordion and percussion) and, with librettist Ronny Dietrich, greatly shortened and simplified the text. “Just as we tried to keep the richness of colour of the music when we adapted it for chamber orchestra, we took great care with the text, to be sure that on the one hand it fits Janáček’s original melodic line, but also keeps the vowel sounds as close as possible to those of the original Czech, to preserve Janáček’s characteristic speech rhythms.” (Ronny Dietrich)
38
janáček
At the Zurich Opera, the work was greeted with great enthusiasm by the audience of children. The huge popularity of this work demonstrates the need for more musical theatre for children. You can find more details of a number of current stagings and concerts of Janáček’s work at www.universaledition.com/ janacek
Leoš Janáček Cunning Little Vixen Opernhaus Zürich 2006
2009 50th 75th 75th 80th 150th 90th 50th 200th 50th 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 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 Ennio Porrino † 25 September 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 Anniversary Birthday Birthday Birthday Anniversary Anniversary Birthday Anniversary Anniversary Anniversary Anniv. of Death
Hugo Alfvén † 08 May 1960 Alban Berg * 24 December 1935 Luciano Berio * 24 October 1925 Pierre Boulez * 26 March 1925 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 Ennio Porrino * 20 January 1910 Emil Nikolaus von Reznicek * 04 May 1860 Toru Takemitsu * 08 October 1930 Egon Wellesz * 21 October 1885
2010 50th 75th 85th 85th 80th 80th 100th 150th 75th 100th 150th 80th 125th
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anniversaries
2011 75th 75th 100th 75th 85th 80th 75th 85th 200th 100th 75th 75th 50th 50th 125th 50th 25th 75th
Birthday Birthday Anniversary Birthday Birthday Anniversary Birthday Birthday Anniversary Anniv. of Death Birthday Anniv. of Death Birthday Birthday Birthday Birthday Anniv. of Death Birthday
Gilbert Amy * 29 August 1936 Sir Richard Rodney Bennett * 29 March 1936 Paul Burkhard * 21 December 1911 Cornelius Cardew * 07 May 1936 Friedrich Cerha * 17 February 1926 Mauricio Kagel * 24 December 1931 Ladislav Kupkovic * 17 March 1936 György Kurtág * 19 February 1926 Franz Liszt * 22 October 1811 Gustav Mahler † 18 May 1911 Steve Reich * 03 October 1936 Ottorino Respighi † 18 April 1936 David Sawer * 14 September 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
Anniversary Birthday Anniv. of Death Anniv. of Death Birthday Birthday Birthday Anniv. of Death Birthday Birthday Birthday Birthday
Kurt Atterberg * 12 December 1887 David Bedford * 04 August 1937 Hanns Eisler † 06 September 1962 Morton Feldman † 03 September 1987 Silvia Fómina * 1962 Peter Kolman * 29 May 1937 Richard Meale * 24 August 1932 Caspar Neher † 30 June 1962 Gösta Neuwirth * 06 January 1937 Bo Nilsson * 01 May 1937 Wolfgang Rihm * 13 March 1952 Rodion K. Schtschedrin * 16 December 1932
2012 125th 75th 50th 25th 50th 75th 80th 50th 75th 75th 60th 80th
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anniversaries
