05 MusikTriennale Köln.

A celebration of Luciano Berio

07 Georg Friedrich Haas.

Bruchstück in Munich

25 Zoltán Kodály.

World première in Budapest

29 Leos Janácek.

Boulez and Chéreau present From the

House of the Dead in Vienna

Ernst Krenek

Festival in Linz‘Ernst Krenek -

Musician of Speech’

newsletter02/07 • spring 2007

2

contents 02/2007

FESTIVALMusikTriennale Köln — 4 - 6

COMPOSERSBerio — 5Haas — 7Baltakas — 8Sotelo — 9Schwartz — 9Staud — 10Borisova-Ollas — 11Panufnik — 11Halffter — 12Lentz — 12Kurtág — 13Boulez — 13Rihm — 14Pärt — 15Sawer — 15Cerha — 16Ligeti — 16Reich — 17Bennett — 17Feldman— 18Krenek — 19Schreker — 21Weill — 23Eisler — 24Vladiguerov — 24Kodály — 25Bartók — 26Szymanowski — 27Schmidt — 27Janácek — 29Mahler — 30Zemlinsky — 31Milhaud — 31Berg — 32

Contents

3

Schoenberg — 33Marx — 33Martin — 34 Liebermann — 34Einem — 35Haydn — 35

ANNIVERSARIES — 36 - 37

WORLD PREMIÈRES — 38 - 39

NEW RELEASES — 40 - 41

NEW ON CD — 42 - 43

WORKLISTKodály — 44 - 46

ACKNOWLEDGEMENTS — 48

Dear Readers,

Do you know that tingling feelingyou get when you hold a freshlywritten manuscript copy of a scorein your hand? We do, and we love it.We make every effort to turn com-posers’ often enigmatic ciphers, tothe best of our abilities, into legible,clearly performable playing instruc-tions – sheet music, scores and or-chestral materials. This is an impor-tant step, but at the end of the daya pointless one if no-one engageswith the work and responds to thecomposer’s yearning for its realisa-tion. Only the curiosity of musi-cians, singers, conductors, produ-cers and choreographers such asyou can breathe life into scores, andonly then is the work revealed and‘outed’. Without your passion to dis-cover new sound worlds, all our eff-orts would be in vain and remain‘unheard of’.

The Editorial Team

Während der MusikTriennale Köln 2007 werden über 50 Werke von

Luciano Berio in einem umfassenden Werkportrait aufgeführt.

Accordo

Air

A-Ronne

Calmo

Chamber Music

Chemins II & VI

Corale (über Sequenza VIII)

Cries of London

Divertimento

Due Pezzi

Erdenklavier

Feuerklavier

Folk Songs

Formazioni

Kol od (Chemins VI)

Laborintus II

Luftklavier

O King

Opus Number Zoo

Points on the curve to find...

4 canzoni popolari

Récit (Chemins VII)

Ritorno degli snovidenia

Sequenze I – XIV

Sinfonia

SOLO für Posaune und

Orchester

und viele weitere

MusikTriennale.de

MusikTriennale Köln27. April – 20. Mai 2007

»Luciano Berio: Komponist« wird gefördert durch die

berio

5

BERIO

A celebration

of Luciano

It was no anniversary as such, butrather the unchanging contempo-rary relevance of Luciano Berio’swork which gave Cologne’s Musik-Triennale 2007 the impetus to ho-nour the composer with a compre-hensive portrait of his output overa series of concerts from 27 April to20 May. The timelessness of hiswork and the expressive strengthof his music will be showcased inaround 25 events which the festivalhas dedicated to the composer,who would have been 82 years oldin 2007.The programme offers a cross-sec-tion of the most important land-marks of Berio's composing career:Sinfonia, Folk Songs, Formazionifor orchestra; all the Sequenze andtheir derivatives Chemins II and IV,

Récit and Corale; the concertanteworks “points on the curve tofind…” for piano and 22 instru-ments, SOLO for trombone and or-chestra and Ritorno degli snovide-nia for cello and 30 instruments;the music theatre pieces Laborin-tus II, Naturale and a-ronne; his ar-rangements of Mahler Lieder andBoccherini’s Quattro versioni origi-nali della Ritirata Notturna di Ma-drid; plus numerous chamberworks such as Linea, 4 Canzoni po-polari, Cries of London, Opus Num-ber Zoo, O King, 6 Encores, etc.

‘Berio – Music and Language’ is fur-thermore the central theme ofevents running in parallel with thefestival in local schools, which haveeven been made part of gradua-tion examinations in North Rhine-Westphalia.

Dates and performers can befound on the UE Website or at:www.musiktriennalekoeln.de

7

haas

HAAS

Drifting, chang-

ing soundscapes

A newly commissioned orchestralwork, Bruchstück, by Georg Friedrich Haas is receiving its firstperformance at the Philharmoniein Munich on 13 May 2007, with theMunich Philharmonic under the di-rection of Markus Stenz. This is thefirst time the orchestra has com-missioned a composition fromHaas. Two further performanceswill follow on 14 and 15 May. Thenew work forms part of the sameseries as the previous orchestralworks natures mortes and Hype-rion (premièred respectively in2003 and 2006, both in Donaue-schingen): compositional ele-ments, contents and experiencesfrom these earlier works have beenfurther developed in the new

piece. Here, too, overtone harmonyplays its role – changing sound-scapes drift into one another. As liste-ners slowly get into the spirit ofthe work, they gradually discover awealth of new acoustic experien-ces. The microtonality and harmo-nic richness of Haas’ works presenta (rewarding) challenge for any ensemble. The expansion of thesound spectrum attained here, andHaas' involvement with extremelyprecise differentiations of pitch,promise both performer and liste-ner a rare and highly musical expe-rience.

Meanwhile at MaerzMusik – theBerlin Festival’s contemporarymusic section – Peter Hirsch is toperform Monodie (1998) for 18 in-struments with the CollegiumNovum Zurich (22 March).

7

baltakas

8

BALTAKAS

receives Siemens

Grants-in-Aid

The young Lithuanian composerVykintas Baltakas has received oneof the most prestigious distinc-tions awarded to exceptionally talented artists of the new genera-tion, the Ernst von Siemens Grants-in-Aid. As part of the award cere-mony on 3 May in Munich’s Kam-merspiele a new version of his RiRofor soprano and tape (originally soprano and trumpet) will beheard. ‘I’m now focusing on thevoice,’ writes Baltakas, ‘and see elec-tronics as a means of extending it.

Electronics can transcend the limi-tations of the actual voice – harmo-nically, polyphonically, timbrally … .Imaginatively handled, the voice of-fers infinite possibilities for trans-formation, and can develop in limit-less directions.’

In Witten the Arditti String Quartetis giving the first performance ofthe string quartet bell tree, compo-sed in response to a commissionfrom Harry Vogt (West GermanRadio). The idea for the music ap-parently came from ‘a rhythmic as-semblage of Swiss cowbell sounds’.

Finally, Ouroboros for ensemblewill have its Spanish première on 9 May in Valencia by the EspaiSonor Ensemble under Voro García.

9

sotelo / schwartz

SOTELO

Spectral

flamenco

A friend of Mauricio Sotelo oncedescribed his music as ‘spectral fla-menco’. In Sotelo’s own words, hismusic contains ‘the pulsating beatof memory’ – and indeed, at theheart of his Muros de dolor III liesthe echo of a musical memorywhich recalls the ancient, dramaticsong of Andalucia. Anne Manson isto give the première of the orche-stral work on 4 May in Las Palmas /Gran Canaria.Green Aurora dancing over thenight side of the earth is the namegiven by NASA to a spectacularphotograph of the aurora borealis,which provided Sotelo with thetitle for his set piece for the ClaraSchumann Piano Competition –since Clara can (figuratively, atleast) also be translated as‘aurora’ (dawn). Inspired by flamen-co, Green Aurora ends with a para-phrase of Scarlatti (K.184 in Fminor); its first performance is inDüsseldorf on 5 May.

