05 Johannes Maria Staud.

Sir Simon Rattle conducts the

Berlin Philharmonic.

Worklist inside p. 45 - 46

07 Victoria Borisova-Ollas.

The poetry of sounds -

young composer joins UE

09 Arvo Pärt.

A summer of sacred music

11 Mauricio Sotelo.

Homage to Luigi Nono in Granada

Johannes Maria Staud

newsletter03/05 • summer 2005

2

NEWSMusic Edition Prize — 4Landesmusikakademie Berlin — 4

COMPOSERSStaud — 5Victoria Borisova-Ollas — 7Pärt — 9Sotelo — 11Haas — 13Lentz — 14Rihm — 15 Jay Schwartz — 16Wilson — 17Schnyder — 17Sawer — 18Boulez — 19Halffter — 20Berio — 21Schreker — 22Richard Strauss — 24Weill — 25Janácek — 26Braunfels — 28Martinu — 29Schillings — 30Casella — 31

Contents

contents 03/2005

3

REVIEWSBaltakas — 32Edwards — 32Krenek — 33

REDISCOVERIESZeisl — 34Erdmann — 34Tansman — 35

ANNIVERSARIES — 36 - 37

WORLD PREMIERES — 38 - 39

NEW RELEASES — 40 -41

NEW ON CD — 42 - 43

WORKLISTStaud — 45 - 46

CONTENTS — 48

Dear readers,

in May of 1498, Ottaviano Petrucciapplied to the Venetian magistrateto be granted the privilege for theprinting of music using movabletype. The word “privilege” aptlydescribes UE’s philosophy fivehundred years later: publishingcomposers is indeed a privilege.Perhaps the most important deci-sion we make at Universal Editionis the decision to take on a newcomposer.Our Artistic Committee is alwayson the lookout for exceptionalcomposers. What makes a compo-ser exceptional? It’s simply indefi-nable, but we know it when wehear it:Arvo Part, Pierre Boulez, Kurt Weill,Béla Bartók, and many others, allhad it when they came to UE.

The Editors

news

4

MUSIC EDITION PRIZE 2005

for Alban Berg

Complete Edition

Alban Berg Complete Edition I/5, 1published by Universal Edition, hasbeen awarded the Deutsche Musikeditionspreis 2005 in the category ‘Scientific Editions / Com-plete Editions’. In its statement thejury said: The prize is awarded tothis volume of the Alban Berg Com-plete Edition in recognition of theoutstanding publishing achieve-ment and the high quality of its pro-duction.This Prize has been awarded annu-ally since 1991 by the DeutscherMusikverleger-Verband.The awards ceremony took place inApril 2005 at the InternationalMusic Fair in Frankfurt.

LANDESMUSIKAKADEMIE BERLIN

UE pedagogy

in action ...

…with new and unusual approa-ches for innovative and effectivemusic and instrumental teaching.Just in time for the beginning ofthe 2005/06 academic year, Berlin’srenowned Landesmusikakademieand Universal Edition will join for-ces to present six workshops whichare sure to be a hit with musicians,music educators and music enthu-siasts alike. They range from jazz toclassical and from piano to percus-sion - and they hold in store morethan a few surprises.

03 Sep 05 – James RaePopular styles for clarinet and saxophone teachers03 Sep 05 – Mike CornickBlues basics for classical pianists02 Sep 05 – Richard FilzVocal Percussion basics03 Sep 05 – Richard FilzVocal Percussion in the classroom04 Sep 05 – Richard FilzAdvanced Vocal Percussion10 Sep 05 – Marion HermannWho’s afraid of Arnold Schönberg?

You can find detailed course infor-mation at: www.landesmusik-akademie-berlin.de

staud

5

STAUD

Apeiron with

Sir Simon Rattle

Johannes Maria Staud’s firstorchestral work …gleichsam alsob… (1999/2000), together withthe smaller scale piece Vielleichtzunächst wirklich nur (1999) for Soprano and 6 instruments, firstawakened Sir Simon’s interest inthis young Austrian composer.These are two completely differentpieces, both of which one mightterm “youthful works”, if one cansay such a thing in the case of acomposer born in 1974.The individuality of his scores, hiscareful attention to even the smallest details, his fine ear, hissensitivity, the great sense of re-sponsibility underlying the notes:all are factors that probably persu-aded the conductor to commissiona work himself. By the time he did,a number of ambitious new com-positions had been written: workssuch as Polygon. Music for Pianoand Orchestra (2002) and thechamber opera Berenice (2003/2004), which have taken Staud intonew musical territory. The challen-ge of writing for Sir Simon Rattleand the Berlin Philharmonic wasnot a hindrance - in fact, the oppo-site was the case: the opportunityfinally to be able to write for a trulylarge orchestra (101 musicians)

allowed Staud’s imagination totake flight, culminating in Apeiron(première on 15 June, PhilharmonieBerlin). Apeiron means the limit-less, the infinite. Its opposite, Peras,the definite, provided the title of apiano piece based on material fromthe orchestral work, which Staudhas composed for the Ruhr PianoFestival (20 June 2005, Anika Vavic).

Danach sehen Sie die Welt

mit anderen Augen.

Alles zur Konzert-Saison 2005.2006 erfahren Sie ab dem 25. April unter

www.berliner-philharmoniker.de. Oder bestellen Sie das Jahres-

programm der Berliner Philharmoniker unter Tel 030.254 88 131 oder

per Fax 030.254 88 355.

7

borisova-ollas

VICTORIA BORISOVA-OLLAS

The poetry

of sounds

The newest name in the UE catalo-gue is that of Victoria Borisova-Ollas. The composer is originallyfrom Russia but has lived in Sweden for many years. She firstachieved international recognitionwhen she won second place in theMasterprize competition in 1998:the critics were ecstatic, describingher work as a piece of sparklingsonic poetry. She uses her originaland innovative vocabulary ofsounds to create acoustic spaces ofgreat beauty and intensity, capableof captivating both sophisticatedears and those of the less experien-ced but curious.Her 14-minute orchestral work TheKingdom of Silence, which was

given its world première in 2003 bythe Gothenburg Symphony Orche-stra under Peter Eötvös, is well onits way to becoming established inconcert halls around the world.

And with her Symphony No. 1,Victoria Borisova-Ollas proves im-pressively that the genre of the“symphony” is as exciting as ever,and that its era is by no meansover. The three-movement work issubtitled The Triumph of Heavenand refers to the synonymous,superficially idyllic painting crea-ted by the Russian artist KazimirMalevich in 1907. An overview ofthe composer’s output includingbrief sound samples can be foundon her website:www.borisova-ollas.com

Victoria Borisova-Ollas is currentlyworking on a piece for wind instru-ments and orchestra for the RSOStuttgart and conductor AndreyBoreyko. This première is scheduledfor 12 October 2005.

mit Rainer Hauer, Alexander StrömerSuely Cozzolino Alvares Garcia, Tanja Müller

Arnold Schoenberg Chor, Solistin: Berit Barfred-JensenCamerata Salzburg

Musikalische Leitung: Erwin OrtnerInszenierung: Heinz TrixnerAusstattung: Eva Ulmer-JanesLicht: Harald Michlits

VORSTELLUNGEN

JULI: SONNTAG, 10. | MONTAG, 11. |FREITAG, 22. | SAMSTAG, 23.

