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10 Friedrich Cerha Eruptive blocks of sound for percussion in Salzburg
11 Cristóbal Halffter Carta Blanca for the doyen of Spanish music in Madrid
14 Victoria Borisova-Ollas The deer cries in Stuttgart
16 David Sawer Rumpelstiltskin dances
17 Little Red Violin A fairy tale for family concerts
Pierre Boulez “I could understand Wozzeck better when I knew Mahler.” Boulez opens our series of video interviews on Gustav Mahler (see p. 4 and 5)
newsletter 04/09 • autumn 2009
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Contents
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= World Première
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NEWS Gustav Mahler: video interviews — 4 URL-shortener for links — 5
COMPOSERS Staud — 7 Rihm — 9 Cerha — 10 Halffter — 11 Haas — 13 Sotelo — 13 Borisova-Ollas — 14 Luke Bedford — 14 Pärt — 15 Baltakas — 15 Lentz — 16 Sawer — 16 Dudley / Isserlis — 17 Boulez — 19 Burt — 20 Gurlitt — 20 Birtwistle — 21 Kurtág — 21 Kagel — 22 Stockhausen — 22 Haubenstock-Ramati — 22 Festival d’Automne — 23 Feldman — 23 Berio — 24 Bartók — 25 Kodály — 25 Weill — 27 Martin — 28 Schnittke — 28 Szymanowski — 29 Satie — 29 Webern — 30 Martinů — 30
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Berg — 31 Zemlinsky — 32 Schreker — 32 Schönberg — 33 Mahler — 34 Haydn — 35 Braunfels — 35 Janáček — 37
ANNIVERSARIES — 38 - 39 WORLD PREMIÈRE — 40 - 41 NEW RELEASES — 42 - 43 NEW ON CD — 44 - 45 WORKLIST Luke Bedford — 46 ACKNOWLEDGEMENTS — 48
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Dear Readers, delivering a guest performance at the Vienna Konzerthaus on 10 Jun, the Bamberger Symphoniker held its audience captivated with the following programme: Arnold Schönberg’s Drei Klavierstücke op. 11, performed by PierreLaurent Aimard and Alban Berg’s Drei Orchesterstücke op. 6. As a finale, they performed Béla Bartók’s Concerto for piano and orchestra No. 1. The concert was sold out and highly acclaimed. So, is this really worth mentioning? It probably wouldn’t be under ‘normal’ circumstances, but in times of tight budgets, retreating to the supposedly safe territory of classical and romantic music may only bring deceptive success. Audiences are far more open-minded than is often assumed, provided modern classical works and new music are presented in a meaningful context and at a high level. To this end, such programmes are really no risk at all – rather, a strong investment in the future. The Editorial Team
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UNIVERSAL EDITION
Gustav Mahler – video interviews To celebrate the two Mahler anniversaries (150th birthday in 2010; 100th anniversary of death in 2011) we have launched our new Mahler blog, where during the next two years we will be publishing interviews with conductors, orchestra managers and musicologists. www.universaledition.com/mahler
Pierre Boulez “I could understand Wozzeck better when I knew Mahler.”
Christoph Eschenbach “Mahler is certainly the greatest symphonist of all time.”
Daniel Barenboim “I started to conduct Mahler out of spite.”
Daniele Gatti “For conductors Mahler seems to be to be the most personal composer”
Michael Tilson Thomas "I divide my life into before and after having heard Mahler for the first time."
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Franz Welser-Möst “The specific sound of the Vienna Philharmonic Orchestra influenced him in a big way.”
Jonathan Nott “You have to give your whole self when conducting Mahler.”
Kent Nagano “Mahler expresses life's reality.”
UNIVERSAL EDITION
URL-shortener for links We’re now using www.bit.ly. You asked for additional links in our articles so we’re now using a URLshortener, enabling us to include even more of them. Wherever you see something like www.bit.ly/ composers, just type it into your browser, and you’ll be redirected to
the original page, in this case www.universaledition.com/ truman/en_templates/en_composer. php3. Saves a bit of typing, too … (We can’t accept responsibility for third party links.)
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STAUD
Klangspuren focus Segue. Music for cello and orchestra by Johannes Maria Staud was performed for the first time in its revised version in Berlin on 20 Feb under Lothar Zagrosek. “Staud creates an astonishing stylistic rupture, which practically forces one to listen” wrote the Tagesspiegel on Segue. The work can now be heard twice in Austria: the Klangspuren Schwaz perform the Austrian première as the start of a feature on Staud (Tirol SO Innsbruck, Anssi Karttunen, vc, c. Johannes Kalitzke), and Wien Modern has programmed it on 13 Nov (RSO Wien, Jean-Guihen Queyras, vc, c. Bertrand de Billy). The Klangspuren Festival Schwaz also features Configurations/Reflet and A map is not the territory (12 Sep, International Ensemble Modern Academy, c. Franck Ollu).
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The Festival Musica in Strasbourg performs the French première of Im Lichte. Music for two pianos and orchestra (Philharmonisches Orchester Freiburg, c. Fabrice Bollon, Tamara Stefanovich, Florent Boffard, pno, 20 Sep). Lagrein can also be heard there on 30 Sep. Incipit receives its Dutch première on 20 Oct in Amsterdam, where
Ensemble Modern perform with Uwe Dierksen on trombone. There is a further Staud première this autumn: The revised version of One Movement and Five Miniatures for harpsicord, live electronics and ensemble is premièred at the musikprotokoll in Graz/A on 9 Oct (Klangforum Wien under Sylvain Cambreling). The same performance can be heard again at Wien Modern on 3 Nov. www.wienmodern.at
Johannes Maria Staud
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Three women When Wolfgang Rihm was asked to write a kind of requiem, he decided on a title – ET LUX – taken from the Latin requiem text. The composition for string quartet and choir sees its première on 15 Nov at the Cologne Philharmonic, where the Arditti Quartet and the Hilliard Ensemble perform. See www.bit.ly/rihm2 This work is a commission by KölnMusik, Festival d’Automne in Paris and Carnegie Hall. It is performed in Paris on 17 Nov. The British première is on the programme for the opening of this years’ Huddersfield Festival on 20 Nov. Rihm's most recent music-theatrical composition is Drei Frauen (Three women), which premières on 25 Sep in Basel (director: Georges
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Delnon). The work is in three parts: Aria/Ariadne (2002), Das Gehege (2006) and Penthesilea-Monolog (2005). Rihm has composed additional bridge material, and the juxtaposition of the three gives new perspectives and insights. www.bit.ly/rihm3 The French première of DEUS PASSUS occurs on 26 Sep at the Festival Musica in Strasburg (SWR RSO Stuttgart under Jonathan Stockhammer). Myung-Whun Chung conducts Das Lesen der Schrift on 18 Sep in Paris (Orchestre Philharmonique de Radio France). Male über Male 2 gets its Dutch première on 22 Oct (Muziekgebouw aan 't IJ; Asko/Schönberg Ensemble, conducted by Reinbert de Leeuw, Jörg Widmann, clarinet). Jagden und Formen can be heard in Berlin on 20 Nov at the Haus der Festspiele in its critically acclaimed stage version by dance company Sasha Waltz & Guests with Ensemble Modern under Franck Ollu.