SCHWARTZ

8 double basses

‘music for 8 double basses is an 8-part canon, in which the bassesare stationed round the audience sothat the circulation of the canon istransformed into a spatial circula-tion. The number 8 inspired me touse diatonic scales, which ‘form acircle’, so to speak, with their eighthnote. The musicians play not onlydouble basses but also bass drums,which gives the listening experiencea spatial, percussive dimension’ (JaySchwartz). First peformance: Frank-furt, 12 May, with the bassists ofthe HR Symphony Orchestra.

Jay Schwartz

staud

10

STAUD

Self-contained

sound worlds

One Movement and Five Minia-tures for harpsichord, live electronicsand spatially distributed ensembleby Johannes Maria Staud – com-missioned by the BirminghamContemporary Music Group – hasits première on 22 April under Ilan Volkov. The soloist will be Clive Wil-liams (duration 12–15 min).Staud says of it: ‘Placing the “earlymusic” instrument (harpsichord) ina context with the “new music”instrument (computer) is a very stimulating exercise. It is by nomeans a question of incompatiblesound worlds mutually agreeingtheir own borders, but rather of asymbiosis, whose goal is the totalabsorption of both spheres into anew, self-contained sound world.’

The chamber opera Berenice, firstperformed in 2004 at the MunichBiennale, now also exists as a two-part suite, jointly commissioned bydas neue werk Hamburg, Ensem-ble Modern and Porto’s Remix En-semble. ‘In both these ensembleworks … music from Berenice hasbeen reassembled from totally inde-pendent dramatic viewpoints, oftenin radically re-orchestrated form.Here the most difficult questionswere: What should I leave out?

Break up? Shorten? Which scenesshould I join together? Whereshould I write something extra?How can I compensate for the ab-sence of singers?’ First performan-ce: Hamburg, 31 May, EnsembleModern/Franck Ollu.The day after Alejo Perez conductsthe NDR Symphony Orchestra inthe German première of A Map isnot the Territory in Hamburg,while Ars Musica in Brussels has invited Carolin Widmann to playTowards a Brighter Hue for soloviolin (18 March).

11

borisova-ollas / panufnik

BORISOVA-OLLAS

Opera or

musical?

As we’ve already reported, VictoriaBorisova-Ollas is currently workingon a music-dramatic setting of alove story derived from a SalmanRushdie novel.The Ground Beneath Her Feetappeared in 2000 and is a modernversion of the Orpheus myth. Thelibretto concentrates on the twocentral characters of the novel, thelovers Vina and Ormus (mezzo so-prano and baritone, suitable foroperatic or musical voices), and aspeaking role. The first performancewill take place in summer 2007.Where? To be announced shortly.

PANUFNIK

US and UK

Premières

Even before her 40th birthday yearin 2008, Roxanna Panufnik alreadyhas a great deal to celebrate in2007. The composer has threepremières between March andMay this year, two of which are inthe USA. Christ Church CathedralChoir in Indianapolis will performthe US première of A Kind of Otherness on 11 March, under thedirection of Frederick Burgomaster,and on 24 March, The Choral ArtsSociety of Philadelphia will give theworld première of Love Abide – asubstantial, 20’ work for two soloists, mixed choir, harp, organand string orchestra.Meantime, back in the UK, thechoir of St Edmundsbury Cathedralwill première Declair the Wondersfor choir on 6 May; interestingly,this commission is to commemoratethe 400th anniversary of the found-ing of Jamestown, Virginia, by Bartholomew Gosnold (who camefrom Bury St Edmunds), and assuch will have an American theme.

Victoria Borisova-Ollas

12

halffter / lentz

When Halffter wrote his DortmundVariations he didn’t have a conven-tional variation form in mind. Hisintention was rather to allow theindividual groups of the orchestrato take part in a slightly humurouscompetition. The closing D majorchord refers to the ‘D’ of Dortmund.The composer is conducting thework on 24 May in Madrid with theOrquesta Sinfónica de Madrid.

LENTZ

Monh tours

Germany

Monh, written by Georges Lentzbetween 2001–05, will feature greatly in the concert houses ofGermany in March. The work,which is written for solo viola,orchestra and electronics, is beingperformed three times by the Bochumer Symphoniker, in Bochumand Mülheim from 8–10 March,and then a further three times bythe Düsseldorfer Symphoniker (inDüsseldorf) on 23, 25 and 26 March.The soloist for all six performanceswill be the critically acclaimed violaplayer Tabea Zimmerman, and theconductor Steven Sloane.

HALFFTER

Fifty years

bear fruit

Palimsesto means writing or paint-ing something new on a page orcanvas on which something alreadyexists. Cristóbal Halffter becameinterested in this practice when hestarted work on his orchestral workof the same name, which reflectsthe experience of the last fiftyyears of his creative life. After itssuccessful première in Dresden it isnow to enjoy its first Spanish per-formance in Madrid on 29 March.

13

kurtág / boulez

KURTÁG

A kind of ritual

The full title of György Kurtág’sconcert-length compilation of hisown music, first heard in Berlin in1993, is: Rückblick. Old and new forfour players. Homage to Stockhau-sen. The oldest of the works assem-bled from different creative periodsand arranged for trumpet, doublebass and keyboard instruments –the 8 Piano Pieces Op. 3 – is usedunaltered. All the other shortmovements appear in the mostdiverse combinations and result ina kind of ritual (Cantus Ensemble,Zagreb 5 March).

BOULEZ

Brussels

portrait

This March Ars Musica is presen-ting a small portrait of Pierre Boulez. Tino Haenen has invitedmusikFabrik from Cologne to per-form Dérive 2 under former chiefconductor Peter Rundel (24 March),Le Marteau sans Maître can beheard at the Palais des Beaux-Arts(18 March), and Ensemble Recher-che are playing Improvisé – pour leDr. K. (1969/2005) at the ThéâtreMarni (10 March).

Boulez is also touring Spain inMarch with Ensemble Intercon-temporain, in a programme featu-ring sur Incises (Zaragoza, Barcelonaand Grenoble, 10–13 March).

Mémoriale can be heard twice: inParis (a concert celebrating Ensem-ble Intercontemporain’s 30th anni-versary, 17 March under Peter Eötvös) and London (12 April, LSO /Daniel Harding).Simone Young is conducting Nota-tions I–IV and VII on 20 and 21 Mayin Hamburg, and Jörg Widmann isto play Dialogue de l’ombre doublein Munich (19 April).

Pierre Boulez

14

rihm

RIHM

Messages

in bottles

Compositions are rather like mes-sages in bottles which, after com-pletion, embark on a long voyageacross the seas of music, in orderperhaps here or there to reach ashore. Sometimes these messagesfind numerous listeners – for exampleErnster Gesang, one of WolfgangRihm’s most performed works,which is to enjoy its 61st perfor-mance on 12 April with the LeipzigGewandhaus Orchestra underNeeme Järvi.A unique case is Deus Passus, whichis sung every second year atSt Michael’s Church in Hamburg(conductor: Christoph Schoener);this year, on 6 April, it can be heardtogether with a light installationby artist Michael Batz.