VYKINTAS BALTAKAS Neues Werk for ensemble (into ... Project) Ensemble Modern 27 May 2009 · Konzerthaus Berlin/D LUKE BEDFORD By the Screen in the Sun at the Hill on the Gold for 18 players Ensemble Modern, c. Sian Edwards 6 March 2009 · (into ... Project) Konzerthaus Berlin/D GEORG FRIEDRICH HAAS New work for chamber orchestra Münchener Kammerorchester, c. Alexander Liebreich 29 April 2009 · Kulturhaus Dornbirn/A Music for soprano and chamber music musikFabrik, c. Enno Poppe, Sarah Wegener, sop. 3 May 2009 · WDR Funkhaus Köln/D ARVO PÄRT Pari intervallo for four handed piano or two pianos Manon Hutton-DeWys, pno; Evi Jundt, pno 9 February 2009 · Mannes College of Music New York/USA Sei gelobt, du Baum for baritone, violin, quinterne and double bass Derek Lee Ragin, bar; Maya Homburger, vln; Peter Croton, quinterne; Barry Guy, cb · 27 February 2009 · Willisau/CH WOLFGANG RIHM Nietzsche-Notate for choir cappella Bavarian Radio Choir, c. Rupert Huber 9 May 2009 · Prinzregententheater Munich/D Der Maler träumt for baritone and small orchestra ASKO|Schönberg, c. Reinbert de Leeuw, Matthias Goerne, bar 23 May 2009 · ZaterdagMatinee, Concertgebouw Amsterdam/NL JOHANNES MARIA STAUD On Comparative Meteorology for orchestra Cleveland Orchestra, c. Franz Welser-Möst 28 May 2009 · Cleveland/USA
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world premières
WOLFGANG RIHM Proserpina monodrama for soprano, choir and chamber orchestra, Schwetzingen Festival, RSO Stuttgart, c. Jonathan Stockhammer, SWR Vokalensemble Stuttgart, Mojca Erdmann, sop, dir. Hans Neuenfels, set. Gisbert Jäkel 2 May 2009 · Rokokotheater Schwetzingen/D JOHANNES MARIA STAUD Über trügerische Stadtpläne und die Versuchungen der Winternächte for string quartet and orchestra Gewandhausorchester Leipzig, c. Riccardo Chailly, Gewandhaus Streichquartett · 21 May 2009 · Leipzig/D MAURICIO SOTELO Cripta – música para Luigi Nono (new version 2008) for cantaor, choir (SATB), instrumental ensemble and tape Österreichisches Ensemble für Neue Musik, c. Beat Furrer Salzburger Bachchor, Arcángel, cantaor 5 March 2009 · Salzburg Biennale Mozarteum Salzburg/A Arde el alba for soprano, cantaor and orchestra Orquesta Nacional de España, c. Josep Pons Milagros Poblador, sop, Arcángel, cantaor 13 March 2009 · Auditorio Nacional de Música Madrid/E “A Roberto – ” for flute Roberto Fabbriciani, fl · 26 April 2009 · Zagreb/HR
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world premières
JOHANN SEBASTIAN BACH Sonatas and Partitas for violin solo BWV 1001–1006 Editor and notes on interpretation: Dagmar Glüxam UT 50255 ALBAN BERG / MARVIN WOLFTHAL Lulu Fantasy for piano UE 33970 FLORIAN BRAMBÖCK Celtic Recorder Duets for 2 descant recorders UE 34190 LEOŠ JANÁČEK The Makropulos Case Symphonic Suite for orchestra arr. by José Serebrier study score UE 33395 ARVO PÄRT Collected Choral Works Complete Scores for choir SATB and instruments/orchestra 22 reduced size scores for study purposes UE 33880 DAVID SAWER The Source for soprano, mezzo-soprano and tubular bells performance score UE 21474 New Karl Scheit Guitar Edition ROBERT DE VISÉE Suite d-Moll for guitar ed. by Olaf van Gonnissen, Thomas Müller-Pering and Johannes Monno UE 34480 KURT WEILL Songs for violin and piano arr. by Martin Reiter UE 34324
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new releases
ALEKSEY IGUDESMAN
