05 Georg Friedrich Haas

Melancholia at the Paris Opera

08 Victoria Borisova-Ollas

World Première of Angelus

in Munich

11 Wolfgang Rihm

Verwandlung 3 in Weimar

15 Ernst Krenek

Karl V at the Bregenz Festival

31 Alexander Zemlinsky

A memorial in Vienna

Georg Friedrich Haas

World Première of Melancholia at the Paris Opera

newsletter03/08 • summer 2008

2

contents 03/2008

NEWSUE goes China — 4UE Email Newsletter — 4

COMPOSERSHaas — 5Borisova-Ollas — 8Pärt — 9Luke Bedford — 10Rihm — 11Panufnik — 12Sotelo — 12Sawer — 13Ensemble Modern Project — 13Krenek — 15Eisler — 16Braunfels — 16 Halffter — 17Furrer — 17Staud — 18Baltakas — 18Birtwistle — 19Boulez — 19Stockhausen — 21Schnittke — 22Ligeti — 22Feldman — 23Berio — 23Martin — 24Messiaen — 24Weill — 25Milhaud — 25Bartók — 27Szymanowski — 28Delius — 28Skalkottas — 28Kodály — 29Shostakovich — 29

Contents

WP = World Première

3

Dallapiccola — 30Larsson — 30Liebermann — 30Zemlinsky — 31Schreker — 31Berg — 32Webern — 32Schönberg — 33Einem — 33Mahler — 34Janáček — 35

ANNIVERSARIES — 36 - 37

WORLS PREMIÈRES — 38 - 39

NEW RELEASES — 40 - 41

NEW ON CD & DVD — 42 - 43

WORKLISTCerha — 44 - 46

ACKNOWLEDGEMENTS — 48

Dear Readers,

We at UE are sometimes asked whywe don’t offer our orchestral mate-rials for purchase, like many other(predominantly American) musicpublishers. But we stand firmly byour principle of offering copies forloan only, to make certain – bothfor our composers’ sake and yours –that we are able to deliver the fi-nest performance materials; thoserepresenting ‘the composer’s lastthoughts’. Composers revise theirwork; conductors and musicians discover mistakes, then new sources are found and supply newinformation; old materials are re-placed by new, digitally producedones. These are core concerns for aprofessional publisher, and applyto Rihm and Pärt as much as toMahler and Berg. Think of the UEloan department as part of itsscore archive: we look after it foryour sake.

The Editorial Team

4

news

UNIVERSAL EDITION

UE goes China

Last autumn Universal Edition participated for the first time atMusic China in Shanghai, whichhas established itself as the mostimportant music fair in south-eastAsia. China’s importance as a futuremarket for the music business iswell confirmed by our experiences.The UE stand received several well-informed Chinese visitors whowere familiar, above all, with theWiener Urtext Edition through itslicensed Chinese version. UE hasagreed on projects with the mostimportant Chinese music publis-hers and, in future, will also be in-creasingly represented in the fieldof educational publications there.A strong relationship have alsobeen initiated with Chinese key orchestras. The orchestral mana-gers in Hong Kong, Shenzhen,Guangzhou, Shanghai and Beijingdisplayed a great deal of interest inscholarly-informed performancematerials. Consequently, almost100 UE orchestral works can nowbe ordered directly from Beijing viathe People’s Music PublishingHouse.

UNIVERSAL EDITION

E-Mail Newsletter

In addition to our quarterly UENewsletter, we’ve recently introdu-ced a new monthly E-mail News-letter, which brings our readerssuccinctly up-to-the-minute witheverything UE. You’ll read aboutspecial events, first performances,premières and new publications, orlearn more about the selected topics that feature each month. Inaddition to all of this, we also occa-sionally offer things like free scoresto download! Sign up at:www.universaledition.com/emailnews

Shanghai

haas

5

HAAS

Transcendental

hope

Georg Friedrich Haas’latest opera Melancholia

(following Nacht [1996]and Die schöne Wunde [2003]) isbased on the novel Melancholie bythe Norwegian author Jon Fosse,who has also written the libretto.The story revolves around the Nor-wegian landscape painter Lars Her-tervig (1830–1902), and – thoughfictional – takes much from biogra-phical accounts of his life.

Haas describes his fascination withHertevig’s paintings and his resul-ting musical approach thusly: ‘It isa spiritual, lyrical world, a practical-ly frightening photographic rea-lism; but these pictures have a sad-ness about them, a metaphoricfear and, at the same time, a light(albeit indefinable) that has some-thing to do with a transcendentalhope. That is what I have tried tocapture musically.’The world première of Melancholiatakes place on 9 June at the OpéraNational de Paris (also 12, 15, 18, 22,24 and 27 June). Emilio Pomàricoconducts Klangforum Wien andthe Vokalensemble Nova; stage direction is by Stanislas Nordey.Further performances are takingplace in Stavanger/N and Oslo/N(Sep/Oct), and the Austrian premi-ère will be in Graz/A on 24 and 25Oct as part of the steirischer herbstfestival.

Klangforum Wien and Pomàricowill remain in Paris for the Frenchpremière of in vain on 16 June –part of the Agora Festival.

On 12 June, Ulm Theatre is presen-ting Andris Plucis’ newly stagedchoreography of Haas’ 7 Klangräu-me, which are intertwined withMozart’s Requiem. The seven briefsoundscapes unfurl themselvesbetween the fragmentary Mozartexcerpts.

WP

Georg Friedrich Haas

MelancholiaMusique GEORG FRIEDRICH HAAS

Livret JON FOSSE

Emilio Pomarico | Stanislas Nordey | Emmanuel Clolus

Conception Atalante / Paris – Thierry De Cordier, 2 Fontaines, diptyque (détail : Trunkenbild, 1985-88), Courtesy Galerie Marian Goodman, Paris / New York.

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borisova-ollas

8

BORISOVA-OLLAS

Première bells

When Victoria Borisova-Ollas received a commis-

sion from the Munich Phil-harmonic to write a piece comme-morating the 850th anniversary ofthe City of Munich, she immediate-ly set off to visit the city as she hadnever previously set foot there. Oneof her most powerful first impres-sions was encountering the soundof the Angelus bell of the Frauen-kirche. This bell has also given itsname to her orchestral work, whichwill be premièred on 8 June underSylvain Cambreling, and the struc-ture of the composition traces theAngelus over the course of its dailycycle. Further performances on 9and 11 June: www.mphil.de

Elias Faingersh is one of the mostsought-after trombonists in theworld: not just because of his

WPsuperb command of the instru-ment, but also because of his uni-que style of stage appearance,which always includes visual andperformance elements derivedfrom the music. His free, virtuosicway of handling the instrumentand his eccentric stage presence distinguish him from all othertrombonists. Now he has collaborated on a jointcomposition for trombone and orchestra with Victoria Borisova-Ollas, Hamlet, which will receive itspremière on 14 June in Malmö, withthe Malmö Symfoniorkester underLawrence Renes. As well as fullyscored sections, the work includesspaces for improvisation and textpassages: www.mso.se

Victoria Borisova-Ollas

9

pärt

PÄRT

New Stabat Mater

Stabat Mater for stringtrio and three voices was

first written in 1985 – acommission from the Alban BergInstitute to commemorate Berg‘s100th birthday. Now, as part of theVienna Festival concerts at theVienna Musikverein, an expandedversion of the Stabat Mater forchoir and string orchestra, com-missioned by the Tonkünstler Or-chestra, is receiving its first perfor-mance on 12 June. In the instru-mental parts especially, Arvo Pärthas made numerous changeswhich give these a new form: thethree instrumental lines of thestring trio are expanded to five or-chestral parts, while the threevocal lines are given to a mixedchorus. Kristjan Järvi is to conductthe first performance with the

Wiener Singverein, rehearsed byJohannes Prinz.www.tonkuenstler.at

On 30 June, Gidon Kremer and theKremerata Baltica are for the firsttime bringing Pärt’s Passacaglia fortwo violins and string orchestra toRiga, Kremer’s home town. ArvoPärt dedicated the score to GidonKremer to mark his 60th birthdayin 2007. Alina Ibragimova will playthe second violin part.www.kremerata-baltica.com