Hamburg is also the venue for theopening concert of ‘Ostertöne’ con-ducted by Simone Young on 6 April,at which Rihm’s Das Lesen derSchrift shares the bill with Brahms’German Requiem.The bottle containing Abschieds-stücke (1993) for soprano and 15players went missing for 5 years, and has now resurfaced inPortugal (Rosemary Hardy, RemixEnsemble / Peter Rundel, 12 and 13May, Lisbon and Porto). This pro-gramme also features GejagteForm (1995/2002), which twomonths earlier (9 March) can alsobe heard at the Oberlin Conserva-tory of Music under Timothy Weiss.

Elswhere, Jonathan Nott conducts“CONCERTO”, dithyramb for stringquartet and orchestra in Lucerne(Arditti Quartet / Lucerne SO, 21and 22 March) and Daniel Hardinghas chosen IN-SCHRIFT for his Lon-don concert with the LSO (9 May).

15

pärt / sawer

PÄRT

Honorary doctor-

ate in theology

For his services to sacred music, theFaculty of Catholic Theology at theAlbert Ludwig University of Freiburg is to award Arvo Pärt anhonorary doctorate in theology on4 May. The celebrations reach theirclimax on 6 May with a papal massin Freiburg Cathedral, during whichthe Berliner Messe and The Beatitudeswill be performed.‘Beethoven, Pärt: Sounds of theSoul’ is the motto of the 44th Festi-val Pianistico Internazionale ArturoBenedetti Michelangeli, which istaking place between 14 April–12 June in Bergamo and Brescia.The list of works performed in-cludes Credo and Festina Lente on 22–23 April under Neville Marriner,Magnificat on 6–7 May, Te Deum,Mein Weg, Orient & Occident, L’Ab-bé Agathon, Wallfahrtslied and

Da Pacem under Tõnu Kaljuste on19–20 May, and Lamentate withAlexei Lubimov as soloist underPier Carlo Orizio on 4–5 June.

SAWER

Music of Today

David Sawer’s Take Off and Holly-wood Extra will be featured by thePhilharmonia Orchestra in its‘Music of Today’ series on 26 April.The concert will also feature aninterview with the composer, andtakes place at the Queen ElizabethHall in London, with Edward Gardnerconducting.On 12 February, a CD of four sub-stantial works by Sawer, performedby the BBCSO and BCMG (conduc-tors Martyn Brabbins and SusannaMälkki) and featuring the newFrom Morning to Midnight: Sym-phonic Suite was released on theNMC label.

Arvo Pärt

16

cerha / ligeti

CERHA

Golden Moments

Friedrich Cerha’s Momente, com-missioned by the Munich musicaviva, was successfully premièredunder Arturo Tamayo on 1 Decem-ber 2006. Both audience and criticswere clearly highly impressed bythe wealth of ideas and freshnessof this score. ‘Fantastically thoughtout,’ wrote Egbert Tholl in the Süd-deutsche Zeitung: ‘this is pure musicof ideas, utterly remorseless at everyturning.’ Tobias Hell in the Münche-ner Merkur thought that ‘here thelistener … is at once thrown into thethick of things with little beatingabout the bush, and is threatenedwith being overwhelmed almostfrom the first outburst of the entirestring section …’

On 3 March Klangforum Wien areplaying the string sextet Eight Movements after Fragments byHölderlin in Vienna, and the SWRSymphony Orchestra of Stuttgartunder Brad Ludman performs Lang-egger Nachtmusik III (16 March).

LIGETI

Musical

labyrinths

Several of the ideas for his orches-tral work Apparitions – composedbetween 1958–9 – already occupiedGyörgy Ligeti while in Budapest:a first version was already in hisluggage as he fled to Austria, bea-ring the title Viziók (Visions). Forthe Cologne première under ErnestBour on 19 June 1960 Ligeti wrote:‘My initial idea was a vision of wide-branching musical labyrinths filledwith sounds and gentle noises’.Toshiyuki Shimada conducted thework on 3 February with the YaleSymphony orchestra in NewHaven/USA.

Friedrich Cerha

17

reich / bennett

REICH

Polar Music

Prize

The Polar Music Prize, one of themost internationally known musicawards, will this year be given toSteve Reich. King Gustav of Swe-den will present the award on 21May 2007 in Stockholm. ‘The awardrecognises Reich's unique ability touse repeats, canon technique andminimal variation of patterns to de-velop an entire universe of evocativemusic, endowed with immediatetonal beauty.’Continuing its spectacular tributeto Reich during the celebrations ofhis 70th birthday last year, the Bel-gian dance company rosas is nowtaking its 'Steve Reich Evening' on atour of no less than 26 dates, involv-ing performances which started on15 February in Luxembourg and

Bruges, and continuing on to Essen,Brussels, Cavaillon, Paris, Granada,Seville, Antwerp, Utrecht and Char-leroi (until 9 June). Information:www.rosas.be

BENNETT

Grammy nomination

The superlative recent recording onChandos of Richard R. Bennett'smasterful opera, The Mines of Sulphur, was nominated for the49th Annual Grammy Awards inthe USA.In October 2006, his children’sopera All the Kings Men was successfully produced in Alde-burgh by the Jubilee Opera Group.This exciting musical pageant foryoung people is beautifully written, perfectly idiomatic and anatural choice for school perfor-mances.

rosas

18

feldman

FELDMAN

Still in demand

The music of Morton Feldman stillproves to be as much in demand in2007 as it has ever been. Ensem-bles Recherche and Intercontem-porain will perform Samuel Bek-kett, Words and Music in Basle,Switzerland (17 March) and at the

Centre Pompidou in Paris (29March, conducted by SusannaMälkki) respectively.Shortly after this, on 10 April, the Moscow Forum Festival has invitedEnsemble Recherche to play Instru-ments 3.On 20 April the Vlaams Radio Orkest, with cellist Arne Deforce,will perform Cello and Orchestra atthe deSingel Theater in Antwerpunder the guidance of Thierry Fischer.

There are then two performancesat the Mozarteum in Salzburg. Thefirst features the ÖsterreichischesEnsemble für Neue Musik withJohannes Kalitzke performingRothko Chapel on 11 May, and thesecond, on 13 May, features theMinguet Quartett playing StringQuartet No. 2. Twenty years afterhis death, the fascination with theoeuvre of Feldman shows absolutelyno sign of abating.

his veneration of poets and writers.The accompanying programme ofconcert and stage performancesincludes three highlights beingheard for the first time in Austria:the ballet Eight Column Line Op. 85(1939) choreographed by RoseBreuss, the chamber opera TarquinOp. 90 (1940) in co-operation withthe Linz Landestheater, and Marlborough s’en va-t-en guerreOp. 52 (1927), a marionette playreconstructed and adapted fromMarcel Achard.The Festival is round-ed off by a workshop on song inter-pretation with Axel Bauni and anexhibition of Krenek’s water- colours in Linz’s LENTOS Museum.

‘Project TJO’(youth theatre orchestra)in Münster/D enables talentedyoung instrumentalists, under theguidance of players from the Münster SO, to take part in a production under professional con-ditions. This year’s production isKrenek’s tragic opera Der Diktator,in which he paints a bleakly ironicpicture of the approach of fascismand which he himself called ‘abloody murder story from the privatelife of a contemporary dictator’.First night: Städtischen BühnenMünster 29 April; subsequent per-formances until 19 May.