Wolfgang Rihm
Video still © Yan Proefrock. Festival d'Automne
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CERHA
Impenetrable web Friedrich Cerha asserts himself with two world premières this autumn Instants for grand orchestra “is a sequence of spontaneously created small elements”, says the composer, “which constantly relates back to itself in variations, giving rise to an impenetrable web of relationships, in which – I hope – the ‘sweat of the labourer’ cannot be heard”. The work is christened on 20 Nov by the Kölner Philharmonie (WDR Sinfonieorchester Köln, c. Peter Rundel). See www.bit.ly/cerha3
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Cerha wrote his Concerto for Percussion and Orchestra in 2007/8 for the exceptional young percussionist Martin Grubinger. The solo part has a different instrumentation in each of the three movements, in which the percussionist changes position each time, before coming back to the first position for the last movement. “Contrary to the usual approach, all the percussion instruments – even the tom-toms, temple blocks, woodblocks and cowbells – are precisely tuned”, writes the composer, “the first and third sections of the first movement and the end of the piece are marked by eruptive blocks of sound, dominated by drums”. Ivor Boton directs the Mozarteum Orchester Salzburg at the Salzburg première on 4 Oct. www.bit.ly/cerha2 There are three further opportunities to hear works by Cerha in Austria this autumn: Quellen for ensemble on 16 Sep at the Linzer Brucknerhaus, 5 Sätze für Klaviertrio on 23 Sep in Schwaz and Monumentum für Karl Prantl on 13 Nov in Vienna – RSO Wien, conducted by Bertrand de Billy.
Friedrich Cerha
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Cristóbal Halffter
HALFFTER
Upstanding resistance A key part of the creative business these days is self-presentation of the highest possible degree; the type of artist who thinks of his creative process as a passion and a duty to the intellect has become rare. Spanish composer Cristóbal Halffter has stayed remarkably faithful to his calling as warning voice for his country. During Franco's dictatorship much of his artistic inspiration came about as a result of his resistance to tyranny, but he was always more than an upstanding musician of the resistance. Madrid's Auditorio and the Spanish national orchestra now honour Halffter with a Carta Blanca, which gives an overview of the multifaceted
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creativity of the doyen of Spanish music in a number of concerts. The high point of the festival will no doubt be the première of De ecos y sombras for orchestra (13, 14, 15 Nov). Concierto para violoncelo y orquesta no. 2 and Preludio para Madrid ’92 can also be heard at the same concert, where the composer conducts. Concierto for piano and orchestra and Tiento del primer tono y batalla imperial can also be heard under Carlos Kalmar, with soloist Nicolas Hodges (6–8 Nov). Further highlights include a chamber concert on 11 Nov, featuring Formantes, Ecos de un antiguo órgano, El juguete olvidado, Volver al listado, among others. More details on the programme can be found at www.bit.ly/halffter1
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Georg Friedrich Haas and Friedrich Cerha HAAS
SOTELO
Hommage to
Wailing wind
Mendelssohn The Festival de Mùsica de Alicante is one of the most important of its kind in Spain. For its 25th anniversary, the festival honours Mauricio Sotelo with a series of performances. The central part of the series is the première of La mémoire incendiée: la guitare for string quartet (Diotima Quartett, 23 Sep), but Sotelo's guitar concerto Como llora el viento is also presented for the first time in a chamber version (Grup Instrumental de Valencia, Canizares, guit, 18 Sep). Alicante also sees the Spanish première of Chalan. (musikFabrik, c. Anu Tali, Dirk Rothbrust, perc, 19 Sep). www.bit.ly/sotelo2 To mark the 25th birthday of the Klangforum Wien, Sotelo wrote Klang-Muro-for-Klangforum, which premières at the musikprotokoll in Graz/A on 9 Oct, and can be heard again on 3 Nov at the Wien Modern: www.wienmodern.at
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The 2009 Mendelssohn Festival will include a world première of Georg Friedrich Haas’ Traum in des Sommers Nacht in Leipzig on 28 and 30 Aug. Haas admires Mendelssohn, particularly when “the composition of the sound is the main part of the musical composition”. According to Haas, “Mendelssohn forestalled Schönberg’s utopia of a ‘sound-colour-melody’. He opened doors to a room that the serial music of the 1950s was to enter later.” The Gewandhaus Orchestra will perform his new work under Riccardo Chailly. www.bit.ly/haas1 The Klangspuren Schwaz festival will include a performance of ins Licht for violin, cello and piano on 23 Sep. Open Spaces II for 12 string instruments and 2 percussion can be heard at the same festival on 27 Sep with Ensemble Resonanz.
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BORISOVA-OLLAS
LUKE BEDFORD
The deer cries
Birmingham
in Stuttgart
commission
Mendelssohn considered his setting of the 42nd Psalm to be his best sacred work. In continuation of Mendelssohn’s 200th anniversary celebrations, the Bachakademie Stuttgart presents a concert of Mendelssohn’s music combined with contemporary compositions. Hans-Christoph Rademann conducts the RIAS Chamber Choir Berlin and the RSO Berlin in the world première of Victoria Borisova-Ollas’ Psalm 42 (As the Deer Cries) for orchestra, mixed choir and soloists (commissioned by the International Bach Academy Stuttgart). Caroline Stein and Christof Fischesser are the soloists on 13 Sep in the Domkirche St. Eberhard, Stuttgart. The concert is repeated two days later at the Konzerthaus in Berlin. See www.bit.ly/borisova1
Luke Bedford, whose unique, assured style has won him many accolades, continues to be much in demand. The CBSO Youth Orchestra is the latest ensemble to commission a work from him: they will be performing the world première of his new orchestral piece, Più Mosso, later this year, conducted by Thomas Søndergård. The concert will take place on 1 Nov, at Birmingham’s Symphony Hall, where there will also be a chance to hear Bedford discuss the work in a pre-concert talk with Simon Webb. See www.bit.ly/bedford1 Bedford continues his fruitful relationship with the London Sinfonietta with Great Bass Rackett for solo bassoon commissioned by the group in celebration of its 40th birthday. Details will be announced shortly.
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Arvo Pärt
PÄRT
Premières of No. 4 Arvo Pärt’s Symphonie No. 4 ‚Los Angeles' (dedicated to Mikhail Khodorkovsky) has already been performed ten times since it premièred in January ‘09, and seven further performances are scheduled for the autumn, with premières in Germany and Latvia (Kremerata Baltica, T. Kaljuste), Canada (Toronto Philharmonia, K. Stratton) and Estonia (Tallinn Chamber Orchestra & Sinfonietta, E. Klas) and 3 performances in the Netherlands (Noord Nederlands Orkest, A. Hermus). As part of a CD project, two major works for choir and orchestra can be heard at the Konzerthaus Berlin on 14 and 15 Nov: Cantique des degrés (commissioned by Princess Caroline for her father Prince Rainier of Monaco, 1999) as well as
the German première of the 2008 version of Stabat Mater for choir and string orchestra. K. Järvi will conduct the Rundfunk-Sinfonieorchester Berlin and Rias Kammerchor.