The Flemish Musica Sacra Festivalin Bever (Belgium) is concluding itsprogramme of lectures, discus-sions and concerts in a mannerthat has already become traditio-nal: with a complete performanceof the Kanon Pokajanen on 16 Aug– and for the first time, in the com-poser’s presence. Once again, theChoir Aquarius will be singingunder Marc Michael De Smet.www.goeyvaerts-consort.be www.rosario.be

WP

bedford

10

BEDFORD

Timely notions

As part of their celebrations of John Milton’s

400th anniversary, Sing-Akademie zu Berlin have commis-sioned a new work from Luke Bedford. The piece is scored forchoir and orchestra; its three movements and text are basedupon Milton’s poem On Time, withwhich it shares its name.The new work toys with the notions of time and metre as thepoem does: its opening movementhas a sense of elongated ‘timeless-ness’ about it; its second sees a di-vision of the choir singing parts ofthe text backwards as reverse pho-netics, set against others singingthe original text; its final move-ment is strongly contrasted withthe first, effecting an acceleration

that can be heard across the bre-adth of the piece.The world premiere will take placeon 5 July in Berlin, where the Kammersymphonie Berlin will joinforces with the Berlin Singakade-mie, under the baton of Kai-UweJirka.

Bedford has also recently comple-ted a short song for tenor and gui-tar. Upon St. George’s Hill joins several other songs, including anew work by David Sawer – TheSource, for soprano, mezzo and tu-bular bells – in a large collaborativeproject with record label NMC. Thepiece takes part of the “Diggers’manifesto” The True Levellers Stan-dard Advanced as its text, St. George’s Hill being the Diggers’first target in April 1649 – the samemonth said manifesto was published.

WP

Luke Bedford

rihm

11

RIHM

Dense

instrumental web

After the première ofWolfgang Rihm’s Ver-

wandlung 2 the Frankfur-ter Allgemeine Zeitung had this tosay: ‘With this second Transforma-tion Rihm has finally left behind hisperiod of exploring material: hereonly music is created, nothing else.’Whether or not the instrumentalweb has become yet denser still inVerwandlung 3 will be revealed atthe first performance in Weimar,on 15 June. Also hosting Rihm premières arethe Bad Kissingen Summer Festival(Vier späte Gedichte von FriedrichRückert, 28 June) and Bad Wildbad(Auf Kolonos for alto and small or-chestra, 20 July). The first performance of his Doppelgesang No. 3 can be heard

at the Leipzig Gewandhaus (12/13June), and the Hanover Hochschuleis showcasing Rihm’s work on 7June, with performances includingFremde Szene II, the Concerto forPiano and 8 Instruments and selec-ted vocal works. Stefan Asbury isconducting Vigilia – a pivotal vocalwork of recent years – in Cologneon 22 June, the Doelenensemble isplaying Séraphin (2nd version) inRotterdam on 1 June, and Unbe-nannt III for orchestra can be heardon 6 June with the SWR SO Baden-Baden and Freiburg under LotharZagrosek, who are also playing IN-SCHRIFT – this time with JohannesKalitzke conducting – in Darmstadton 19 July. Rihm’s nocturnal scene Das Gehegeis also enjoying a revival at the Munich Opera Festival (26 and 29July, Gabriele Schnaut, S, c. KentNagano); a little further south, atthe Salzburg Festival, Erscheinunghas been programmed to tie-inwith their Schubert theme (7 Aug).

WP

Wolfgang Rihm

12

panufnik / sotelo

PANUFNIK

Double-première

After the many premièressurrounding her 40th, you

could be mistaken forthinking that Roxanna Panufnikmight slow down! Far from it; shenow has a double-première and repeat performance of her DanteQuartet commission This Paradisecoming up.

On 3 June, Nathan Vale and JuliusDrake will give the first performanceof Winter's Near for horn andpiano. In Westminster Cathedrallater that evening, Harry Christo-phers will conduct The Sixteen inthe world première of Stay WithMe. Two days later, the Dante quar-tet will take their new work toSheffield Cathedral, this time per-forming with the cathedral choir.

SOTELO

Cry of freedom

Mauricio Sotelo collabo-rated with the Spanish

poet José Angel Valente onhis opera Bruno, a meditation onthe life of Giordando Bruno. Theproject was abruptly broken off byValente’s death in 2000, but Sotelohas now taken a poem by Valente

as starting point for El Rayo deTiniebla, his work for voice (canta-or), chorus and orchestra. The 30-minute work begins with a kind of‘burning‘ instrumental texture, likethat of pile of wood in flames: a‘Rayo de Tiniebla’ (flash of light-ning in the darkness). The densetexture is gradually transformedinto ashes (Ceniza), but out of theflames there rises the cry of free-dom – the voice of the fantasticFlamenco singer Arcángel. The chorus and Orchestra of the City ofMadrid perform the work on 4June, under José Ramón Encinar.

WP

WP

Mauricio Sotelo

13

sawer / ensemblemodern project

BALTAKAS / BEDFORD

Music experiment

Two of our composers, Vykintas Bal-takas and Luke Bedford, along with14 other composers from around theworld, have been invited to takepart in the new music project into …organised by Ensemble Modern andthe Siemens Arts Program (in colla-boration with the Goethe Institute).Starting in February 2008, into … re-presents an attempt to convey theessence of a city in music. For this,four groups of four composers willspend a month each in one of fourmegalopolises – Istanbul, Dubai(Baltakas), Johannesburg (Bedford)and Pearl River Delta – composing awork for Ensemble Modern basedon their experiences. These musicalcityscapes will then be performedfrom Oct 2008 onwards. With itsaim of transforming sensory expe-rience into music, into … is both anexciting experiment and challengefor its participants.

SAWER

Acerbic satire

An exciting collaborationfirst reported in the press

some two years ago is nownearing completion. David Sawer,working closely with renowned TVsatirist Armando Iannucci, is cur-rently work-shopping his new ope-retta Skin Deep.

The story is of an exclusive plasticsurgery clinic in the Swiss Alps andits demented surgeon. As onewould expect of Iannucci, the libretto is dark, witty, acerbic andtopical – a perfect match for themusic of Sawer, whose last operaFrom Morning to Midnight waspremièred in 2001. The world pre-mière of Skin Deep will take place inspring 2009.

WP

David Sawer

k Oper im Festspielhaus 23. JULI BIS 23. AUGUST 2008

KARL V.Bühnenwerk mit Musik von Ernst Krenek

T. +43/5574/407-6 WWW.BREGENZERFESTSPIELE.COM

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15

krenek

this year’s programme – a mightydramatic feat. ‘Like his contempo-raries Picasso and Stravinsky, Krenek too holds up a mirror to the20th century – and it is deplorablethat, back then, only a few wereprepared to listen to him,‘ says director David Pountney, who isfully convinced of the work’s value.The première is to take place on 24June at the Bregenz Festspielhaus,in a staging by Uwe Eric Laufen-berg, with Lothar Koenigs conduc-ting the Vienna Symphonic.

Around it the Bregenz Festival hasalso organised performances ofimportant works from other creati-ve periods of Krenek’s life. Forexample, both of his Violin Con-certos can be heard; No. 1 on 10 Aug(soloist: Hanna Weinmeister) andNo. 2 on 4 Aug (soloist: Ernst Kovacic). Additionally, the Vienna Sympho-nic will perform Potpourri for or-chestra on 28 July under Carlo Rizzi,and the opening concert of the Festival on 24 July includes EightSongs from the Journey throughthe Austrian Alps.