And – out now: Krenek Studies Vol.2: Krenek’s Music Theatre; more in-formation at: www.krenek.com

19

krenek

KRENEK

All-round genius

under the spot-

light

Between 12–22 April 2007 the Festival ‘Ernst Krenek – Musician ofSpeech’ is taking place in Linz/A.A symposium with top-class parti-cipants will illuminate Krenek’smusical rhetoric, the grammar ofhis expressivity and ‘Krenek as mu-sician of speech’ – in other words

Ernst KrenekMarlborough s’en va t’en guerre

Het M UZ I E KTH EATE R

AM STE R DAM

Franz Schreker 1878 -1934

Die GezeichnetenDirector

Martin Kusej

Conductor

Ingo Metzmacher

Royal Concertgebouw Orchestra

18 20• 23 26 30 May 3• 6 9 June 2007

Het Muziektheater Amsterdam

19.30 /•13.30

Box Office

T + 31 20 625 5455

www.dno.nl

21

schreker

SCHREKER

Psycho-thriller

in Amsterdam

In 1915, with World War I raging allround him, 27-year old Franz Schreker – exempted from call-upon health grounds – wrote hisopera Die Gezeichneten. Only threeyears earlier the première of Derferne Klang in Frankfurt had turned him overnight into one ofthe most important operatic com-posers of his time, but Die Gezeich-neten, on account of its modernityand social criticism, could not ini-tially secure a performance. Overeighty years later it was to achieverenewed fame thanks to the newproduction by Martin Kusej inStuttgart. Back then in 2002 thepress was unanimous: operatic history had been written. This ‘warwork’, according to the Tagesspie-gel, returned to the stage withforce and refinement. Die Weltspoke of a ‘psycho-thriller’ with a‘film-music-like score’. The Stuttgartproduction is now to be revived atHet Muziektheater in Amsterdamunder the direction of Ingo Metz-macher from 18 May.

In Los Angeles, James Conlon is toconduct the LA Opera Orchestra on7 and 10 March in a concert of ‘re-discovered voices’ – music which wassuppressed during the Third Reich.

Parts of Die Gezeichneten, Jonnyspielt auf by Ernst Krenek and Alexander Zemlinsky’s A FlorentineTragedy are being performed.

Der ferne Klang can be heard forthe first time in the USA (15 April)at a concert in the Avery FisherHall, New York, with the AmericanSO under Leon Botstein.

Franz Schreker Die GezeichnetenStaatsoper Stuttgart 2002

23

weill

WEILL

An Irish

Winter’s Tale

The Wexford Opera Festival is nolonger an insider’s tip. In terms ofquality, performances there canconfidently stand up to internation-al comparison, and the Irish festivalhas also shown great skill at restor-ing rediscovered, less familiarworks to the repertory. The 2007Festival is taking place for the firsttime at picturesque JohnstownCastle. Its inaugural event – and atthe same time highpoint – is thenew production of Kurt Weill’swinter’s tale Der Silbersee in a newEnglish translation, produced byKeith Warner. Timothy Redmond ismusical director, and there are per-formances from 31 May–15 Jun; seewww.wexfordopera.com

The Kurt Weill Festival 2007 (Dessau, 2–11 March) is highlight-ing the mutual inspiration of con-temporary dance and Kurt Weill’smusic. In over 35 events listenerscan make the acquaintance of thisboth popular and, at the sametime, unknown oeuvre. The Festivalopens with Tango Palace perfor-med by the Gregor Seyffert Com-pany of Dessau; the three-partshow is a passionate, quirky andwitty defence of the tango and itstriumphal march across cultures.

The oldest dance troupe in the UK,the Rambert Dance Company, is topresent Anthony Tudor’s (1940) ballet The Judgement of Paris tomusic from The Threepenny Opera.Finally there is a guest appearanceof Ensemble Modern under HKGruber, and a revival of The Riseand Fall of the City of Mahagonnyat the Anhaltisches Theater.www.kurt-weill-fest.de

Johnstown Castle, Ireland

24

eisler /vladiguerov

Now the path has been cleared forthe controversial work again: on 30 May Eberhard Kloke conductsthe Norwegian première as part ofthe Bergen Festival.

PANTCHO VLADIGUEROV

Vardar

Only two weeks after Bulgaria’sentry into the EU Rossen Milanovconducted Pancho Vladiguerov’sBulgarian rhapsody Vardar Op. 16at Rutgers University in New Jersey(13 January).Vladiguerov was born in Zurich in1899, but spent the greater part ofhis life in his Bulgarian homeland.Vardar appeared in 1922 in a version for violin and piano, and in1928 the composer produced theorchestral version. The patrioticsymbol of the river Vardar is emble-matic of the work’s Bulgarian character.

EISLER

Fierce

controversies

Since Brecht’s heirs removed theembargo on Die Massnahme, di-dactic piece in 8 numbers (1930), atthe end of the 1990s nearly 50 per-formances have taken place – notonly in Europe but in Australia aswell. At its first performance on 13December 1930 the ideologicalcontent of the work led to fiercecontroversies. For the right DieMassnahme was a ‘shameful Bols-hevistic piece’, for liberals a ‘long-range Bolshevistic artillery piece’,for the communists a ‘travestypiece’. The Communist Party purgesin the Soviet Union made Die Mass-nahme look like a prophetic apolo-gy for Stalin’s terror, and afterWorld War II Brecht and Eisler decidedto forbid further performances.

Hanns Eisler Die Massnahme Berlin 1997

25

kodály

avoided those compositions whichcan already be found in Kodály’sstage works in his own instrumen-tation, these twenty arrangementsare by no means to be regarded as acycle in the strict sense of the word.This naturally means that the performer can, if necessary, make aselection from the pieces or linkthem together to form little gar-lands.’

KODÁLY

Háry János

to visit Vienna

One of the most important eventsof this Zoltán Kodály anniversaryyear (on 16 December 2007 themusic world commemorates his125th birthday) is to take place atthe Vienna Konzerthaus on 28 May:General Secretary Christoph Lieben-Seutter has invited the RSOBudapest to give a concert perfor-mance of Kodály’s opera HáryJános under Adam Fischer.In recent years this Singspiel hasbeen performed in French in Stras-bourg and Montpellier, but its fairy-tale world, rooted in Hungarian folkmusic, has more often found ahome in the concert hall than onthe operatic stage: the Suite is toenjoy 14 performances in the nextthree months, in Vienna, Berne,Stockholm, London and Stuttgart.The Dances from Galánta are beingperformed 17 times, in venues ex-tending from Vienna to Tübingenvia Dresden. The memorial yearalso offers a first performance:Zoltán Kocsis has arranged the 20Hungarian Folk Songs for voice andorchestra, and after a preview offour songs will present the entirecycle for the first time in Budapest(16 March). Kocsis writes in his preface to the score: ‘Since in thecourse of my reworking I deliberately

bartók

26

perform Bartók’s first two PianoConcertos. The soloist is Hungarian-born András Schiff, one of the mostprofoundly knowledgeable expertson his compatriot’s piano works,with an unmistakable feeling forthe music’s nuances (7–15 March).

Only a week later another Hungarianpianist, Dezsö Ránki, will performPiano Concerto No. 2 again in Zurich(Orchestra de Sao Paulo / John Nesling) – a rare opportunity tomake a direct comparison of theway two Hungarian pianists approach their great legacy. Bartók’svirtuoso Piano Concerto No. 2 canalso be heard in Israel: Lang Lang,the 24-year old Chinese piano pro-digy, will perform the work with hismentor Zubin Mehta and the IsraelPhilharmonic Orchestra (Tel Aviv 1 March, Haifa 6 March).