BALTAKAS
Urban sound collage "He collected sound material, altered it and pasted it together as an urban music and sound collage, without any panic and without any emotional response to the social environment." This is how Achim Ost descibes Vykintas Baltakas' latest work, Lift to Dubai, for Ensemble Modern, composed after his four week stay in Dubai and premièred on 27 May in Berlin. It is at the same time a raw and direct, yet lyrical and warm work. Score and recording are available for perusal.
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LENTZ
A hundred million suns Georges Lentz' new work for orchestra, Guyuhmgan, was premièred in Luxembourg this summer. Contact us for a perusal score and recording. This September, his viola concerto, Monh, will be given its Polish première as part of the 2009 Warsaw Autumn. Antoni Wit conducts the Warsaw Philharmonic Orchestra (18 Sep); Lawrence Power is the soloist. Lentz gives the music a “sense of perspective … as though a barely registered noise represented the collapse of a hundred million suns.” (Sydney Morning Herald) See www.bit.ly/lentz1
SAWER
A grotesque fable ...
David Sawer
tale about greed and come-uppance in a completely new way, using dance, action and music alone. Performed by 6 dancers and the 14 players of BCMG (which commissioned the work), conducted by Martyn Brabbins, Rumpelstiltskin takes a fresh look at the age-old themes of transformation, ritual and revelation. (Four further performances: 20 & 21 Nov, Tramway, Glasgow; 22 Nov, Bates Mill, HCMF. See www.bcmg.org.uk) Prior to the BCMG tour comes a performance of Satz by the Wiener Klaviertrio (23 Sep, Schwaz/A) as well as a performance of Between, for solo harp (1 Oct, Louise T. Blouin Institute, London).
On 14 Nov the world première tour of Rumpelstiltskin by David Sawer opens – with two performances – at the CBSO Centre in Birmingham, UK. David Sawer, Richard Jones (director) and Stewart Laing (designer) re-tell the familiar Brothers Grimm
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DUDLEY / ISSERLIS
Music for family concerts “Once upon a time there was a beautiful little violin. She was covered with deep red varnish and she was known as Little Red Violin. She had a lovely tone and played such sweet music that everybody loved her, especially her Grandmother, Grandmother Stradivarius …” These are the opening lines of our new work for narrator, solo violin, solo cello and string orchestra by Anne Dudley and Steven Isserlis: Little Red Violin (and the Big Bad Cello) – also available in a version with piano accompaniment. This exquisite fairytale, perfect for family concerts, is an original and witty variation on the Little Red Riding Hood story. Anne Dudley and Steven Isserlis
Anne Dudley
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hardly need any introduction. Dudley, founding member of Art of Noise and keyboard player for Frankie Goes to Hollywood in the 1980s, is internationally renowned as a composer of music for film and television, writing for The Crying Game, Jeeves and Wooster, and more recently for the HBO drama The Tenth Kingdom. Her soundtrack for The Full Monty won her an Oscar in 1998. Isserlis is known on the world’s concert stages as a first-class ‘cellist. His recent recording of Schumann’s Music for cello and piano (with Dénes Várjon) was highly praised by Gramophone Magazine and BBC Music magazine. Little Red Violin is now available for performance worldwide. Listen to an excerpt (of the piano trio) at www.bit.ly/dudley1 The first ten pages of the score are online at www.bit.ly/dudley2 online. Also visit www.annedudley.co.uk and www.stevenisserlis.com
Steven Isserlis
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BOULEZ
Homage to the master “Boulez is a joy to listen to” – such were Igor Stravinsky’s words after hearing Pierre Boulez’ Le Marteau sans maître for the first time. This classic piece of modern music for alto and six instruments is just one item on the programme (hr-Ensemble for New Music, c. Arturo Tamayo, 21–22 Nov) of an extensive portrait of the composer, which the Alte Oper Frankfurt will be holding for Boulez at the start of the new
Pierre Boulez
season. www.alteoper.de, www.hr-online.de The programme also includes: Structures for 2 pianos (with PierreLaurent Aimard, Tamara Stefanovich, 19 Sep); Dérive 1 (c. Gilbert Varga, 20 Sep); Domaines for clarinet and orchestra (Junge Deutsche Philharmonie, c. Susanna Mälkki, Alain Damiens, clar, 20 Sep); Incises (Ueli Wiget, pno, 21 Sep); Dérive 2 (Ensemble Modern, c. Franck Ollu, 21 Sep); Messagesquisse for solo cello and 6 cellos (Ensemble Modern, Eva Böcker, vcl, 21 Sep); sur Incises for 3 pianos, 3 harps and 3 percussionists (Ensemble Modern, c. Franck Ollu, 27 Sep). Violinist Carolin Widmann will perform Anthèmes 1 and Anthèmes 2 on 29 Sep. Rotterdam will also be hosting some remarkable Boulez performances. Arie van Beek is to conduct Doelenensemble on 5 Oct, with Improvisation I and Improvisation II, Éclat and Rituel in memoriam Bruno Maderna. On 23 Nov, Reinbert de Leeuw will conduct Répons with Asko|Schönberg Ensemble. Hae-Sun Kang will perform Anthèmes 2 in Seoul on 24 Oct.
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BURT
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GURLITT
Great loneliness The other Wozzeck Francis Burt wrote Unter der blanken Hacke des Mondes in 1974. The work, for baritone and orchestra is based on five poems by the poet Peter Huchel, who emigrated from East Germany in 1972. The composer was moved by the “expression of great loneliness” in the text. The Orchester der Kunstuniversität Graz performs the work under Martin Sieghart on 27 Oct in the Stefaniensaal in Graz/A. The baritone is David Park. Francis Burt is currently completing his full-length opera Mahan.
Several unfortunate circumstances caused the opera Wozzeck by Manfred Gurlitt, who was born in Berlin in 1890, to be almost forgotten. The world première – in Bremen, 1926 – was preceded by the première of Alban Berg’s identically-named opera a year earlier. Without this overwhelming competition, there is no doubt that Gurlitt’s scoring would have won a fixed place in the repertoire as a major contribution to expressionist music theatre. There are several astonishing parallels between Berg and Gurlitt’s works, such as the first “Marie” scene, where both composers employ a march and a lullaby. In his Wozzeck, Gurlitt dispensed with traditional structures, instead aiming to match Büchner’s text with his sequences, which often only last a few minutes. The Lucerne Theatre will open its season with this masterpiece on 6 Sep. www.bit.ly/gurlitt1
Francis Burt
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BIRTWISTLE
Successful celebrations In honour of Harrison Birtwistle’s birthday, the last few months have seen some exciting programmes of his works, including a highly successful series at Aldeburgh Festival, and two prestigious concerts at the BBC Proms. Over the autumn, several pieces are set to feature in performances across Europe. Silbury Air can be heard at the Amsterdam Concertgebouw, conducted by Oliver Knussen (8 Sep). The rhythmically entrancing, Stravinskian chamber orchestra work, Carmen Arcadiae Mechanicae Perpetuum, receives two outings. The first is at the Sacrum Profanum Festival in Krakow, with the ever-engaging London Sinfonietta under David Atherton (16 Sep, Museum of Urban Engineering); the latter will
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be performed by Alarm Will Sound (23 Oct, Hamburg, Kampnagel). The Sinfonietta concert will also include Cortege, Secret Theatre, and Ut heremita solus.