AUGUST: SONNTAG, 7. | MONTAG, 8. |SONNTAG, 21. | MONTAG, 22.

Beginn jeweils 20.30 UHR (Aufführungsdauer: ca. 80 Min.)

Vor jeder Vorstellung (außer am 10.7. und 11.7.) findet um 20.00 Uhr im Musiksaal des Stiftes eine Einführung mit ThomasDaniel Schlee, dem Intendanten des Carinthischen Sommers, statt.

Preise: € | 58 | 35 (LEICHT EINGESCHRÄNKTE SICHT) |

Arvo Pärt, der estnische Komponist von Weltrang, feiert in diesem

Jahr seinen 70sten Geburtstag – mit ihm feiert die musikalische Welt.

Als Composer in residence ist er die Zentralfigur des Carinthischen Sommers

2005. Die Aufführungen seiner Kompositionen prägen das gesamte Festival.

Kartenbestellung & Information:

Festivalbüro Carinthischer SommerStift Ossiach | 9570 Ossiach 1 | ÖsterreichT ++43 (0) 42 43 /25 10 | F ++43 (0) 42 43 /23 53 tickets@carinthischersommer.at | www.carinthischersommer.at

KIRCHENOPER IN DER

STIFTSKIRCHE OSSIACH „DER WEG“ – Azione sacra auf Musik von Arvo Pärtgesprochener Text von Reinhard Deutsch

CARI NTH ISCH ER SOMMER 2005

FESTIVAL OSSIACH – VILLACH

Bild oben: Arvo Pärt(© Universal Edition/

Eric Marinitsch)

Bild unten:

Stiftskirche Ossiach

FESTIVAL OSSIACH – VILLACH

pärt

9

PÄRT

A summer

of festivals

Of the numerous festivals and con-certs taking place worldwide fea-turing the music of Arvo Pärt, thelimited space here allows mentionof only very few: the renownedHolland Festival will stage five con-certs between 7 - 18 June dedicatedto the oeuvre of their featuredcomposer, Arvo Pärt.(www.hollandfestival.nl)The final concert of Festival500 inNewfoundland, Canada, will culmi-nate in a performance of Pärt’sCredo for piano, choir and orchestrainvolving over 1,100 choristers fromaround the world. An incredibleevent! (www.festival500.com)Carinthian Summer in Ossiach/Austria has invited Arvo Pärt to beits composer in residence. From 10 -14 July, Pärt will be taking part innumerous concerts and events, in-cluding the première of the newversion of L’Abbé Agathon for soprano, 4 violas and 4 cellos in astaged “azione sacra” - as though itwere a church opera - in which

several other works of Pärt will alsobe dramatised.(www.carinthischersommer.at)

The US première of Lamentate forpiano and orchestra is planned for16 July in Seattle. Helen Grimaud,who was the soloist in the work’sworld première, will again performthe work.The 2005 European Sacred MusicPrize will be awarded to Arvo Pärton 21 July in Schwäbisch-Gmünd/D,and after this celebratory event theHilliard Ensemble will perform Passio.Finally, from 26 - 29 July the programme of the Rheingau MusicFestival will likewise be dedicatedto Pärt’s music.

sotelo

11

SOTELO

Homage to

Luigi Nono

For quite some time Mauricio Sotelo has been expanding on thework of his teacher Luigi Nono. Atthe Festival Internacional de Música y Danza de Granada, he isto realize a collaborative projectwith Sean Scully: Sonetos del amoroscuro - cripta sonora para LuigiNono (2004–2005) for 2 cantors,mixed choir, instrumental ensem-bles and mixed media (ca. 64’; 1 July2005, Hospital Real, Grenada,c. Joan Cerveró).

The composer explains the piece asfollows: The work is based on a net-work of text that Nono derivedfrom the poems of Garcia Lorca - fora project he was never to realize.

The work respects the literary textu-re that Nono created back in 1985,and it puts together its sonic struc-ture using some of the last “harmo-nic” sketches that Nono made priorto his death in May 1990. The com-positional work was guided by theidea of a song - for voice and guitar- which metamorphoses into a frag-mented sonic object, an acousticcrypt-like space, moving continu-ously through time.

Wall of light black (2005) for saxophone and ensemble will bepremièred by MusikFabrikNRWand Marcus Weiss under ChristianEggen on 8 July 2005 in Viitasaari,Finland. Sotelo has dedicated thiswork to Sean Scully, by whose pain-ting he is both fascinated and in-spired. The vibrant introversion ofScully’s painting is, in my view, hometo a musical horizon upon which Ihave set my aural sights.

A further new work by Sotelo willreceive its première on 25 June atthe Mostra Sonora in Velencia:Muros de dolor I for tenor saxopho-ne (2005) will be performed byMarcus Weiss.

SONETOS DEL AMOR OSCUROCRIPTA SONORA PARA LUIGI NONO

WORLD PREMIÈRE

music and sound directorMauricio Sotelo

imagesSean Scully

soloistsMiguel Poveda and Arcángel (flamenco singers)Roberto Fabbriciani (flute)Uli Fussenegger (double bass)

Grup Instrumental de ValenciaCor de la Generalitat ValencianaconductorJoan CerveróCoproduction IVM (Instituto Valenciano de la Música)and Festival de Música y Danza de Granada

Hospital Real, Granada (Spain)1 July 2005, 22:30 h.

54FESTIVAL INTERNACIONAL DE MÚSICA Y DANZA DE GRANADA

25 JUNIO10 JULIO2005

I NST I TUC IONES RECTORAS

ENT IDADPROTECTORA

PATROC INADORESPR INC IPALES PATROC INADORES

FerringFundación Caja RuralCervezas Alhambra

T [34] 958 221 844

F [34] 958 220 691

www.granadafestival.org

13

haas

HAAS

The Future

of Nature

The Klangspuren Schwaz Festivaland the Tyrolean Exhibition (devo-ted this year to “The Future of Na-ture”) will be joining together tostage the highly unusual alpinepremière of a work by Georg Friedrich Haas. On 3 July Ritual for12 big drums and 3 wind orchestras(duration: 72’) will be heard for thefirst time in an open-air concert1,600 metres above sea level, at thesite of the recent avalanche andthe present-day avalanche barriersabove the village of Galtür. Thepiece, which requires extensive or-ganisational and technical prepa-ration, will be performed as movingsound, or moving music, across anarea of 2.5 km in diameter.