KRENEK

Musical history

Karl V. is not just one of Ernst Krenek’s (1900–1991) key works, itis one of the key works of the 20th

century. The opera was first perfor-med in Prague in 1938, after theVienna State Opera had cancelledits planned première in 1934 due topolitical pressure. Karl V deserves afixed place in the repertoire notonly as the first full-length twelve-tone opera in musical history, butalso as gripping music drama.Spurred on by this awareness, theBregenz Festival is including it in

Ernst Krenek

16

eisler / braunfels

EISLER

Musicalised

theatre

Hanns Eisler’s Die Maßnahmewritten in 1930, is one of the bol-dest aesthetic and political experi-ments of modern music theatre.Returning from their mission, fourcommunist agitators face theparty tribunal. They have fulfilledtheir political duty, but in the pro-cess shot one of their comrades.They claim the measure was neces-sary, and as proof point to the be-haviour of their comrade in varioussituations. The case is anything butclear, though: what price must theindividual pay for a collective act?Under the direction of Tore VagnLid, the Transiteatret of Bergen isworking on their realisation of this‘musicalised theatre’, which willhave its première at the SalzburgFestival on 7–10 Aug; EberhardKloke conducts.

BRAUNFELS

Johanna aflame

On 27 Apr Walter Braunfels’ Scenesfrom the Life of Joan of Arc receivedits rapturously acclaimed stagepremière at the Deutsche Oper inBerlin. The press were full of praise,

the Frankfurter Allgemeine Zei-tung commenting that the Berlinpremière ‘confronted us with aspellbinding work both textuallyand musically … Braunfels wrote anopera on a grand scale with out-standing choral passages and vi-vidly contrasted contours’. The ‘armour-plated instrumental tim-bres and [the] wealth of contrastsin musical coloration’ were particu-larly admired by the SüddeutscheZeitung, whilst the Salzburger Nach-richten spoke of a musical discove-ry ‘for which we can only be grate-ful’. We’re all in particular agree-ment with the Münchner Merkurthough: ‘Braunfels has finally recei-ved [his] triumphant vindication’.

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17

halffter / furrer

HALFFTER

Prophetic magic

Following Don Quijote, the KielOpera has now staged ChristóbalHalffter’s second opera Lázaro, a‘masterpiece of music theatre’ (DieWelt) that received its much-ac-claimed première on 4 May. Its cen-tral focus is the figure of Lazarus ofBethany and his miraculous resur-rection. Die Welt further laudedHalffter as now having ‘nothingleft to prove: from the freedom ofhis maturity he has gained a sym-phonic style packed with expres-sion’. The reaction from others wassimilarly exemplary: ‘the work con-stantly unlocks new soundscapesof iridescent, subtly orchestratedstructures’ (FAZ); ‘as ever, his musicburns with a timeless modern qua-lity’ (Kieler Nachrichten); ‘Halffter’snew opera is a triumph in Germany… musically it is outstanding!’ (ElPais).

FURRER

Associative

theatre

Die Blinden, Beat Furrer’s earliestforay into music theatre, is a cham-ber opera in one act based on textsby Maurice Maeterlinck, Plato, Frie-drich Hölderlin and Artur Rimbaud.Its première was one of the high-lights of the 1989 Wien Modern Festival. Furrer’s theme is the ambivalenceof knowledge, but rather than wor-king with a narrative text, he con-structs one that is ‘associative,fragmentary and enigmatic’. ‘Per-haps,’ says Furrer, ‘one can alreadysing what one cannot yet say.’ TheJunge Oper Rhein-Main, under UliMaier, are now to produce this im-portant work of Furrer’s in theSchlachthof, Wiesbaden from 27July–3 Aug.

Cristóbal Halffter Lázaro Opera Kiel 2008

18

staud / baltakas

STAUD

Iridescent

sound worlds

In 2000, in his strictly organised orchestral work … gleichsam als ob …,Johannes Maria Staud already de-monstrated what an immenselyvaried palette of expressive soundgestures lay at his fingertips. Christian Arming is now to per-form the work in Tokyo (New JapanPhilharmonic Orchestra, 19 June). Two solo works are also beginningto establish themselves in the con-cert hall repertoire. Peras. Music forPiano can be heard as part of theFestival de Radio France in Montpe-lier (17 July, soloist Jonathan Po-well), while on 12 June the solo vio-lin piece Towards a Brighter Hue isreceiving a performance in Vienna.Im Lichte, Music for 2 pianos andOrchestra – the title deriving from

Nietzsche – was premièred withgreat success this January duringSalzburg Mozart Week. This ‘kalei-doscopic exploration of soundworlds’ can be heard again on 27Sep in Bamberg, once again withJonathan Nott conducting.

BALTAKAS

Shalom Vykintas

Vykintas Baltakas joins the renow-ned list of teachers at the Darm-stadt Summer Courses this year,where Poussla for orchestra and In-structions for the use of an old love-spell … will be performed by theSWR SO on 19 July and the NeueVocalsolisten on 15 July respectively.Ouroboros for ensemble will receiveits first Israeli performance on 21June in Tel Aviv. Ed Spanjaard con-ducts the Israel Contemporary Play-ers, and again a day later in Jerusa-lem. www.ensemble21.org

Georg Friedrich Haas, Vykintas Baltakas, Johannes Maria Staud

19

birtwistle / boulez

BIRTWISTLE

Symmetry in dance

On 4 July there will be a perfor-mance of Harrison Birtwistle’s Tra-goedia at the Hochschule fürMusik in Karlsruhe. Scored for tenplayers, this work from 1965 (anddedicated to Tippett) relates its dis-crete sections to ritual and formalelements of Greek tragedy, and theprinciple behind the whole struc-ture is one of symmetry. Tragoedia,literally meaning ‘goat-dance’ wasthe first of Birtwistle’s works to receive widespread critical acclaim,and was also the first of many important pieces for ensemble.

BOULEZ

Marteau

choreographed

Pierre Boulez has established animportant artistic niche at the Lucerne Festival. Not only does heoccupy a central role as conductorand orchestral trainer, but also ascomposer: Alain Damiens is to perform Dialo-gue de l’ombre double in Lucerneon 21 Aug. The same work can alsobe heard in Paris on 13 June.

Boulez is also appearing as theconductor of his own works: he isperforming Mémoriale (… explo-sante-fixe … Originel) for flute andeight instruments, also on 13 Junein Paris, with the Ensemble Inter-contemporain (soloist: SophieCherrier).

Maurice Béjart choreographed LeMarteau sans maître for alto andsix instruments several years ago,with sets by Roger Bernard. Thechoreography can now be seen in arevival in La Sinne-Mulhouse (6–8June) and Strasbourg (1–5 July).

Meanwhile Dérive 2 for 11 instru-ments is being performed in Stock-holm, with Franck Ollu conducting(23 Aug).

Sir Harrison Birtwistle

21

stockhausen

21

STOCKHAUSEN

Visionary

and prophet

This year Karlheinz Stockhausenwould have celebrated his 80th

birthday. When he died on 5 Dec2007, the music world mournedthe loss of a bold innovator and un-compromising prophet, withoutwhom the music history landscapeof the 20th century would have loo-ked quite different.What were planned as birthdayconcerts, have now become memo-rial concerts. Their concern, never-theless, remains the same: to pre-sent Stockhausen’s music in all itsboldness and beauty and introduceit to a younger audience.In Kürten, Stockhausen's home town,the Stockhausen-Courses take placefor the 11th time this summer, inclu-ding numerous concerts of hisworks. On 18 July a 4-track 'tape

projection' of Carré for 4 orchestrasand 4 choirs is being presented.The BBC SO is performing Gruppenfor 3 orchestras – another epic-scale modernist classic – on 2 Augin London with conductors PascalRophé, David Robertson and Ludo-vic Morlot.Maurizio Pollini, a long-standing,passionate champion of Stockhau-sen’s piano music, is playing Kla-vierstücke 7, 8 and 9 as part of theLucerne Festival (21 Aug). EnsembleRecherche is also joining the ranksof Stockhausen interpreters, per-forming Prozession on 8 Jul inDarmstadt (together with the ex-perimental studio of the HeinrichStrobel Institute of SW GermanRadio) and Kontra-Punkte for 10 in-struments and Zeitmasse for fivewind instruments at the WDR Con-cert Hall in Cologne (22 Aug). InPortugal the Evor Ensemble Con-temporaneo is playing Kontra-Punkte (21–23 July), which Ensem-ble Modern are also performing inAix-en-Provence (1 July).