KURTÁG
Ghosts on CD Marino Formenti’s new KAIROS-CD Kurtág’s Ghosts examines how some of the major composers from the 14th to the 20th century have influenced György Kurtág. ”If the construction of this program was a phenomenal creative act, Formenti proved no less formidable in the execution" (Joshua Kosman, San Francisco Chronicle www.bit.ly/ kurtag1). Order the CD at www.kairos-music.com This autumn, the Wiener Klaviertrio performs Varga Bálint Ligaturája in Schwaz/A (23 Sep). Heinz Holliger conducts Kurtág’s Capriccio in Geneva/CH (30 Oct).
Harrison Birtwistle
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KAGEL
Musical match The sporty-sounding title hints at the fact that Mauricio Kagel’s Match (1964) for 3 players is a musical game in which the musicians’ movements of play become mimicking actions and the percussionist takes on an umpire-like role. The piece will be performed on 4 Oct (Berlin) by Kammerensemble Neue Musik Berlin and on 14 Oct (Brussels) by musikFabrik. Kagel’s MM 51 (1976), film music for piano (and metronome) can be heard on 12 Nov at the Kasseler Musiktage festival with Ulrich Roman Murtfeld at the piano.
STOCKHAUSEN
Time and space
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where individual tones and temporal relationships resolve into one another until only unity can be heard. www.festival-automne.com
HAUBENSTOCK-RAMATI
Musical anxieties Roman Haubenstock-Ramati wrote Symphonie ‘K’ in 1967, based on four orchestral fragments from his opera Amerika. He uses “K” to symbolise Kafka’s “every man”, as well as the anxieties of modern man, the inner conflict of the individual and the inability to escape the alllevelling machine. The piece can be heard at the Rainy Days festival in Luxembourg on 28 Nov, with the Orchestre Philharmonique de Luxembourg under Emilio Pomàrico. More information: www.philharmonie.lu
Pierre Boulez and Ensemble Intercontemporain perform Kreuzspiel and Kontra-Punkte by Karlheinz Stockhausen at the Festival d'Automne in Paris on 17 Oct. Kreuzspiel (1951) is written for oboe, bass clarinet, piano and three percussionists, and realises the idea of a crossroads between temporal and spatial events. The single movement of Kontra-Punkte (1952/53) for 10 instruments is set in a multi-faceted sound world
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somewhat more colourfully, four large canvasses by Anselm Kiefer.” www.bit.ly/istwidmann Carolin Widmann takes UE’s violin music to Paris, performing Luciano Berio’s Sequenza VIII, Wolfgang Rihm’s Über die Linie VII and Morton Feldman’s For Aaron Copland (30 Nov). Emilio Pomàrico and the Frankfurt RSO join her for Feldman’s Violin and Orchestra (19 Oct). Full programme and dates: www.bit.ly/paris1
FELDMAN Notre Dame de Paris
Weaving sounds
FESTIVAL D’AUTOMNE
UE in Paris The Paris Festival d’Automne presents the French première of Wolfgang Rihm’s – ET LUX – for four voices and string quartet, which takes place on 17 Nov (Hilliard Ensemble/Arditti Quartet). On 18 Sep Myung-Whun Chung and the Orchestre Philharmonique de Radio France perform Rihm’s Das Lesen der Schrift (The Reading of the Scripts) – four movements performed in between the movements of Brahms’ Deutsches Requiem. Rihm comments, “It's as if there were four monochrome panels hanging in a Gothic chapel or,
“Though these fragments [of knotted carpets found in Turkestan] were too small to indicate either its design or provenance, they did convey a long tradition of carpet weaving. This is to a large degree the extended metaphor of my composition: not the suggestion of an actual completed work of ‘art’, but the history in Western music of putting sounds and instruments together.” The Turfan Fragments by Morton Feldman is performed in Lisbon (12 Sep) and Munich (2 Oct). See above and www.bit.ly/feldman1 for more performances.
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BERIO
Key work of the 20th century Luciano Berio’s Sinfonia for eight voices and orchestra (1968/9) is one of the key works of 20th century musical history. The third movement is introduced by a collage of Mahler's Symphony No. 2, and it is performed on 7 Sep at the Lucerne Festival Academy as part of the Festival Forum. Pierre Boulez directs the Lucerne Festival Orchestra; Ward Swingle leads the singers of the Lucerne Festival Academy; Roland Wachter chairs the Academy Forum. Sinfonia is then performed in full on 10 Sep. Venezuelan conductor Gustavo Dudamel has introduced two of Berio's works into the repertoire of the two orchestras he now leads as principal conductor: Folk Songs with the Göteborgs Symfoniker and mezzo-soprano Malena Ernman (Gothenburg/S, 5 Sep) and also with the Los Angeles Philharmonic Orchestra and Dawn Upshaw (Los Angeles, 11–15 Nov). Also on the programme in Los Angeles is Rendering, a reconstruction of Schubert's sketches for his Symphony No. 10, meticulous and radical at the same time. Laborintus II for voice, instruments and recording holds a particular place in Berio's musical dramatic
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Luciano Berio
output. The work can be performed as a theatrical event, as an allegory, as documentation, as mime, in theatres, in concert halls, on television, on the radio, outdoors, etc. Ensemble Intercontemporain under Susanna Mälkki gives a concert performance of the work in Paris and Strasbourg on 20 Sep and 3 Oct.
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BARTÓK
London – Mailand – Paris ENO introduces a new production of Blubeard’s Castle by Béla Bartók this season, opening on 6 Nov in London. Conducted by music director Edward Gardner and directed by Daniel Kramer (who won a South Bank Show Award for his production of Birtwistle’s Punch and Judy last year), Bartók’s only opera features Clive Bayley in the title role and Michaela Martens as the wife who sacrifices herself for truth. Also 10, 12, 14, 20, 25 & 28 Nov. See www.eno.org.uk Before this, the Filarmonica della Scala and Maurizio Pollini, under the direction of Pierre Boulez, undertake a run of concerts in Milan and Paris, each featuring the Piano Concerto No. 2 and The Miraculous Mandarin (27, 29, 31 Oct, Teatro alla Scala, Milan; 16 Nov, Salle Pleyel,
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Paris). The day before the last concert, also in Paris, Peter Eötvös conducts the Orchestre Philharmonique de Radio France in 3 Dorfszenen (15 Nov).