On 17 June 2005, the FrankfurtOpera will give the first Germanperformance of Haas’ Nacht, achamber opera based on texts byHölderlin. Roland Böer will conductEnsemble Modern, and there willbe 4 repeat performances, the lastof them on 24 June. The work’s staged première took place on 7 August 1998 at the Bregenz Festival. For details see:www.oper-frankfurt.comPrior to that the Cello Concerto andMonodie can be heard on 5 June atthe Haus des Rundfunks in Berlin(German SO Berlin, Jens PeterMaintz, vlc, c. Peter Rundel).Finally, two territorial premièreswill be taking place in Japan: theTokyo SO will interpret Naturesmortes under Kazuyoshi Akiyamaon 27 August at Suntory Hall, andKlangforum Wien with conductorBeat Furrer will be taking Nach-Ruf… ent-gleitend … on its Japanesetour (31 August 2005, Tokyo).

lentz

14

LENTZ

Music of the

spheres …

from Australia

Composer Georges Lentz, Australianresident but Luxemburg native,has often taken the opportunity inhis works to explore both the muteinfinity of the universe and the Py-thagorean idea of a music of thespheres. This gave him the idea ofwriting a sort of music that is as‘pure’ as possible and ‘stands outsi-de time’.This theme is also central to Monhfrom ‘Mysterium’ (“Caeli enarrant…” VII) for viola, orchestra and elec-tronics, which confines itself to apredominantly soft and reserveddynamic, albeit with the inclusionof several dramatic and theatricalgestures. The remoteness at the

heart of the Australian landscapeand the paintings of the Aborigi-nes had a considerable influenceon the creation of this work. Lentzviews the solo instrument not asthe dominant hero, but as a fragileindividual within a gigantic univer-se. This piece is not a solo concertoin the usual sense. Rather, the violaleads one through the piece: itconnects, completes, comments, andattempts to establish meaning within the seemingly senseless end-lessness.The world première is scheduled totake place on 7 July 2005 at the Festival of Echternach, Luxemburg(for the opening of Luxemburg’snew Salle Philharmonique). StevenSloane will conduct the OrchestrePhilharmonique du Luxembourg,with Tabea Zimmermann as solo-ist. Monh was co-commissioned bythe Orchestre Philharmonique duLuxembourg, the BBC and the Syd-ney Symphony Orchestra.

15

rihm

RIHM

Looking back,

looking ahead

The première of Wolfgang Rihm’sTwo Other Movements on 10 March2005 in New York was an event ofconsiderable musical significance.Lorin Maazel and the New YorkPhilharmonic Orchestra interpre-ted the 38-minute commissionwith an impressive feel for Rihm’sintellectual and sonic world. CriticJeremy Eichler (NY Times) respon-ded to the work with a similarlyfine antenna: Its chief quality is akind of wilful indirection, … a spiraling music that gives theappearance of building, only tocollapse in on itself and head off inanother direction. It is musicseemingly fueled by contradictions:perpetual motion … an intriguingchallenge, impressive in the organicquality of its wanderings.“Wanderschaft” (pilgrimage) is thesubject of the arts festival in Weimar where the world premièreof the Penthesilea-Monolog for female voice and orchestra willtake place on 20 August (Gabriele

Schnaut, MDR SO / c. Dennis Rus-sell Davies). Prior to that, on 14 MayDie Eroberung von Mexico will bestaged at the theatre in Münster(stage direction: Peter Beat Wyrsch,conductor: Christian Voss). Finally,Rihm will be a guest of the CentreAcanthes in Metz from 3 - 19 July,when a number of his works will beperformed (including Styx undLethe on 3 July, Lucas Fels, Orche-stre National de Lorraine, c. JacquesMercier). There will also be lectureson his music, and Rihm himself willbe leading composition seminars.

16

schwartz

JAY SCHWARTZ

Seducing

the listener

The quality of a work of art, accor-ding to the American composer Jay Schwartz (*1965), lies in its ability to reach an audience despi-te a highly complex construction.The listener should be unable toescape the drive of the work. Hismusic for orchestra, now publishedby Universal Edition, has preciselythis effect: although the piece isscored simply for string orchestra,the resultant sounds are some-times indefinable and unusual.Sounds and harmonies that are atonce fascinating and agitatingemerge from the centre of a finelyspun web of individual string lines.Schwartz intends to manipulatethe listener in a positive way withhis compositions and thus encou-rage a particular perception ofsound.

Jay Schwartz's music for orchestrawill receive its première on 10 Junewith the RSO Frankfurt under thedirection of Diego Masson.

17

wilson / schnyder

WILSON

at Presteigne

Festival in Wales

Ian Wilson will be composer-in-residence at this summer’s Presteigne Festival, opening on 25 August with the world premièreof the string orchestra version ofhis 6th quartet, In fretta, in vento,which was written in 2001. Thisstriking work lasts 15’ and is boundup with ideas of loss and remem-brance. It will be performed by thePresteigne Festival Orchestra con-ducted by artistic director GeorgeVass. In featuring Wilson in his40th year, George Vass has decidedto look back over the composer’sentire career, particular at thechamber works, and so other pie-ces by Wilson to be featured in thefestival include his second pianotrio, The Seven Last Words and thefirst string quartet, Winter’s Edge(both on 26 August), Spilliaert’sBeach (28 Aug), Six Days at Jericho(29 Aug) and A Haunted Heart (30August 2005).(www.presteignefestival.com)

SCHNYDER

Works with UE

Daniel Schnyder’s unique musicmakes nonsense of the idea thatclassical music and jazz belong inseparate bins and his writing is im-provisatory and fiendishly precise.

UE publishes his Piano Concerto(for piano and string orchestra),The Revelation of St. John, a workfor soprano, baritone, choir, organand orchestra which can be pairedbeautifully with Brahms’ GermanRequiem, the Sonata for flute andpiano, the Suite Provençale for twoflutes, the Trumpet Concerto andthe Violin Concerto.(www.danielschnyder.com)

Ian Wilson

sawer

18

SAWER

Expressionist

film music

David Sawer’s Hollywood Extra,music to accompany the silent film’Life and Death of 9413 – A Holly-wood Extra’, will receive its Finnishpremière on 9 July 2005, in Viita-saari. MusikFabrikNRW gave thework its German première in 2004with Stefan Asbury, and will per-form it again this time with con-ductor Christian Eggen. Sawer’simpeccable and vivid score, com-missioned by the Matrix Ensembleand first performed in 1996, per-fectly matches the subtlety of theExpressionist film.

Earlier this year in February, Sawerwas featured in a programme entitled ’Inventions’, a day of newmusic hosted by the London Sinfo-nietta with support from the BBC

Singers. As well as performances ofSawer’s earlier works Cat’s-Eye andSounds, his new ensemble workRebus – a piece in fact commissio-ned by musikFabrik – was given itsUK première by the Sinfonietta,under the expert direction of DavidPorcelijn.

The work ’uses fragments of dancemusic to create a Kafka-esque mazeof sound that is both nerve-rackingand beautiful’ (The Guardian) and’fascinatingly achieved, was like aneviscerated version of Ravel’s LaValse, constantly teasing us withfragments in dance rhythm’(The Sunday Times).

Of Cat’s-Eye – a work now almosttwenty years old – The Guardianwrote of ’the pungency of Kurt Weillwith the sensuality of Berg’, whilstThe Times wrote of ’the chief de-light...dynamics and rhythmic pat-terns in a teasing kaleidoscope ofconsiderable power’.

