13 Harrison Birtwistle. A new ceremony

04 Luke Bedford.New to UE

05 Saed Haddad.New addition to the UE portfolio

32 Gustav Mahler. The five movements ofSymphony No. 10

Victoria Borisova-

OllasSalman Rushdie

staged in Manchester

newsletter03/07 • summer 2007

2

contents 03/2007

COMPOSERSLuke Bedford — 4Saed Haddad — 5Borisova-Ollas — 7Rihm — 9Baltakas — 11Staud — 11Sotelo — 12Panufnik — 12Birtwistle — 13Pärt — 14Haas — 15Schnyder — 15Schwartz — 17Halffter — 18Kurtág — 18Berio — 19Boulez — 21Stockhausen — 21Kagel — 22Schnittke — 22Ligeti und Kodály — 23Bartók — 24Casella — 24Weill — 25Weigl — 25Braunfels — 27Schoeck — 28Schmidt — 28Martin — 29Milhaud — 29 Szymanowski — 30Marx — 30Schreker — 31Strauss — 32Gustav Mahler — 32Alma Mahler — 32Janácek — 33

Contents

3

Berg — 34Schönberg — 35Webern — 36David Bedford — 37Patterson — 37

RETROSPECTIVERespighi — 26Liebermann — 26

ANNIVERSARIES — 38 - 39

WORLD PREMIÈRES — 40 - 41

NEW RELEASES — 42 - 43

NEW ON CD + DVD — 44 - 45

WORKLISTStockhausen — 46 - 47

ACKNOWLEDGEMENTS — 48

Dear Readers,

Just before going to press we re-ceived these two important newsitems:The construction of a new operahouse for children has begun inDortmund this April, following twoyears of planning. The building willseat 99 and be open ready for thenext season. Two productions perseason with 30 performances areplanned, and children are to playthe main role on the stage of thenew house.The Children’s Opera in Cologne onthe other hand is celebrating its10th birthday this year. An illus-trated book will be forthcoming toaccompany this success story.We are also keeping up with theboom of children’s operas: as oftoday, UE publishes Das Kinder-füchslein (The Children’s Vixen), aversion of Leos Janácek’s opera Dasschlaue Füchslein suitable for chil-dren, by Alexander Krampe andRonnie Dietrich.The world premierein Zurich was enjoyed by 1300 enthusiastic children – they’re theaudience of tomorrow. We’re look-ing after them today!

The Editorial Team

luke bedford

4

LUKE BEDFORD

New to UE

UE is delighted to announce a newaddition to the catalogue – that ofBritish composer Luke Bedford.In April 2007 Bedford’s new workfor orchestra Outblaze the Skyreceived a critically acclaimedworld première at the hands of Daniel Harding and the LSO, andjust a month later, Bedford’s song-cycle Or voit tout en aventure wasnominated for a prestigious RoyalPhilharmonic Society prize, in thecategory for large-scale compo-sition.

Born in 1978, Bedford’s works havebeen performed successfullythroughout Europe, Japan and theUSA. He studied composition withSimon Bainbridge and Edwin Rox-burgh on a scholarship at the RCM,and then gained his MMus at theRAM, studying with Bainbridge

whilst in receipt of a MendelssohnScholarship.

Among his honours are the RPSComposition Prize for under-29’s(2000), Second Prize in the Toru Takemitsu competition in Tokyo(2001) and the BBC Radio 3 Listen-ers’ Award at the British ComposerAwards (2004). Most recently, hewon the selected work in theunder-30 category at the UNESCOInternational Rostrum of Compo-sers (2005). He has received com-missions from the BBC, NDR andthe RPS (for the London Sinfoniet-ta), and in 2004 he was selected totake part in the London Sinfoniet-ta’s seminal Blue Touch Paper pro-ject; Or voit tout en aventure wasthe outcome, and has already beentaken up by Ensemble Modern andBCMG (next performance: 15 Juneat the Aldeburgh Festival withBCMG and Knussen).

Forthcoming commissions includea 20’ piece for the BBC NOW, whichwill be premièred in December2007, a new piece for BCMG, to bepremièred in Spring 2008 and awork for the Sing-Akademie zu Berlin for the 400th anniversary of Milton.

saed haddad

5

SAED HADDAD

New addition to

the UE portfolio

The first thing that strikes youabout the website of Jordaniancomposer Saed Haddad (b. 1972) isthe proud, energetic and elegantlyembellished Arabic calligraphy ofhis name – and, right underneathit, the same name in plain Romanscript. You don’t need to ponderthis dichotomy for long, however –the composer helps you out with astatement composed in English,whose very first sentence comesstraight to the point.He is, he says, ‘a Christian Arab anda Western contemporary musiccomposer’. And, as such, he is an‘other’ in every sense of the word:‘otherness’ is a key concept for hiswork. Yet Haddad, who lives in north-ern Germany, has also succeeded in

establishing a place for himself inEuropean musical life. His worksare performed by leading ensembles(Ensemble Modern, Nieuw En-semble, London Sinfonietta) andcommissioned by the leading festivals like Donaueschingen.For example, the Arditti Quartetgave the first performance of Joievoilée at the Donaueschingen Festival in 2006, and the positivereception of this première by criticsand professionals has led to a second commission: Haddad hasbeen asked to write a work for Donaueschingen 2008, this timeentrusted to Ensemble Modern.

Saed Haddad’s music represents anew addition to the UE portfolio,and both composer and publisherare embarking on an adventurewhich they look forward to full ofoptimism and joy.www.saedhaddad.com

7

borisova-ollas

7

BORISOVA-OLLAS

Salman Rushdie

staged

Shortly after it appeared in 1999,Salman Rushdie’s novel TheGround Beneath her Feet fell intothe hands of Victoria Borisova-Ollas. This book exerted on her aquite special kind of fascination: acomplex, many-layered novelwhose core is a love story – a modern variant of the myth of Orpheus and Eurydice – and whichat the same time skilfully inter-weaves countless Western and Eastern myths.It was precisely this multi-layered,multi-cultural dimension which sofascinated Borisova-Ollas, and shebecame convinced that the novelwould yield the ideal subjectmatter for a work of music dramathat would also manifest itself ondifferent levels of reality and

imagination. The project maturedin her mind over several years be-fore Alex Poots of the ManchesterInternational Festival learned of it,and invited her to realise her idéefixe in Manchester.The result was amusico-dramatic piece for two sing-ers, a narrator and orchestra. The librettist, Edward Kemp, has focused the plot on the fate of thetwo protagonists Ormus (baritone)and Vina (soprano). In order to doas much justice as possible to thenovel’s complexity in its transla-tion to the concert hall, film-makerMike Figgis (nominated for anOscar in 1996 for his film LeavingLas Vegas) has directed a silent filmto accompany the performance. Thefirst performance of The GroundBeneath her Feet is on 29 June 2007in Manchester, with Mark Elderconducting the Hallé Orchestra.www.manchesterinternationalfestival.com

9

rihm

RIHM

Classical

inspiration

Wolfgang Rihm has explored theclassics of German literature in twoof his most recent works. Goethe-Lieder will receive its première atthe Ruhr Piano Festival on 3 June,performed by veteran Rihm inter-preters Christoph Prégardien,tenor, and Siegfried Mauser, piano(Essen, 3 June).