KODÁLY
Music belongs to everybody! Zoltán Kodály’s motto was “music belongs to everybody!” At the start of the 20th century, together with Béla Bartòk, he researched Hungarian folk music and integrated it into his own work. In Tänze aus Galánta (1933), maybe his most popular work, he uses sound impressions from Galánta, a Hungarian village where he spent seven years of his childhood. The piece will be performed 15 times in Europe in the next few months alone. Please visit our website for more information: www.bit.ly/kodaly1
Béla Bartók by László Marton, Budapest
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WEILL
Collected critical edition Composers whose legacy – their oeuvre – is looked after with dedication, love and musical expertise are truly lucky. Kurt Weill is one such composer, thanks to the New York-based Kurt Weill Foundation for Music. For decades, the foundation has been ensuring that the works by the exiled composer (who found a home from home in the USA, where he went on to write a whole series of compositions, mainly works for stage) are performed true to the scores all over the world. In 1992, the foundation began an epic, long-term undertaking – to make the composer’s complete works available to practising musicians and musicologists in exemplary editions. Although it
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is almost inconceivable, Weill’s legacy was only available in print in flawed editions or not at all after his death in 1950. Just two of his works for stage were published posthumously as scores, meaning that countless major compositions could not be distributed. The same applied to his concert music. The Kurt Weill Edition is therefore truly epoch-making, especially since Weill’s versatile work will call for a new definition of a “collected critical edition”. Weill’s life’s work is to be published in four series: for stage, concert, screen and “various”. Comprising 24 volumes, the first will also be the most extensive. Zaubernacht, Der Protagonist, The Threepenny Opera and The Firebrand of Florence are already available. Weill’s complete chamber music and two impressive volumes of facsimiles have also been published. More information: www.kwf.org
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MARTIN
Tempestuous Sounds Frank Martin’s Trois Danses, for oboe, harp, string quintet and string orchestra, was composed in 1970 for Heinz and Ursula Holliger (oboe and harp). The work now comes to Japan for the first time. The Kansai Philharmonic Orchestra is conducted by Maurice Bourgue in Osaka on 8 Oct (Hansjörg Schellenberger, ob, Margit-Anna Süß, hrp). 20 years earlier, Martin concerned himself with Shakespeare's Tempest. The first musical result was the Five Songs of Ariel, which were
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premièred in 1950. Five years later, Martin completed his opera Der Sturm, which still remains a very valuable interpretation of the Shakespeare work. The Ariel Songs will be performed at the Prinzregententheater in Munich on 3 Oct. Peter Dijkstra conducts the Bavarian Radio Choir.
SCHNITTKE
Sombre desperation Alfred Schnittke's Historia von D. Johann Fausten (1987/1994) is based not on Goethe's Faust, but on the popular Faust text of the 16th century. In his quest for knowledge Faust makes a pact with the devil, who appears in the opera as two separate characters, Mephistophiles (male soprano) and Mephistophilia (female contralto). The desperation of the title character is expressed with elements of Bach, Wagner, Mahler and Shostakovitch in a melancholy, sometimes almost sparse musical language. Excerpts of the opera are performed by the London Philharmonic Orchestra under Vladimir Jurowski on 18 Nov (soloists: Anna Larsson, Marco Lazzare and Stephen Richardson; Royal Festival Hall, London, UK première). www.lpo.org.uk
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SZYMANOWSKI
Monumental uncertainty 12th century King Roger II of Sicily's authority is threatened by the arrival of a young shepherd who is converting the inhabitants of the island to his pagan ideas. Karol Szymanowski's 1924 opera Król Roger (King Roger) presents this material in a monumental, dense and virtuosic score, and stands as one of the major operas of the 20th century. Following its première performances at the Bregenz Festival in August, David Pountney's new production of Król Roger (stage design: Raimund Bauer) now comes to the Liceu in Barcelona for eight performances, conducted by Josep Pons. Pons joins the Symphony Orchestra and Chorus of the Liceu on 15 Nov for a Szymanowski concert including his Stabat Mater and Symphonie No. 3. www.bit.ly/liceu1
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première of Satie’s ballet Mercure. Poses plastiques (choreographer: Léonide Massines; stage set and costumes: Pablo Picasso). The ballet was commissioned by the Count de Beaumont, who wanted to use the exclusive cast to compete with Diaghilev’s Ballets russes. The piece will be performed in Rouen/F on 19 Nov under Johannes Debus. In 1928, Roger Desormière arranged Satie’s Geneviève de Brabant, a pièce en vers et en prose, which will be presented by “Die Oper im Knopfloch” on 17 Oct in Oberengstringen/CH. The same year, Darius Milhaud orchestrated Jack in the Box, Satie’s pantomime ballet for piano. The 3-movement work lasts 6 minutes and can be heard on 18 Oct in Reutlingen/D.
SATIE
Stage set: Pablo Picasso Three works by Eric Satie, a great original composer, are scheduled for performances. 1926 saw the world
Eric Satie
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WEBERN
Concentrated expression Anton Webern’s Passacaglia op. 1 for orchestra, which he composed as a tonal piece as late as 1908, already carries the hallmarks of his later style. The piece marks the starting point for Webern’s characteristic musical language, which became increasingly marked by highly concentrated expression on all levels between loud and soft, coupled with an aphoristic form. Zubin Mehta and the Vienna Philharmonic will be presenting Pas-
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sacaglia twice: on 3 Sep at the Wolkenturm Grafenegg/A – where it will be combined with 6 Stücke op. 6 (1909) – and on 6 Oct at the Vienna Musikverein. Mehta is to perform 6 Stücke, in which Webern uses the instruments according to Schönberg’s sound-colour-melody concept, with Staatskapelle Berlin in Berlin (Philharmonie, 26 Nov and Konzerthaus, 30 Nov).
MARTINU
Fantastical developments Bohuslav Martinů‘s The Epic of Gilgamesh is based on the AssyrianBabylonian poem of the same name, and the colossal power of the source material – wrestling with forces of nature, social power struggles, sexuality, love and death – inspired Martinů to tremendous vocal creativity. There are lyrical and dramatic elements, meditative sections and sections based on archaic motifs – all of which provide fertile ground for fantastical developments. This oratorio can soon be experienced in Prague and Basel: National Theatre Prag, 10 Sep, Orchestra and Choir of the National Theatre, c. Tomás Netopil; Basler Martinskirche, 20 and 21 Nov, Basel Sinfonietta and Bach Chor Basel, c. Joachim Krause.
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Alban Berg Wozzeck OpĂŠra Bastille Paris 2008
BERG
Berg for any stage It goes without saying that the work of Alban Berg is a fixture in the international concert and opera repertoire. However, the fact that there are, for example, four versions of Wozzeck, of which two have been written in the last few years, demonstrates the undiminished power and influence of this masterpiece. The reduced version by Erwin Stein, which was completed in Berg's lifetime, made it possible for smaller theatres to stage the work. Almost seven decades later (1995), John Rea fulfilled the need for a chamber version, which made the piece even more widely accessible. The composer Eberhard Kloke had the same goal in mind when he pro-
duced a new version in 2004, with an orchestra slightly larger than Rea's but slightly smaller than Stein's. Koblenz has decided on Rea, Gera on Kloke, while Berg's original version is performed in Paris. The same is true of Lulu. Theatres can decide on Berg's unfinished version, or on the three-act opera completed by Friedrich Cerha (coming up in Japan and Madrid). The Lyrical Suite offers similar options, has the same issues, since Dutch composer Theo Verbey arranged the movements No. 1, 5 and 6 for string orchestra, expanding on Berg's incomplete sketches. This new orchestration is beginning to make its mark – although the upcoming performance with Ingo Metzmacher in Berlin (5 Oct) is the original version. For more performances see www.bit.ly/berg3
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ZEMLINSKY
SCHREKER
Immense impact
Sound is the key
When Alexander Zemlinsky composed his op. 20 in 1929, based on African American poems (by Langston Hughes among others), he did not suspect that he himself would become a victim of the racism targeted in the poems and would end his days in the USA where the poems were written. The Afrika singt anthology was published in Vienna in 1929 and must have had an immense impact on the composer: he went on to write Sinfonische Gesänge later that year. He did not live to see the world première however, as it was not held until 1964 in Baltimore. Compared to Lyrische Symphonie or Die Seejungfrau, the piece is still heard only rarely. Dietrich Henschel will sing it at the Musikfest Berlin (13 Sep) with the Philharmonia Orchestra under Vladimir Ashkenazy.