BARTÓK

Elementary

opposition

Opera is kept alive by constantlyquestioning its social relevanceand comparing different interpre-tations. Now, shortly after the Parisproduction of Belá Bartók’s Blue-beard’s Castle, French music loversalso have the opportunity to expe-rience this central work of Bartók’soeuvre in Lyon (première: 19 April,conductor Juraj Valcuha). It will cer-tainly be exciting to see how pro-ducer Laurent Pelly deals with itselementary opposition betweenthe male role’s impenetrable souland his wife’s curiosity.

In March Bartók also comes underthe spotlight in Zurich: the TonhalleOrchestra, under their principalconductor David Zinman, are to

Béla Bartók Bluebeard’s Castle Opéra Nancy 2002

27

szymanowski /schmidt

Opera Wroclaw

SZYMANOWSKI

Beauty and

sensual delight

From 30 March Wroclaw’s newlyrenovated opera house is playinghost to Karol Szymanowski’s KingRoger, in a production by Polishfilm and opera director MariuszTrelinski. Ewa Michnik conductsthe Orchestra of the WroclawOpera, and Andrzej Dobber sings thetitle role: further performances willtake place on 31 March and 1 April.In a mix of opera, oratorio and mystery play, King Roger uses thehistorical figure of Norman kingRoger II, who ruled over Sicily in the12th century, to explore the conflictbetween the established Christianorder and a pagan cult of freedom,beauty and sensual delight. ‘Myproduction depicts a man’s encoun-ter with God,’ says Mariusz Trelinksi.‘The man meets a person who

completely destroys his world-viewand leads him to total destruction.This strange act of God has a deepermeaning: the man dies, but is bornagain.’

SCHMIDT

The ‘Second’

makes a comeback

Two works of Franz Schmidt reap-pear over and over in contempora-ry concert programmes: his orato-rio The Book with Seven Seals andSymphony No. 4. By contrast hisSymphony No. 2 has disappearedfrom the concert hall, even thoughit developed into one of Schmidt’sbiggest public successes in theyears after World War II. Fabio Luisiconducts the ‘Second’ on 20 May inLeipzig (MDR SO) and on 31 May inVienna (RSO Vienna), and re-opensthe Book with Seven Seals on 13, 15and 16 April in Vienna.

Hauptsponsoren der Wiener Festwochen Festwochen Service Telefon 01-589 22 22www.festwochen.at

11. Mai bis 19. Juni 2007

29

janácek

JANÁCEK

Genius in

collaboration

The event has long since enteredoperatic lore as the ‘Ring of thecentury’: when French duo PierreBoulez (conductor) and PatriceChéreau (director) produced Wag-ner’s tetralogy at Bayreuth in 1976,they divided the audience as seldombefore. Today their reading countsas one of the milestones of Wagnerreception, theatrically and musically.

31 years later Boulez and Chéreauare teaming up again to realiseLeos Janácek’s From the House ofthe Dead with the Mahler ChamberOrchestra for the Wiener Festwo-chen (première: Vienna, 12 May).The set designer is also the sameas at Bayreuth: Richard Peduzzi.The production will also be seen in

Amsterdam (June 2007), at the Fe-stival d’Aix-en-Provence (July), inNew York and in Milan. Of hisHouse of the Dead, Janácek wroteto Kamila Stösslová in 1927: ‘What Iam now completing is perhaps mygreatest work – this new opera. I amso excited, it is as though my bloodwanted to gush forth.’

Paris, too, is offering a very promi-sing new Janácek production incollaboration with Madrid’s TeatroReal: The Makropulos Case (conduc-tor: Tomas Hanus, producer Krzy-stof Warlikowski, 27 Apr). Janácek’smost-performed opera, Jenufa, isalso enjoying several premières,including Cologne (under MarkusStenz, 28 April), Nantes (Mark Shanahan, 2 March), Washington(Jiri Behohlávek, 5 May) and Milan(Lothar Koenig, 29 April). KatyaKabanova can be heard in a newproduction at the Kassel Opern-haus (23 March).

Leos Janácek From the House of the Death Theater Bonn 2004

30

mahler

orchestras, cyclic performances stillremain rare, on account of the demands they place on conductors,soloists and orchestras. Daniel Barenboim and Pierre Boulez havenow taken up challenge and arepresenting the Symphonies 1–9plus Das Lied von der Erde, withThomas Quasthoff and ChristineSchäfer as soloists.

While the Berlin performers arecontent with the nine completedsymphonies, in the NetherlandsMahler’s Symphony No. 10 is beingperformed for the first time in thereconstructed version by conductorRudolf Barshai. Barshai himselfwill direct the Orkest van hetOosten in Zwolle (15 March) and Enschede (16 and 17 March).

MAHLER

Scarcity value

In 1965 the Scottish choreographerKenneth MacMillan created hisballet Romeo and Juliet for theRoyal Ballet in London, later to befilmed with Rudolf Nureyev andMargot Fonteyn in the lead roles.Less well known is his ballet of thesame year based on Gustav Mahler’s Lied von der Erde, whichhe produced in Stuttgart. This ver-sion is to be performed at the Bavarian State Opera from 28 April.Ryusuke Numajiri conducts the Bavarian State Orchestra, with Daniela Sindram and Kevin Connersas vocal soloists.

The ‘Festtage 2007’ at Berlin’sStaatsoper Unter den Linden isentirely devoted to Mahler’s worksbetween 1–12 April. Even thoughhis symphonies belong to the standard repertoire of all leading

Gustav Mahler Das Lied vonder Erde Stuttgart Ballet

31

zemlinsky / milhaud

Jonathan Stockhammer with Georges Lavaudant producing; andon 15 April in Frankfurt under PaulDaniel’s direction, produced by UdoSamel.In Frankfurt the opera is to be cou-pled with The Dwarf; dates of sub-sequent performances and precisedetails of forces required can befound at: www.universaledition.com

MILHAUD

The joy of

music making

Darius Milhaud’s Viola ConcertoOp. 108 (1929) has seldom attractedmuch attention from viola players.All the more welcome, then, is theupcoming performance in Amster-dam (20 May), with Suzanne vanEls, vla, and the Symfonie OrkestCon Brio under Peter Biloen. ‘Thiswork delights with its unaffectedjoy in music making’ wrote a 1937critic; ‘it is a true concerto in thegood, old-fashioned sense, givingthe soloist the opportunity to display his technical and musicalabilities, yet its effect is new andunique.’

ZEMLINSKY

Enthralling

music theatre

Both of the one-act works A Floren-tine Tragedy and The Dwarf be-long without a doubt to the highpoints of Alexander Zemlinsky’soutput for the theatre. Both worksare based on stories by Oscar Wildeand their theatrical power andcharm have been rediscovered bynumerous opera houses in recentyears. Thus the Florentine Tragedycan be seen on 2 and 4 March inMontpellier under Bernhard Kontarsky’s direction and in RenéKoenig’s staging; on 17 April at theOpéra National de Lyon under

Alexander ZemlinskyA Florentine Tragedy

berg

32

conductor Peter Keuschnig, pro-duction Olivier Tambosi).The 2-act version of Lulu is in reper-toire at Regensburg’s Stadttheateram Bismarckplatz from 3 March,while the Bremerhaven Stadttheateris producing the 3-act version com-pleted by Friedrich Cerha (19 May).