Rihm has also gladly agreed to a request by Harry Vogt, of WDR, tocontribute a new work to a concertcoinciding with the EvangelicalChurch Conference in Cologne,which will also include works byVarèse, Scelsi and Ginastera. Thenew piece is called Diptychon – according to Vogt, ‘the idea of using(high) voice, and setting Hölderlinpoems, came only later on’. StefanAsbury conducts the WDR Sympho-ny Orchestra on 8 June, with MojcaErdmann as soloist.

Rihm’s oeuvre has also been enrichedby 2 concertante works. His pianoconcerto for Daniel BarenboimSotto voce (1999) has now been joined by a sister piece, Sotto voce 2,a commission from the BusoniPiano Competition, the Bolzano-FestivalBozen and the Lucerne Sym-phony Orchestra. First perform-

mance is on 21 July in Erl (Tyrol),with Nicholas Hodges and theHaydn Orchestra under GustavKuhn. Bassoonist Pascal Gallois isgiving the premère of Psalmus withthe Bavarian State Orchestra underKent Nagano on 27 July in Munich.

Rihm is spending part of themonth of August in Davos, whoseFestival is devoted to his work.Chamber works both older (forexample the piano trio Fremde Szenen III) and newer (like the Cla-rinet Quintet or the septet En pleinair) feature on the programme.

11

baltakas / staud

possessing a state which is neverpresent totally, but only in variousdifferent aspects. I am striving to-wards a drama of audio perspectives.’The first performance takes placeon 6 July at the Herkulessaal inMunich, with Peter Rundel direct-ing the Bavarian Radio SO.

STAUD

Sydenham Music

For the two commissions from theAldeburgh Festival and EuropeanForum Alpbach, Johannes MariaStaud has written SydenhamMusic, a trio for flute, viola andharp which takes its name fromthe London suburb where he isnow living. ‘I’ve always been attrac-ted by this line-up,’ says the compos-er, who has a great admiration forDebussy’s Sonata for these threeinstruments. The combination is‘curiously subdued’ and ‘absolutelypre-ordained for tenderness’; thesonata is a ‘distillation of musicalimpressionism, a swansong for anentire epoch’. The première takesplace on 15 June in Aldeburgh; thefirst Austrian performance is fixedfor 16 August in Alpbach.In Hamburg, the concert programmefor 1 June has been supplementedby another Staud piece: the NorthGerman RSO is performing ViolentIncidents for saxophone solo (Mar-cus Weiss), wind and percussion.

BALTAKAS

Audio

perspectives

Vykintas Baltakas writes as followsof his commission for the Munichmusica viva: ‘For a long time I havebeen trying to construct a non-lineardramatic progression. This is noteasy, because we always perceiveevents in time and space. I also tryto discover a sound, an imaginaryproto-sonority for the work I’mcomposing. It must be rich and alive

Vykintas Baltakas

12

sotelo / panufnik

kind of sound cascade, always get-ting louder, gradually develops inthe solo part: like a frenzy of veryfast rhythmic movements, which recall the rhythmic precision of aflamenco dancer’s extremely rapidstamping.’ (Mauricio Sotelo)The première takes place on 16June in Porto with the Remix En-semble, directed by Emilio Pomárico.

PANUFNIK

A new Dance

for London

Roxanna Panufnik’s Cavatina andMoravian Dance was commis-sioned by the Cavatina Music Trustpartly to be used for outreach workwithin schools.The ‘Cavatina’ is a ‘signature tune’,which is easily recognised by younglisteners but challenging enoughfor a professional group to per-form, whilst the ‘Moravian Dance’follows and is based upon a tradi-tional Czech folk melody. TheWihan Quartet premières the workat the Wigmore Hall in London on26 June and will perform it againon 21 July in Wallingford.

SOTELO

Nocturne

The initial stimulus for Night wasan engraving by Sean Scully, whichMauricio Sotelo received from theartist’s New York studio after dedi-cating the première of Wall of LightBlack to him. ‘Night begins with avibrating, very rapid and rhythmi-cally shadowy texture. It approa-ches and recedes again like a noc-turnal image. The whole ensemblebecomes a refined percussion appa-ratus, imitating the special playingtechniques of the percussionistMiguel Bernat, who plays with spec-ially prepared beaters. In addition a

Roxanna Panufnik

13

birtwistle

BIRTWISTLE

A new Ceremony

June 2007 will be a significantmonth for music in London, as it isthen that the newly renovatedRoyal Festival Hall will open oncemore to the public. After being closed for nearly two years for a radical, major refurbishment pro-ject, the venue will re-open with asplash: 48 hours of continuous per-formances beginning at dusk on 8June followed by a first night galaconcert on June 11! To honour the occasion, HarrisonBirtwistle agreed to “revisit” his seminal work from 1990, RitualFragment, which was originallycomposed for the London Sinfon-ietta. The result is Cortege, a cere-mony for fourteen musicians, in memory of Michael Vyner, and thiswill be performed by the LondonSinfonietta, one of Southbank

Centre's four Resident Orchestras,as part of the June 11 concert.The newly-composed solos followthe same principle as in Ritual Frag-ment itself, namely that they are tobe played from the single solo posi-tion, but for the world première ofCortege the solos have been rewor-ked by Birtwistle in an even morevirtuosic style than before.www.southbankcentre.co.uk/festivals-series/signature-concerts

Another work from Birtwistle’s series for the London Sinfonietta –Secret Theatre – will also be featured in June. The first perform-ance, as part of the Spitalfields Festival, will be given on 15 June bythe Manson Ensemble (with BaldurBronniman conducting), and thesecond performance will take placein Madrid on 25 June, with theModus Novus Ensemble, conduct-ted by Santiago Serrate.

14

pärt

PÄRT

Sonning

Music Prize

Since its inception in 1959, the Léo-nie Sonning Music Prize (EUR80,000) has established itself asthe paramount event in Danishmusical life. The prize is awardedannually to an internationally acknowledged composer, per-former, conductor or singer.The jury has just announced ArvoPärt as the 2008 prize-winner, de-scribing Pärt’s work in the rationalefor its decision as ‘rich in spiritualovertones’ and as ‘one of the mostoriginal voices of our times’. Thepresentation of the prize will takeplace in May next year:www.sonningmusik.dk

Another distinction, of a quite special kind, has been received by

Gidon Kremer for his 60th birth-day: Arvo Pärt presented him withthe score of Passacaglia (originallyfor violin and piano) in a version for1 or 2 violins, vibraphone (ad lib.)and string orchestra. Kremer is togive the first performance of thenew work on 30 June 2007 in Riga.

