05 Georg Friedrich Haas

A Poem for Cleveland

08 Cristóbal Halffter

Tilting against Windmills in Kiel

14 Mauricio Sotelo

Dulcinea for Children in Madrid

25 Kurt Weill

New Caspar-Neher Stage Designs DiscoveredThe Threepenny Opera on Broadway

Georg

Friedrich

Haas

newsletter02/06 • spring 2006

2

contents 02/2006

NEWSNew Caspar Neher Stage Designs — 4

COMPOSERSHaas — 5Halffter — 8Rihm — 9Staud — 11Cerha — 13Sotelo — 14Pärt — 15Berio — 17Baltakas — 17Birtwistle — 18Lentz — 18Boulez — 19Borisova-Ollas — 20Stockhausen — 20Sawer — 21Kagel — 21Furrer — 22Schwartz — 22Kurtág — 23Kupkovic — 23Burt — 24Bennett — 24Weill — 25Janácek — 28Mahler — 29Zemlinsky — 30Alma Mahler — 30Berg — 31Schönberg — 31Bartók — 32Kodály — 33Krenek — 34Schreker — 34

Contents

3

Casella — 35Foerster — 35Szymanowski — 36Martin — 37Mozart — 38

ANNIVERSARIES — 39 - 40

WORLD PREMIÈRES — 41

NEW RELEASES — 42 -43

NEW ON CD — 44 - 45

WORKLISTBurt — 46

ACKNOWLEDGEMENTS — 48

Dear Readers,

First performances command thehighest ‘interest rates’: and rightlyso. They are attractive. But whatcomes afterwards? What is leftover? A new work – above all a pieceof music theatre – needs a secondchance, needs to be seen different-ly. For composers, moreover, the second performance is just as important as the first: for the expe-riences of the première enableminor deficiencies to be rectified,the dramaturgy to be tightened.And not until the second perfor-mance can we really make any cautious prophecies about the lifeexpectancy of a new opera.The Heidelberg Opera has subjec-ted the young composer JohannesMaria Staud’s first opera Bereniceto re-examination in a new produc-tion – and scored a triumph bothfor the composer and its ‘secondperformance policy’. Meanwhile inthe UE catalogue, other stageworks still await a second chance todisplay their powers…

The Editors

news

4

WWW.UNIVERSALEDITION.COM

New Caspar

Neher stage

designs online

In a private archive in Vienna,Universal Edition has discoveredsixteen sketches by Caspar Neher,one of the most significant stagedesigners of the twentieth century,that until now have remained un-known and unpublished. Thanks tohis friendship with Bertolt Brechtand Kurt Weill, Neher was respon-sible for designing the sets of al-most all their most important pro-ductions, and made an essential contribution to the scenicrealisation of Epic Theatre. Hisstage designs are unparalleled intheir rendering of the 1920s and‘30s Zeitgeist.

Now Universal Edition is offeringthese sketches for use as attractivesets in theatrical or concert pro-ductions, or simply as reproduc-tions in programme booklets.The sketches can be found on theUE website atwww.universaledition.com/neher

Caspar Neher The Threepenny Opera

haas

5

HAAS

Lines and spaces

Composed for Franz Welser-Möstand the Cleveland Orchestra,Georg Friedrich Haas’ most recentorchestral work, Poème, receives itsfirst performance in Cleveland on23 March 2006. The work is concer-ned with exploring the area ofinteraction between soloistic linesand large masses of sound. HereHaas largely refrains from notated microtonality and instead expandsmusical space by means of slowglissandi and dense accumulationsof sound. Haas himself describesthe work in a very poetic fashion:A quarter-tone step in the soloclarinet melody as starting point…Surfaces born from the echoes of song, eluding capture…Endless rising, endless falling…Lines and spaces…Vibrating standstill…Echoes…(The work is dedicated to my wife Yasuko)

Torso for orchestra (1999/2001),based on Franz Schubert’s un-finished C major piano sonataD840, will receive its Norwegianpremière in Bergen as part of theBorealis Festival on 16 March 2006,with the Bergen Filharmoniske Orkester under Reinbert de Leeuw.

In Basle on 31 May, the Basle Symphony Orchestra under Bern-hard Wulff, with Nicolas Altstaedtas soloist, will give the Swiss première of the Concerto for Cello and Orchestra (2004), firstperformed at the Munich Festivalmusica viva in 2004.

400 Jahre Don Quijote | Deutsche Erstaufführung

Don QuijoteDeutsche Erstaufführung:30. April 2006

Musikalische Leitung:

Johannes Willig

Regie:

Alexander Schulin

Ausstattung:

Stefanie Pasterkamp

www.theater-kiel.de

Oper in einem Akt über den Mythosdes Miguel de Cervantes

Musik von Cristóbal Halffter

Text von Andrés Amorósnach Miguel de Cervantesund anderen spanischen Dichternnach einer szenischen Ideevon Cristóbal Halffter

theater

oper

orchesterphilharmonisches

ballett

schauspiel

werftparktheater im

halffter

8

ful musical language that runs thegamut of almost all the emotions,from the ethereal amorous whispers of Dulcinea and Aldonza,to the brutal passion of the fanaticcrowd which believes that it hasdestroyed the works of the West’sgreatest spirits by fire.The German première of Halffter’sDon Quijote, under Johannes Willig’s musical direction, takesplace on 30 April at the Kiel OperaHouse. This production by Alexander Schullin, one of themost promising music theatre directors of his generation, can beseen until 29 June.

HALFFTER

Powerful musical

language

To look into Cristóbal Halffter’smusic is always to peer into his lifeas well. This becomes clear enoughwhen one considers his opera DonQuijote. Halffter chose material byan author who, like himself, alwaysworked in the area of conflict bet-ween artistic freedom and politicaltyranny. Yet in their art both thesefigures committed themselves ex-clusively to humanity. With his DonQuijote Cervantes became a Spa-nish national hero; Halffter,through his artistic autonomy under Franco’sdictatorship, grew into a moral authority, a role model for a newSpain committed to humanistvalues.Halffter’s opera is based on the essential scenes of his literary sour-ce but, not least in its fictitiousconversations between Cervantesand his knightly hero, develops intoa grandiose discussion on the political meaning of mythic dreaming. Halffter cloaks this utopian subject matter in a power-

Cristóbal HalffterDon Quijote Madrid 2000

rihm

9

Hamburg première in 1979, he said:The stage representation of someonelike Jakob Lenz is complicated sim-ply by the fact that he hides several‘stages’ within himself. These ever-present stages must be re-presentedin the music. Hundreds of perfor-mances in the subsequent 27 yearstestify to the fact that Rihm succeeded brilliantly in this aim.