Karlheinz Stockhausen

22

schnittke / ligeti

SCHNITTKE

Virtuosic

double concerto

The incomparable artistry of theoboist Heinz Holliger, and his har-pist wife Ursula, has served as in-spiration for countless composers,including Alfred Schnittke – whowrote his Concerto for Oboe, Harpand String Orchestra for them, to acommission from the Zagreb Bien-nale, in 1970–71. Originally, Schnittke intended tocall the work Funeral Concerto – hehad dedicated the piece to the me-mory of his friend, the Soviet pain-ter Juli Soster – but in the end a more dance like caracter trium-phed over the mourning. EdoardoRosadini conducts the Orchestrada Camera ‘I nostri Tempi’ in Fieso-le/I on 23 June.

LIGETI

Static music

In a 1970 interview György Ligetidescribed a nocturnal walk he tookaround Budapest castle in 1950, during which the idea came to himfor a kind of music that presentednot a process, but a state. He calledit a ‘static combination of sounds’.Back then he did not dare hope

that, one day, an actual composi-tion would arise from this idea. Butthis was the origin of his first, radi-cally novel orchestral piece, Appari-tions (1958/9) – the basis for one ofhis most frequently performedworks, Atmosphères (1960), whichfor the first time put this idea ofstatic music into practice. The twopieces are very rarely programmedtogether, although Leon Botsteinwill soon do just that when he con-ducts both of them with the Ame-rican Symphony Orchestra in NewYork on 1 June.

György Ligeti

23

feldman / berio

Berio, who accorded the humanvoice a special role in his works, sethimself the goal of ‘exposing andcommenting on the expressive’ inthe Folk Songs; ‘the cultural roots ofeach song’. The Folk Songs may onlybe played as a complete cycle.

Amongst other places, they cansoon be heard in Berlin (5–7 July)with the Berliner Philharmonic –under Mariss Jansons – and mezzo-soprano Elīna Garanča.

FELDMAN

Restraint beauty

There are many important worksby Morton Feldman to hear in thecoming months: on 10 June the re-nowned Feldman interpreter JohnTilbury will perform the epic TriadicMemories at St. John’s SmithSquare, London, whilst a few dayslater, in Berlin, Trio Nexus will begina run of four performances of Crip-pled Symmetry (14, 15, 17, 18 June).Finally, on 29 June, Siegfried Mau-ser will perform Palais de Mari inGelsenkirchen/D. All proof thatFeldman’s unique voice continuesto appeal the world over.

BERIO

“Black is the

colour …

... of my true love’s hair”. This is howLuciano Berio’s Folk Songs begin,compiled in 1963 and 1964 for hisfavourite interpreter – and at thattime, his wife – Cathy Berberian.They are not a folk song collectionin the conventional sense, but rat-her an anthology of 11 folk songs orsongs of folk-like character. Thecharacters and themes of the indi-vidual songs are as diverse as theirsources and origins.

Luciano Berio

24

martin / messiaen

to present themselves and the characteristic capabilities of theirinstrument. With astonishing com-positional virtuosity, he overcamethe challenge of allowing all theConcerto’s seven wind instrumentsto step into the limelight in alltheir diversity and specific charac-ters. The bright, buoyant characterof Martin’s music derives from harmony that is tonally connected,yet extremely differentiated chro-matically.

MESSIAEN

Exotic bird songs

During the 1950s, Olivier Messiaen’scompositions were dominated bythe sounds of birds. Messiaen,whose centenary falls on 12 Decthis year, travelled to exotic localesto expand his catalogue of notatedbirdsong even further. He accordedthese avian motifs an intrinsic aesthetic value and used them asthe basis for several whole compo-sitions. His frequently heard Oiseaux exotiques (1956) has evenwinged its way to Seoul! Stefan Asbury will conduct the Seoul Phil-harmonic Orchestra with Wilhelm Latchoumia at the piano on 13 June.

MARTIN

Bright

and buoyant

A work by Frank Martin has travel-led all the way to Santiago de Chile,where it will be performed for thefirst time on 14 Aug (c. NicolasRauss). The Concerto for 7 Wind In-struments, Timpani, Percussion andString Orchestra was written in1949, and is one of the many worksfor solo instruments and orchestrain which Martin pays particular attention to soloistic display. Here,Martin gives all the soloists space

Frank Martin

25

weill / milhaud

WEILL / BRECHT

Mahagonny

in Edinburgh

The Edinburgh International Festi-val was founded in 1947, as expres-sion of an optimistic attitude to-wards the rebuilding of a brokenEurope. The dream of a new com-munity was to be nurturedthrough the common experienceof music, theatre, opera and dance.Today, too, the Festival is still com-mitted to these principal valuesand ideals. On 8 Aug the Festivalwill open with a concert perfor-mance of the opera Rise and Fall ofthe City of Mahagonny (in English).Kurt Weill is the perfect exampleof a composer whose musicstraddles boundaries, weaving to-gether strands from the worlds ofcabaret, opera and the concert hallin his music. HK Gruber will con-duct the Royal Scottish National

Orchestra and Edinburgh FestivalChorus, with the four main rolessung by Susan Bickley (Begbick), SirWillard White (Moses), AnthonyDean Griffey (Jimmy) and GiselleAllen (Jenny). www.eif.co.uk

MILHAUD

Life partner dies

The widow of Darius Milhaud, theFrench librettist, actress and author Madeleine Milhaud, passedaway on 17 Jan 2008 at the age of105. She married Milhaud in 1925,wrote the libretti for his operasMédée and Bolivar, and was a life-long champion of her husband’scompositional work. Milhaud’s six pastoral songs Machines agricoles (1919) for voiceand instruments, a setting of textsfound in a catalogue of farm ma-chines, can be heard on 4 July atStelzen/D by ad hoc orchestra.

Kurt Weill Rise and Fall of the City of MahagonnyAalto Theater Essen 2008

Béla Bartók

Herzog Blaubarts Burgsowie Vier Orchesterstücke • Cantata profana – Die neun Zauberhirsche

SALZBURGER FESTSPIELE 2008

TICKETS:

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www.salzburgfestival.at/bartok

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Peter Eötvös, Musikalische Leitung • Johan Simons, Regie

Daniel Richter, Bühnenbild • Greta Goiris, Kostüme

Mit Falk Struckmann, Michelle DeYoung, Lance Ryan

Wiener Philharmoniker

Konzertvereinigung Wiener Staatsopernchor

GROSSES FESTSPIELHAUS

6., 14., 18. und 23. August 2008

THE BÉLA BARTÓK SERIESsponsored by

27

bartók

BARTÓK

Unusual

combination

Béla Bartók’s only opera HerzogBlaubarts Burg is over in just oneact and, in everyday operatic life,must therefore be combined withanother work. Arnold Schönberg’smonodrama Erwartung has oftenproved popular in this respect.The Salzburg Festival, however, istrying another pairing, presentingBluebeard alongside the Four Or-chestral Pieces Op. 12 and that pas-sionate ode to life’s vicissitudes,the choral work Cantata profana. The producer is Johan Simons, andPeter Eötvös is to conduct the Vienna Philharmonic (6–23 Aug).There are also concert performan-ces in Zurich (28 June, with Chri-stoph von Dohnányi) and Munich(1 Jun, under Hartmut Haenchen).

In Salzburg, Daniel Barenboim isplaying the rhythmically complexPiano Concerto No. 1 with PierreBoulez conducting (27, 28 July) andthe Hagen Quartet are performingBartók’s String Quartet No. 3 (26Aug). In Mulhouse, Adrian Oetiker is ta-king on the solo part in the PianoConcerto No. 2 (13, 14 June, c. DanielKlajner). The Miraculous Mandarin is cur-rently enjoying performances all

over the world: Sir Simon Rattle istaking the work on tour to Francewith the Berliner Philharmoniker(Aix-en-Provence, 30 June); alsoconducting in France is Tugan So-khiev (Toulouse, 14 June). Furtherperformances by Franz Welser-Möst – with the Cleveland Orche-stra in Salzburg, 24 Aug – and Ste-fan Asbury (Seoul, 13 June) are alsoplanned. Meanwhile in Freiburg, MichaelGielen and the SWR SO are tacklingThe Wooden Prince (21 June).