Berg’s Violin Concerto is receiving aperformance at the Wiener Fest-wochen with Gidon Kremer andthe Vienna Philharmonic under Nikolaus Harnoncourt (5&7 May).The same team first performedthis work exactly ten years ago, andthe critics of the time spoke of a ‘reference performance’.The 15-minute concert aria DerWein (1929) is a perfect demonstra-tion of Alban Berg’s instrumentalmastery. Ingo Metzmacher is performing the work with the Concertgebouworkest in Amster-dam, with Anne Schwanewilms assoloist (25 and 31 May).

BERG

Tradition

of modernism

As Music Director of the TeatroColón, Erich Kleiber – conductor ofthe première of Alban Berg’s Wozzeck– was a key figure in the musicallife of Buenos Aires, where as uncompromising champion of mo-dern music he had been forced toemigrate, and where he gave sev-eral works of the Second VienneseSchool their South American pre-mières. So when, as now, the TeatroColòn in Buenos Aires stages Wozzeck (under Marcelo Lombar-dero, 23 March) they are continuinga great tradition which Kleiber helped establish. Meanwhile Eber-hard Kloke’s version of Wozzeck forsmall orchestra (2004) is receivingits Austrian première at the Klagen-furt Stadttheater (from 5 April,

Nikolaus Harnoncourt

33

marx / schoenberg

SCHOENBERG

Monumental sounds

On 17 March, at the Cité de la musi-que in Paris, Pierre Boulez and EICare presenting the Song of theWood Dove from Arnold Schoen-berg’s Gurre-Lieder. The completeversion of the work, with soloists,chorus and orchestra, can be heardon 25 March in Monaco, with theOP de Monte-Carlo under MarekJanowski and Eva-Maria Westbroekand Alfons Eberz as soloists. Thechoral parts will be contributed bythe Berlin Radio Chorus and theMDR Chorus Leipzig.In 1902 – the year Debussy’s operaappeared – Schoenberg begancomposing Pelleas und Melisande,but early on decided against a dra-matic realisation in favour of asymphonic poem. The work can beheard on 15 May in the Vienna Mu-sikverein, with Boulez conductingthe Webern Symphony Orchestra.

MARX

A masterpiece

rediscovered

Joseph Marx’s Autumn Symphonywas first performed by Felix Wein-gartner and the Vienna Philharmo-nic in 1922. A critic of the premièrewrote of a ‘gigantic work, whichsurpassed all expectations and over-came all misgivings and presentednew, unheard-of challenges for theconductor as well as the performersof the world’s best orchestra … Inthis four-movement symphony amonument was erected to autumn,of a splendour of coloration and fer-vour of feeling unique in music history.’ (Duration ca. 75’)Thanks to the efforts of the newlyfounded Joseph Marx Society, thismajor score has once again arousedthe interest of numerous conduc-tors.

34

martin / liebermann

MARTIN

From the

Repertoire

Ever since Frank Martin’s full-length oratorio Golgotha appearedin the 1940s, conductors have glad-ly fallen back on this exceptionallydramatic work whenever a digni-fied church celebration of Easterwas needed. Martin had reserva-tions about being able to create some-thing to stand alongside Bach’sPassions, but was so fascinated bythe three versions of Rembrandt’sThree Crosses that he found thecourage to begin. Golgotha is beingperformed at Easter (31 March–1 April) in Hamburg and Potsdam.

Martin’s Die Weise von Liebe undTod des Cornets Christoph Rilkehas been in repertoire since 17 February at the Thüringer Lan-destheater, Rudolstadt in ChristianMarten-Molnár’s successful pro-duction (further performances 16,23 and 24 Mar).

Fabio Lusi is conducting the 6Monologues from Everyman – rem-nants of an abandoned opera –with the Dresden Staatskapelleand soloist René Pape, in Dresden(6–8 May) and Vienna (14 May).

LIEBERMANN

Rousing effect

A Berliner Philharmoniker pro-gramme booklet of 1965 says ofRolf Liebermann’s orchestral workFurioso (1947): ‘Even today Lieber-mann’s Furioso exercises its rousingeffect on the audience. The pieceowes its widespread and enduringsuccess … to the stormy élan whichpervades it.’ Roman Brogli-Sacher istaking this work to Lübeck (18 and19 March) with the PhilharmonicOrchestra.

On 29 April the parable Ferdinandfor speaker, slideshow and ensem-ble will entertain the children ofBasel (Ensemble les muséiques).

35

einem / haydn

EINEM

Prince Chocolat

Theatre and concert promoters onthe lookout for children’s piecesmight find what they seekamongst Gottfried von Einem’smusic. The musical fairy tale in 5episodes Prince Chocolat (1982–3,libretto Lotte Ingrisch) for speakerand chamber orchestra (1 1 1 1 – 1 1 00 – timp., perc. – str.) is a charming35-minute tale of a lonely little boywho one night sees a chocolate-brown prince standing before hisbed, with whom he shares extraor-dinary adventures. Coming soon tothe Vienna Musikverein (26 March).

HAYDN

Lo Speziale

in Munich

Universal Edition publish six Joseph Haydn stage works, editedby H. C. Robbins Landon and EvaBadura-Skoda. In preparation forthe 200th anniversary of his death(May 2009), we have recently is-sued a booklet about the Haydnoperas in our catalogue.Of course the works of this greatcomposer are always being pro-grammed regardless of any anni-versary – even his operas, which at-tract relatively little interest.Ulf Schirmer is conducting Lo Spe-ziale (The Apothecary), a drammagiocosa after Carlo Goldoni, on 18March at Munich’s Prinz-regent-entheater, with Mario Bayo, Moni-ca Groop, Jeremy Ovenden, SteveDavislim, Franz Tscherne and theMunich Radio Orchestra.Haydn wrote the opera to a com-mission from his employer PrinceNikolaus Esterházy for the conse-cration of what has become knownas the ‘Hungarian Versailles’, thePalace of Eszterháza.

Joseph Haydn

anniversaries

36

2007

75th Anniv. of Death Eugen d'Albert † 03 March 193270th Birthday David Bedford * 04 August 1937125th Anniversary Walter Braunfels * 19 December 188220th 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 188275th Birthday Richard Meale * 24 August 193270th 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

200825th 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 194875th Birthday R. Murray Schafer * 31 October 193370th 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

anniversaries

37

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

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

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

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

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

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

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

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

VYKINTAS BALTAKAS Piece for soprano and tape on the occasion of the award ceremony of the Ernst von Siemens Grants-in-Aid, Rita Balta, S03 May 2007 · Münchner Kammerspiele/D

bell tree for string quartetArditti String Quartet21 April 2007 · Witten Days for New Chamber Music/D

GEORG FRIEDRICH HAAS Bruchstück for large orchestraMunich Philharmonic, c. Markus Stenz13 May 2007 · Philharmonie Munich/D

ZOLTÁN KODÁLY Hungarian Folk Music for voice and orchestraHungarian National Philharmonic, c. Zoltán KocsisEszter Sümegi, S, Bernadette Wiedemann, A,Szabolcs Brickner, T, Bence Asztalos, B16 March 2007 · Budapest Spring Festival/H

ROXANNA PANUFNIK Love Abide for alto, bass, mixed choir, harp, organ and string orchestrac. Matthew Glandorf, Choral Arts Society of Philadelphia24 March 2007 · Philadelphia/USA

Declair the Wonders for choirc. James Thomas, St Edmundsbury Cathedral Choir06 May 2007 · Cathedral Bury St Edmunds/UK