As part of its ‘Nordic Music 2007’festival, the Musikfestspiele in Saar(Germany) is featuring a composerportrait called ‘Arvo Pärt Triathlon’.Over three days the Estonian Philharmonic Chamber Choir underTõnu Kaljuste and Paul Hillier areperforming important choral andorchestral works, including Passioand the German première of InPrincipio for mixed choir and orchestra. They are accompaniedby the Orchestra of the Pfalz-theater, Kaiserlautern:www.musikfestspielesaar.de

15

haas / schnyder

SCHNYDER

Trumpet Concerto

Daniel Schnyder’s jazz-inspiredTrumpet Concerto – a work thatmasterfully exploits the wide spec-trum of the instrument – has justbeen released on Marsyas Records(www.marsyas.biz) on the CD“Brass”. Kristjan Järvi conducts theNDR Radiophilharmonie with Reinhold Friedrich as soloist.As a special treat we are offeringthe full score of the concerto as adownload from our website(w w w.universaledit ion.com/schnyderscore) until the end ofSeptember 2007. The piano reduc-tion is also now on sale (UE 70029)from your sheet music shop or di-rectly from our webshop www.universaledition-shop.com.

HAAS

Creative wit

Each of the ten instrumental partsof … Einklang freier Wesen … for anensemble of soloists is at the sametime a solo piece (each called … ausfreier Lust … empfunden … ). In ad-dition, smaller ‘sub-ensembles’may be formed from these. On 5 July in Leipzig, Johannes Kalitzkeand the Sinfonietta Leipzig presenttwo versions (2 percussionists plusbass clarinet; bass flute plus 2 per-cussion) as part of a concertevening entitled ‘Wahn!Sinn(?)’ .… aus freier Lust … empfunden … forsolo trombone will be given its première on 19 June by Dirk Amreinin Rheinfelden.

After the première of ….... for violaand six voices in Stuttgart in February 2006, the press spoke of a‘lively, genial piece full of enigmatichumour and creative wit’. The workwill receive what is already its thirdperformance on 14 June in Berlin,with the Neue Vocalsolisten Stutt-gart and Barbara Maurer.

17

schwartz

SCHWARTZ

documenta 12

The Kassel documenta is an inter-national exhibition of modern artheld every 4-5 years since 1955,which sets itself the goal of docu-menting the international contem-porary art scene. Quite early on thedocumenta gained a reputation asone of the most important exhibi-tions of contemporary art in theworld.As part of the supporting program-me for documenta 12, Jay Schwartzhas been invited to realise his im-pressive sound installation Musicfor 8 Autosonic Gongs (for eightelectro-acoustically operated tam-tams and Chinese gongs). The installation will be running from 16 June to 23 September in the St Martin church in Kassel.Schwartz explains his concept ofthe ‘autosonic gong’ as follows:‘The instrument is set in vibrationby an electro-acoustic process,

without any contact. The soundsproduced this way are thereforeentirely organic – neither electric,nor electronically amplified.A microphone is placed very close tothe front of the tam-tam, and aloudspeaker suspended on the otherside. An electro-acoustic feedbackloop is created simply by switchingon and controlling the loud-speaker microphone circuit. Thetam-tam picks up the feedback,begins to vibrate with its own personal resonance, and becomesindependent. The feedback remainsinaudible. The instrument speakswith the primal screams inhabitingits innermost depths.’

In addition, as part of the musicalprogramme accompanying the documenta 12, the premiere ofMusic for Flute will be given (EvelynDegen, fl), and a portrait concert onthe 24th June will include Music for12 Cellos, Music for Six Voices andMusic for Chamber Ensemble. (StMartin’s, Kassel)

18

halffter / kurtág

HALFFTER

Lazarus in Kiel

A commission to write an opera isoften the highpoint of a composer’slife, testifying as it does to greattrust and esteem. But it is rare indeed that a composer receivestwo commissions from one andthe same opera house within thespace of a few years. This, however,is what has happened to CristóbalHalffter. The Kiel Opera, whichgave the German première of thereduced version of Don Quijote in2006, has now – encouraged by thepiece’s success – commissionedHalffter’s next opera Lazarus,which will have its première on 4 May 2008. As early as this au-tumn (details to follow) RafaelFrühbeck de Burgos will give thefirst performance of the Introduc-tion and Scene II at the Burgos Fest-ival: the German première will take

place under Georg Fritzsch on 16–17 March 2008 in Kiel.Fandango has its first US perfor-mance on 2 July at the Aspen Festival.

KURTÁG

Important

early works

Almost ten years passed after theString Quartet before György Kurtágcompleted, in 1968, what remainsone of his most important workstoday, The Sayings of Péter Borne-misza. Elena Vassileva and Pierre-Laurent Aimard are presenting this‘concerto’ on 21 Aug in Hamburg.The Four Capriccios were Kurtág’sfirst work for voice and ensemble.Composed in 1970-1, and revised in1997, it features in the programmeof Christine Whittlesey and Ensem-ble Kontrapunkte under Peter Keuschnig on 18 June in Vienna.

Cristóbal Halffter Don Quijote Kiel 2006

19

berio

BERIO

Synonymous

Even during his lifetime LucianoBerio was regarded as a modern master – his music played a crucialrole in shaping the second half ofthe 20th century. Two works especial-ly immediately spring to mind as‘synonymous’ with him: the Sequen-zas and Sinfonia. Berio’s pieces forsolo instruments, the Sequenzas, are‘written for performers whose virtu-osity is above all a virtuosity of knowl-edge’. The Sequenzas attempt to expand the horizon of instrumentalpossibilities from the standpoint ofthe instrument itself. Berio dedi-cated his last completed Sequenza,Sequenza XIV, to the cellist Rohan deSaram, who had introduced Berio tothe traditional instruments of hisnative Sri Lanka. Influences of a per-cussive nature in particular are in-corporated in this Sequenza, which,since its 2003 première, Rohan deSaram has already played dozens oftimes all over the world, and whichcan be heard again in the comingmonths in Toronto (3 June), York (26June) and Lisbon (17 July).

Sinfonia for 8 singers and orchestrawas written in 1968 for LeonardBernstein in New York and laid thefoundations of Berio’s internationalreputation as a composer. At theheart of the Sinfonia is the tongue-in-cheek adaptation from Mahler’s

Symphony No. 2, the Resurrection.Antonio Pappano is conducting noless than five performances of Sinfonia in the coming months: on14 July in Sienna, 16 July at the BBCProms in London, and on 13, 14 and 15October in Rome, to inaugurate theconcert season of the Orchestra Nazionale di Santa Cecilia.

21

boulez /stockhausen

Our third featured performance, ofDérive 2, will be given by the Lon-don Sinfonietta, with conductorSusanna Mälkki. The performancewill take place as part of the BBCProms on 31 July. The 45’ work – for11 players – toured extensively withthe EIC last year (Paris, Milan,Badenweiler, Bern, Nanterre,Madrid), and has also been takenup by other major sinfoniettassuch as ASKO and musikFabrik.