Grosses Festspielhaus Salzburg

28

szymanowski / delius / skalkottas

SZYMANOWSKI

A breath of

fresh air

One of Karol Szymanowski’s ear-liest works is his Concert Overturefor orchestra (1904–5), written justafter the young composer hadcompleted his studies in Warsaw.At this time, Szymanowski belon-ged to a group of young composerswho sought to revive Polish music,breathing new life into it from theinspirational contemporary Euro-pean music styles they were expe-riencing. The International YouthOrchestra is taking this work on ashort summer tour of Germany(Weingarten, Ehingen, Ochsenhau-sen 13–15 Aug).

DELIUS

An unending

flow of music

Frederick Delius had developed hisown, very personal compositionalstyle by the end of the 19th century.Influenced by Debussy, it could beseen as a musical expression of thefin de siècle: a distinctive harmoniclanguage; an apparently unendingflow of music; and a sensitive ren-dering of exquisite emotional

nuances, showing a close affinitywith Impressionism. His ‘EnglishRhapsody’ Brigg Fair (1907) can beheard on 17 July in Kawasaki/J, withthe Senzoku Master Orchestraunder Kazuyoshi Akiyama.

SKALKOTTAS

Fiery

musicianship

Amongst those of Schönberg’s pupils who achieved independentsignificance, Nikos Skalkottas(1904–1949) is perhaps the mostexotic. Particularly successful arehis cycles of short virtuoso pieceslike the Ten Sketches for strings,which throw new light on such diverse traditional forms as thepassacaglia, ragtime or rondo in ahighly original manner. Fiery musi-cianship and complex free tonalityare here blended with grotesquery,humour and poetry. Ernst Kovacic istaking the work to Wroclaw/PL on15 June.

29

kodály / shostakovich

KODÁLY

Genuine

Hungarian music

Zoltán Kodály composed his firstorchestral work, Summer Evening(1906), at the age of 24. With it heobtained his diploma from the Budapest Music Academy, wherehe had studied with Hans Koessler.It was an attempt to create genuineHungarian music, as a protestagainst the musical life of Buda-pest: dominated by German musicand, above all, by Wagner. 23 yearslater – at the suggestion of ArturoToscanini – Kodály undertook afundamental revision of the piece.The new version was first perfor-med under the great Italian con-ductor’s baton on 3 Apr 1930 inNew York. It has since acquired afirm place in the orchestral reper-toire, although it has never quiteachieved the huge popularity of

the Dances from Galánta or HáryJanós Suite. Jan Söderblom is con-ducting Summer Evening in Kors-holm/FIN on 18 June.

SHOSTAKOVICH

Yearning hearts

As the musical accompaniment tohis dance production of Shakespeare’sAnthony and Cleopatra, choreo-grapher Darrel Toulon has decidedto use five suites of film music byDmitri Shostakovich: The Gadfly,Pirogov, King Lear, Hamlet andLady Macbeth of Mtsensk. Thedance tableaux each depict the ro-mantic love between two famoushistorical characters, who are eachtorn between their political careerand their yearning hearts. The pro-duction will run from 19 Apr–12June at the Opera House, Graz/A.

Dmitri Shostakovich Antonius and Cleopatra Opera Graz 2008

30

dallapiccola /larsson / liebermann

DALLAPICCOLA

Personal freedom

Fascinated by Saint-Exupéry’s Volde nuit, Luigi Dallapiccola (1904–1975) succeeded brilliantly in tur-ning the original novel – much of itpresented as internal monologue –into a stage-worthy one-act opera:Volo di notte (1940). In the process,he fought to evoke the humanisticworldview that affirms the indivi-dual’s right to personal happinessand freedom that he found withinthe text. His music is couched invery illustrative language, depic-ting the beauties and dangers ofthe landscape, the howling of thewind and the glistening of thestars. The Frankfurt Opera are presenting the work again – inKeith Warners’ production – from20 June.

LARSSON

Bridled passion

The south-Swedish composer Lars-Erik Larsson (1908–1986) is princi-pally known tri-fold for his unmi-stakable ‘Scandinavian sound’, hisrestrained passion and the burgeo-ning lyricism of several of his slowmovements. His Little Serenade(1934) for string orchestra reflectsthis Scandinavian tradition of

sensitive string music, without for-feiting any of its originality andfreshness. The Höörs Kammarorke-ster will be playing this mercurialwork on 6 June in Höör/S.

LIEBERMANN

Boogie-woogie

and mambo

In his Concerto for Jazz Band andSymphony Orchestra (1954), RolfLiebermann (1910–1999) attemp-ted to incorporate popular danceforms of the 1950s into symphonicmusic, so arriving at his concertogrosso-like composition – its sevenmovements played without inter-ruption: Introduction, Jump, Scherzo I, Blues, Scherzo II, Boogie-woogie, Interludium and Mambo.The Orquesta Nacional do Portowill be performing it on 19 July,under Alexander Shelley, at theCasa da Música in Porto/P.

31

zemlinsky /schreker

ZEMLINSKY

Memorial

in Vienna

Commissioned by the AlexanderZemlinsky Fund, a memorial by theartist Josef Symon was unveiled on26 Mar near the birthplace ofAlexander Zemlinsky, in the Leo-poldstadt district of Vienna. Thememorial commemorates thecomposer, conductor and teacherZemlinsky, and also those who became unfortunate victims of banishment or annihilation at thehands of the National Socialists.Following Zemlinsky’s wishes, hisashes were transferred from NewYork to Vienna some 20 years pre-viously, where he received a graveof honour in the Vienna Central Cemetery. This monument is yet a further contribution to his final homecoming.

SCHREKER

Missing costumes

Although today Der Wind (for vln,cl, hn, vc and pf) is one of FranzSchreker’s most popular concertworks, this was not always thecase. It was written in 1909 for amime performance, using a prosescenario by Grete Wiesenthal. TheWiesenthal sisters took Der Windon tour, but had to drop it fromprogrammes after their costumesmysteriously went missing en-routeto a guest appearance in Paris. It issuspected that the sisters’ agentorganised this ‘loss’ himself, as heconsidered the work too challen-ging for the dancers’ usual audience.Der Wind can be heard in Hamburgon 1 Jun (www.laeiszhalle.de) andin Zurich on 1 July (CollegiumNovum Zurich).

Alexander Zemlinsky

32

berg / webern

at Christine Schäfer’s performanceunder Paavo Järvi with the HR SO inFrankfurt and Cologne (12–14 June).Pierre Boulez conducts Laura Aikinin Paris on 6 June.

WEBERN

Concentrated forms

Anton Webern, whose 125th anni-versary falls on 3 Dec, created a fi-nely nuanced, strictly constructedform of twelve-tone music. In hiscompositions he takes the art oftiny, highly concentrated forms toperfection. Among many perfor-mances of his works, particularmention should be made of 4 con-certs at the Zurich Tonhalle wherethe Passacaglia, 3 Little Pieces, 4Pieces, 6 Pieces for orchestra/chamberorchestra, the String Quartet andDas Augenlicht (Zurich Tonhalle Or-chestra, Collegium Novum Zurich)can all be heard (24 June–3 July).

BERG

Tomorrow’s

Wozzecks’

After Christoph Marthaler’s pro-duction in Paris (one of ‘tomorrow’sWozzecks’ as the FAZ writes), PhilippHimmelmann presents ‘his’ versionof Alban Berg’s Wozzeck in Graz/A.Dirk Kaftan conducts, with MartinWinkler and Nicola Beller Carbone inthe leading roles. Première: 7 June.Alina Ibragimova, at just 22, takesBerg’s 3 Pieces from the Lyric Suiteon a tour through Australia withthe Australian Chamber Orchestra(Aug/Sep). Berg’s OrchesterliederOp. 4 (Altenberg-Lieder) were thecatalyst of one of the most famousuproars in Viennese concert life.During the première in 1913, con-ducted by Schönberg, chaotic scenes and even brawling brokeout. No such scenes are expected

Canberra, Australien

33

schönberg / einem

SCHÖNBERG

First name terms

with Arnold

Choreographer Robert Glumbektakes Arnold Schönberg’s Transfi-gured Night back onto the stage inPer Du II mit Wolfgang, Arnold undJoseph (On First Name Terms 2 withWolfgang, Arnold and Joseph) inMannheim this June. ‘Schönberg’smusic is so dramatic, almost narra-tive, that when listening, the cho-reographer has a virtually cinema-tic experience.’