Latin & More Violin Duets for 2 violins UE 33653 Exotic with “masterhand and mastermind” In his own inimitable way Aleksey Igudesman takes us on a musical journey from Tango via Rumba up to Samba. In his brilliant pieces he introduces us to the special techniques, sounds and expressive forms of the different Latin styles with an amazing knowledge of violin technique and lots of tricks for creating a real latin feeling. “With this new edition of duets, Aleksey shows once more his ‘masterhand’ and ‘mastermind’ – each chapter is full of wit and intelligence. It is a great book for amateurs and students, as well as for professionals. If I had more free time, I would play a duet every day to reduce stress, instead of doing gymnastics or practising scales! Whether you perform these duets in private or on stage in a concert, you will always be successful. Enjoy!“ Gidon Kremer
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new releases
ALBAN BERG Drei Orchesterstücke, Lulu-Suite Royal Concertgebouw Orchestra, c. Daniele Gatti; Ana Efraty, s RCO LIVE SACD 08004 ALFREDO CASELLA Scarlattiana (arr. for two pianos by A. Groethuysen) Yaara Tal & Andreas Groethuysen, pno CAvi CD 8553115 JOSEPH BOHUSLAV FOERSTER Concerto for violin and orchestra No. 1 Ivan Zenaty, vln; BBC SO, c. Jiří Bělohlávek SU CD 3961-2 MORTON FELDMAN Palais de Mari Siegfried Mauser, pno CAvi CD (3 CDs) 42 6008553150 9 LEOŠ JANÁČEK String quartet No. 1 Pavel Haas Quartet SU CD 3922-2 131 – Winner of MIDEM Classical Awards 2009 LEOŠ JANÁČEK The Excursions of Mr. Brouček BBC Singers, BBC SO, c. Jiří Bělohlávek Deutsche Grammophon DG CD 4777387 – Winner of MIDEM Classical Awards 2009 LEOŠ JANÁČEK Lachische Tänze, Suite aus “Das schlaue Füchslein” Brünner Philharmoniker, c. Jakub Hrůša SU CD 3923-2 ERNST KRENEK Kleine Suite op.13a Franz Vorraber, pno Thorofon/BM CD 4003913125484 GUSTAV MAHLER Das Lied von der Erde (first version) Hermine Haselböck, ms, Bernhard Berchtold, t, Markus Vorzellner, pno CAvi CD 8553125 GUSTAV MAHLER Symphony No. 1 London Symphony Orchestra, c. Valery Gergiev LSO SACD LSO0663 GUSTAV MAHLER Symphony No. 1 Bamberger Symphoniker, c. Jonathan Nott Tudor SACD 7147 GUSTAV MAHLER Symphony No. 3 Anna Larsson, Tiffin Boys’ Choir, Ladies of the LSO, London Symphony Orchestra, c. Valery Gergiev LSO/Note 1 2 SACD 822231166023 GUSTAV MAHLER Symphony No. 3 Lucerne Festival Orchestra, c. Claudio Abbado, Anna Larsson, a EuroArts DVD 880242563385 – Winner of MIDEM Classical Awards FRANK MARTIN Violin Concerto, Danse de la peur Musikkollegium Winterthur, c. Jac van Steen, Michael Erxleben, vln; Adrienne Soós, Ivo Haag, pno MDG CD 601 1280-2 / MDG SACD 901 1280-6 EMIL NIKOLAUS VON REZNICEK 4 Bet- und Bußgesänge Marina Prudenskaja, Brandenburgisches Staatsorchester Frankfurt, c. Frank Beermann cpo 777 CD 223-2 WOLFGANG RIHM Male über Male 2 WDR SO Orchester, c. Emilio Pomàrico, Jörg Widmann, cl WD CD 2008 (Wittener Tage für Neue Kammermusik 2008)
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new on cd & dvd
CRISTÓBAL HALFFTER Lázaro Philharmon. Orchester Kiel, c. Georg Fritzsch Theater Kiel 2008 NEOS DVD 50802
ARVO PÄRT In principio, La Sindone, Cecilia virgine romana, Mein Weg u. a. Estonian National SO, c. Tõnu Kaljuste ECM CD New Series 2050
KARL SCHISKE Synthese, Candáda, Ensemble Kontrapunkte, c. Peter Keuschnig, RSO Wien, ORF Edition Zeitton CD 3028
JAY SCHWARTZ Music for orchestra, Music for Six Voices, Music for 12 Cellos etc. SO des hr, c.Diego Masson, Neue Vocalsolisten Stuttgart WERGO 6572 2