STOCKHAUSEN

Abstract beauty

In his Kontra-Punkte for 10 instru-ments, first performed in 1953,Karlheinz Stockhausen fully deve-loped his idea of a ‘pointillist music’.It ‘no longer [consists] of melodiclines, but rather of timbres, rhythmsand individual pitches, which arecomposed more or less as single,atomised events. Musical form dis-solves into a strictly worked-outsound process of abstract beauty.’On 19 June the piece can be heardat the Hochschule für Musik inSaarbrücken.

BOULEZ

European

Highlights

Three important performances ofseminal works by Pierre Bouleztake place over the next threemonths. There will be a performanceof Pli selon pli on 5 June in Amster-dam; Reinbert de Leeuw will con-duct the ASKO Ensemble, with soprano Barbara Hannigan.Then, on 30 June, the MahlerChamber Orchestra performs Mémoriale (soloist Chiara Tonelli)at the Festival d'Aix-en-Provence,conducted by Daniel Harding, whoalso led the LSO in a ravishing per-formance in London in April.

Pierre Boulez

21

kagel / schnittke

22

Modern is performing Exotica andMorceau de concours on 7 June atthe Agora Festival in Paris.

SCHNITTKE

Polystilistic

With his String Quartet No. 3 (1983),Alfred Schnittke embarked on anew stylistic path. While in earlierpieces the musical quotationsoften had an ‘irritating’ effect andwere consciously introduced ascontrasting, alien presences, herethe citations used (from Beethovenand Lassus) are, for the first time,introduced into the musical flowand even brought into a relation-ship with one another.A new version for string orchestraby Peter Manning is now available.Numerous national premières arealready planned, and study scoresare available for perusal.

KAGEL

Exotica

Scored for ‘non-European instru-ments’, Exotica was a commissionfor the 20th Olympic Games in Munich, 1972. The first performancetook place under the direction ofMauricio Kagel, and the instru-mentalists included such well-known new music personalities asVinko Globokar, Siegfried Palm,Christoph Caskel and Michel Portal.The six participants had to ‘man-handle’ around 200 wind, stringand percussion instruments whollyunknown in Europe. Werner Klüp-pelholz’s programme note makesthe composer’s intention clear: hewanted to question ‘the dominanceof Western music or “culture”’ or ‘goback to the primeval origins ofmusic-making, when singing wasstill at one with making sound out ofsimple, everyday objects’. Ensemble

Mauricio Kagel Exotica Munich 1962

23

ligeti / kodály

LIGETI AND KODÁLY

Classic

Hungarians

When György Ligeti’s Atmosphèrespremièred at the 1961 Donau-eschingen Festival, it caused a sensation. The work’s static iridescence so fascinated its listen-ers that they demanded an immed-ediate repeat performance.Ligeti had flung the door wideopen to new worlds of sound andstructure. Some idea of how revo-lutionary his work was may be gained from a glance at the studyscore: narrow and tall, it looks like aminiature skyscraper, with up to 87staves piled on top of one another,each of them representing one in-strumental part. Even now, Ligeti’ssoundscape has lost none of itsoverwhelming effect. Attaining

popularity through its use as filmmusic for Stanley Kubrick’s 2001: ASpace Odyssey, it can be heard inSpain on 14 and 15 June (Seville,Orquesta Sinfonica de Sevilla/MarcSoustrot) and at two of the mostimportant festivals: in Salzburg on30 August and in Lucerne on 8 Sep-tember.

Daniel Barenboim, who is conduct-ing the Vienna Philharmonic inSalzburg on 30 August, is takingtwo other classic scores along withhim: Béla Bartók’s Music for Strings,Percussion and Celesta, the mostimportant work of Bartók’s middleperiod (first performed 1936), andZoltán Kodály’s Dances from Galánta. When Kodály composedthis orchestral piece in 1933, heused musical impressions of agypsy band from Galánta, a Hun-garian village where he had spentseven years as a child.

Zoltán Kodály, Budapest

24

bartók / casella

Michelle de Young and AlbertDohmen (27 August).

CASELLA

Italianità

Alfredo Casella was one of themost popular Italian composers ofthe 20th century. In his composi-tions he succeeded in showinghow a typically Italian style couldstill be integrated into modernmusic. In his orchestral rhapsodyItalia (1909), Casella depicted inmusic Sicilian and Neapolitan life.Thanks to Marzio Conti and theDortmund Philharmonic Orches-tra, this Italian zest for life has already been successfully commu-nicated to Dortmund audiences several times this February.Funiculi, funiculà … !

BARTOK

The stage works

Béla Bartók’s sole opera, DukeBluebeard’s Castle, and his two bal-lets The Miraculous Mandarin andThe Wooden Prince are establishedrepertory pieces.The Grand Théâtre in Geneva isproducing Bluebeard and Mandarintogether (first night 20 June).Taking the stage here is one of thebest Bluebeard interpreters in theworld, László Polgár, who portraysthe Duke as a vulnerable, pitifulhuman being. Petra Lang singsJudit, Denis Marleau and StéphanieJasmin direct, and Thomas Rösnerconducts; choreographer of Mandarin is Kader Belarbi. Theopera can also be seen at WelshNational Opera which tours to Birmingham, and in concert format the Lucerne Festival with JamesLevine at the rostrum, and soloists

Béla Bartok, The Miraculous Mandarin, Teatro alla Scala di Milano

25

weill / weigl

form part of a Berio concert heldunder the auspices of the Festivalde Saintes in France, which takesplace at the Abbaye aux Dames inSaintes. www.abbayeauxdames.org

WEIGL

Viennese tradition

Schönberg considered Karl Weigl(1881-1949) one of the best compo-sers of the older generation who‘continued the resplendent Viennesetradition’. His route as a composerdid not lead to involvement withtwelve-tone music; instead he fol-lowed the late Romantic tradition.His one-movement Rhapsodie forstring orchestra creates a synthesisbetween tradition and advancedharmony in the style of GustavMahler. The Musici Medici underJürgen Bruns is playing the work on15-16 June in the Konzerthaus,Berlin and in Schöneiche.

WEILL / BRECHT

… off to Spoleto

Since it was established in 1977 byGian Carlo Menotti, the Spoleto Festival USA has developed intoone of the most important show-cases for the American music andopera scene. This year’s festival isopening with a new production ofKurt Weill and Bertolt Brecht’s TheRise and Fall of the City of Maha-gonny. Emmanuel Villaume, who isalso musical director of the operaand the orchestra, is at the rostrum.The production is by Moshe Leiserand Patrice Caurier, who have alreadyproduced Janácek’s Jenufa in Spoletowith great success.www.spoletousa.orgLuciano Berio’s three Weill arrang-ments – Le grand Lustucru, TheBallad of Sexual Obsession, Sura-baya Johnny – can be heard in anunusual setting on 14 July. They

Kurt Weill Rise and Fall of the City of MahagonnySpoleto Festival 2007

retrospectiverespighi/liebermann

26

tension and has a underlying moodthat perhaps came too close tothat of the audience in this secondwar year. The reaction was corre-spondingly mixed, and until today,the work has had difficulties es-tablishing itself in the repertoire.The instrumentation (including 6horns) and duration (ca. 60 min.)may also have contributed to this.The Orquesta Sinfonica de Bilbaoand its conductor Tuomas Olillatake up the challenge on 19–20April, Bilbao.