JAY SCHWARTZ Music for Eight Double BassesBassists of the Hessen Radio Orchestra Frankfurt12 May 2007 · Frankfurt/D

world premières

38

world premières

39

MAURICIO SOTELO Muros de dolor III for orchestraOrquesta Filarmónica de Gran Canaria c. Anne Manson04 May 2007 · Auditorio Alfredo Kraus, Las Palmas,Gran Canaria/E

MAURICIO SOTELO Green Aurora dancing over the night side of the earth for pianoConcours Clara Schumann, sol. participants05 May 2007 · Düsseldorf/D

JOHANNES MARIA STAUD One Movement and Five Miniaturesfor harpsicord, live-electronics and ensembleBirmingham Contemporary Music Group, c. Ilan Volkov22 April 2007 · Birmingham/UK

Berenice. Suite 1 and 2 for orchestraEnsemble Modern, c. Franck Ollu31 May 2007 · Rolf-Liebermann-Studio Hamburg/D

new releases

40

PIERRE BOULEZAnthèmes 2 for violin and live-electronics UE 31160

MIKE CORNICK Blue Baroque Cello for cello and piano UE 21381

MIKE CORNICKCharleston for Two for piano for four hands UE 21368

MORTON FELDMAN Trio for 3 flutes UE 21379

RICHARD FILZ Rhythm Coach 2 with CDRhythm Workshop for instrumentalists, singers & dancersUE 32348

FRANZ LISZT12 Etüden op. 1 for pianoVienna Urtext Edition ed. by Christian Ubber UT 50232

ARVO PÄRT Für Anna Maria for piano UE 33363

JAMES RAEEasy Blue Saxophone Duets for 2 saxophone (A,T) UE 21371

DAVID SAWERMutability for female choir SSA choral score UE 21289

DANIEL SCHNYDERTrumpet Concerto for trumpets and orchestraversion for trumpet (B, C) and piano UE 70029

RICHARD STRAUSSSonate op. 18 in Es-Dur for violin and pianoarr. for flute and piano by Emmanuel PahudUE 33383

new releases

41

ALEKSEY IGUDESMAN

Style Workout

Studies in classical, rock,

world and folk music

for violin

UE 33338

Music has several ‘strings’to its ‘bow’!

If you already know Aleksey Igu-desman’s Catscratchbook, you canguess that extraordinary thingsawait young violinists in his ne-west work as well. For Westernclassical music has far from exhau-sted the sound possibilities of theviolin. The diverse styles of today’smusic have something to offer too,and any fears of approaching themare quickly dispelled by Igudes-man’s helpful tips. Little tricks to acquire the right rhythmic sense,phrasing or technique – and al-ready you’re on a fascinating tripthrough the entire musical world.And then it might even happenthat you bump into Mozart in adream, your violin turns into a dis-torted American rock guitar or,while playing, you develop a cra-ving for a Chinese spring roll. Inter-ested already?

42

new on cd

BÉLA BARTÓK Der wunderbare MandarinLos Angeles Philharmonic, c. Esa-Pekka SalonenDGG SACD Hybrid 4776198

BÉLA BARTÓK Musik für Saiteninstrumente, Schlagzeug und CelestaSWR SO Baden-Baden and Freiburg, c. Michael Gielenhänssler CLASSIC CD 93127

BÉLA BARTÓK Der holzgeschnitzte PrinzSWR SO Baden-Baden and Freiburg, c. Michael Gielen hänssler CLASSIC CD 93 184

LUCIANO BERIO Ritirata notturna, Sequenza I and VIIa RSO Frankfurt, c. Luciano Berio, Severino Gazzelloni, fl,Matthias Arter, oboe Col Legno WWE CD 20513

LUCIANO BERIO Complete Piano WorksFrancesco Tristano Schlimé, pnSisyphe CD SISYPHE005

LUCIANO BERIO Complete Sequenzasvarious artistsNAXOS 3 CD 8557661-63

MORTON FELDMAN Three Voices Marianne Schuppe, voc Col Legno WWE CD 20249

MORTON FELDMAN NeitherSO of the Bavarian Radio, c. Kwamé Ryan, Petra Hoffmann, SCol Legno WWE CD 20081

CRISTÓBAL HALFFTER Ricercare para organoALFRED SCHNITTKE Zwei kleine Stücke für Orgel

Martin Haselböck, org NCA CD/SACD 60160OLIVIER MESSIAEN Oiseaux exotiques

Cleveland Chamber Symphony, c. John McLaughlin Williams,Angelin Chang, pn NCA CD/SACD 60160 (GRAMMY AWARD 2007)

ARVO PÄRT Da Pacem Domine, Salve Regina, Magnificat o. a.Estonian Philharmonic Chamber Choir, Paul Hillierharmonia mundi CD HMU 907401 (GRAMMY AWARD 2007)

ARVO PÄRT Zwei BeterHjo Kyrkas Ungdomskör, c. Mats BertilssonCaprice CD CAP 21751

WOLFGANG RIHM Dis-Kontur, Sub-Kontur, Unbenannt IVSO of the Bavarian Radio, c. Leif Segerstam,Sian Edwards, Lothar Zagrosek Col Legno WWE CD 20093

43

new on cd

WOLFGANG RIHM Ende der Handschrift, Nebendraußen, Rilke: Vier GedichteChristoph Prégardien, T, Siegfried Mauser, pnCaprice CD CAP 21751

WOLFGANG RIHM La musique creuse le ciel, Über-SchriftDSO Berlin, c. Peter Rundel, Andreas Grau, Götz Schumacher, pn Col Legno WWE CD 20226

WOLFGANG RIHM Klangbeschreibung 1 - 3 SWR SO Baden-Baden and Freiburg, c. Michael Gielen,Ingrid Ade-Jesemann, Monika Bair-Jvenz, Christa Muckenheim,Christine Whittlesey hänssler CLASSIC 2 CD 93 010

EGON WELLESZ The Complete Piano Work Margarete Babinsky, pn Capriccio 3 CD 67181

LUCIANO BERIOSequenza VIII,Duetti per duevioliniIrvine Arditti,Rüdiger LotterOehms ClassicSACD OC 611

EDUARD ERDMANNStändchenBrandenburgi-sches Staats-orchester,c. Israel Yinon CPO / JPC CD 777 175-2

DAVID SAWER From Morningto Midnight:Symphonic Suite,Tiroirs a. o.BBC SO, BCMG,c. Martyn Brab-bins, SusannaMälkkiNMC CD 116

JOSEF SUKEin Sommer-märchenOrchestra of the Komische OperBerlin, c. Kirill PetrenkoCPO / JPC CS777 174-2

44

kodály worklist

ZOLTÁN KODÁLY Worklist

Abend — Evening for mixed choir a cappella 1904Die Alten — The Aged for mixed choir a cappella 7’ 1933Ode to Franz Liszt for mixed choir a cappella (SATB) 8’ 1936Ave Maria for female choir a cappella (SSA) 1’30” 1935Ballet Music for orchestra 5’ 1925Ballet Music for piano 5’ 1936Mátra Pictures for mixed choir a cappella (SATB) 1931Dreikönigstag — Epiphany for female choir a cappella (SSA) 1933Duo op. 7 for violin and cello 25’ 1914Die Engel und die Hirten — The Angels and the Shepherds 3’30’’ 1935for female choir a cappella (SSA)

5 Gesänge high or medium voice & orchestra arr. Paul Angerer 15’ 1957Das Häschen — The Leveret for female choir a cappella (SS) 1’30’’ 1934Das Häschen — The Leveret for 2 descant recorders 1’30’’ 1958ed. by Carl Dolmetsch and Layton RingJesus kündet sich — The Voice of Jesus for female choir (SmezzoSA) 1927traditional from the Zobor region Jesus und die Krämer — Jesus and the Traders 6’30’’ 1934for mixed choir a cappella (SATB)