Under the simple title Gütersloh2006: Wolfgang Rihm, Klaus Kleinhas assembled his second concertseries devoted to the composer’sworks. On 18 March Christoph Poppen conducts the MunichChamber Orchestra in a program-me they have known for years, in-cluding Music for Clarinet and Orchestra (with Rihm pupil JörgWidmann as soloist) and Aria / Ariadne, on this occasion with soprano Mojca Erdmann. Rihm’smusic has long been an estab-lished part of the Minguet Quartet'srepertoire. This group is making

RIHM

Rich harvest

Merely to list the performances ofWolfgang Rihm’s works occurringduring the next quarter would fillthis newsletter. Most impressive ofthese is undoubtedly the tour ofthe chamber opera Jakob Lenz, aco-production between Muziek-theater Transparant, the Centro deExperimentación Teatro Colón,deSingel and deMunt. The conduc-tor is Alejo Perez, the director Caro-line Petrick, and Hagen Matzeit inthe title role, the première takesplace on 7 March in deSingel, Ant-werp, after which the work goes ontour for 15 more performances inRotterdam, Brussels, Paris, Utrecht,Bruges and Copenhagen. WithJakob Lenz the 25-year old Rihmproduced perhaps the most suc-cessful music theatre work of re-cent decades; speaking of its

rihm

10

composer-in-residence this season,with the Weimar Staatskapelleunder George Alexander Albrecht.

Meanwhile Pierre Boulez has onceagain programmed the violin concerto Gesungene Zeit (in Basleon 28 April, with Anne-SophieMutter and Ensemble Intercon-temporain), George Benjamin is toconduct the trumpet concertoMarsyas with soloist Gábor Tarköviand the Berlin Philharmonic (5, 6and 7 May), and Lothar Zagrosek isbringing Ins Offene II to Hanover(23 and 24 March).Reports on the above premièreswill appear in our next issue.

a guest appearance on 19 March,and is also at present engaged inrecording his entire work for stringquartet on CD.

With impressive dedication, plus financial support from several institutions and the assistance ofChristian Wolff, priest of StThomas’, musicians in Leipzig havejoined forces to make possible aperformance of Deus Passus. It willtake place on 18 March under thedirection of David Timm, withmembers of the University Choirand Leipzig Vocal Ensemble joiningthe Leipzig Mendelssohn Orchestra.Ingo Metzmacher, intimately acquainted with Rihm’s music forover fifteen years, is conducting theNorth American première of Verwandlung with the San Francisco Symphony on 2, 3 and 4March. The work, written in 2002,can also be heard on 26 and 27March in Weimar, where Rihm is

staud

11

STAUD

Creative

friendship

Since 2000 composer JohannesMaria Staud has been in creativecontact with trombonist UweDierksen. This Ensemble Modernsoloist gave the première of thefirst Incipit for alto trombone andfive instruments (an EM commis-sion), and has performed it repea-tedly since. The second product oftheir collaboration, Esquisse retou-chée (Incipit II) for solo trombonewith bass drum (2001/2) returns tothe earlier work, treating it as akind of sketch from which a power-fully dramatic dialogue has develo-ped between Dierksen and the two instruments. This commissionfrom WDR Cologne has now madea re-examination possible of ItaloCalvino’s ‘Incipit’ idea (‘Incipit …which throughout its whole lengthpreserves the possibility of beginning’).Incipit III (Esquisse retouchée II) forsolo trombone, string orchestra, 2horns and 3 percussionists, dedica-ted to Uwe Dierksen, can be heardfor the first time on 10 March in thePhilharmonie, Cologne, with LotharZagrosek and the WDR SymphonyOrchestra.

A Map is Not the Territory for largeensemble, composed in 2001, recei-ves its Czech première on 19 March;Michael Swierczewski will conductthe Prague Chamber Philharmonicin the Rudolfinum.

Thanks to Ernst Kovacic the violinpiece Towards a Brighter Hue willreceive its first British performanceon 2 April at London’s WigmoreHall.

13

cerha

CERHA

Virtuosic

intensity

Austrian composer Friedrich Cerhabelongs to that ever-dwindlingband of creative artists who areglad to comment on their work inwriting and speech: Cerha’s intro-ductions to his work are helpfulguides to the new compositions hehas regulaly produced.

Without a doubt the most impor-tant event of coming months is thepremière of his Concerto for Sopra-no Saxophone and Orchestra in Frederiksvaerk, Denmark on 9 March. Johannes Ernst is the soloist and dedicatee who inspiredthe work, and HK Gruber will con-duct the Sjaellands Symphony Or-chestra. Cerha wrote of the saxo-phone: ‘I cherish its ability to varytone colour, its cantabile possibili-ties, its capacity for dreamy flightsof fancy and virtuosic intensity’.

Listeners to Eine Art Chansons inSalzburg on 18 March will expe-rience a quite different side of thecomposer. Here he attempts thedifficult balancing act of ‘operatingin the dangerous territory of “caba-ret” and, while preserving musicalquality standards, exaggerating ob-sessive gestures and responses,cranking them up to the pitch of

absurdity’. Walter Raffeiner is solo-ist with members of KlangforumWien (percussion, piano, bass).

Another highpoint of Cerha’s out-put, Baal-Gesänge, based on hisopera after Brecht, is being perfor-med in the Vienna Konzerthaus on23 May, with Rudolf Rosen (bar) andthe Vienna Symphony Orchestraunder Michael Boder.

sotelo

14

SOTELO

Human beings are

what they dream

Miguel de Cervantes’ adventures ofDon Quijote de la Mancha have in-spired an enchanting children’sopera by Mauricio Sotelo. Dulcineahas its première on 18 May in theTeatro Real in Madrid, in co-pro-duction with Barcelona, Bilbao,Valencia, Oviedo and Seville. Pro-duction is by Gustavo Tambascio,and Joan Cerveró conducts the Orquesta Sinfónica de Madrid.The story revolves around thedream of a young boy who has fallen asleep reading the ‘old andboring’ Don Quijote. The figures ofDon Quijote and Sancho Panza,with all their fantasies and adven-tures, come to life before his veryeyes, and Cervantes himself (as ‘thelearned Freston’) and Don Quijote’s

imaginary lover Dulcinea also appear as products of his fantasy.‘Just as Cervantes’ novel permitsmany different kinds of reading,’says Sotelo, ‘so the opera, amongother things, is a reflection on thestatus of fiction and on reading: forit is only through reading that theadventures come to life in the innertheatre of fantasy.’

The Instituto Cervantes and RadioBremen are broadcasting a compo-ser portrait containing several Sotelo works on 24 April.

On 13 May, at the Ensems Festival inValencia, there will be a repeat per-formance of Sonetos del amoroscuro, Soleto’s homage to his teacher Luigi Nono, in the versionheard at the work’s Granada pre-mière in 2005. And at the same festival, on 11 May, the Qatuor Diotima will perform Audéeis (withCantaor Ancángel) and Degli EroiciFurori.

Mauricio Sotelo Dulcineastage design

15

pärt

PÄRT

at the Frauen-

kirche, Dresden

The Dresden Staatskapelle is toopen its three concerts on PalmSunday weekend with the first Ger-man performance of Arvo Pärt’sCantique des degrés. Also takingpart are the Chorus of the SaxonState Opera, Dresden and the Dres-den Symphonic Choir, with AsherFischer at the rostrum. The con-certs will take place on 9 and 10April in the Semperoper, and on the11th in the newly restored Frauen-kirche. Cantique des degrés for chorus and orchestra was writtenin 1999 at the suggestion of Princess Caroline of Monaco (andHanover) for her father, Prince Rainier III, on the occasion of thefiftieth anniversary of his reign.The solemn 10-minute work isbased on Psalm 121 sung in Latin –

I will lift up mine eyes unto the hills– which Pärt had already set, inGerman, in his Wallfahrtslied of1984.