LIEBERMANN

Unequal marriage

More than 50 years after its firstperformance in Donaueschingen,Rolf Liebermann’s Concerto for jazzband and symphony orchestra,composed in 1954 ‘in strict dodeca-phonic style’, has lost none of its fascination. Every year there are several performances, including in2007 (amongst others) one on 28April in Vilnius (conductor: JuozasDomarkas).Liebermann saw the piece as an attempt to integrate the populardances of his day ( jump, blues andboogie-woogie) into art music. Atthe end, both ensembles join together in a mambo.

RESPIGHI

Music as

seismograph

With their sensitive antennae,composers in Italy – as in other European countries – were alreadyreacting to the approaching dan-ger before the outbreak of WorldWar I. Hence at its 1915 premièreOttorino Respighi’s Sinfonia dram-matica (composed 1913) was inter-preted as a reflection of the Euro-pean situation. This work, one ofRespighi’s most ambitious compo-sitions, is heavily laden with

Ottorino Respighi

27

braunfels

Walter Braunfels Die Vögel Teatro Lirico di Cagliari 2007

BRAUNFELS

Opera composer

makes come-back

In the 1920’s Walter Braunfelsbelonged, alongside Franz Schrekerand Richard Strauss, to the mostsuccessful group of opera compo-sers of the German-speakingworld. It was his lyrical, fantasticwork Die Vögel that provided hisbreakthrough as an opera compo-ser. The opera was first performedin Munich in 1920, under BrunoWalter. Aristophanes’ comedy TheBirds, from which Braunfels fashio-ned his libretto, is itself already apolitical piece, an anti-war play.During the Nazi period all perfor-mances of his works were forbid-den on account of his half-Jewishorigins. Only since the 1990’s hasDie Vögel once again been able toconquer the world’s opera stages.On 27 April 2007 the first Italian

performance took place at the Tea-tro Lirico of Cagliari in Sardinia, inGiancarlo Cobelli’s new productionand under the musical direction of Roberto Abbado.www.teatroliricodicagliari.it

There’s another Braunfels rediscov-ery to look forward to at the Munich Prinzregententheater: hismusical comedy Don Gil von dengrünen Hosen will be performedthere in a concert version on 6 and13 June, conducted by David Stahl.www.staatstheater-am-gaertnerplatz.de

And the first staged performanceof Scenes from the Life of St Johanna, in April 2008 at the Deutsche Oper in Berlin, is alreadymaking the headlines: enfantterrible Christoph Schlingensiefhas been engaged as director.

schmidt / schoeck

28

SCHOECK

A Swiss

musical language

Featured in the Festival Stringsconcert at the Lucerne Festival on19 August is Notturno by the important, but still neglectedSwiss composer Othmar Schoeck(1886-1957).This 45-minute, five-movementwork for low voice and string orchestra, dating from 1931–3, ispartly based on poems by Gott-fried Keller, a close friend of thecomposer, whose poetry he setseveral times. The soloist at thisperformance is Matthias Goerne;Achim Fiedler conducts.

SCHMIDT

Celebrating 70

Even today, Franz Schmidt’s settingof the Apocalypse of John, TheBook with Seven Seals, is conside-red to be the greatest and mostmoving oratorio of modern times.70 years after its completion (2 years before his death – a trulyfinal work), the work is to enjoy itsfirst Cologne performance, withthe Cologne Symphony Orchestraand the choir of the Cologne BachSociety under the direction of Thomas Neuhoff (7 June).The Australian Nicholas Milton isalso conducting The Book withSeven Seals with the Jena Philhar-monie in Weimar and Jena (25–7May and 1 June) with soloists fromthe German National Theatre ofWeimar.

Fabio Luisi is conducting the Sym-phony No. 2 in Vienna in May andJune, with the Vienna SO. And inKarlsruhe the disturbing Sympho-ny No. 4, ‘Requiem for my Daugh-ter’, is receiving performances on 3 and 4 June, with the BadischeStaatskapelle under Uwe Sandner.

Othmar Schoeck

29

martin / milhaud

MARTIN

Pilate

At Easter, concert promoters andconductors often turn theirthoughts towards Frank Martin’sgreat oratorio Golgotha; it is rarerthat his cantata Pilate wins theirvote. From the point of view of itssubject matter, Pilate would be justas relevant if the figure of Jesuswere omitted: influenced by Arnoul Gréban (d. 1471) and his Mystère de la Passion, Martin con-centrated on the inner conflicts ofPilate, who despite his convictionthat Jesus is innocent must stillcondemn him to death (Warsaw,6 April, Polish RSO and Chorus / Lawrence Foster).When, in the summer of 1944,Martin received a commissionfrom Radio Geneva to compose avocal work that could be broadcastat the end of the war, he was cer-tain that it ought to have a reli-gious character. He wrote In terrapax, which is to be performed inDresden and Leipzig on 3 and 5June under Harmut Haenchen.

MILHAUD

Miniatures

A ten-minute opera, five sympho-nies for 7-10 instruments lasting

from 3–6 minutes – even withinsuch minuscule confines DariusMilhaud could create somethinglasting. The Abduction of Europa,one of his three ‘opéras-minutes’(first performed in 1927 in Baden-Baden, along with Weill’s Maha-gonny Songspiel) is being presentedon 22 June at Regensburg University,conducted by Bernhard Hofmann.And all five of the symphonieswere performed by Collegium Musicum on 6 May, at Schloss Johannisburg in Aschaffenburg.

Darius Milhaud

30

szymanowski / marx

MDR Symphony Orchestra

SZYMANOWSKI

Clear form

Credited with the renewal and reform of Polish music, Karol Szymanowski created in his Stabatmater (1926) a work which is deeply rooted in tradition and ex-presses a homely piety. The simplestructure, clear form, astringentharmony and spare orchestrationsingle the work out as a formal andcompositional tour de force, whosepurity and formal logic hold the listener spellbound. Szymanowskihere renounced diversity of expres-sive means in favour of maximumconcentration.The work is receiving several per-formances in the coming months,including one with the MDR Sym-phony Orchestra and Choir underHartmut Haenchen at the Kreuz-kirche, Dresden on 3 June (Leipzig, 5June) as part of the Dresden MusicFestival, and three others at the

Schleswig-Holstein Festival, withthe Cappella Istropolitana underRolf Beck (1–4 August).