19

boulez

BOULEZ

The celebrations

continue

Reflecting the wide variety of con-certs taking place all this year tohonour the 80th birthday of PierreBoulez, the composer is also beingcelebrated by students of the Wiener Neustadt Conservatoire:their contemporary ensemble willperform Mémoriale (…explosante-fixe…Originel) for flute and 8 instruments on 13 June, led by Jean-Bernard Matter.In another Austrian town, Kufstein,Tito Ceccherini will lead his Ensem-ble Risognanze in a performance ofDérive 1 (Tiroler Festspiele Erl,16 August 2005).The Nuremberg Philharmonic willjoin the celebration when PhilippeAuguin, general music director ofthat city’s opera house, conducts

Notations I-IV in Nuremberg on 14July.Then, Sir Simon Rattle and the Ber-liner Philharmoniker plan to per-form all the Notations in their Salz-burg concert on 19 August, whilstthe Lucerne Festival, recently oneof Boulez’ main summer destina-tions, will be featuring Anthèmes I(Carolin Anne Widmann, 30 Aug).

Reinbert de Leeuw and his Amster-dam-based Schönberg Ensemblewill interpret Le Marteau sans Maître on 1 July for the City of London Festival, and the Alsatianensemble Linea will play the pieceon 3 June in Strasbourg.The piano evenings of Pierre-Laurent Aimard and Tamara Stefanovich will continue in Lud-wigsburg (17 June) and Duisburg(19 June). Their programmes will in-clude Incises, 12 Notations, SonatasNo. 1 and 3, and the two Livres fromStructures.

20

halffter

HALFFTER

Authentic

interpretations

The 75th birthday of Spanish com-poser Cristóbal Halffter justifies alarge number of concerts. Halffter,who also has a strong reputationas a conductor, regularly providesaudiences with authentic interpre-tations of his own works.

On 19 June he will conduct theHalle Philharmonic Orchestra in hisAdagio en forma de rondó (repeatperformances on 20 and 22 June).This work, commissioned by the2003 Salzburg Festival, was compo-sed as a reaction to the news of theterrorist attack on the World TradeCenter in New York, and has nowalso been performed in Spain, theNetherlands and several Germancities. The same concert program-me will include what is probablyHalffter's most performed orche-stral work, Tiento del primer tono ybatalla imperial (1986), whichharks back to the Spanish musicaltraditions of the 16th and 17th cen-turies.

The Mozart Festival in Würzburghas invited the CPE Bach ChamberOrchestra to perform Halffter’sViolin Concerto No. 2 (10 and 11June) with Hartmut Haenchen con-ducting and Christiane Edinger as

- she was also the soloist at thework’s world première back inStuttgart in 1992.

The Carinthian Summer festivalhas programmed Fandango for 8 cellos (Conjunto Iberico / c. EliasArizcuren, Stiftskirche Ossiach/A,11 August).

And finally the Fine Arts Quartetwill perform Cristóbal Halffter’sString Quartet No. 6 at the PabloCasals Festival in Prades on 2 August 2005 (Abbaye St. Michelde Cuxa).

21

berio

BERIO

Masterpieces

fill every hall

Numerous key works by LucianoBerio are to be heard all over theworld this summer, performed inprominent venues by equally pro-minent artists. To mention butthree of them:

Ofaním, written for two children’schoirs, two instrumental groupsand one female voice, develops avariety of ways in which the musicturns and moves within the acou-stic space. It will be performed aspart of a concert dedicated to Berio’s memory in Ravenna on 28 June.

Coro takes up once again the topicof the folksong. Whilst it does notdirectly quote or otherwise makeuse of any actual folksongs, it doescontain a diverse array of folk techniques and musical gesturestypical of a wide variety of worldcultures, sometimes even in combi-nation. Coro will be performed inLondon on 2 August by the LondonSinfonietta and the London Sinfonietta Voices, under the batonof Diego Masson.

“points on the curve to find …” forpiano and 22 instrumentalists was

given its world première in Donau-eschingen in 1974. The piece’s titledescribes the method used in itscomposition.Berio first wrote the completepiano part and then continued bybuilding up the surrounding in-strumental layers. Thus, the pianopart can be heard alone as a curve,upon which the other instrumentsrest.John Snijders will be the soloist inthis work on 18 June at the Concertgebouw in Amsterdam,with Peter Eötvös conducting theRadio Kamerorkest.

SALZBURGER FESTSPIELE 2005

Dirigent: Kent NaganoInszenierung: Nikolaus LehnhoffBühne: Raimund Bauer, Kostüme: Andrea Schmidt-Futterer

Mit: Robert Brubaker, Robert Hale, Wolfgang Schöne, Anne Schwanewilms, Michael Volle u.a.

Konzertvereinigung Wiener StaatsopernchorDeutsches Symphonie-Orchester Berlin

Premiere: 26. Juli 2005 • Weitere Aufführungen: 29. Juli, 1., 4. und 7. August

Unterstützt von den Freunden der Salzburger Festspiele e.V. Bad Reichenhall

Franz Schreker

DIE GEZEICHNETEN

Salzburger Festspiele • Herbert-von-Karajan-Platz 11 • A-5020 Salzburg

KARTEN: +43-662-8045-500 • www.salzburgfestival.at

Foto

: G

unna

r Li

ndne

r

23

schreker

SCHREKER

A rich

orchestral sound

Franz Schreker’s colourful scoresare deservedly back in concert hallsand opera houses, and the 2005Salzburg Festival has programmedone of the largest selections fromhis oeuvre in recent years.The new production of Die Gezeichneten in the Felsen-reitschule (directed by NikolausLehnhoff), with the German SOBerlin under Kent Nagano, will bethe centre of attention.And the many concerts will includeperformances of the ChamberSymphony (c. Heinrich Schiff), theLittle Suite for chamber orchestra(c. Roger Norrington), Nachtstückfor orchestra, Vom ewigen Lebenfor soprano and orchestra (c. Bert-rand de Billy, sol. Melanie Diener),Prelude to “Memnon” (c. DanieleGatti), Der Wind and the dancepantomime Der Geburtstag der Infantin in the original chamber orchestra version (c. Leonidas Kavakos). Details atwww.salzburgfestival.at

The original version of Der Geburts-tag der Infantin has also been programmed in Lucerne, where itwill be given its Swiss territorialpremière with the Lucerne SO (c. John Axelrod) on 25 June 2005.

Franz Schreker, Die Gezeichneten,Staatsoper Stuttgart 2002

24

richard strauss

RICHARD STRAUSS

A treasure

from the vaults

An arrangement of the early WindSerenade, op. 7 (1881) by RichardStrauss was recently discovered inthe UE archives. Hermann Ley had,at some point, arranged this pieceby the 17-year-old composer forstring orchestra and optionalpiano, harp and harmonium.

In any case, this version of the Serenade is an exciting addition tothe repertoire. Upon hearing theoriginal, Hans von Bülow askedStrauss for a further wind pieceand subsequently helped him be-come Court Music Director in Mei-ningen at the age of 21.

Performance materials of the Serenade are now available for hirefrom Universal Edition.