The première of the Gurre-Lieder in1913 was a great success, butSchönberg, unhappy with years ofindifferent treatment by the Vien-nese audience, refused to acknow-ledge its applause. We expectdrama of a purely musical kind atthe Bergen Festival, where AndrewLitton conducts the Bergen Phil-harmonic Choir and Orchestra (3 and 4 June). David Zinman conducts the AspenFestival Orchestra and the Colora-do Symphony Chorus at the AspenFestival/USA on 17 August.

EINEM

Music with dignity

Quite early on, Gottfried von Einemhad developed a completely inde-pendent musical style. In 1962 Harold C. Schonberg wrote in theNew York Times: ‘Einem is an origi-nal, down-to-earth composer, whoexpresses himself musically withdignity, feeling and pre-eminentartistic strength.’ In his opera Dantons Tod (1944),first performed in 1947, he alludesto the myths and realities of theFrench Revolution. The four character pieces extractedfrom it – Dantons Tod, suite for or-chestra Op. 6a (1949) – can beheard on 12 June at the TheaterMeiningen/D under Hans Urbanek.

Arnold Schönberg

34

mahler

MAHLER

Almost

100 years ago …

… in September 1908, Gustav Mahlercompleted the score of his Lied vonder Erde. The hammer blows offate which previously befell himafter the completion of his Sym-phony No. 8 in 1907 – the death ofhis five-year-old daughter, his resignation from the directorshipof the Vienna Court Opera and thediagnosis of a heart disease whichcompelled him to alter his lifestyledrastically – forced Mahler to radically change his lifestyle. All ofthis influenced his outlook on lifeand had an audible effect on thoseworks that he never heard perfor-med in his lifetime – works inwhich he nevertheless reached thepeak of accomplishment: Das Liedvon der Erde, the Symphony No. 9and his sketches for the SymphonyNo. 10.It is true that Mahler did not expli-citly include Das Lied von der Erde inhis symphonic canon (perhapsfrom fear of the number 9?), but hedid describe it as a ‘symphony foralto and tenor voices and large orchestra’. In addition to the version for largeorchestra, the UE catalogue also in-cludes versions that can be perfor-med with chamber orchestra (bySchönberg/Riehn and Glen Cortese)

or chamber ensemble (Glen Corte-se).

Das Lied von der Erde can be heardin the coming months in the follo-wing cities (under the followingconductors): Lille (Jean-Claude Casadesus); Stuttgart (Andrey Boreyko); Munich (Daniel Harding);Napa, USA, and Bielefeld (Jac vanSteen); Hildesheim, Berlin, Frank-furt, Salzburg and Lucerne (FranzWelser-Möst).

In Guangzhou/China the orchestrais ending its season with Mahler’sSymphony No. 3 under principalconductor Yu Long (12 July).

More information:www.universaledition.com/mahler

Yu Long

35

janáček

JANÁČEK

House of the

Dead reborn

Last year, when Pierre Boulez andPatrice Chéreau re-joined forces forthe first time in decades to produceLeoš Janáčeks From the House ofthe Dead, the press hailed them as‘opera’s true dream team‘. Theirelectrifying production can be seenduring the 2009–10 season at theNew York Metropolitan Opera (con-ducted by Esa-Pekka Salonen), butthanks to a film of the production –which screened earlier this year inParis – those who can’t make it toNew York now also have a chanceto see this spectacle, as it is nowavailable commercially on DVD.Salonen, though, is already scheduledto descend into the House of theDead this Aug. He is conductingconcert performances of Janáček’slast opera in Finland (Helsinki Festival, 21 Aug) and Stockholm

(Baltic Sea Festival, 23 Aug), on bothoccasions with the Finnish RSO.Another successful production isalso going on tour: The MakropulosAffair. The Paris staging by youngPolish director Krzysztof Warlikowskireceived rave reviews and is nowtravelling to Madrid for 10 perfor-mances at the Teatro Real (16–30June), with Paul Daniel conductingthe Orchesta Sinfónica de Madrid.Warlikowski’s production will alsoform part of Gérard Mortier’s firstseason at the New York City Opera.Calixto Bieito’s hotly disputedinterpretation of Jenůfa is also ma-king a re-appearance at the Stutt-gart Opera (3 July). It seems Janáček’soperas conceal a great deal of soci-ally explosive material, which –once ignited – can shake us to ourvery core. What more could one askof opera?!The Glagolitic Mass is receivingthree performances: Boulez con-ducts the BBCSO in London on 15Aug, and Lothar Zagroszek con-ducts the Munich Philharmonic inMunich (17/18 July).

Pierre Boulez and Patrice Chéreau at the rehearsal for Leoš Janáčeks

From the House of the Dead Vienna Festival 2007

anniversaries

36

200825th Anniv. of Death Cathy Berberian † 06 March 1983

125th Anniversary Alfredo Casella * 25 July 188390th Anniversary Gottfried von Einem * 24 January 191870th Birthday Zygmunt Krauze * 19 September 193880th Anniversary Gerhard Lampersberg * 05 July 1928

100th Anniversary Olivier Messiaen * 10 December 190860th Birthday Nigel Osborne * 23 June 194860th Birthday Peter Ruzicka * 03 July 194875th Birthday R. Murray Schafer * 18 July 193370th Birthday Tona Scherchen * 12 March 193875th Anniv. of Death Max von Schillings † 24 July 1933

80th Anniversary Karlheinz Stockhausen * 22 August 1928100th Anniversary Eugen Suchon * 25 September 1908125th Anniversary Anton Webern * 03 December 1883

2009

50th Anniv. of Death George Antheil † 12 February 195975th Birthday Sir Harrison Birtwistle * 15 July 193475th Anniv. of Death Frederick Delius † 10 June 1934

80th Birthday Edison W. Denisow * 06 April 1929150th Anniversary Joseph Bohuslav Foerster * 30 Dec 185990th Anniversary Roman Haubenstock-Ramati * 27 Feb 191950th Anniv. of Death Josef Matthias Hauer † 22 September 1959

200th Anniv. of Death Joseph Haydn † 31 May 180950th Anniv. of Death Bohuslav Martinu † 28 August 195980th Birthday Henri Pousseur * 23 June 192975th Birthday Bernard Rands * 02 March 1934

100th Anniversary Karl Scheit * 21 April 190975th Anniversary Alfred Schnittke * 24 November 193475th Anniv. of Death Franz Schreker † 21 March 1934

100th Anniversary Alfred Uhl * 05 June 190990th Anniversary Roman Vlad * 29 December 191950th Anniv. of Death Eric Zeisl † 18 February 1959

anniversaries

37

201050th Anniv. of Death Hugo Alfvén † 08 May 196075th Anniv. of Death Alban Berg * 24 December 1935

80th Birthday Paul-Heinz Dittrich * 04 December 193080th Birthday Cristóbal Halffter * 24 March 1930

100th Anniversary Rolf Liebermann * 14 September 1910150th Anniversary Gustav Mahler * 07 July 1860

75th Birthday Arvo Pärt * 11 September 193580th Anniversary Toru Takemitsu * 08 October 1930125th Anniv. of Death Egon Wellesz * 21 October 1885

2011

75th Birthday Gilbert Amy * 29 August 193675th Birthday Sir Richard Rodney Bennett * 29 March 1936

100th Anniversary Paul Burkhard * 21 December 191175th Birthday Cornelius Cardew * 07 May 1936

80th Birthday Mauricio Kagel * 24 December 193175th Birthday Ladislav Kupkovic * 17 March 1936