If music primarily meant thoughts for Arnold Schönberg, for Franz Schreker it mainly meant sound. In the wake of Schreker’s great renaissance on the opera house stages, his symphonic oeuvre is also becoming more and more wellknown. And not just the frequently performed Vorspiel zu einem Drama, which Markus Stenz will be conducting in Cologne (GürzenichOrchester, 6–8 Sep) and Christoph Eschenbach at the Usedom Music Festival (Peenemünde/D, NDRSymphonieorchester, 3–4 Oct). Philippe Hui will be presenting other key works by Schreker on 11 Oct at the Théâtre des ChampsElysées in Paris, with the Orchestre Pasdeloup: Ein Tanzspiel (Rokoko), Suite and Chamber Symphony. David Zinman performs this last work in Zurich with the Tonhalle Orchester on 11 Sep.
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Dünser's arrangement is influenced by several external elements: “autobiographical sketches, literary references, pictures, moods … force their way into the work and use its integral structures to weave a tapestry of relationships and mutual influences. Everything amalgamates and forms a larger whole, which dialectically can also include its opposite, breaches, un-relationships, fragmentation” (Dünser). More information at www.schoenberg.at
SCHÖNBERG
External elements Arnold Schönberg’s Drei Klavierstücke op. 11 (1909) can be seen as an early example of Schönbergian atonality – it was one of the first works where the composer set the music free from its conventional structures. Richard Dünser, under commission from the Viennese Arnold Schönberg Centre, has now arranged the Drei Stücke for ensemble. The Austrian premiere is at the Arnold Schönberg centre on the 16 Sep with Ensemble Kontrapunkte under Peter Keuschnig.
WP
At an artists conference in 1909, Schönberg asked Viennese author and doctor Marie Pappenheim to write him a libretto, which she promptly delivered. This is how the expressionistic solo drama Erwartung came about, written in only 17 days, which Schönberg packed with tightly composed music. Simon Rattle performs the work with the Berlin Philharmonic in Berlin (5 and 6 Nov) and New York (7 Nov). Evelyn Herlitzius takes the vocal part.
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MAHLER
Dramatic flow Two years ago in Lucerne when Gustavo Dudamel conducted the Vienna Philharmonic for the first time, he boldly began with Gustav Mahler’s Symphony No. 1 – the Philharmonic’s very own repertoire. The rehearsal ended with the orchestra applauding the young Venezuelan. This autumn, audiences will have the chance to judge this Mahler conductor in the making, with his unmistakeable flair for proportions and for the dramatic flow of the work. Dudamel will conduct the Göteborgs Symfoniker, performing the Rückert-Lieder (Bonn, 22 Sep and Hamburg, 23 Sep, soloist: Anna Larsson). Mention should also be made of the fact that Simon Rattle will be conducting the same orchestra shortly beforehand, with Mahler’s Symphony No. 3 (Gothenburg/S, 17–18 Sep). Prestigious Mahler performances this autumn include: Josep Pons conducting Symphony No. 2 in Madrid (Orquesta Nacional de España, 2–4 Oct). Daniele Gatti (“I am more attracted by Kubelik, Klemperer – the new Boulez I absolutely adore”) performing the original version in 3 movements of Das klagende Lied – considered by many to be Mahler’s only piece of instrumental theatre – with the
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Gustavo Dudamel
Orchestre National de France on 29 Oct in Paris. Daniel Harding and the Concertgebouworkest present Symphony No. 1 in Verona on 5 Oct. A performance of Robert Schumann’s Symphony No. 3 in Gustav Mahler’s instrumentation also deserves a mention (Salzburg, c. Christoph König, 19 Nov). Remember to take a look at our new Mahler blog for all the latest performances and interviews: www.universaledition.com/mahler
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BRAUNFELS
Mozart variations It was not until the 1970s, when the music world became aesthetically more open, that Walter Braunfels’ music made a return to concert halls and opera house stages. His orchestral variations Don Juan op. 34 (1922/1924) are laid down over a melody from Mozart’s Don Giovanni. A number of themes from Mozart appear throughout the classical-romantic phantasmagoria, as the piece is subtitled. The world première was conducted by Wilhelm Furtwängler in Leipzig in 1924. The piece will be performed in Magdeburg/D on 10 and 11 Sep by the Magdeburg Philharmonic under Rory Mcdonald.
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and Sofia. The performances begin in Madrid on 11 Oct under the musical direction of Jesús López Cobos and the stage direction of Elio de Capitani, before heading to the cities of the co-producers up until January 2012. For La vera costanza (True Constancy), librettist Francesco Puttini drew on one of Giovanni Boccaccio’s Decameron novellas in which a Count successfully tests the constancy of his humbly-born wife by humiliating her and threatening to murder their child, before the piece reaches a happy ending.