25

weill

WEILL / BRECHT

The fruits of a

brief marriage

The collaboration between BertoltBrecht and Kurt Weill, although itonly lasted for about six years,resulted in a number of famousstage works:

Mahagonny Songspiel (1927) wasfollowed by one of the biggestmusic theatre hits ever: Die Drei-groschenoper (1928). The songspielHappy End (1929) could not quitematch the overwhelming successof Dreigroschenoper. But the ideaof turning Mahagonny Songspielinto a full-fledged opera developedfrom 1927 to 1929, finally resultingin the première of Aufstieg und Fallder Stadt Mahagonny in 1930. Thisperformance was one of the big-gest theatre scandals of the thenWeimar Republic. Collaboration onthe school opera Jasager (1930)was already plagued by tensionbetween the two geniuses,because Weill did not care forBrecht’s radical politics, havinghimself an agenda that was purelymusical in nature. The sequel Neinsager never came to be. Theteam’s last stage work togetherwas created in Paris, the sung ballet (ballet chanté) The Seven Deadly Sins.The most important concert worksfrom this period are the balladsVom Tod im Walde (1927) and thecantatas Das Berliner Requiem(1928) and Der Lindberghflug /Der Ozeanflug (1929).The year 2006 is an important onefor fans of Bert Brechtolt (1898–1956), being the 50th anniversaryof his death.

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janácek worklist

Leos Janácek (1854 - 1928) A Selection from the UE catalogue

OperasFrom the House of the Dead opera in 3 acts (85') 1927/1928

Mr Broucek’s Excursions to the Moon and the 15th Century 1920

opera in 4 acts (120')

The True Story of Mr Broucek’s Excursion to the Moon 1908-1917

opera in 2 acts with an epilogue (70')

Jenufa opera in 3 acts (120') (Brno and Prague versions) 1894/1903/1908

Katya Kabanova opera in 3 acts (105') 1921

The Makropulos Affair opera in 3 acts (120') 1925

Sarka opera in 3 acts (67') 1887/1888 - 1918/1925

The Cunning Little Vixen opera in 3 acts (110') 1923

Orchestral WorksAdagio for orchestra (6') 1891

Jenufa-Rhapsody for orchestra (25') 1894/1903

Moravian Dances for orchestra (9') 1892

Ouverture of "From the House of the Dead" for orchestra (6') 1927

Schluck und Jau 2 movements from the music to 1928

Gerhard Hauptmann’s play, for orchestra (10')

Sinfonietta for orchestra (25') 1926Suite op. 3 for orchestra (16') 1891

Suite from "From the House of the Dead" for orchestra (20') 1927/1928

Suite from "The Excursions of Mr Broucek" for orchestra (23') 1920

Suite from "The Cunning Little Vixen" for orchestra (15') 1923

2 Sym. Fragments from "The Cunning Little Vixen" for orchestra (18') 1923

Taras Bulba rhapsody for orchestra (24') 1915/1918

Zárlivost (Jealousy) prelude to “Jenufa” for orchestra (5'30'') 1895

Choral WorksAve Maria for Soprano or Tenor, mixed choir (ad lib.), 1904

violin and piano (or organ)

Festival Chorus for male choir 1897

Glagolitic Mass for soloists, mixed choir and orchestra (45') 1926/27

Graduale for mixed choir a cappella 1870

Mass in B flat major (Franz Liszt’s “Messe pour orgue”) 1901

for mixed choir and organ

Rikadla (Nursery Rhymes) for chamber choir and 10 instruments (15') 1926

Complete catalogue: www.universaledition.com

27

janácek

JANÁCEK

As for myself,

I am very happy

with Universal

Edition

In this compliment to “his” publis-her, made in 1918, the 64-year-oldLeos Janácek referred to an inten-sive and fruitful musical collabora-tion that was paving the way forhis late career as an internationallyrecognised composer.

Today, Janácek’s style of composed‘speech’ - free from the leitmotif -is regarded as an integral part of20th-century musical develop-ment. Back then, however, Hertzkaand Janácek were still excited follo-wing the Viennese première of Jenufa. Further premières soon followed, and Janácek’s music metwith great success from Brno toVienna to Berlin and to New York.Conductors such as Klemperer andKleiber requested the privilege ofgiving premières of Janácek’smusic, and the press focused itsgaze on this new star. During thedecades that followed, critics hitupon many adjectives - brusqueand brittle, as well as folksy and ro-mantic - with which to characteriseJanácek’s music. Right or wrong …one can argue both ways. What

cannot be questioned, however, isthe fascinating new way in whichthe Moravian composer set out tocreate a musical language at onceintensely emotional and folk-in-fluenced, with timeless themes tosecure its - now more than ever -firm position on the world’s stages.A wonderful confirmation, then, ofthe musical efforts of both compo-ser and publisher, for which reasonwe at UE can happily return thecompliment to “our” Janácek.

28

braunfels

BRAUNFELS

The US welcomes

The Birds

It has taken 85 years for WalterBraunfels’ Die Vögel, a “lyric-fanta-stical stage work in two acts” pre-mièred in Munich in 1920, to makeit to a US opera house: on 27 Maythis late Romantic opera, looselybased on Aristophanes’ comedyOrnithes (The Birds), will have itsUS première at the Spoleto Festivalin Charleston, SC, in a productiondirected by Jonathan Eaton andconducted by Julius Rudel. The roleof the nightingale will be sung byYoungok Shin.It is probably thanks to DECCA’soutstanding CD recording (conduc-ted by Lothar Zagrosek) that DieVögel, which was one of Germany’smost performed operas before theNazi takeover, has finally become

standard repertoire again. Over thepast few years, it has been produ-ced in Cologne (1998/99), at theVienna Volksoper (1999, with revivals in 2001 and 2004) and inGeneva (2004).

The opera Die Vögel has as itstheme humanity’s yearning for abetter world in a “cuckoo’s nest inthe clouds”. In doing so, Braunfelsadheres to Aristophanes’ originalcomedy, which was a political paro-dy, although only in the first act.The second act offers a new messa-ge, that of cheerful resignationthrough the allegorical use of Ro-mantic and Christian themes(Monika Schwarz).The opera was also aptly summedup by the composer himself:Three worlds stand side-by-side: thehuman, the fantastic and the divi-ne. The work’s plot results from thefriction between these three worlds.

Walter Braunfels, Die Vögel, Vienna Volksoper 1999

29

martinu

MARTINU

Greek Passion

in Greece

For years now the medieval citadelEptapyrgion in Thessaloniki hasbeen a venue for opera produc-tions. On 3 June, this impressive building will host the very signifi-cant Greek première of BohuslavMartinu’s opera The Greek Passion,based on the novel by Nikos Kazantzakis.On the occasion of the world première of the original version in1999, in Bregenz, we devoted extensive coverage to this work’sconvoluted genesis. The rejectionof the English language version bythe Royal Opera House and Martinu’s subsequent decision tocompose a completely new operain German (the Zurich première ofwhich he did not live to see) is itself

something of a tragedy. Its magni-tude is indicated by Martinu’s embittered decision to divide upthe manuscript and distribute itsindividual parts among his friends.