A second German première willtake place on 18 May in Leipzig: theGewandhaus Orchestra under JiriBelohlavek is introducing Pärt’sComo cierva sedienta in the versionfor female voices and orchestra,with women from the MDR RadioChorus. Como cierva sedienta wasoriginally written for soprano andorchestra in response to a commis-sion from the 15th Festival de Música de Canarias in 1999 (withPatricia Rozario as soloist). The firstperformance of the version withfemale chorus followed in June2000, with the Swedish Radio Symphony Orchestra and SwedishRadio Chorus, who went on to record the work on CD for ECM(New Series 1795).

berio / baltakas

17

BERIO

On a Saturday

in Amsterdam...

ZaterdagMatinee (Saturday Mati-née) is a name which is now knownin the music world far beyond TheNetherlands. It belongs to one ofthe longest-running concert seriesof the Dutch public radio service.The name Luciano Berio is a recur-ring theme in the programmes ofthe ZaterdagMatinee this concertseason.The homage to Berio beganwith the Dutch première of Stanzeon 3 Sept 2005, followed by that ofEpiphanies on 17 Dec.Now two more key works of Berioare being programmed: Coro andLaborintus II. Coro is scheduled for4 March, with Reinbert de Leeuwconducting the Groot Omroepkoorand the Schoenberg and Asko Ensembles. Laborintus II follows on

8 April, with Emilio Pomárico con-ducting the Asko Ensemble; all con-certs will take place in the Amster-dam Concertgebouw.

BALTAKAS

Poussla revisited

Berlin’s ‘MaerzMusik’ Festival hascommissioned from Vykintas Baltakas a revised version of Poussla for ensemble (oboe, clari-net, soprano saxophone, tuba,accordion, piano, violin) and orche-stra. Sylvain Cambreling, conductorof the 2002 Cologne première andthe SWR SO Baden-Baden and Freiburg give the first performanceon 25 March. Also in March, Musik-Fabrik NRW under Etienne Siebenswill play (co)ro(na) (2005) firstly inCologne (3 March) and secondly aspart of an Ars Musica concert inBrussels (24 March).

Luciano Berio

18

birtwistle / lentz

BIRTWISTLE

Silbury Air

The Remix Ensemble under Matthi-as Pintscher will give the Belgian première of Harrison Birtwistle’sSilbury Air on 21 March in Antwerp.It was originally commissioned tomark the centenary of the birth ofSerge Koussevitzsky and was inspi-red by the prehistoric, man-madesite of Silbury Hill. This greatly admired work, scored for chamberensemble, was first performed in1977 by the London Sinfonietta.The University of Manchester isstaging a new production of Birtwistle’s Bow Down on 23March. This early work receives itsmuch-deserved revival under thedirection of Garth Bardsley, withthe highly regarded Psappha Ensemble in collaboration withstudents from the university. Thetext, by Tony Harrison, is taken

from the traditional ballad of TheTwo Sisters. It is scored for 5 actorsand 4 musicians as ‘improvisedmusic theatre’ lasting 50 minutes.

LENTZ

Starlit sky

On 3 December Markus Stenz andthe Hallé gave the UK première ofGuyuhmgan…twice! So fascinatingare the sounds and effects thatGeorges Lentz draws from the per-formers (who include an on-stagesound engineer with a lap-top),that Stenz felt the audience deser-ved a post-concert workshop onthe piece, which was very well received. The audience was invitedto sit amongst the players, and asStenz explained, ‘it finds itselfdrawn in, gradually becomingaware of how much variety, evendrama, can occur at the limits’.

19

boulez

BOULEZ

Printemps

des Arts

The coming months are, as always,rich in performances of Pierre Boulez‘s works, from France to theCzech Republic via Italy and Switzerland. Monte Carlo’s Prin-temps des Arts festival is devotingtwo concerts to the composer’swork: on 14 April Jean-Marie Conquer and Alain Damiens respectively perform Anthèmes 2and Dialogue de l’ombre double,whilst the Ensemble Intercontem-porain appears under Boulez’s direction in sur incises. Two dayslater Boulez returns to the rostrumto conduct his Répons and …explo-sante-fixe…, the last of which willalso have performances in Turin (24March), with members of the Or-chestra Sinfonica Nazionale dellaRAI under Pascal Rophé, and Gene-va (28 April) with the Nieuw En-semble and Contrechamps conduc-ted by Jurjen Hempel. The NieuwEnsemble, under Ed Spanjaard, isalso programming Éclat at concertsin Amsterdam (6 May) and Utrecht(24 May).EIC will give four performances ofLe Marteau sans maître, with Hilary Summers and Ursula Hessevon den Steinen, conducted by Valade, Kawka and Eötvös.We can also announce the

appearance of a short ‘new-but-old’ work of Boulez. In 1969 hecomposed Pour le Docteur Kalmusfor the 80th birthday of Alfred Kal-mus, UE’s long-serving director; in2005, for the work’s publication, he refined tempo markings, altereddynamics and slightly expandedthe ending. Improvisé – pour le Dr. K.,scored for piano and four instru-ments (flute, clarinet, viola andcello), lasts about four minutes.

20

borisova-ollas /stockhausen

BORISOVA-OLLAS

Sonic poetry

Soundstreams Canada commis-sions and presents Canadian andinternational new music, genera-ting opportunities for dynamic encounters between composers,performers and audiences.Founding and current Artistic Director Lawrence Cherney esta-blished Soundstreams Canada in1982 for the purpose of engagingthe public in the music of living Canadian and international com-posers through concerts, festivalsand associated education/outreachprojects. Victoria Borisova-Ollashas been invited to Canada as featured composer to present

three of her works to audiencesthere: Seven Singing Butterflies forclarinet and string quartet, “…imKlosterhofe” for violin, piano andtape, as well as the first perfor-mance in its revised version of Creation of the Hymn for stringquartet (18 April at Glenn GouldStudio, Toronto).www.soundstreams.ca

STOCKHAUSEN

Pioneering

masterpieces

On 24 April at the Queen ElizabethHall in London there is a rare chance to experience one of Karlheinz Stockhausen’s pionee-ring masterworks of the 1960s. TheLondon Sinfonietta under PierreAndré Valade is performing Mixtur(1964/7) for orchestra, sine wavegenerators and ring modulators inthe reduced scoring.

Two other milestones in Stockhausen’s musical develop-ment, Kreuzspiel (1951) and Kontra-Punkte (1952), are being performedby members of the Orchestra Sinfonica Nazionale della RAI Torino on 27 March in Turin.

Victoria Borisova-Ollas

21

sawer / kagel

SAWER

Hollywood Extra

MusikFabrikNRW will again perform David Sawer's HollywoodExtra on 21 May in Donaueschingen.Premièred in 1996, the 15’ work for 8 players was commissioned by theMatrix Ensemble as music to accompany the silent film ‘Life &Death of 9413 – A Hollywood Extra’(a black & white film made in 1928by director Robert Florey). Themusic was conceived to be both asoundtrack to the film as well as astand-alone piece.