100th Anniv. of Death Gustav Mahler † 18 May 191175th Birthday Steve Reich * 03 October 193675th Anniv. of Death Ottorino Respighi † 18 April 193650th Birthday David Sawer * 14 Seotember 196150th Birthday Daniel Schnyder * 12 March 1961125th Birthday Othmar Schoeck * 01 September 188650th Birthday Mauricio Sotelo * 02 October 196125th Anniv. of Death Alexandre Tansman † 15 November 198675th Birthday Hans Zender * 22 November 1936

world premières

38

LUKE BEDFORD On Time for choir and orchestraSing-Akademie zu Berlin, Kammersymphonie Berlin, c. Kai-Uwe Jirka05 July 2008 · Gethsemane Church Berlin/D

VICTORIA BORISOVA-OLLAS Angelus for orchestra Munich Philharmonic, c. Sylvain Cambreling08 June 2008 · Gasteig Munich/D

VICTORIA BORISOVA-OLLAS / ELIAS FAINGERSHHamlet for trombone and orchestraMalmö Symfoniorkester, c. Lawrence RenesElias Faingersh, trb14 June 2008 · Malmö/S

CRISTÓBAL HALFFTEREspacio de silencio String Quartet No. 7Leipziger Streichquartett30 August 2008 · Festival Internacional de Santander/E

ARVO PÄRT Stabat Mater for mixed choir (SAT) and string orchestraTonkünstler Orchester NÖ, c. Kristjan Järvi, Singverein der Gesellschaft der Musikfreunde in Wien12 June 2008 · Musikverein Vienna/A

ROXANNA PANUFNIK Stay With Me for double choir and organThe Sixteen, c. Harry Christophers03 June 2008 · Westminster Cathedral London/D

Winter’s Near for horn and pianoNathan Vale, Julius Drake03 June 2008 · London/GB

WOLFGANG RIHM Verwandlung 3 for orchestraStaatskapelle Weimar, c. Carl St. Clair15 June 2008 · Weimar/D

world premières

39

GEORG FRIEDRICH HAAS Melancholia opera in 3 parts Klangforum Wien, Vokalen-semble Nova, c. Emilio Pomàrico, Otto Katzameier,Melanie Walz, JohannesSchmidt, Angelika Luz, Daniel Gloger stage: Stanislas Nordey09 June 2008 · Palais Garnier Paris/F

WOLFGANG RIHMVier späte Gedichte von Friedrich Rückertfor voice and pianoHans Christoph Begeman, bartione, Axel Bauni, pn28 June 2008 · Bad Kissingen/D

MAURICIO SOTELO El rayo de tiniebla for voice (cantaor), mixed choir and orchestrac. José Ramón Encinar, Orquesta e Coro de la Comunidad de Madrid, Arcángel, cantaor04 June 2008 · Madrid/E

Green Aurora dancing over the night side of the earth for piano student of the Robert Schumann Hochschule Düsseldorf17 May 2008 · Düsseldorf/D

new releases

40

MIKE CORNICKClever Cat for 4-hand piano with CDpupil & teacher duets to enhance the earliest stages of learningUE 21407

CARLOS GARDELTango Violin Duets for 2 violins, ed. by Diego Collatti UE 33651

ROXANNA PANUFNIKA Wind at Rooks Haven for flute UE 70307

ARVO PÄRTFratres for 4 percussion playersstudy score UE 33375

JAMES RAERepertoire Explorer – Flute for flute and pianoGraded pieces for beginnersUE 21457

JAMES RAEThe Best of James Rae for alto-saxophone and piano with CD UE 21408

ROBERT SCHUMANNWorks for 4-hand piano Vol. 2Editor: Joachim Draheim; Fingerings and Notes on Interpretation: Ljiljana Borota and Christian KnebelUrtext of the New Schumann Complete Edition UT 50079

WOLFGANG RIHMAkt und Tag2 studies for soprano and string quartetscore UE 21407parts UE 33371

new releases

41

ANTONIO VIVALDI

Complete Sonatas

für cello and basso continuo

Editor: Bernhard Moosbauer;Notes on interpretation: GerhartDarmstadt; Piano score with a rea-lized figured bass, parts: violoncel-lo solo and basso continuo (figured bass not realized)UT 50175

New Edition according to Vivaldi’scorrections

The nine sonatas by Antonio Vivaldiare among the most famous celloworks of the Baroque era. Thanksto their moderate technical de-mands, the pieces are an integralpart of music lessons as well as ofprivate music-making. But even for the professional ancient music scene, they form afocus of the cello repertoire. Thenew edition of the Wiener UrtextEdition serves the needs and de-mands of all three target groupsalike, providing a reliable musicaltext which is no longer based onthe unauthorized first Paris editionby Le Clerc & Boivin, but on a copyfrom Naples revised by Vivaldi him-self, as well as on two other manuscripts associated with thecomposer from the BibliothèqueNationale in Paris and the music library of the Counts of Schönbornat Wiesentheid.

Wiener Urtext EditionSchott / Universal Edition

Vivaldi The Complete Sonatas for Violoncello and B.c.

UT 50175

Vivaldi

Moosbauer/Darmstadt

Sämtliche Sonaten für

Violoncello und Basso continuo

More detailed information on theperformance practice is providedin the notes on interpretation byGerhart Darmstadt which arebased on contemporary sources.

42

new on cd & dvd

BÉLA BARTÓK The Wooden PrinceBournemouth SO, c. Marin Alsop NAXOS CD 8.570534

BÉLA BARTÓK Piano Concerto No. 1 and No. 2 András Schiff, pn, Budapest Festival Orchestra, c. Ivan FischerWarner Maestro CD 2564696558

LUCIANO BERIO PsyJean-Claude Delache, cb Dissemina Production CD NM 30 17 001

MORTON FELDMAN For Philip GustonJulia Breuer, Matthias Engler, Elmar Schrammel Wergo 4 CDs WER 67012

MORTON FELDMAN For Samuel BeckettEnsemble Modern, c. Arturo Tamayo HatArt CD 142

MAURICIO KAGEL Die Mutation WDR Rundfunkchor Köln, Aloys Kontarsky, pn, c. Herbert Schernus DMR/RCA CD 7432173 5562

ERNST KRENEK String Quartet No. 3 and No. 5Petersen Quartett Capriccio CD 67 197

LARS-ERIK LARSSON Little SerenadeSW-Deutsches Kammerorchester Pforzheim, c. Sebastian TewinkelAULOS CD AUL66156

GUSTAV MAHLER Das Lied von der ErdeBrigitte Fassbaender, MS, Thomas Moser, T, Cyprien Katsaris, pnWarner Maestro CD 2564697361

GUSTAV MAHLER Symphony No. 9 Berliner Philharmoniker, c. Sir Simon RattleEMI Classics CD 5 0999-5-01228-20

ARVO PÄRT Memento WOLFGANG RIHM 7 Passions-TexteSinger Pur Oehm Classics CD OC 812

ARVO PÄRT Spiegel im Spiegel, Variationen zur Gesundung von Arinuschka, Für Alina, Mozart-AdagioBenjamin Hudson, Sebastian Klinger, Jurgen KruseBrilliant Classics SACD 8847

ARVO PÄRT Fratres, Litany5 Ballette von Hans van Manen (Déjà vu, Two pieces for HET) Arthaus/Naxos 2 DVD 101501

WOLFGANG RIHM Dis-Kontur, Lichtzwang, Sub-KonturJános Négyesy, vln, SWR-SO Baden-Baden und Freiburg, c. SylvainCambreling, Ernest Bour Hänssler Classicc CD 930202

WOLFGANG RIHM Klavierstück Nr. 1, 4, 5, 6, 7, Ländler, Brahmsliebe-walzer, Nachstudie, Zwiesprache, Auf einem anderen Blatt ...Markus Bellheim, pno Neos CD 10717/18

43

new on cd & dvd

FRANZ SCHMIDT The Book of Seven SealsWiener Singverein, Tonkünstler Orchester NÖ, c. Kristjan Järvi Chandos 2 CDs CHSA5061

KARLHEINZ STOCKHAUSEN Chöre für Dorisars-nova-ensemble Berlin, c. Peter Schwarz Sony BMG CD RCA Red Seal 88697 25238 2