ALFRED SCHNITTKE Concerto for four handed piano and chamber orchestra Ewa Kupiec, Maria Lettberg, pno, Rundfunk-Sinfonieorchester Berlin, c. Frank Strobel Phoenix/Naxos SACD 0811691011035 ARNOLD SCHÖNBERG / JOHANNES BRAHMS Piano quartet op.25 Staatsorchester Rheinische Philharmonie, c. Daniel Raiskin cpo/jpc CD 761203735624 JOHANNES MARIA STAUD Berenice. Lied vom Verschwinden Klangforum Wien, c. Emilio Pomàrico, Petra Hoffmann, sop KAIROS 6CD Box 0012852KAI KURT WEILL Concerto for violin and wind orchestra op.12 Pavel Eret, vln, Czech Police Band, c. Vaclav Blahunek VA-CD-2008-02 EGON WELLESZ String quartet No. 4 Artis Quartett Wien Nimbus Records CD 710357582127 Winner of MIDEM Classical Awards 2009
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new on cd & dvd
GEORGES LENTZ (born 1965)
Worklist Alkere from ‘Mysterium’ (“Caeli enarrant...” 7) for prepared piano Birrung from ‘Mysterium’ (“Caeli enarrant...” 7) for 11 strings – vln(6), vla(2), vc(2), cb(1)
2002–2004 10’ 1997–2008 9’
world première of new version 2008
“Caeli enarrant...” 1 for orchestra – 2 3 2 2 - 4 3 3 0 - timp. perc(5), hp, pno, str
1989–1998 37’
Movements 2 and 4 can be performed separately as Gyaling Fanfares, ca 7 min
“Caeli enarrant...” 3 for 12 strings, 3 percussionists and 1 boy soprano perc(3), str(3 str.quart) “Caeli enarrant...” 4 for string quartet and 4 cymbals “Caeli enarrant...” 5 for prepared piano Guyuhmgan from ‘Mysterium’ (“Caeli enarrant...” 7) for orchestra and electronics 0 2 0 0 - 4 3 3 0 - timp, perc(3), pno, str(12 12 0 10 8) Gyaling Fanfares for orchestra – 2 2 2 2 - 4 3 3 0 - timp, perc(5), hp, str
1990–1996 14’ 1991–1998 29’ 1992–2000 8’ 2000–2001 12’ 1989–1998 7’
Gyaling Fanfares is an excerpt (movements 2 and 4) from “Caeli enarrant..” 1 and is not published as a separate work.
Ingwe 2007 for electric guitar 55’ Monh from ‘Mysterium’ (“Caeli enarrant...” 7) 2001–2005 for viola, orchestra and electronics 25’ 3 0 3 3 - 4 3 3 0 - perc(3), pno, str(11 11 8 8 6), electronics Ngangkar from ‘Mysterium’ (“Caeli enarrant...” 7) 1998–2000 for orchestra – 1 0 2 0 - 4 3 3 0 - perc(3), hp, cemb, pno, str(14 12 10 8 6) 13’ Nguurraa from ‘Mysterium’ (“Caeli enarrant...” 7) 2000–2001 for clarinet, violin, cello, piano and percussion 9’ More information available at: www.universaledition.com/lentz
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lentz worklist
UNIVERSAL EDITION Austria: Boesendorferstr. 12, A-1010 Vienna, Austria (Musikverein) tel +43-1-337 23 - 0, fax +43-1-337 23 - 400 UK: 48 Great Marlborough Street, London W1F 7BB tel +44-20-7292-9171, 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 www.universaledition.com, promotion@universaledition.com Chief Editors: Angelika Dworak and Eric Marinitsch Contributors: Eric Marinitsch, Wolfgang Schaufler, Jonathan Irons, Angelika Dworak, Elisabeth Bezdicek, Daniela Burgstaller, Kieran Morris and Marion Dürr Design: Egger & Lerch, Vienna/Austria Photo credits: Eric Marinitsch (8), Mateo Taibon, Marion Kalter, Ben Ealovega, Opera North / Alastair Muir, www.kraak.net, Struck-Foto, www.nailgunmedia.com, Philippe Gontier, www.sfgate.net, Courtesy of the Kurt Weill Foundation for Music New York, Ruhrtriennale / Clärchen und Matthias Baus, Imre Varga, Baltzer/Bildbühne, Teatro alla Scala / Marco Brescia, Arnold Schönberg Center, UE Archiv (3), Oper Frankfurt, www.PR2classic.de/Nicho Södling, Teatr Wiekli / Marek Görecki, ÖNB, Kennedy Center, Opernhaus Zürich, Schwetzinger Festspiele, Jenny Both; CDs: NEOS, ECM, ORF, WERGO. DVR: 0836702