The Belgian première of StrammGedichte was given on 22 Januaryby the Goeyvaerts Consort inGhent, cond. Marc Smets.

KAGEL

Metacollage

The Bergen Festival is program-ming a classic work of MauricioKagel, the ‘metacollage’ Ludwigvan, Hommage à Beethoven for anycombination of forces (1969).The composer said at the time that‘music of the past should also beperformed as music of the present’.The score comprises illustrations ofinterior décor onto which pages ofBeethoven scores have been pasted; what the interpreters per-form depends on their subjectiveperception. Kagel himself is takingpart in the performance on 30 May.

Mauricio Kagel Ludwig van

22

furrer / schwartz

SCHWARTZ

Prepare

to be seduced...

The first performance of JaySchwartz’s Music for Orchestra tookplace in June 2005. In the program-me notes Schwartz wrote aboutthe positive manipulative powerhe consciously imparts to his musicand about the ‘pull’ he wants toexercise on the listener, and ob-viously on concert programmers aswell: Music for Orchestra appearedat short notice but successfully onthe programme of the Berlin Symphony Orchestra under FabricBollon on 20 January, and furtherperformances in 2006 are alreadybeing planned.

Jay Schwartz’s 2003 chamber operaNarcissus & Echo (after Ovid) is nowalso to be found in the UE catalo-gue. The instrumentation is as reduced as it is eccentric: counter-tenor, viola and percussion.Schwartz adheres to an aestheticof listening to the internal struc-ture of sound in the use of his material. Prepare to be seduced…

FURRER

An ‘asteroid’

in Düsseldorf

In Gaspra for ensemble (1988), BeatFurrer works with timbre andrhythmic patterns. He organisesthe instruments into small groupswithin the ensemble and lets themnarrate several stories simultane-ously, each constantly succeededby another.‘Gaspra is named after an asteroidof 5km diameter, a lump of rock,fragment of an exploding starwhich wandered into our solar system’s gravitational field’ (Furrer).(notabu.ensemble, 5/5, Düsseldorf)

Beat Furrer

23

kurtág / kupkovic

KURTÁG

Old and new

György Kurtág’s The Sayings ofPéter Bornemisza, Op. 7 (1963-8), aconcerto for soprano and pianoshortly to be given at the Römer-bad Music Festival in Badenweiler(11 March), still makes formidablemusical and technical demands onboth singer (Elena Wassileva) and pianist (Pierre-Laurent Aimard).Its Darmstadt première in 1968drew the 42-year old composer, atthat time still unknown, to the attention of a small circle of experts; the score, which later fellinto the hands of Pierre Boulez, ledto the commission of the TroussovaSongs, which helped the composerwin international breakthrough.

Soloists of Ensemble Contre-champs are performing Rückblick,Things Old and New for four instru-ments, on 21 May in Geneva. This Hommage à Stockhausen, a worklasting a whole evening, is scoredfor trumpet, keyboard instrumentsand double bass.

KUPKOVIC

70th Birthday

Slovak composer and conductor Ladislav Kupkovic, born in Bratislava

on 17 March 1936, has for years beenregarded as the leading representa-tive and champion of new music inhis homeland. Founder of an ensemble and a festival which bothwon international recognition,Kupkovic has lived for over thirtyyears in Germany, for a time as Professor of Composition in Hano-ver. His works of the late 1960s and1970s are published by UE;Souvenir, for violin and strings, isone of Gidon Kremer’s showpieces.

Ladislav Kupkovic

24

burt / bennett

BURT

Francis Burt

is 80

He had just turned 22 when, retur-ning from fifteen formativemonths stationed as a soldier inAfrica, Francis Burt decided to become a composer. His studiestook him from the Royal Academyof Music in London to Boris Blacherin Berlin, who taught him for threeyears. There followed a few monthsin Rome and London before, in1956, he wound up in Vienna andstayed there.Since then he has been active inVienna as ahighly esteemed com-poser and teacher of countlessyounger composing colleagues. Astudy of his work reveals a fascina-ting stylistic development: he him-self describes his style as ‘floating,with only slightly perceptible pulse,but with sound layers and texturesand an accumulating superimposi-tion of lines which generates a mul-tilinear structure’.A complete catalogue of his workappears in the appendix (p. 46).Happy birthday!

BENNETT

70th Birthday

Sir Richard is one of the mostflamboyant personalities on thecontemporary music scene. The variety and scope of his activityboth as composer and pianist isstunning, ranging from dodeca-phonic operas and orchestralworks (he studied with Boulez inParis from 1957-9) through jazz(e.g. the ballet Jazz Calendar) tofilm music. His first stage work, TheMines of Sulphur, has just celebra-ted a brilliant comeback at theNew York City Opera, enthusiasti-cally received by audience andpress alike.

Francis Burt

25

weill

WEILL

New Caspar Neher

stage designs

discovered!

No-one can resist the fascinationof Caspar Neher’s stage designs,which are unparalleled in their rendering of the 1920s and 30sZeitgeist. Thanks to his friendshipwith Bertolt Brecht and Kurt Weill,Neher was responsible for designing the sets of almost alltheir most important productions,and made an essential contribu-tion to the scenic realisation of EpicTheatre. But, even aside from thecollaboration with Brecht, hismulti-faceted activities makes himone of the most significant stagedesigners of the twentieth century.His designs have a beguiling expressivity.

In a private archive in Vienna, UEhas discovered sixteen sketcheswhich until now have remainedunknown and unpublished. NowUE is offering these sketches foruse as attractive sets in theatricalor concert productions, or simplyas reproductions in programmebooklets. The sketches can befound on the UE website atwww.universaledition.com/neher.The (thus unpublished) sketcheswill be used for the first time as aprojected backdrop to the produc-tion of the Mahagonny-Songspielat the Kurt Weill Festival in Dessauon 25 February 2006.

Threepenny Opera returns to Broadway From 24 March a new productionof The Threepenny Opera opens atthe Roundabout Theatre on Broad-way, and the entire productionteam reads like a Who’s Who offilm and show business. The new,provocative English translation is

Caspar NeherRise and Fall of the City of Mahagonny

Phot

o:Jo

shLe

hre

r

ALANCUMMING

JIMDALE

ANAGASTEYER

CYNDILAUPER

NELLIEMcKAY

By BERTOLT and KURTBRECHT WEILL

In a New Translation by WALLACESHAWN

Directed by SCOTTELLIOTT

Lead support provided by our Musical Theatre Fund partners: The Kaplen Foundation, John and Gilda McGarry, Tom and Diane Tuft.

Major support for this production provided by The Blanche and Irving Laurie Foundation.