Kádár Kata for alto and chamber orchestra 9’ 1943Transsylvanian Folk-Ballad Die kaiserlichen Abenteuer des Háry János op.15 150’ 1925-1926comic opera, authorised revised version by Ernst Hartmann 1962Háry János-Suite for large orchestra 23’ 1927Háry János-Suite for wind orchestra arr. by Glenn Cliff Bainum 23’ 1996Háry János for ensemble arr. by Kurt Schwertsik 2000Háry János for 2 clarinets and piano arr. by Kurt SchwertsikDuo from “Háry János” 4’ 1925-1926/1962for mezzo-soprano, baritone and chamber ochestra

Intermezzo from “Háry János” for large orchestra 4’ 1927 Intermezzo from “Háry János” for salonorchester arr. Emil Bauer 4’ 1929 Intermezzo from “Háry János” for violin and piano arr. by Joseph Szigeti3 Pieces from “Háry János” for piano 10’ 1998arr. by Andor Foldes, ed. by Peter RoggenkampTheater-Ouverture for orchestra 12’ 1927This overture was composed after the Budapest performances of the

singspiel “Háry János”.

45

2 Männerchöre for male choir (TTBB) 1913-1917Marosszéker Tänze — Dances of Marossék for piano 12’ 1927Marosszéker Tänze — Dances of Marossék for orchestra 12’ 1927/1930Méditation sur un Motif de Claude Debussy for piano 6’ 1907Meghalok, Meghalok — Woe is me... 1957for soprano solo, 3–4 altos and female choir (SSAA)

Monár Anna — Annie Miller 9’ 1925/1956for medium voice and chamber orchestra

Molnár Anna — Annie Miller 9’ 1936Transylvanian Magyar Folk-Ballad for mixed choir a cappella (SATB)

Morgengruß for mixed choir a cappella (SATB) 1’10’’ 1931Traditional Hungarian Folksong from Nagyszalonta Pange lingua for mixed choir (SATB) and organ 19297 Piano pieces op. 11 for piano 22’ 1910-1918Praeludium from “Pange Lingua” for organ 1929Psalmus Hungaricus op. 13 23’ 1923for tenor, mixed choir, (SATB), boys’ choir ad lib. and orchestra

Die Ruine — The Ruins for male choir a cappella (TBarB) 2’30’’ 1936Serenade op. 12 for 2 violins and viola 1919-1920Sommerabend — Summer Evening for orchestra 18’ 1906Sonate op. 4 for cello and piano 17’30’’ 1909/1910Sonate op. 8 for cello 32’ 1915Spinnstube — Spinnery A scene from Transylvanian village 70’ 1924/1932for 6 solo voices (SATB), female and male choir and orchestra

String Quartet No. 2 op. 10 1916-1918Strohhans Hungarian Children’s Folksong 1971for female and children’s choir a cappella (SSAA)

Székler Klage — Transylvanian Lament 3’30’’ 1934for mixed choir a cappella (SATB)

Tantum ergo I–V for female choir (SSA) and organ or reed organ 1928

kodály worklist

46

Tänze aus Galánta — Dances of Galánta for orchestra 13’ 1933Tänze aus Galánta — Dances of Galánta for symphonic band 13’ 1978arr. by R. Mark Rogers Te Deum for soli, mixed choir (SATB) and orchestra 20’ 1936Topfen der Zigeuner kaut Hungarian Children’s Folksongfor female and children’s choir a cappella (SSAA) 1925for mixed choir a cappella (SATB) 1950Ungarische Volksmusik — Hungarian Folk Music 1925for medium voice and piano

Ungarische Volksmusik — Hungarian Folk Music 1931-1932for high voice and piano

Ungarische Volksmusik — Hungarian Folk Music 2004for voice and orchestra arr. by Zoltán Kocsis 2 Volkslieder — 2 Hungarian Folks Songs from the Zobor region 6’ 1908for 3 sopranos, 3 altos and female choir

Weihnachtstanz der Hirten — Christmas Dance of the Shepards 1927 - 1935after a Hungarian Christmas Song for female choir and wind instrument

Zu Spät — Too late for mixed choir a cappella (SATB) 2’20’’ 1934

ARRANGEMENTS

Bach Johann Sebastian (1685-1750)3 Choralvorspiele BWV 743, 762, 747for cello and piano arr. by Zoltán Kodály 1924

Bartók Béla (1881-1945)5 Lieder — Five Songs op. 15 17’ 1916for medium voice and orchestra arr. by Zoltán Kodály 1962

The complete worklist, with more specific details, can be found at:www.universaledition.com

kodály worklist

DAVID SAWER

This release represents an important first full-length CD of the work of the highly acclaime young composer Davi Sawer.Having stu ie with Mauricio Kagel an been the recipient of numerous awar s an scholarships, Sawer has consistently respon e to a string of major commissions since the 1990s. The isc inclu es a specially-arrange orchestral suite taken fromSawer’s opera From Morning to Mi night—commissione byEnglish National Opera an première at the Lon on Coliseum in2001—for which he receive a Laurence Olivier Awar nominationfor Outstan ing Achievement in Opera.

BBC SYMPHONY ORCHESTRA · MARTYN BRABBINSBIRMINGHAM CONTEMPORARY MUSIC GROUP · SUSANNA MÄLKKI

From Morning to Mi night: Symphonic Suite The Greatest Happiness Principle · Tiroirs · The Memory of Water

NMC D

116

(1 CD

)

NMC Recor ings Lt · 18-20 Southwark Street · Lon on SE1 1TJTel: +44 (0)20 7403 9445 · Fax: +44 (0)20 7403 9446

www.nmcrec.co.uk

NMC’S NEW ONLINE SHOP IS NOW OPENVisit http://nmc.gree bag.com for the new one-stop shop for both physical an igital NMC recor ings.

Here you can or er our CDs which will be elivere irect to your oor, or purchase music through our igital facility an explore the catalogue.

UNIVERSAL EDITION

Austria: PO Box 3, A-1015 Vienna, Austria

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

UK: 48 Great Marlborough Street, London W1F 7BB

tel +44-20-7437-6880, fax +44-20-7292-9173.

USA: European American Music Distributors LLC

254 West 31st Street, 15th Floor, New York, NY 10001-2813

tel +1-212-358-4999, fax +1-212-871-0237.

Web: www.universaledition.com

Chief Editors: Angelika Dworak and Eric Marinitsch

Contributors: Bálint András Varga, Angelika Dworak, Eric Marinitsch,

Wolfgang Schaufler, Jonathan Irons, Rebecca Dawson, Marion

Hermann and Nick Cutts

Design: Egger & Lerch, Vienna

Photo Credits: O. Pfeifer, Eric Marinitsch (8), Yasuko Haas, Tobias

Schneider, Manon Praetorius, UE-Archive (5), Frank Helmrich, rosas,

Internationales Musikinstitut Darmstadt, Staatstheater Stuttgart /

Gabriel Sadé, Johnstown Castle, Berliner Ensemble / Ute Eichel,

Opéra de Nancy, Oper Wroclaw, Theater Bonn, Hannes Kilian, naive

records, Christian Jungwirth, A. Henndorf, Reading Railroad Books,

Auditorio Alfredo Kraus, Hagaselamusica, Hunnia Filmstudio / Gyula

Kertész; CDs: Oehms Classic, CPO / JPC (2), NMC.

DVR: 0836702

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