Ales Brezina then undertook somemajor research, seeking out andcollecting all the fragments of manuscript that had been scatte-red all over the globe. The musicalworld can therefore thank him forthe reconstruction of the originalversion of The Greek Passion.Its Bregenz première and the pro-ductions that followed - as well asthe CD produced by Koch Schwannand the ORF - have shown beyonddoubt that Covent Garden’s com-mittee made a monumental mista-ke back then: the Passion is indeedone of Martinu’s masterpieces, andit is finally poised to claim its rightful place in the internationalrepertoire.

Bohuslav Martinu, The Greek Passion, Bregenz Festival 1999

30

schillings

SCHILLINGS

Mona Lisa’s

enigmatic smile

Max von Schillings (1868 - 1933)was so taken by Beatrice Dovsky’sdramatic libretto about the jealou-sy and marriage of Mona Fiordalisa(itself inspired by the painting’s1911 theft from the Louvre in Paris)that he needed only a few weeks tocompose his 1913 opera Mona Lisa.

In Mona Lisa, Schillings united impressionistic, verismo and Wagnerian elements with an opulent, late-Romantic orchestralsound. The opera was to becomeone of his most successful pieces:following its 1915 première in Stutt-gart, Schillings himself conductedit at the Metropolitan Opera in1922, and his second wife BarbaraKemp found her ideal role as theembodiment of Mona Lisa.

The Braunschweig State Theatre isnow going to revive this opera(stage direction: Uwe Schwarz)starting on 11 June, with JonasAlber conducting the Braun-schweig State Orchestra.

Leonardo da Vinci, Mona Lisa

casella

31

CASELLA

Elegia Eroica

and Italia

in Saarbrücken

In 1916, greatly affected by the horrors of the First World War,Alfredo Casella (1883–1947) wrotethe Elegia Eroica, “dedicated to theunknown soldier,” for large orchestra.Its 1917 première in Rome met witha wave of audience indignation,and critics quickly branded Casella“unpatriotic and a threat to natio-nal culture.”By contrast, in Italia, a rhapsody forlarge orchestra (1909), he succee-ded in creating a metaphorical musical portrait of Sicilian and Neapolitan life.

Throughout his entire life, Casellaaimed for the creation of a modern,at once European but also nationaland Italian style, an undertakingthat frequently elicited contro-versial reactions.The Saar Music Festival (this timefocusing on Italy) has programmedboth of these works: Oleg Caetaniwill conduct the Saarbrücken RSOon 12 June 2005 at the Congress-halle Saarbrücken.

32

baltakas / edwards

EDWARDS

Maninyas -

danced in Oslo

Ross Edwards is undoubtedly oneof the most outstanding Australiancomposers, taking inspiration fromthe most diverse musical cultures,many of these far removed fromthat of the West. His Maninyas,Concerto for Violin and Orchestra isbased on a series of works to whichEdwards gave the artificial termManinya. The Maninyas exhibitAfrican, Indonesian, Indian, Japane-se and Islamic influences.The violin concerto Maninyas con-tains a peaceful middle movementwith a beautiful solo cadenza, fullof special effects, which eventuallygives way to a modal chorale.

Maninyas was choreographed bythe Australian Stanton Welch forthe Norwegian opera house DenNorske Opera, and this productionwas received enthusiastically byaudiences. The performances tookplace during March and April ofthis year.www.norskopera.no(www.rossedwards.com)

BALTAKAS

Award for Cantio

The music theatre work Cantio byVykintas Baltakas, which was pre-mièred at the Munich Biennale in2004, has been declared the year’sbest stage work in Vilnius.(co)ro(na) for ensemble, commis-sioned by the NDR Hamburg, wassuccessfully premièred on 24 Febunder the composer’s direction.The Abendblatt wrote of “both aclimax and a promising sign for thefuture of this exciting short festi-val,” Die Welt perceived “a bright,sparkling beam, a phenomenonakin to the northern lights, whichfades into the starry blackness.”

Ro

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55

33

krenek

KRENEK

Der Diktator

in Berlin

Created in 1926, Ernst Krenek’s Der Diktator, a “tragic opera in oneact”, seems to lead its own speciallife - independent of his two otherone-act works Das geheime König-reich and Schwergewicht oder DieEhre der Nation, with which itforms a trilogy.

Now, students of the Berlin Univer-sity of the Arts have joined together to mount a new produc-tion of the work under the direction of Errico Fresis (première:24 June, with 5 further performan-ces until 29 June).

The Berg Chamber Orchestra, con-ducted by Peter Vrabel, will playKrenek’s Sinfonietta (La Brasileira)for string orchestra, op. 131 (1952)on 3 July in Prague. The musicalmaterial has nothing to do withSouth America: the work’s title refers simply to Rio de Janeiro,where it was composed. NDR Klassik has released a CD includingthis work, conducted by the com-poser himself.

Ernst Krenek, Der Diktator, Staatsoper Stuttgart 1990

34

rediscoveries

ERIC ZEISL (1905 - 1959)

Scherzo and

Fugue in Prague

In the ‘30s, in Vienna, Eric Zeisl wasregarded as an extremely talentedyoung composer (and even awar-ded the Austrian State Prize in1934). He narrowly escaped Nazipersecution in the Kristallnachtand subsequently fled to Los Angeles via Paris. Malcolm Coledescribes his style as being rich inexpressive melodies and fantasticharmonies, with rhythms derivedfrom dance.The Prague-based Berg ChamberOrchestra will give the Czech première of his Scherzo and Fuguefor string orchestra (1933) on 13 June 2005.

EDUARD ERDMANN (1896-1958)

Ständchen

on CD

Eduard Erdmann (1896–1958) is re-membered by the musical world asone of Germany’s greatest pianists,notably for his unparalleled inter-pretations of Bach and Schubert.Sadly, Erdmann as composer has

been all but forgotten.The UE catalogue contains threeorchestral works by Erdmann, andthese are finally being rediscove-red: his Symphony No. 2 (1924), thePiano Concerto and the Ständchenfor small orchestra (both 1930). TheStändchen was recorded in April2005 by the Brandenburg State Orchestra under Israel Yinon.

Eric Zeisl

rediscoveries

35

ALEXANDRE TANSMAN

The Emperor’s

New Clothes

Even as a student, the Polish-bornAlexandre Tansman (1897 - 1986)was wont to experiment with unusual sonorities and harmonies.He eventually succeeded in reali-zing his dream of going to Paris,where his acquaintance with Mau-rice Ravel proved significant interms of his further career.Tansman worked as a composer,conductor and pianist, and his con-cert tours took him to just aboutevery corner of the world.Les Habits Neufs du Roi (after HansChristian Andersen) was originallycomposed as a ballet-pantomime(and premièred in 1959 at Teatro LaFenice in Venice). The orchestralversion was premièred in Stras-bourg in 1960. The composer viewed Andersen’s ironic brand ofphilosophy as an ideal theme formusical inspiration. This littleheard work was performed on 6 April at Berlin’s Konzerthaus bythe Berlin Chamber Symphonyunder Jürgen Bruns.

anniversaries

36

2005

100th Anniversary Theodor Berger * 18 May 190580th Anniversary Luciano Berio * 24 October 192580th Birthday Pierre Boulez * 26 March 192575th Birthday Cristóbal Halffter * 24 March 1930