MARX

Music for

festive occasions

In 1928 Joseph Marx wrote Einefestliche Fanfarenmusik for 22brass instruments, 2 (or 4) timpaniand snare drum. The solemn character of this work, just under 5 minutes long, makes it perfect asa curtain-raiser for a concert or dignified introduction to an impor-tant event. Marx’s Festive FanfareMusic resounded in Vienna to markhis 125th birthday (he was born on11 May 1882), performed by theÖGZM Wind Ensemble under Werner Hackl. To learn more aboutthe composer, visit www.joseph-marx.org

31

schreker / strauss

The chamber work Der Wind, aftera poem by Grete Wiesenthal, willbe heard in Finland (Kuhmo, 15 July).

STRAUSS

Wanderers Sturm-

lied, op. 14

Richard Strauss was 20 years oldwhen, while working in Meiningen,he set Goethe’s poem for six-partmixed chorus and orchestra.Looking back, he wrote about it inhis Observations and Memories:‘The fruits of my infatuation withBrahms at that time (under Bülow’ssuggestive influence) were the‘Wanderers Sturmlied’ and the‘Burleske.’’ The remarkably preco-cious piece, which demonstratesboth heroic and meditative features, can be heard at HamburgUniversity on 1 July under Bruno deGreeve.

SCHREKER

Suggestive power

If music was ‘thought’ for ArnoldSchönberg, for Franz Schreker itwas, primarily, ‘sound’. In his operaDie Gezeichneten, alongside mo-ments of decadence, the oppositionbetween art and life takes centrestage above all else. Since the ac-claimed Salzburg Festival perfor-mance in 2005 (conducted by KentNagano) the work has found moresympathy. Now it is being accordedits rightful status in Amsterdam(Het Muziektheater Amsterdam,conducted by Ingo Metzmacher,3 June). Director is Martin Kusej.Schreker’s Nachtstück (the interlu-de from Act 3 of the opera Der ferneKlang) is being performed by Syl-vain Cambreling on the occasion ofMichael Gielen’s 80th birthday,with the SWR SO Baden-Baden(Berlin 2 July, Freiburg 4 July).

Franz Schreker Die Gezeichneten Salzburg 2005

alma + gustav mahler

32

on 27 & 31 Aug, this time conductedby Simon Rattle. Symphony No. 3will be performed by the LucerneFestival Orchestra on 18 & 19 Aug(Lucerne) and on 22 Aug (London),with Claudio Abbado conducting.

ALMA MAHLER

Lieder in Weimar

Alma Mahler was a muse to manyartists – Kokoschka, Zemlinsky andMahler himself, to name but three– but her own music is heard all toorarely. However, since the sensitiveorchestrations of her Lieder by theUK composers Colin and DavidMatthews have become an estab-lished part of the repertoire, this si-tuation has improved. There will betwo performances of her 7 Lieder (by Staatskapelle Weimar)on 10 and 11 June; the soloist will bethe mezzo-soprano Iris Vermillion,and the conductor Jac Van Steen.

GUSTAV MAHLER

The Symphony

is the World

Gustav Mahler’s symphonies conti-nue to dominate orchestral reper-toire worldwide, and indeed thereare a number of important perfor-mances taking place in the comingmonths. Firstly, Symphony No. 8can be heard in Vienna on 18 and 19June performed by the Vienna Phil-harmonic under the baton of FabioLuisi. Then, on 1 July Symphony No. 10, completed by Rudolf Barshai, can be heard in Berlin, withGabriele Ferro conducting the Orchestra Giovanile Italiana.Symphony No. 1 will be performedon 27 & 28 July by the Vienna Phil-harmonic and Franz Welser-Möstas part of the Salzburg Festival, andthe same orchestra will also per-form Symphony No. 9 in Salzburg,

Franz Welser-Möst

33

janácek

June), the Brno version of Jenufa(London, Opera Holland Park, 6June); the Prague version of Jenufa(Hamburg Staatsoper, 13 June),Katya Kabanova (Theater Düssel-dorf, 3 June; Theatre Royal, Notting-ham 7 June; Theatre Royal, New-castle 14 June; The Lowry, Salford, 21June) and The Makropulos Affair(Pfalztheater, Kaiserlautern, 6 June).

And now there’s also Janácek forchildren: The Children’s Vixen, afterthe opera The Cunning Little Vixen,by Alexander Krampe (arrange-ment) and Ronnie Dietrich (text)for 12 instrumentalists and singers.It’s precisely this work that seemsso ideal for introducing children tothe world of opera: a fairy-talestory, an original inventive animalworld, and accessible motifs andmelodies.

JANÁCEK

Truth and beauty

‘Truth does not preclude beauty. Onthe contrary: we need more of both.’This was how Leos Janácek onceformulated his aesthetic credo, towhich he remained faithful to theend. It also holds true for his last,and unfortunately far too rarelyperformed opera From the House ofthe Dead (after sketches by FyodorDostoevsky, 1862). The topicality ofthe subject matter and the bold-ness of the musical setting stillshock today. Pierre Boulez (conduc-tor) and Patrice Chéreau (director)have produced the opera for theWiener Festwochen, and the pro-duction can now be seen at theHolland Festival (29, 31 May; 2 June)and the Festival d’Aix-en-Provence(16–22 July).Further performances of Janácekoperas include: The Excursions ofMr Broucek (Theater Lübeck, 17

Leos Janácek From the House of the DeadVienna Festival 2007

berg

BERG

The eighth Song

In 1928 Alban Berg published hisSeven Early Songs, both for voiceand piano and for full orchestra.The songs are almost the only onespublished from the more than 80that he wrote before and duringhis studies with Arnold Schönberg.An eighth Song, An Leukon, wasonly published posthumously in1937, and now an orchestra versionarranged by Christopher Gordonhas been added. The première ofthis new version – together withthe Seven Early Songs – will takeplace at the BBC Proms on 6 August.Gianandrea Noseda conducts theBBC Philharmonic Orchestra – thesoloist is Renée Fleming.Christopher Gordon has written afascinating essay on the work,exploring Berg’s hidden numbers(the work has 23 bars: Berg’s ‘fate’number) and letters. The full textcan be found atw w w. u n i ve r s a l e d i t i o n . co m /promotion/anleukon.pdf.

The motive behind Berg’s ViolinConcerto was the early death ofManon Gropius, the daughter ofAlma Mahler and Walter Gropius,which is why the work carries thesub-title To the memory of anangel. Zubin Mehta conducts GilShaham and the Israel PO Orchestraat the Salzburg Festival on 22 Aug.

The 3 Pieces for Orchestra – Berg’smusical vision of the horrors of theFirst World War – will be performedin Dresden by the StaatskapelleDresden, conducted by DanieleGatti (1–3 Juli). Pierre Boulez con-ducts the Berlin Philharmonic inthe same work from 7–9 June inBerlin.