HAYDN
Drama with a happy ending The culmination of the celebrations marking the 200th anniversary of Joseph Haydn’s death (1732–1809) will be a series of performances of his dramma giocoso La vera costanza – an international co-production by Teatro Real Madrid and the opera houses of Treviso, Regensburg, Liège, Rouen
Joseph Haydn
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JANÁČEK
Opera highlights One of opera’s most visionary directors makes his debut at the Met this autumn: Patrice Chéreau, where his acclaimed production of From The House of the Dead by LeoššJanáček comes to the stage for the fifth time (after Vienna, Aixen-Provence, Amsterdam and Milan). “I don't think I've ever seen a staging of this work that is so consistently alert to the shifting emotional perspectives of the characters, most of them dysfunctional outcasts, but all of them with the 'Spark of God'”, wrote Nigel Simeone in the International Record Review. The new performances are conducted by Esa-Pekka Salonen, who is also making his debut at the Met. See www.bit.ly/janacek1
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From The House of the Dead is also on stage in Basel this November, in a new production by Calixto Bieito. Gabriel Feltz conducts. See www.bit.ly/janacek2 Jonathan Miller’s production of Katya Kabanova comes to Chicago in November. “Why can’t we fly like birds do?” sings Katya, sung in Chicago by Karita Mattila. Judith Forst and Brandon Jovanovich join her in the lead roles. Paula Williams directs, and Markus Stenz is the conductor. See www.bit.ly/janacek3 Janáček’s opera suites are also well represented this autumn, with the Orchestral suite of From the House of the Dead being performed by the Orchestre Philharmonique de Luxembourg as part of their Rainy Days festival. Emilio Pomàrico conducts. See www.bit.ly/janacek4
Leoš Janáček From The House of the Dead Vienna Festival 2007
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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 Anniversary 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 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 Mario Peragallo * 25 March 1910 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 100th 150th 80th 125th
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2011 75th 75th 100th 85th 75th 85th 80th 75th 85th 200th 100th 75th 75th 50th 50th 125th 50th 25th 75th
Birthday Birthday Anniversary Birthday Anniversary Birthday Anniversary Birthday Birthday Anniversary Anniv. of Death Birthday Anniv. of Death Birthday Birthday Anniversary Birthday Anniv. of Death Birthday
Gilbert Amy * 29 August 1936 Sir Richard Rodney Bennett * 29 March 1936 Paul Burkhard * 21 December 1911 Francis Burt * 28 April 1926 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. Shchedrin * 16 December 1932
2012 125th 75th 50th 25th 50th 75th 80th 50th 75th 75th 60th 80th
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LUKE BEDFORD Più mosso for orchestra, CBSO Youth Orchestra, c. Thomas Søndergård 01 November 2009 · Symphony Hall Birmingham/GB VICTORIA BORISOVA-OLLAS Psalm 42 (As the Deer Cries) for orchestra, mixed choir and soloists, Rundfunk-Sinfonieorchester Berlin, c. Hans-Christoph Rademann, Rias Kammerchor, Caroline Stein, S, Christof Fischesser, B 13 September 2009 · Domkirche St. Eberhard, Stuttgart/D FRIEDRICH CERHA Concerto for percussion and orchestra Mozarteum Orchester Salzburg, c. Ivor Bolton, Martin Grubinger, perc 04 Oktober 2009 · Grosses Festspielhaus Salzburg/A Instants for orchestra WDR SO Köln, c. Peter Rundel 20 November 2009 · Philharmonie Köln/D GEORG FRIEDRICH HAAS Traum in des Sommers Nacht for orchestra Gewandhausorchester Leipzig, c. Riccardo Chailly 28 August 2009 · Gewandhaus Leipzig/D WOLFGANG RIHM Drei Frauen (Three women) music theatre in 3 monodramas and 2 interludes for dramatic soprano, tenor and orchestra SO Basel, c. André de Ridder, Yeree Suh, Rayanne Dupuis, Renate Behle, dir. Georges Delnon, set Roland Aeschlimann 25 Sep. 2009 · Theater Basel/CH (in cooperation with Festival Musica) Versuchung Hommage à Max Beckmann for cello and orchestra Les Siècles, c. François-Xavier Roth, Sonia Wieder-Atherton, vlc 01 October 2009 · Cité de la musique et de la danse Strasbourg/F – ET LUX – for string quartet and choir Arditti Quartet and Hilliard Ensemble 15 November 2009 · Philharmonie Köln/D DAVID SAWER Rumpelstiltskin for dance and chamber orchestra Birmingham Contemporary Music Group, c. Martyn Brabbins dir. Richard Jones, set Stewart Laing 14 November 2009 · CBSO Centre Birmingham/GB
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world premières
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CRISTÓBAL HALFFTER De ecos y sombras for orchestra Orquesta Nacional de España c. Cristóbal Halffter 13 November 2009 · Auditorio Nacional de Música Madrid/E
ARNOLD SCHÖNBERG / RICHARD DÜNSER 3 Stücke for ensemble ANTON WEBERN / THOMAS PERNES 4 Lieder for soprano and ensemble Ensemble Kontrapunkte, c. Peter Keuschnig, Christine Whittlesey, S 16 September 2009 · Arnold Schönberg Center Wien/A MAURICIO SOTELO Como llora el viento for guitar and chamber ensemble Grup Instrumental de Valencia, c. Joan Cerveró, Juan Manuel Cañizares, guit 18 September 2009 · Teatro Principal Alicante/E La Mémoire incendiée : la guitare for string quartet Quatuor Diotima 23 September 2009 · Teatro Arniches Alicante/E Muros de dolor V for violin and live electronics Raquel Rivera, vln, Mauricio Sotelo, electr 24 September 2009 · Teatro Principal Ourense/E Klang-Muro-for-Klangforum for flute, double bass and ensemble Klangforum Wien, c. Rolf Gupta, Vera Fischer, fl, Uli Fussenegger, cb 09 October 2009 · musikprotokoll, Helmut List-Halle Graz/A Jerez desde el aire for piano Juan Carlos Garvayo, pn 28 November 2009 · Teatro Manuel de Falla Cádiz/E JOHANNES MARIA STAUD One Movement and Five Miniatures for cembalo, live electronics and ensemble (world première of the revised version) Klangforum Wien, c. Rolf Gupta, Florian Müller, hps, Peter Böhm, electr 09 October 2009 · musikprotokoll, Helmut List-Halle Graz/A
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PLAY ALONG VIOLIN World Music – Klezmer for violin with CD or piano accompaniment by Yale Strom UE 34163 CENTRE STAGE 4 JOSEPH HAYDN Poco adagio cantabile (Kaiser Quartet) MARC-ANTOINE CHARPENTIER Prelude (Te Deum) for ensemble in variable instrumentation score and parts UE 21463 ALBAN BERG Sieben frühe Lieder for high voice and piano version for medium voice and piano UE 33931 ALBAN BERG Studien ed. by Rudolf Stephan Rudolf Stephan on his 80th Birthday ed. by Regina Busch & Klaus Lippe UE 26296 JOHANN (BAPTIST) WENZEL KALLIWODA Divertissement op. 58 version for oboe and piano ed. by Hansjörg Schellenberger UE 34221 GUSTAV MAHLER / ARNOLD SCHÖNBERG Lieder eines fahrenden Gesellen for chamber ensemble arr. by Arnold Schönberg score UE 34382 ARVO PÄRT The Deer’s Cry for choir SATB choral score UE 33723 MAURICE RAVEL Menuet sur le nom d’Haydn for piano ed. by Jochen Reutter, fingering and interpretation notes by Peter Roggenkamp, preface by Theo Hirsbrunner UT 50265