60th Birthday Vic Hoyland * 11 December 194570th Birthday Arvo Pärt * 11 September 193580th Birthday Gunther Schuller * 22 November 1925

100th Anniversary Eric Zeisl * 18 May 1905

2006

70th Birthday Gilbert Amy * 29 August 1936125th Anniversary Béla Bartók * 25 March 188170th Birthday Richard Rodney Bennett * 29 March 193650th Anniv. of Death Bertolt Brecht † 14 August 195680th Anniversary Earle Brown * 26 December 192680th Birthday Francis Burt * 28 April 192680th Birthday Friedrich Cerha * 17 February 192610th Anniv. of Death Gottfried von Einem † 12 July 1996

60th Birthday Michael Finnissy * 17 March 194680th Birthday Morton Feldman * 11 January 192675th Birthday Mauricio Kagel * 24 December 193170th Birthday Ladislav Kupkovic * 17 March 193680th Birthday György Kurtág * 19 February 1926

250th Anniversary Wolfgang Amadeus Mozart * 27 Jan 175670th Birthday Steve Reich * 03 October 1936

100th Anniversary Dmitri Schostakowitsch * 25 Sep 1906125th Anniversary Karl Weigl * 06 February 188170th Birthday Hans Zender * 22 November 1936

anniversaries

37

2007

75th Anniv. of Death Eugen d'Albert † 03 March 193270th Birthday David Bedford * 04 August 193720th Anniv. of Death Morton Feldman † 03 September 198780th Birthday Michael Gielen * 20 July 1927125th Anniversary Zoltán Kodály * 16 December 1882125th Anniversary Gian Francesco Malipiero * 18 March 1882125th Anniversary Joseph Marx * 11 May 188270th Birthday Gösta Neuwirth * 06 January 193760th Birthday Paul Patterson * 15 June 194750th Birthday Thomas Daniel Schlee * 26 October 195750th Anniv. of Death Othmar Schoeck † 08 March 1957125th Anniversary Karol Szymanowski * 06 October 188270th Anniv. of Death Karol Szymanowski † 29 March 193750th Birthday Julian Yu * 02 September 1957

2008

80th Anniversary Cathy Berberian * 04 July 192825th Anniv. of Death Cathy Berberian † 06 March 1983

90th 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 194870th Birthday Tona Scherchen * 12 March 193875th Anniv. of Death Max von Schillings † 24 July 1933

80th Birthday Karlheinz Stockhausen * 22 August 1928100th Birthday Eugen Suchon * 25 September 1908

world premières

38

GEORG FRIEDRICH HAAS Ritual music in the open air for 12 big drums and 3 wind orchestras Military Music of the Austrian Army, Swarovski Musik Wattens,Stadtmusik Landeck-Perjen, c. Franz Schieferer, Hermann Delago03. 07. 2005 · Klangspuren Schwaz, Galtür/A

GEORGES LENTZ Monh from 'Mysterium' ("Caeli enarrant..." 7) for viola and orchestraOP de Luxembourg, c. Steven Sloane, Tabea Zimmermann, vla07.07. 2005 · Salle Philharmonique Luxembourg/L

ARVO PÄRTL'abbé Agathon for Soprano, 4 violas and 4 cellosWorld Première as part of the azione sacra “Der Weg”Camerata Salzburg, c. Erwin Ortner, Berit Barfred-Jensen, S10. 07. 2005 · Carinthian Summer, Stiftskirche Ossiach/A

WOLFGANG RIHM Penthesilea-Monolog for Soprano and orchestraMDR So, c. Dennis Russell Davies, Gabriele Schnaut, S20. 08. 2005 · Kunstfest Weimar/D

JAY SCHWARTZmusic for orchestra for string orchestraRSO Frankfurt, c. Diego Masson10. 06. 2005 · hr Sendesaal, Frankfurt am Main/D

MAURICIO SOTELO Muros de dolor... I for tenor saxophoneMarcus Weiss, sax25. 06. 2005 · Mostra Sonora, Valencia/E

Wall of light black for saxophone and chamber ensembleMusikFabrikNRW, c. Christian Eggen, Marcus Weiss, sax08. 07. 2005 · Viitasaari/FIN

world premières

39

MAURICIO SOTELOSonetos del Amor Oscuro - cripta sonora para Luigi Nonofor 2 cantors, mixed choir, instrumental ensembles and mixed mediaGrup Instrumental de Valencia, c. Joan Cerveró, Coro de ValenciaArcángel, Miguel Poveda, Cantaores; Roberto Fabbriciani, fl; UliFussenegger, cb; Grup Instrumental de Valencia;Music and Sound Director: Mauricio Sotelo, Images: Sean ScullyCo-production: IVM and Festival de Musica y Danza de Granada01. 07. 2005 · Hospital Real Granada/E

IAN WILSONIn fretta, in vento for string orchestraPresteigne Festival Orchestra, c. George Vass25. 08. 2005 · Presteigne Festival/GB

JOHANNES MARIA STAUDApeiron Music for large orchestraBerlin Philharmonicc. Sir Simon Rattle15. 06. 2005 · PhilharmonieBerlin/D

Peras for pianoPiano-Festival RuhrAnika Vavic, pn20. 06. 05 · Castle Herten/D

new releases

40

ALBAN BERGLyric Suite for string quartetPocket score PH 562 New edition 2005 by George Perle(including the “secret vocal part”)

CLAUDE DEBUSSYClarinet Album for clarinet B flat and pianoUE 21264

ROBERT HUDSON Easy Blue Trumpet selected titles in popular styles for saxophoneUE 21263

ROXANNA PANUFNIKPrayer for Soprano, choir SSAATTBB and pianoPiano score UE 70119

ARVO PÄRT Spiegel im Spiegel for horn and pianoUE 32765

JAMES RAE Easy Blue Clarinet selected titles in popular styles for clarinet B flatUE 21261

THOMAS DANIEL SCHLEE (ARR.) Franz Schreker Ave MariaJoseph Marx Marienliedfor voice (medium) and organUE 32766

new releases

41

JAMES RAE

Easy Blue

Saxophone

selected titles in popular styles

for saxophone B flat and piano

UE 21262

Blues for Beginners

This book of eight contrasting original compositions will introdu-ce beginners to playing in Bluesstyles. Right from the start “even”and “swing tempo” pieces are partof the programme amongst otherjazz techniques that bring the pie-ces alive. Once again James Rae hasprovided pieces pupils will want toplay. Easy Blue is the stepping-stone to the popular ‘Blues’ seriesalready enjoyed by middle gradesaxophone players.

Content:Off to the Billet!, Simply Blue, Dar-kness, Odd Man Out, One Hundredper Cent!, Triple Shot Latte, The DailyGrind, Back Shift.