35

schönberg

SCHÖNBERG

A chamber music

première

Arnold Schönberg’s 6 OrchestralSongs op. 6 of 1904 were composedfor large orchestra, which naturallypresents an acoustic challenge forthe vocal soloist. They are his firstorchestral songs, predating boththe Gurrelieder and the OrchestralSongs op. 22.For practical reasons, in the courseof the years various arrangementswere prepared for the forces of theSociety for Private Musical Perfor-mances – including some bySchönberg himself, as well as by

Hanns Eisler and Erwin Stein. Thethird song in the collection – Sehn-sucht – has now been re-orchestra-ted by Klaus Simon, musical direc-tor of the Holst Sinfonietta. In hispared down version the balancebetween singer and orchestra isless problematic and permits per-formance by a lyric soprano. Thefirst performance of all six songstogether in the chamber music arrangement took place on 13 Mayin Wasserschloss Nordkirchen(Westphalia); Klaus Simon directedBritta Stallmeister and the HolstSinfonietta.

Alongside works of Luciano Berio,Schönberg’s Pierrot Lunaire isbeing performed at the Laieszhalle,Hamburg, on 1 July, directed by Simone Young (who also plays thepiano in the performance).Verklärte Nacht is receiving perfor-mances in Paris and Geneva as wellas at the Salzburg Festival underMetzmacher and at the Lucerne Festival under Zubin Mehta. Also inLucerne and Salzburg, the West-Eastern Divan Orchestra under Daniel Barenboim is playing theVariations for Orchestra, op. 31.

webern

36

WEBERN

Sensuous

experience

‘To surrender oneself utterly to thelistening experience’ – this is whatAnton Webern’s music demands.‘To recognise sounds, to experiencethem sensuously’ – these are thecomposer’s main concerns. Hisworks are among the most impor-tant compositions of the 20th cen-tury and represent the most radicaland logically consistent continua-tion of the 12-tone technique deve-loped by Arnold Schönberg. ‘Hecould express a whole novel in asigh’, said Schönberg of his com-pressed writing style. His firstmasterpiece, the Passacaglia for orchestra op. 1 (first performed in1908) is a remarkable testimony toWebern’s handling of the late Romantic orchestral apparatus aswell as to his clear formal organi-

sation of its 269 bars. Marek Jan-kowski is performing it with theRSO Berlin on 2 and 3 June at theBerlin Konzerthaus.Up until 1914,Webern wrote musicalaphorisms of unheard-of brevity,extraordinarily radical in the fragi-lity of their gestures. In Webern’scase, working processes orientatedaround the molecular level replacedthe customary obsession with expansive creativity. The ArtisQuartet is performing the Five Pie-ces op. 5 and Six Bagatelles forString Quartet op. 9 on 23 Augustat the Salzburg Festival.The Six Pieces for Orchestra op. 6marked Webern’s transition to freetonality and gave expression topsychological states that over-whelmed him directly before andafter his mother’s death. The pre-mière in Vienna in 1913 unleashedan incredible uproar. Pierre Boulezis conducting the work with theBerlin Philharmonic in Berlin (7–9June) and Aix-en-Provence (7 July).

Anton Webern and Helmut Zenk

bedford / patterson

37

BEDFORD

70th Birthday

We extend our warmest wishes tocomposer David Bedford, who celebrates his 70th birthday on 4 August 2007.The composer studied with LennoxBerkeley in London and then withLuigi Nono in Venice. For over 40years he has received commissionsfrom major orchestras, festivalsand artists throughout the UK, andhas also written and orchestratedmany works for film and TV pro-grammes. Bedford also writesmusic for educational purposesand is in frequent demand for creative workshops in the UK andoverseas.

PATTERSON

Birthday

Celebrations

Paul Patterson celebrates his 60th

birthday this year, and has longbeen at the forefront of newmusic. He was influenced by Penderecki and Lutoslawski andtaught by Richard Rodney Bennettat the Royal Academy of Music,where he himself now teaches, andhis output includes everythingfrom aleatoricism to simple sacred

music. As part of the celebrations,the Hampstead and Highgate Festival invited the New LondonOrchestra and the Highgate ChoralSociety to perform Stabat Mater on12 May, conducted by Ronald Corp.

David Bedford

anniversaries

38

2007

75th Anniv. of Death Eugen d'Albert † 03 March 193270th Birthday David Bedford * 04 August 1937125th Anniversary Walter Braunfels * 19 December 188260th Anniv. of Death Alfredo Casella † 05 March 194720th 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

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

100th Anniversary Olivier Messiaen * 10 December 190860th Birthday Nigel Osborne * 23 June 194860th Birthday Peter Ruzicka * 03 July 194875th Birthday R. Murray Schafer * 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 1908125th Anniversary Anton Webern * 03 December 1883

anniversaries

39

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 Scoria for orchestramusica viva, SO des Bayerischen Rundfunks, c. Peter Rundel06 July 2007 · Herkulessaal München/D

HARRISON BIRTWISTLE Cortege a ceremony for 14 musicians in memory of Michael VynerLondon Sinfonietta11 June 2007 · Royal Festival Hall London/GB

VICTORIA BORISOVA-OLLAS The Ground Beneath Her Feet a staged performance for 2 singers, narrator and orchestraManchester International Festival, Hallé Orchestra, c. Mark Elder29 June 2007 · Bridgewater Hall Manchester/GB

GEORG FRIEDRICH HAAS "... aus freier Lust ... verbunden ..." for tromboneDirk Amrein, trb19 June 2007 · Landesgartenschau Rheinfelden/D

ROXANNA PANUFNIK Cavatina and Moravian Dance for string quartetWihan Quartet26 June 2007 · Wigmore Hall London/GB

ARVO PÄRT Passacaglia for 1 or 2 violins, vibraphone (ad lib.) and string orchestraKremerata Baltica, c. Gidon Kremer, vln30 June 2007 · Riga/LV

WOLFGANG RIHM Diptychon after Hölderlin’s poetry for high soprano and orchestraWDR SO Cologne, c. Stefan Asbury, Mojca Erdmann, S08 June 2007 · Cologne/D

Goethe-Lieder for tenor and pianoPiano Festival Ruhr, Christoph Prégardien,T; Siegfried Mauser, pno03 June 2007 · Folkwang Hochschule Essen/D

world premières

40

world premières

41

WOLFGANG RIHM Sotto voce 2 capriccio forpiano and small orchestraFestival Erl - Haydn Orches-tra Bozen-Trientc. Gustav Kuhn,Nicholas Hodges, pn21 July 2007 · Passionsspiel-haus Erl/A

JAY SCHWARTZ Music for 8 Autosonic Gongsfor eight electro-acoustically operated tam-tams and Chinese gongssound installation at documenta 1216 June - 23 September 2007 · Church St Martin Kassel/D

Music for fluteEvelyn Degen, fl24 June 2007 · documenta 12, Church St Martin Kassel/D