4 0 T H A N N I V E R S A R Y S E A S O N

ROUNDABOUTTHEATRECOMPANY AT STUDIO 54254 West 54th Street • NEW YORK CITY • www.roundabouttheatre.org • 212.719.1300

Roundabout Theatre Company is a not-for-profit organization.

roundabouttheatre.org

L I M I T E D E N G A G E M E N TP R E V I E W S B E G I N M A R C H 2 4

27

weill

by Wallace Shawn, familiar tomany as a film actor since his ap-pearance in My Dinner with André.Actor Alan Cumming is Macheath,Jim Dale (whose voice as reader ofthe Harry Potter audio books is familiar to every child in the English-speaking world) is Mr Pea-chum, film actress Ana Gasteyer isMrs Peachum, and Cyndi Lauper(whose 1984 hit Girls Just WannaHave Fun made her an overnightstar) plays Jenny. Singer/song-writer Nellie McKay plays Polly, andScott Elliott directs. Performancesare scheduled to run from 24March-11 June:see www.3pennyonbroadway.com

The Protagonist – new in the Kurt Weill Edition The next volume of the Kurt WeillEdition, containing Weill’s firstopera Der Protagonist (composed1924-5), is due to appear thisspring. To accompany the appea-rance of the critical edition therewill, of course, also be a completelynew set of performance materials.This critical edition of Der Protago-nist is dedicated to the memory ofLys Symonette, who died on 27 November last year in New Yorkaged 90. Lys Symonette was thelast surviving artistic link to KurtWeill and Lotte Lenya: she wasWeill’s musical assistant on Broad-way from 1945 to 1950 and Lotte Lenya’s accompanist and musicaladvisor. At the time of her deathshe was still active as vice-presi-

dent of the Kurt Weill Foundationfor Music, as well as its musicalexecutive, in accordance with LotteLenya’s will.

Caspar Neher Mahagonny Songspiel

28

janácek

Leos JanácekThe Excursions of Mr Broucek ,Volksoper Wien 2006

JANÁCEK

The window of

the soul

It is an art to understand what aperson wants to say – but an evengreater one is playing what a per-son wants to hear!Any musician who dares tackleLeos Janácek’s music must possessboth these skills. A composerwhose musical language does notin the least adhere to the rules ofits time, avoiding traditional for-mal structures and asserting itsown instrumentation in oppositionto the canon of conventional ensembles. A Moravian musicianwho elevates the Czech languageto the status of opera, who allowsthe words and music of his compo-sitions to function as ‘window ofthe soul’.To render this window of the soulaudible: that is Janácek’s legacy to

each interpreter of his music. A legacy whose musical value has repeatedly been questioned bymusicians and formalists and yet,today more than ever, still affirmsan originality pointing the way forward for the development oftwentieth century music.

This spring affords a number of op-portunities to look into the win-dow of the soul alongside Janácekhimself. While the new productionof The Excursions of Mr Broucekunder Julia Jones’ direction opensat the Vienna Volksoper (2 to 27March), Graeme Jenkins is revivingDavid Pountney’s Jenufa at theStaatsoper (29 April to 13 May). Andanother Janácek event is being organised by the Bamberg Sym-phony Orchestra under JonathanNott on 11-12 March: the GlagolithicMass and the Suite from the operaFrom the House of the Dead.

29

mahler

MAHLER

Under

Mahler’s spell

Legendary things really happen. Asuccessful publisher and editor ofan economic magazine, pursuinghis love of music, encounters awork he simply can’t get out of hishead. He does everything so that itcan be heard in accordance withhis own conceptions. ‘Everything’here means: studying the score andits history, immersing himself inthe work’s meaning, learning rehearsal technique, organisingand taking responsibility for a performance with a first-class orchestra. Gilbert Kaplan becamethe sensation of the year in 1982,astonishing even the experts. Sincethen he has conducted over sixtyperformances, and several recor-dings, of the two-act aural dramathat is Gustav Mahler’s SymphonyNo. 2. For several years Kaplan hasalso been actively involved in thepreparation of the Critical Comple-te Edition of Symphony No. 2,scheduled for publication in autumn 2006. Kaplan is conduc-ting ‘his’ Mahler 2 once again (naturally already using the criticaledition) in Munich on 16 April. Theinstrumentalists are the SymphonyOrchestra and Chorus of the Bava-rian Radio, soloists Ruth Ziesak andLioba Braun.

The reconstruction and orchestra-tion of Symphony No. 10 by Rudolph Barshai has been anotherinternational success story. Barshaihas already been invited to conduct the work in Japan for thethird time in a very short period:this time with the Yomiuri NipponSymphony Orchestra, in Tokyo’sSuntory Hall (27 April).

30

zemlinsky / alma mahler

ZEMLINSKY

Too conservative

and too modern

All his life Alexander Zemlinskyfound himself caught betweentwo opposing camps: for the progressives his music was tooconservative, and for the conserva-tives it was too modern. Un-successful premières repeatedlycaused the self-doubting compo-ser to abandon works, amongthem Die Seejungfrau (The Mer-maid), Fantasy for orchestra. The reviews of the first performance inVienna on 25 January 1905 weredisastrous and Zemlinksy respon-ded by withdrawing the piece.Today Die Seejungfrau counts as

one of the most beautiful and brilliant of concert works, impressi-ve proof of Zemlinky’s compositio-nal mastery. It can be heard in Seville on 2 March (Real OrquestaSinfónica de Sevilla/Christian Arming), Heidelberg on 29 March(Heidelberg City Philharmonic Or-chestra/Cornelius Meister) and on28 May in Wuppertal (WuppertalSymphony Orchestra / ToshiyukiKamioka).

ALMA MAHLER

Sieben Lieder

in Munich

In 1995 the composers Colin andDavid Matthews edited and arran-ged Alma Mahler’s 7 Lieder forvoice and orchestra. Lasting 17’ andsetting the poetry of Dehmel,Bierbaum, Hartleben, Rilke andFalke, the cycle has been widelyperformed in Germany, the US andFrance, and soon Steven Sloane willconduct the Münchner Rundfunk-orchester in a performance (8 March). Now widely considereda serious composer in her ownright, it is fitting that Alma’s contri-bution to the Lied lives on in thismost sympathetic version.

Alexander Zemlinsky

31

BERG

Wozzeck reduced

Besides Berg’s original version, theUE catalogue contains three other arrangements of Alban Berg’s Wozzeck (1914/21), the most-per-formed opera of modern times. In1930 Berg commissioned ErwinStein to provide a ‘new arrange-ment for different instrumentation’,which can be seen in Jean Bauer’sstaging, conducted by Marc Adam,at the Lübeck Theatre from 22 April;in 1995 John Rea produced a redu-ced version for 21 instruments; andthe latest (2004) version for smallorchestra is the work of EberhardKloke. All performance materials ofeach are available for hire.

SCHÖNBERG

Erwartung

Arnold Schönberg wroteErwartung, Monodrama for sopra-no and orchestra (Op. 17), a settingof an expressive poem by MariePappenheim, in the space of a fewdays in autumn 1909. It presents –and psychologically dissects – asingle moment in which the work’ssole protagonist, ‘The Woman’,stumbles on the corpse of her husband in the forest. Schoenberg’sorchestration is powerfully imagi-native, and the extravagant wealthof varied sonorities in the score reflects outbursts of horror or de-spair, and dream visions, with directness and immediacy.(Instrumentation of the original:4 4 5 4 - 4 3 4 1 - timp, perc(3), xyl,glock, hp, cel, str)In 2004 the Azerbaijani composerFaraj Karaev made an effectivechamber version of the score (1 1 2 1- 2 1 1 1 - perc(3), hp, cel, str.quin).This can be heard on 15 May 2006in the Vienna Musikverein, with Ensemble Kontrapunkte underPeter Keuschnig accompanying Michaela Lucas.