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new releases
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NICOLAI PODGORNOV
Graded pieces for piano Volume 1 – EASY for piano UE 34551
Magical music – traditional to modern This three-volume series of piano pieces is aimed at all levels, from beginner to advanced. Nicolai Podgornov’s compositions are a delight for musicians with their attractive and entertaining melodies, and are also ideal for improving piano skills. The series is based on tried-and-tested, traditional forms – from preludes to waltzes – while also integrating modern sounds. Each of the three volumes (EASY, INTERMEDIATE and ADVANCED) is arranged in an increasing order of difficulty, but with the focus firmly on the joy of music. Volumes 2 (UE 34552) and 3 (UE 34553) will be published in 2010
Bestsellers already: NICOLAI PODGORNOV Romantic Piano Album incl. Can you Feel the Love Tonight? by Elton John & La Valse d'Amélie from the movie Amelie. UE 33937 NICOLAI PODGORNOV Piano Album for piano UE 33649
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new releases
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ALBAN BERG Wozzeck Walter Berry, Isabel Strauss, Fritz Uhl, Carl Doench Orchestre et Choeur de l’Opéra de Paris, c. Pierre Boulez The Sony Opera House CD 886974461920 ALBAN BERG Wozzeck Tito Gobbi, Dorothy Dow, Mirto Picchi, Petre Munteanu, Italo Tajo RSO Rom, c. Nino Sanzogno Line 2 CDs 7740906 ARAM KHATCHATURIAN Concerto for violin and orchestra, Concert Rhapsodie Nicolas Koeckert, vln, Royal Philharmonic Orchestra, c. José Serebrier Naxos CD 8.570988 GUSTAV MAHLER Symphony No. 1 Bamberger Symphoniker, c. Jonathan Nott Tudor SACD Hybrid 7147 GUSTAV MAHLER Symphony No. 3 Anna Larsson, S, Tiffin Boys Choir, London Symphony Chorus & Orchestra, c. Valery Gergiev hänssler classic CD 101.970.289 GUSTAV MAHLER Symphony No. 4 Miah Persson, S, Budapest Festival Orchestra, c. Iván Fischer Channel Classic SACD CCSSA26109 GUSTAV MAHLER Symphony No. 4 Bamberger Symphoniker, c. Jonathan Nott Tudor SACD Hybrid 7151 GUSTAV MAHLER Symphony No. 9 Bamberger Symphoniker, c. Jonathan Nott Tudor SACD Hybrid 7162(2) GUSTAV MAHLER Das Lied von der Erde Christian Gerhaher, Bar, Klaus Florian Vogt, T, Orchestre Symphonique de Montréal, c. Kent Nagano Sony CD 88697508212 FRANK MARTIN Cantate pour le temps de Noël, Trois Chants de Noël Simone Stock, S, Karola Hausburg, A, Atrium-Ensemble Berlin, Mozart-Ensemble Luzern; Luzerner Kantorei-Knabenchor, Festival Strings Lucerne, Hans Adolfsen, cemb, Mitsumi Ueno, org, Klaus Durrer, fl, c. Alois Koch Musiques Suisses MGB CD 6259 FRANK MARTIN Golgotha Barbara Locher, S, Rolf Romel, T,Michel Brodard, B-Bar, Lilian Zürcher, MS, René Koch, B, Peter Baur, pn, Kay Johannsen, org, Musikhochschule Luzern, Luzerner Knabenkantorei, Akademiechor Luzern, Kantorei der Stiftskirche Stuttgart, Berliner Symphoniker, c. Alois Koch Musiques Suisses MGB 2CDs 6221 FRANK MARTIN Le Mystère de la Nativité Barbara Locher, S, Phillipe Huttenlocher, Bar, Mozart-Ensemble der Musikhochschule Luzern, Akademiechor Luzern, Luzerner Sinfonieorchester, c. Alois Koch Musiques suisses MGB 2 CDs 6173
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BOHUSLAV FOERSTER Symphony No. 4 Osnabrück Symphony Orchestra, c. Hermann Bäumer MDG CD 632 1492-2
LEOŠ JANÁČEK The Cunning Little Vixen Böhmová, Domanínská, Asmus Chor&Orchester Nationaltheater Prag, c. Václav Neumann Supraphon SU CD 3981-2
27.08.2009
DMITRI SCHOSTAKOWITSCH The Nose Sulinsky, Tanovitski, Kravtsova, Chor&Orchester Mariinsky-Theater, c. Valery Gergiev Mariinsky 2 SACDs MAR0501
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IAN WILSON Sullen Earth, Limena, The Capsizing Man and Other Stories The Belgrade Strings, Hugh Tinney, c. Ian Wilson Riverrun Records RVRCD80
WOLFGANG RIHM Erscheinung Bamberger Symphoniker, c. Jonathan Nott Tudor CD 7132 ARNOLD SCHÖNBERG Verklärte Nacht, Chamber Symphony No. 1 and 2, Erwartung, Variationen Birmingham Contemporary Music Group, c. Simon Rattle, c. Jeffrey Tate, English Chamber Orchestra, Artemis Quartet, Phyllis Bryn-Julson, S EMI Classics CD 2067852 KAROL SZYMANOWSKI Sonate, Romance, Notturno und Tarantella, Mythes, La Berceuse d'Aitacho Enia , Trois Caprices de Paganini Joanna Madroszkiewicz, vln, Paul Gulda, pno MDG CD 6031555-2 ANTON WEBERN Fuga, Zwei Lieder (op. 8 and op. 19) , Fünf Sätze, Fünf Stücke, Vier Lieder, Sechs Lieder, Fünf geistliche Lieder, Das Augenlicht, Variationen, 2. Kantate Tony Arnold, S, 20th Century Classics Ensemble, Simon Joly Chorale, Philharmonia Orchestra, c. Robert Craft Naxos CD 8.557531 ALEXANDER ZEMLINSKY Die Seejungfrau, Sinfonietta New Zealand SO, c. James Judd Naxos CD 8.570240
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Luke Bedford (born 1978) Worklist 5 Abstracts for 14 players (18’) By the Screen in the Sun at the Hill on the Gold for 18 players Catafalque for large ensemble (10’) Catafalque for piano (5’) Chiaroscuro for violin, cello and piano (8’) Good Dream She Has for soprano, mezzo soprano, tenor and 14 players Great Bass Rackett for bassoon (2’30’’) Man Shoots Strangers from Skyscraper for 8 players (6’) Of the Air for string quartet (8–10’) On Time for choir and orchestra (13’) Or Voit Tout En Aventure for soprano and 16 players (14’) Outblaze The Sky for orchestra (6’) Più Mosso for orchestra (10’) Rode with Darkness for orchestra (12’) Self-Assembly Composition No. 1 for any instruments Slow Music for 8 players (5’) Upon St. George's Hill for tenor and guitar (1’30’’) Vivo for violin (1’30’’) (only available in the UE collection Violin Project, spring 2010) Wreathe for orchestra (18’)
2000–2001 2008 17’ 2002 2002 2000/2005 2007–2008 15’ 2009 2002 2008–2009 2008 2005–2006 2006 2009 2003 2009
More information available at: www.universaledition.com/bedford
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bedford worklist
2005 2008 2008 2007
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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, Daniela Burgstaller, Flora Death, Kieran Morris, Rebecca Dawson, Kerstin Schwager and Elisabeth Bezdicek Design: Egger & Lerch, Vienna/Austria Photo credits Eric Marinitsch (7), UE Archive (11), Mateo Taibon, Festival d’Automne, Biennale di Venezia, Theater Kiel, Marion Kalter, Marcello Antico, Kevin Davis, Anne Dudley, Ville de Paris, Photo by Stone / courtesy of the Kurt Weill Foundation for Music New York, Raymond Asseo, www.superlocal.ch, G.L.Moggi Firenze, Opéra Bastille, www.guerzenich-orchester.de, www.img.epochtimes.com, DG/Mathias Bothor, Haydns Geburtshaus Rohrau/A, Vienna Festival, Auditorio Nacional de Musicá Madrid, Ben Ealovega, Tom Bedford. CDs: MDG, Supraphon, Mariinsky CD, Riverrun Records. DVR: 0836702
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