KAROL SZYMANOWSKI King Roger, Symphony No. 3, Violin Concerto No. 1,Stabat Mater, 6 Lieder der Märchenprinzessin, Des Hafis LiebesliederElzbieta Szmytka, Jadwiga Rappé, Philip Langridge, Thomas Hamp-son; Thomas Zehetmair; Iwona Sobotka, Katharina Karnéus, City ofBirmingham Symphony Chorus & Orchestra, c. Sir Simon Rattle EMI Classics 4 CDs 5145762

KURT WEILL Rise and Fall of the City of MahagonnyLos Angeles Opera Orchestra & Chorus, c. James Conlon, stg: JohnDoyle EuroArts DVD 2056258

LUCIANO BERIOFolk SongsPercorsoEnsemble, c. RicardoBologna, CelineImbert, MSSESCSP CDSS007/07

LEOŠ JANÁČEKFrom the House of the DeadMahler Cham-ber Orchestra,c. Pierre Boulez,Regie: PatriceChéreauDG DVD 00440

FRANK MARTINPolyptyque,Maria-Tripty-chon, PassacailleDt. Radio Phil-harmonie, c. ChristophPoppenECM CD New Series 2015

KAROL SZYMANOWSKIHagithWroclaw OperaOrchestra, c. Tomasz Szreder, WroclawOpera 2006DUX DVD 9589

FRIEDRICH CERHA (b. 1926) – Worklist (a selection)

MUSIC THEATREBaal stage work in 2 parts original version 195’ 1974–1980

reduced version 195’ 1974–1980

Alban Berg / Friedrich Cerha Lulu opera in 3 acts 180’ 1927–1935/1978

completion of the 3rd act and creation of performance material Netzwerk stage work 120’ 1962–1967/1981

Der Rattenfänger opera in 2 parts 180’ 1984–1986/2003

Spiegel I–VII stage work with performers, light and objects 82’ 1960/1961

(Spiegel I–VII can also be performed as a ballet or as separate movements)

VOCAL MUSICAderngeflecht for baritone and orchestra 25’ 2006

Baal-Gesänge for baritone and orchestra 52’ 1981

"bevor es zu spät ist..." for tenor and orchestra 13’ 1988/1997

Eine Art Chansons for chansonnier, piano, double bass and 65’ 1985–1987

percussion

Eine letzte Art Chansons for chansonnier, piano, double bass 19’ 1989

and percussion

Exercises for baritone, speaker and ensemble 57’ 1962–1967/1987

4 Hölderlin-Fragmente for mixed choir a cappella (SATB) 6’ 1996

Im Namen der Liebe for baritone and orchestra 29’ 1999

In memoriam Ernst Kein for voice (chansonnier) and instruments 16’ 1985

Intersecazioni for violin, 4 voices and orchestra 30’ 1959/1973

Jahrlang ins Ungewisse hinab for chember ensemble with voice 27’ 1995–1996

1. Keintate for voice (chansonnier) and instruments 50' 1980/1982

2. Keintate for voice (chansonnier) and instruments 57' 1983–1985

Lichtenberg-Splitter for baritone and ensemble 25’ 1997

Nachtgesang triptychon for tenor and orchestra 14’ 1984–1985

Nichtigkeit ist alles for mixed choir a cappella (SSAATTBB) 13’ 1995

Requiem for large mixed choir a cappella (SATB) and orchestra 9’ 1994

from Requiem der Versöhnung

Requiem for solos, choir and orchestra 90’ 1994–2002Requiem für Hollensteiner for narrator, baritone, mixed 33’ 1983

choir (SATB) and orchestra

Requiem für Rikke for tenor and orchestra from 11’ 1984/1989

“Der Rattenfänger”

Triptychon for tenor and orchestra 40’ 1983/1997

Nachtgesang • Requiem für Rikke • "bevor es zu spät ist"

Verzeichnis for 16 voices or 16 voices choir (4S, 4A, 4T, 4B) 11’ 1969

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friedrich cerhaworklist

cerha worklist

45

ORCHESTRA Berceuse céleste for orchestra 11’ 2006

Fasce for large orchestra 25’ 1959/1974

Hymnus for orchestra 24’ 2000

Impulse for large orchestra 22’ 1992–1993

Langegger Nachtmusik I for orchestra 10’ 1969

Langegger Nachtmusik II for orchestra 12’ 1970

Langegger Nachtmusik III for large orchestrar 22’ 1990/1991

Momente for orchestra 22’ 2005

Monumentum für Karl Prantl for large orchestra 22’ 1988–1989

Mouvements I–III for chamber orchestra 15’ 1959–1960

Scherzino for chamber orchestra 1’50’’ 2000

Sinfonie for orchestra 12–13’ 1975

Spiegel I for large orchestra 9’ 1960/1961

Spiegel II for 55 strings 13’ 1960/1961

Spiegel III for large orchestra 9’ 1960/1961

Spiegel IV for large orchestra and tape 23’ 1960/1961

Spiegel V for large orchestra 9’30’’ 1960/1961

Spiegel VI for large orchestra 6’ 1960/1961

Spiegel VII for large orchestra 17’ 1960/1961

SOLO INSTRUMENTS WITH ORCHESTRAConcertino for violin, accordion and chamber orchestra 17’ 1994

new version 17’ 2007

Concerto for viola and orchestra or ensemble 23’ 1993

Concerto for violin, cello and chamber orchestra 28’ 1975–1976

Concerto for cello and orchestra 37’ 1989/1997

Concerto for soprano saxophone and orchestra 35’ 2003–2004

Concerto for percussion and orchestra 2008

Double Concerto for flute, bassoon and orchestra 23’ 1982

Phantasiestück in C.s Manier for cello and orchestra 12’ 1989/1999

CHAMBER MUSICLes Adieux elegy for ensemble 22’ 2005

new version 22’ 2007

Catalogue des objets trouvés for chamber ensemble 14’ 1969

Curriculum for 13 wind instruments 18’ 1971–1972

Divertimento für 8 wind instruments and percussion 12’ 1948/1954

Enjambements for instrumental ensemble 10–16’ 1959

Parabola I trio for violin, cello and piano 4’ 2007

Quellen for ensemble 13’ 1992

5 Sätze for violin, cello and piano 22’ 2007

8 Sätze nach Hölderlin-Fragmenten for string sextet 23’ 1995

Saxophone quartet 17’ 1995

Sinfonien for wind instruments and timpani 10’ 1964

String Quartet No. 1 „Maqam“ for string quartet 14’ 1989

String Quartet No. 2 17’ 1989/1990

String Quartet No. 3 19’ 1991/1992

String Quartet No. 4 19’ 2001

SOLO INSTRUMENTSAdaxl-Suite for piano 14’ 1970/1987

Klavierstücke für Kinder oder solche, die es werden wollen 12’ 1964

for piano with drawings by Irina CerhaNetzwerk-Fantasie for piano 16’30’’ 1988

Der Rattenfänger for solo trumpet 1’ 1988

Complete worklist available on www.universaledition.com/cerha

cerha worklist

46

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Chief Editors: Angelika Dworak and Eric Marinitsch

Contributors: Bálint András Varga, Wolfgang Schaufler,

Jonathan Irons, Eric Marinitsch, Angelika Dworak, Rebecca

Dawson, Marion Dürr, Kieran Morris and Elisabeth Bezdicek

Design: Egger & Lerch, Vienna/Austria

Photo Credits: Marion Kalter (3), Yasuko Haas, Dan Eric Ollas,

Eric Marinitsch (6), Tom Bedford, UE Archive, Thomas Aurin, Oper

Kiel/struck-foto, Stockhausen Verlag, Wiener Konzerthaus (2),

Eric Schaal, Aalto Musiktheater/Matthias Jung, Salzburg Festi-

val/Clemens Kois, Oper Graz/Werner Kmetitsch, Gisella Salden-

Goth, www.tom.com, Vienna Festival/Ros Ribas, Cerha private;

CDs: SESCP, Deutsche Grammophon, ECM, DUX.

DVR: 0836702