Alban Berg WozzeckSalzburg Festival 1971

berg / schönberg

32

bartók

He stood unequivocably for theprinciple of the mutual understan-ding of peoples, and thus had toendure the official disapproval ofthe Hungarian state. When, in1940, the threat of right-wing extremism became too much tobear, he left the country and at theage of 59 began a new and extre-mely insecure life in the USA. At hisdeath in 1945 he took with him, ashe put it on his deathbed, ‘a full suitcase’.This year the musical world re-members an important composerand great human being. The list ofperformances over the next fewmonths reflects this status, forexample: Music for Strings, Percus-sion and Celesta in Edinburgh,Basle, Oviedo, Madrid, San Sebastian, Budapest, Biel, Helsinkiand Moscow, the Dance Suite in Cologne, Stuttgart and Esslingen,The Miraculous Mandarin in Paris,Leipzig and Berlin, the Fourth StringQuartet in Vienna, Frankfurt andHohenems…

BARTÓK

125th birthday

Born on 25 March 1881, Béla Bártokis one of the few twentieth centurycomposers of uncompromisingmusic whose work has become anintegral part of the core repertoire,in the realm of concert music aswell as opera and ballet. For Hungary he is, together with hisfriend and comrade-in-arms ZoltánKodály, the first musical personali-ty of truly international stature thecountry produced. His work alsopossesses a symbolic significance:in a period characterised by natio-nalism he found inspiration notjust in Romanian and Slovakian,but also Turkish and Arabian music.

33

kodály

KODÁLY

Psalmus

Hungaricus

Zoltán Kodály succeeded in writingprofoundly Hungarian music,rooted in his country’s authenticfolk music, and yet speaking to aninternational audience. This is notjust the orchestral works, which ofcourse present no language barrier, but also the vocal composi-tions have found their way into the

repertoire and into people’s heartsall over the world. The UE archivecontains the programme bookletfor a Viennese performance of thePsalmus Hungaricus, given by theVienna Philharmonic under ArturoToscanini on 21 October 1934.C. Schneider’s introduction findsapt words for this phenomenon,given added intensity by the politi-cal situation in Europe. ‘…But thelanguage of this music is universal-ly understood, so that it reaches outacross these borders to the whole ofhumanity and becomes a shatte-ring expression of our time and itsdistress – indeed, its Song of Destiny.’On 20 and 21 April Mariss Jansonsdirects the Psalmus Hungaricus inMunich, with soloist John Daszakand the Symphony Orchestra andChorus of the Bavarian Radio. KingDavid’s psalm will also be sung byCorby Welch on 26 and 27 April,with the Duisburg Symphony Orchestra and Philharmonic Chorus conducted by JonathanDarlington. And Kodály’s Te Deum,composed to commemorate Hungary’s liberation from 150 yearsof Turkish domination in 1686, canbe heard on 17 March in Munich,with Lothar Zagrosek conductingthe Chorus of Bavarian Radio andMunich Radio Orchestra.

krenek / schreker

34

KRENEK

New publications

by and about

Krenek

For the first time ever the score andorchestral materials of ErnstKrenek’s Symphony No. 4, writtenin the USA in 1947 and first perfor-med in New York in November ofthe same year, have now been prepared in collaboration with theErnst Krenek Institute. Twenty fiveyears had elapsed since his Sym-phony No. 3, during which Krenekwas seeking new stylistic possibili-ties, located between traditionalromantic expressive means andatonality, which could fulfil his

symphonic requirements. Bymeans of a stylistic synthesis,Krenek expressed his concept of integrating an ideal divorced fromreality with the ‘here and now’. Thefirst CD recording is already plan-ned for spring 2006.Vol. 1 of the Ernst Krenek Institute’sseries of writings on the composer:Ernst Krenek, Oskar Kokoschka andthe Story of Orpheus and Euridice(Edition Argus) has also just beenreleased.

SCHREKER

Mysterious

spirituality

Franz Schreker’s most popularwork, his Chamber Symphony for23 solo instruments of 1916, has thecharacter of free association madeart. ‘…My ideas possess little ‘litera-ry’ character…Instead, a mysteriousspirituality struggles for musical expression,’ Schreker wrote of hismusic. The Chamber Symphony canbe heard in Zagreb on 23 March(Symphonic Orchestra of CroatianRadio and TV, conducted by MladenTarbuk) and in the Brucknerhaus inLinz on 17 May (Bruckner Orchestraof Linz under Heinrich Schiff).

Ernst Krenek

35

casella / foerster

CASELLA

Neoromantic

Violin Concerto

The 30-minute Violin Concerto of1928 is, according to ChristophSchlüren,‘the most neo-romantic ofall Alfredo Casella’s larger works’.Dedicated to distinguished Hunga-rian violinist Joseph Szigeti, thework was first performed in 1928 inMoscow – though without conduc-tor, in accordance with the statutesof the Persymphan Orchestra.

Despite further important perfor-mances with Szigeti, Krasner (whogave the US première), Ida Haendeland other famous violinists, andwith conductors such as the composer himself or Celibidache,the work has mostly fallen into oblivion. But, as a critic enthusedby a Swiss performance noted, thismay be due only to the laziness ofinterpreters or the caution of pro-moters…The concerto can be heardin Sao Paulo on 11 May, with Emma-nuele Baldini and the Sao PauloState Symphony Orchestra underRonald Zollmann.

FOERSTER

Stabat mater

Czech composer Joseph BohuslavFoerster (1859-1951) drew his inspi-ration from three themes: nature(for example in the symphonicpoem In the Mountains), love (theopera Eva, rediscovered at the 2004Wexford Festival, or the Five LoveSongs for voice and orchestra) andGod.His rarely performed Stabat Materfor mixed choir and orchestra(1891/2) is soon to be performed inPrague: Zdenek Macal conductsthe Czech Philharmonic and thePrague Philharmonic Choir on 13and 14 April.

Alfredo Casella

szymanowski

36

SZYMANOWSKI

Sexual

temptation

In 1913 Karol Szymanowski comple-ted his first opera: the one-actHagith was first performed in Warsaw in 1922, to a libretto byFelix Dörmann which deals withthe Biblical story of the conflictbetween King David and his son.The dispute revolves around thecrown – and a young girl called Hagith. King David’s priests assertthat the love of young Hagithwould serve to give the ageingmonarch a new lease of life. Hagithhowever loves the young king, whoreciprocates her feelings, and refuses to take part in the ritual sacrifice. After a wonderful scenefull of sexual temptation, woundedpride, rage, contempt and fear theold king dies, and Hagith is stoned

to death.Richard Strauss’ influence on Szymanowski here is clear: in termsboth of music and subject matter,Hagith can be situated somewherebetween Puccini’s Tosca andStrauss’ Salome. Nevertheless,despite a certain eclecticism, as anexample of expressionistic dramathis early work is unique in Polishmusic. The Wroclaw Opera hastaken the work into the repertoireand has been performing MichaelZnaniecki’s successful productionsince 24 February 2006.