42

new on cd

BÉLA BARTÓK Bluebeard’s Castle, The Miraculous Mandarin (Suite)John Tomlinson, Kremena Dilcheva,Münchner Philharmoniker, James LevineOehms/Codaex 2 CD 505

ALBAN BERG Die NachtigallGUSTAV MAHLER Ich bin der Welt abhanden gekommen

Choeur de Chambre Accantus, c. Laurence Equilbeytranscription by Clytus Gottwaldnaive V 4947

WALTER BRAUNFELS Phantastische Erscheinungen eines Themas von Hector Berlioz RSO Wien, c. Dennis Russell DaviesCPO/JPC CD 999 882-2

GEORG FRIEDRICH HAAS String Quartets Nos. 1 and 2 Kairos Quartett (corr. UE Newsletter 2/2005)edition zeitklang ez-19017

GEORG FRIEDRICH HAAS Natures mortesSWR SO Baden-Baden/Freiburg, c. Sylvain Cambrelingcol legno WWE 2 CD 20230

GUSTAV MAHLER Symphony No. 3 Marjana Lipovsek, A, Wiener Sängerknaben, Frauenchor des WienerSingvereins, Bayerisches Staaatsorchester, c. Zubin Mehta Farao 2 SACD 108 047

JOSEPH MARX Romantic Piano Concerto, Castelli Romani Bochumer Symphoniker, c. Steven Sloane, David Lively, pn DOG W / A BONE DWAB04

ARVO PÄRT Fratres, Dopo la vittoria, Bogoroditse Djevo, I am the truevine, Annum per annum, Spiegel im Spiegel, Variationen zur Gesun-dung von Arinuschka, Für Alina, Cantus in memory of B. Britten different interpreters and conductors BIS CD 1434

ARVO PÄRT CredoHélène Grimaud, Swedish Radio Symphony Orchestra & Choir,c. Esa-Pekka Salonen DG 471 769-2

WOLFGANG RIHM Stück Schlagquartett Kölnedition zeitklang ez 16018

MAX VON SCHILLINGS Mona Lisa Inge Borkh, Hans Beirer, Mathieu Ahlersmeyer, Chor und Orchesterder Städtischen Oper Berlin, c. Robert Heger, 1953 Preiser Records PR 90573

43

new on cd

ERWIN SCHULHOFF Concertino for flute, viola and double bass, Duo for violin and celloKocian-Quartett, Vaclav Kunt, fl, Jiri Hudec, db Praga/HM SACD 250 203

KAROL SZYMANOWSKI Complete Piano Songs Juliana Gondek, S, Iwona Sobotka, S, Urzula Kryger, MS,Piotr Beczala, T, Reinild Mees, pnChannel/HM 4 CD 19398

ALEXANDER ZEMLINSKY 13th Psalm Chor des Bayerischen Rundfunks, Münchner Rundfunkorchester,c. Peter Ruzicka Profil / Naxos CD 04036

PIERRE BOULEZDérive I and II,Le Marteau sansMaître Hilary Summers, MS,Ensemble Inter-contemporainc. Pierre BoulezDG 21/20 CD 477 5327

PIERRE BOULEZthe three piano sonatasPaavali Jumppanen, pnDG 21/20 CD 477 5328

BÉLA BARTÓK Piano ConcertosNo. 1 – 3, Zimer-man, Andsnes,H. Grimaud, pn,Chicago SO,Berlin Philharm.,London SO,c. Pierre BoulezDG 477 533-0

ARVO PÄRT -A TRIBUTEEstonian Phil-harmonicChamber Choir,Theatre of Voi-ces, Pro Arte S.,c. Paul Hillierharmonia mundiHMU 907407

PIERRE BOULEZLe Marteau sans maître*Dérive 1 & 2HILARY SUMMERS*Ensemble IntercontemporainCD 3 00289 477 5327 D20/21 Series · Boulez 2005 · NEW 2005

PIERRE BOULEZPiano Sonatas nos. 1–3PAAVALI JUMPPANEN

CD 3 00289 477 5328 D20/21 Series · Boulez 2005 · NEW 2005

PIERRE BOULEZNotations I–XII · Structures II… explosante-fixe …PIERRE-LAURENT AIMARD

FLORANT BOFFARD · SOPHIE CHERRIER

EMMANUELLE OPHÈLE · PIERRE-ANDRÉ VALADE

Ensemble IntercontemporainCD 3 00289 477 5385 D20/21 echo Series · NEW 2005

“… arguably the

most influential,

and controversial,

figure in the

world of music

today” The Guardian (London)

BOULEZ

Photo

:©

Hara

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ann

www.deutschegrammophon.com/boulez2005

45

Worklist

A map for large ensemble (7'30'') 2001

A map is not the territory for large ensemble (18') 2001

The first movement can be performed by itself; it then bears

the title “A Map”. Movements II and III can only be played as

part of the complete work.

Apeiron. Music for large orchestra (20') 2004/2005

Arie am Rand alter Bücher for Baritone, piano, 2004/2005

bamboo chimes and tape, text: Durs Grünbein

Berenice opera after Edgar Allan Poe (95') 2003/2004

text: Durs Grünbein

Berenice. Lied vom Verschwinden for Soprano, 2003

small ensemble and tape (20'), text: Durs Grünbein

Bewegungen for piano (8') 1996

Black Moon for bass clarinet (11') 1998

Configurations/Reflet for 8 instrumentalists (10') 2002

Dichotomie for string quartet (16') 1997-1998

Die Ebene for speaker, horn, 2 trombones, 2 percussion players, 1997

piano, 2 cellos and double bass (12'), text: Hans Arp

Esquisse retouchée (Incipit 2) for trombone (with bass drum) (9')2001-2002

" ... gleichsam als ob ... " for large orchestra (17') 1999/2000

Go Ahead for piano (in preparation) 2004

Hommage à Bartók I for piano (in preparation) 1994

Hommage à Bartók II for piano (in preparation) 1994

staud worklist

46

staud

Incipit for alto trombone and 5 instruments (11') 2000

der kleinste abstand zwischen zwei gegenständen 1999

for 16 voices a cappella (6')

after visual texts by Heinz Gappmayr

Peras for piano (8') (in preparation) 2004

Polygon. Music for piano and orchestra (12') 2002

Towards a Brighter Hue for violin (9') (in preparation) 2005

Vielleicht zunächst wirklich nur 6 miniatures 1999

for Soprano and 6 instruments (8'), text: Max Bense

Projects:

Piece for saxophone solo, wind instruments and percussion 2005

commissioned by Klangspuren Schwaz

Incipit 3 (Esquisse retouchée II) for trombone and orchestra 2006

commissioned by WDR Köln

Cello Concerto for the Mozart Year 2006 2006

commissioned by the Salzburg Festival

Work for solo percussion 2006

commissioned by Casa de Música Porto

“Berenice-Suite“ (provisional title) for ensemble and tape 2006/2007

commissioned by Ensemble Modern and

das neue werk, Hamburg

Work for ensemble 2007

commissioned by Birmingham Contemporary Music Group

Work for orchestra 2008

commissioned by Cleveland Orchestra

UNIVERSAL EDITION

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tel +43-1-337 23 - 0, fax +43-1-337 23 - 400

48 Great Marlborough Street, London

W1F 7BB, GB, tel +44-20-7437-6880,

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Web: www.universaledition.com

Editors: Angelika Dworak and

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Contributors: Bálint András Varga, Eric

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gart/A.T. Schaefer, Opéra National de

Paris/Kleinefenn, Janácek Museum Brno,

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gart/Katrin Schilling, E. Zeisl Archive,

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