A dance version of Szymanowski’sStabat Mater (1926) forms part ofthe ballet Requiem, to choreo-graphy by Tim Rushton, which canbe seen at the Royal Theatre in Copenhagen from 24 March on-wards.

Karol Szymanowski Hagith costume designs Oper Wroclaw 2006

37

martin

MARTIN

Rediscoveries

Thanks to Mozart Year interest hasbeen reawakened in Frank Martin’sOuverture en hommage à Mozart,written to commemorate the com-poser’s bicentenary. Neither occa-sional work nor Mozart pastiche,the piece is an eminent musician’stribute to his great forebear. Overthe next few months the work willenjoy seven performances in German and Swiss cities.

A further rediscovery is the suitefrom the opera The Tempest for ba-ritone and orchestra, likewise premièred in 1956. Uri Segal andthe Orchestre Symphonique deMulhouse have adopted the workand will perform it with ThomasOliemans on 26 and 27 May. Martinselected three fragments from theopera: the Overture plus two of

Prospero’s arias from Act 3 (inSchlegel’s translation): Hast thou,which art but air and Now mycharms are all o’erthrown.

The music of Frank Martin featuresprominently in the US in April.Cantori New York, led by Dr. MarkShapiro, performs the New Yorkpremiere (9 April) of the composer’sfinal work Et la vie l’emporta. For along time I have felt a deep connec-tion to the music and spirit of FrankMartin, comments Dr. Shapiro. Thechamber oratorio Le vin herbétaught me much of what I now un-derstand about the technical proce-dures of exceptional composers,how they deploy the most inge-nious musical devices to convey theflow of emotions, a mood, an action. Journeying from a painfulcry of "why" through a surpassinglyluminous reconciliation, Martin'stranscendent cantata Et la vie l'em-porta enacts a searing confronta-tion between a dying composer andthe deity and purpose he has lovedand served. Martin does not flinchfrom the truth; the struggle is inten-se. That "life" emerges victorious is aprofound final expression of thisgreat composer's courage, talent,and humanity.

mozart

38

MOZART YEAR 2006

Even more

Mozart!

Mozart Year 2006 affords wonder-ful opportunities to perform worksby those composers of our timewho, over the decades, have written pieces inspired by themusic of Wolfgang Amadeus Mozart in the most diverse ways.(A catalogue of these twentiethand twenty-first century workswith a Mozart reference can befound on our websitewww.universaledition.com)

For example, on 5 and 6 Jan 2006the Anhaltische Philharmonie Dessau under Golo Berg performedall twelve brief, charming move-ments of Divertimento for Mozartfor soloists and orchestra (1956), acollective work by twelve compo-sers (von Einem, Berio, Erbse,Fricker, Bentzon, Haubenstock-Ramati, Klebe, Wimberger, le Roux,Wildberger, Jarre, Henze) based onthe aria Ein Mädchen oder Weib-chen from The Magic Flute.One of these movements has alsobeen programmed by the BerlinSymphony Orchestra under EliahuInbal on 12 and 13 May in the BerlinKonzerthaus: Giselher Klebe’sEspressioni liriche for horn,trumpet, trombone and orchestra.

The latest work with a Mozartconnection is 7 Klangräume forchorus and orchestra, written byGeorg Friedrich Haas for the Stiftung Mozarteum (first perfor-med on 4 December 2005).The work’s instrumentation isidentical with that of Mozart’s Requiem, though without soloists,and Haas has conceived it in such away that Mozart’s surviving sketches have been realised unchanged – as a kind of skeletonfor the music – with the ‘sevensound spaces’ intended as ‘rever-berations’ after and between them.

anniversaries

39

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 Anniversary 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 Shostakovish * 25 Sep 190620th Anniv. of Death Alexandre Tansman † 15 November 1986125th Anniversary Karl Weigl * 06 February 188170th Birthday Hans Zender * 22 November 1936

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 1882

anniversaries

40

70th Anniv. of Death Karol Szymanowski † 29 March 193750th Birthday Julian Yu * 02 September 1957

2008

25th Anniv. of Death Cathy Berberian † 06 March 198390th 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 Anniversary Eugen Suchon * 25 September 1908

2009

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

80th Birthday Edison W. Denisow * 06 April 192990th Anniversary Roman Haubenstock-Ramati * 27 Feb 191950th Anniv. of Death Josef Matthias Hauer † 22 September 195950th 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

world premières

41

VYKINTAS BALTAKAS Poussla for ensemble and orchestraSWR-SO Baden-Baden and Freiburg, c. Sylvain Cambreling25. 03. 2006 · Maerz Musik Berlin/D

FRIEDRICH CERHA Concerto for soprano saxophone and orchestraSjaellands SO, c. HK Gruber, Johannes Ernst, sax09. 03. 2006 · Frederiksvaerk/DK

GEORG FRIEDRICH HAAS Poème for large orchestra Cleveland Orchestra, c. Franz Welser-Möst23. 03. 2006 · Cleveland/USA

WOLFGANG RIHM Das Namenlose for soprano, clarinet and pianoMojca Erdmann, S, Jörg Widmann, clar, Axel Bauni, pn09. 04. 2006 · Heidelberg Spring/D

Piece for soprano and string quartetClaron McFaddon, S, Arditti Quartet21. 05. 2006 · Muziekgebouw Amsterdam/NL

MAURICIO SOTELO Dulcinea opera for childrenOrquesta Sinfónica de Madrid, Arantxa Armentia (Dulcinea),c. Joan Cerveró, dir. Gustavo Tambascio18. 05. 2006 · Teatro Real Madrid/E

Raíz del aire for voice and ensemble andWall of light sky for ensembleAntonio Vélez, cantaorGrup Instrumental de Valencia, c. Joan Cerveró24. 04. 2006 · Radio Bremen/D

JOHANNES MARIA STAUD Incipit III (Esquisse retouchée ll) for trombone solo, string orchestra, 2 horns, percussionWDR SO Köln, c. Lothar Zagrosek, Uwe Dierksen, trb10. 03. 2006 · Philharmonie Köln/D

new releases

42

ALBAN BERG Sonate op.1 for piano UE 33070

FLORIAN BRAMBÖCK Afro-Latin Saxophone Duets for 2 alto- or tenor saxophones UE 333060

MIKE CORNICKBlue Baroque – Contemporary arrangements of Baroque keyboard classics for pianoUE 21315

MARY KAREN CLARDYClassic Solos for Flute for solo flute with CD UE 70079

FRANK MARTIN Ballade for trombone (tenor saxophone) and piano UE 32359

WOLFGANG AMADEUS MOZART Piano Pieces Vol. 1: Earlier works UT 50229Vol. 2: Later works UT 50230

ARVO PÄRTSumma for recorder quartet S(T)A(B)A(B)T(B) UE 33030

JOHANNES MARIA STAUD Towards a Brighter Hue for violin UE 32977

KURT WEILL String Quartet No. 1 op.8 study scoreUE 33304

new releases

43

JAMES RAE

Centre Stage 3

Mozart / Der Vogelfänger bin ich ja

Puccini / O mio babbino caro

UE 21318

When Gianni Schicchi meets PapagenoA dilemma facing many conduc-tors: how to remain flexible in theinstrumentation of your ensemble,and yet be able to incorporate thegreat musical classics in your re-pertoire. Following Dvorák’s ‘NewWorld Symphony’, Mussorgsky’s‘Pictures at an Exhibition’, Weill’s‘Threepenny Opera’ and Bizet’s ‘Carmen’, the best-known excerptsfrom Mozart’s ‘Magic Flute’ andPuccini’s ‘Gianni Schicchi’ have alsobeen brought to the chambermusic platform.These simple arrangements for flexible instrumentation, with soloist and optional piano support,familiarise young instrumentalistswith the standard classics and areideally suited for performance atconcerts and music festivals.Besides teaching young musiciansto play together and listen attenti-vely, they also build their self-confi-dence – and with this combination,joy in music making won’t lag farbehind!

Already available:Centre Stage 1 UE 21172Centre Stage 2 UE 21266

44

new on cd

PIERRE BOULEZ Notations & Piano SonatasPi-Hsien Chen, pn hat(now) ART 162

WALTER BRAUNFELS Prinzessin Brambilla Wexford Festival Opera Chorus, Cracow PO, c. Daniele BelardinelliNaxos 8.225312-13

JOSEPH BOHUSLAV FOERSTER EvaEva Depoltova, S, Prague Radio SO, Prague Radio Chorus, c. F. VajnarSupraphon SU 3001-2 612

BEAT FURRER Voicelessness. The Snow Has No Voice Nicolas Hodges, pn KAIROS/HM CD 0012382

CLYTUS GOTTWALD Arrangements for choir a cappella after Mahler,Berg, Webern ao. Chamber Choir Saarbrücken, c. Georg Grün BMG Ariola LC 00316

GEORG FRIEDRICH HAAS Finale Denis Bouriakov, flWOLFGANG RIHM Quartettstudie Quatuor EbèneDAVID SAWER Parthenope Antoine Tamestit, vla

Oehms Classics OC 533FRANZ LISZT Organ Works

Martin Haselböck, org (editor of the UE Organ Edition)New Classical Adventure NCA 5 CDs (60157-215, 60144-210, 60146-215, 60151-215, 60154-215)

FRANK MARTIN In terra pax, Pilate, Golgotha Münchner Rundfunkorchester, c. Marcello Viotti, c. Ulf SchirmerProfil/Naxos 3CDs 04037

FRANK MARTIN Concerto for Cello and Orchestra, Ballade for Cello and small Orchestra, PassacailleNetherlands Radio Chamber Orchestra, Quirine Viersen, vlc,c. Kenneth Montgomery KTC 1290 / Codaex

BOHUSLAV MARTINU ConcertoGürzenich-Orchester Köln, c. James Conlon Capriccio 71053

ARNOLD SCHÖNBERG / EDUARD STEUERMANN Verklärte Nacht Trio Jean Paul Ars Musici AM 1383-2

FRANZ SCHREKER UND AUSDRUCKSTANZ Der Geburtstag der Infantin,Valse Lente, Festwalzer und Walzerintermezzo, Der Wind, Ein Tanzspiel, Passacaille Luzerner Sinfonieorchester, c. John Axelrod Nimbus NI 5753

FRANZ SCHREKER Die GezeichnetenArnold-Schönberg-Chor Wien, RSO Wien, c. Gerd AlbrechtOrfeo C 5840221 (Salzburg Festival 1984)

45

new on cd

JOHANNES MARIA STAUD Peras Anika Vavic, pn Edition Klavier-Festival Ruhr 2005

ANTON WEBERN Symphony, 6 Pieces, Concerto, Variations, 3 Lieder, Quartet etc. Twentieth Century Classics Ensemble,Philharmonia Orchestra, c. Robert CraftNaxos 8.557530

KURT WEILL The Eternal Road (highlights)Rundfunk-Sinfonieorchester Berlin, C. Gerard SchwarzNaxos 8.559402

KURT WEILL Le Grand LustucruLars Duppler Trio play Kurt Weill Edition Collage/Radio Bremen EC 536-2

A. CASELLA ScarlattianaG. MALIPIERO RicercariChamber Orchestra Basel,c. ChristopherHogwood,Arte Nova 74321 92765 2

WOLFGANGRIHM Sphäre umSphäre, FrageEnsemble Re-cherche, SalomeKammer, Sc. Lucas Vis WERGO WER 6677 2

JOHANNESMARIA STAUDConfiguration/RefletEnsemble XX.Jahrhundert,c. Peter BurwikGramola 98783

W.A. MOZART /A. ZEMLINSKYThe Magic Flutefor piano forfour handsDennis RussellDavies, MakiNamekawa, pnEdition Klavier-Festival Ruhr2006 (2CDs)

46

FRANCIS BURT worklist

Bavarian Gentians 13’ 1956/2001for chamber choir and 6 instrumentalists

Blind Visions 17’ 1995for oboe and small orchestra

Duo 1954for clarinet and piano

Echoes 10’ 1988-1989for 9 players

Espressione Orchestrale op. 10 13’ 1958-1959for orchestra

Fantasmagoria op. 12 14’ 1963for orchestra

For William 5’ 1988for 9 players

Für Alfred Schlee A postmodern birthday greeting 1’ 1991for string quartet

Der Golem op. 11 Ballet in 1 scene 35’ 1959/1963text: Francis Burt; Erika HankaHommage à Jean-Henri Fabre A bukolic fantasy 15’ 1993/1994for 5 players

3 Little Piano Pieces for J. J. 3’ 1949for piano

Morgana 5 pictures 15’ 1985/1986for orchestra

The Skull op. 6 10’ 1955cantate for tenor and piano, text: Cyril TourneurThe Skull op. 6 10’ 1955/2001cantate for tenor and orchestra, text: Cyril TourneurString Quartet No. 2 14’ 1993-1994Und GOtt der HErr sprach 40’ 1983Contemplations after a golden weddingfor mezzosoprano, baritone, bass, 2 mixed choirs and large orchestra

Unter der blanken Hacke des Monds 17’ 1974/1976for baritone and orchestra, text: Peter HuchelVolpone op. 9 120’ 1952/1958opera in 4 acts, text: Ben Jonson

burt worklist

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Editors: Angelika Dworak and Eric Marinitsch

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Design: Egger & Lerch, Vienna

Photo Credits: Yasuko Haas-Ueda, Caspar Neher (3), Eric

Marinitsch (10), Teatro Real Madrid / Javier de Real u. Ricardo

Sánchez- Cuerda, Helmut Wiederin, Friedrich Cerha, UE Archive,

Georges Lentz, Roundabout Theatre, Vienna Volksoper / Dimo

Dimov, ÖNB, Salzburg Festival, Charlotte Till-Borchardt, Opera

Wroclaw / Ryszard Kaja, OEW; CDs: BMG Ariola, Wergo, Gramola,

Klavier-Festival Ruhr.