MAURICIO SOTELO Night for percussion and ensembleEnsemble Remix, c. Emilio Pomàrico, Miguel Bernat, perc.16 June 2007 · Casa de música Porto/P

JOHANNES MARIA STAUD Sydenham Music for flute, viola and harpAldeburgh Festival, Birmingham Contemporary Music Group15 June 2007 · Snape Maltings Concert Hall Aldeburgh/GB

new releases

42

PIERRE BOULEZ2 extraits de “Le Marteau sans Maître” for alto fluteUE 33404

JOHANNES BRAHMS Paganini-Variations for piano Urtext Edition ed. by Johannes BehrUT 50172

DAVID BROOKERString Play Around the World for flexible string ensemble (piano ad lib.) UE 21313

MIKE CORNICK Blue Baroque Flute for flute and piano UE 21380

WALTER ERNST HABERL Latin for Alex for cello and piano UE 33349

GYÖRGY KURTÁGAz hit ... for cello soloUE 33372

ARVO PÄRT 4 Easy Dance Pieces Music for children’s theatrefor piano UE 33374

Da Pacem Domine for string quartetscore and parts UE 33340

JAMES RAEPlay it Cool – Viola for viola and piano (CD included) (PLAY ALONG and full version) UE 21369

Jazzy Recorder Duets for 2 alto recorders UE 21395

KURT WEILLDie Legende vom toten Soldaten for mixed choir a cappellachorus score UE 33673

new releases

43

JOHANNES BRAHMS

Paganini

Variations

Urtext edition edited by JohannesBehr; fingering and suggestionsfor interpretation by Peter Roggenkampfor pianoUT 50172

Incorporating revisions from theSt Petersburg sources for the firsttime

The Paganini Variations occupy aspecial place in Johannes Brahms’piano output. While, according tothe title page, a collection of studies, they are at the same timesuitable for concert performance.This indeed played a role inBrahms’ own treatment of the pieces.When he conceived the vari-ations, it was still as a collection ofindividual studies, which Brahmsthe pianist used as finger exercises.Only in 1865 did he develop this collection of studies into a ‘work’,publishing it in 1866.This dual function of the PaganiniVariations is of interest to pianiststoday because they can not onlysignificantly improve their pianotechnique with them, but at thesame time prepare an extremelyeffective concert piece.

Wiener Urtext EditionSchott / Universal Edition

Brahms Paganini Variations

UT 50172

Brahms

Behr/Roggenkamp

Paganini-Variationen

For the first time this new editiondraws on all known sources, includ-ing two early manuscripts thoughtto have disappeared after 1945,which were rediscovered in St Petersburg only a few years ago.

44

new on cd + dvd

LUCIANO BERIO SoloOslo Philharmonic Orchestra, c. Peter Rundel, Christian Lindberg, trbBIS SACD 1638

LUCIANO BERIO Sonata, Six Encores, Rounds, Sequenza IV Andrea Lucchesini, pn Avie Records AV CD 2104

PIERRE BOULEZ MessagesquisseMembers of the Chicago Symphony Orchestra, c. Daniel BarenboimArchive of the CSO CD07-2

PIERRE BOULEZ Douze NotationsDaniel Fray, pnEdition Piano Festival Ruhr Vol. 15CA vi-music 6 CD Box 42 600855053 3

JOSEF MATTHIAS HAUER Romantic Phantasy, 7. Suite for Orchestra,Concerto for Violin and Orchestra, Zwölftonspiel for OrchesterRSO Wien, c. Gottfried Rabl, Thomas Christian, vlnCPO / JPC CD 777 154-2

LEOS JANÁCEK Taras Bulba, Suite “From the House of the Dead”Janácek Philharmonic Orchestra, c. Christian ArmingArte Nova Classics 74321 67524 2

GEORGES LENTZ Caeli enarrant ... I OS de Radio-Télé-Luxembourg, c. Marcel Wengler Editions LGNM CD

GUSTAV MAHLER Symphonie No. 2Diana Damrau, Petra Lang, Staatskapelle Berlin, Chorus of the German State Opera Berlin, c. Pierre Boulez arte Euroarts Naxos DVD 2054418

FRANK MARTIN 5 Songs of ArielRIAS Kammerchor, Scharoun Ensemble, c. Daniel ReussHarmonia Mundi HMC 901834

OTTORINO RESPIGHI Quartetto DoricoNew Hellenic QuartetBIS/Classic CD 1454

WOLFGANG RIHM Musik für Oboe und Orchester, Styx und Lethe, DritteMusik, Erster DoppelgesangSWR Symphony Orchestra Baden-Baden and Freiburg, Hans Zender,Michael Gielen, Jan Latham-König SWR music / hänssler classic / Naxos CD 93.185

DANIEL SCHNYDER Trumpet ConcertoPhil. Orchestra of NDR, c. Kristjan Järvi, Reinhold Friedrich, trpMarsyas MAR CD 1802 2

45

new on cd + dvd

OTHMAR SCHOECK Für ein Gesangsfest im Frühling MDR Radio Choir and Symphony Orchestra, c. Mario VenzagoClaves Records CD 50-2701

ROBERT SCHUMANN Symphonies No. 2 & 4 (orch. by Gustav Mahler)Gewandhausorchester Leipzig, c. Riccardo Chailly Decca CD 475 8352

KAROL SZYMANOWSKI Notturno and Tarantella The Kielce Philharmonic Orchestra, c. Jacek Rogala The Polish Album, GM Records via PWM Edition 2006

PANCHO VLADIGUEROV Vardar Bulgarian Rhapsody, Dreamplay-Suite,7 Symphonic Bulgarian Dances Radio Symphony Orchestra Berlin, c. Horia Andreescu CPO/JPC CD 777 125-2

HERMANN CONEN (HG.) ARVO PÄRT Die Musik des Tintinnabuli-Stils Book, Dohr Verlag, Köln 2006

LUCIANO BERIOFolk Songs, Sequenza VI,Chemins II etc.Orquesta de Cá-mara del Audito-itorio de Zaragozac.Juan José OlivesColumna Música1CM0143

J. M. HAUERViolinkonzert,7. Suite, Rom.Phantasie etc.RSO Wien, c.Gottfried Rabl,Thomas Chris-tian, vln CPO / JPC CD 777 154-2

FRANK MARTIN Le vin herbéRIAS Kammer-chor, ScharounEnsemble,c. Daniel ReussHarmoniaMundi HMC 901935.36

DARIUS MILHAUDBallade, Cinq Etudes SWR RO Kaisers-lautern, c. AlunFrancis, MichaelKorstick, pnCPO / JPC CS777 162-2

46

stockhausen worklist

KARLHEINZ STOCKHAUSEN Worklist (summary)

Adieu No. 21 for wind quintet 16’ 1966Aus den sieben Tagen No. 26 for variable instrumentation unlimit. 196815 text compositions for intuitive musicCarré No. 10 for 4 orchestras and 4 choirs (4 conductors) 36’ 1959-1960Choral No. 1/9 for mixed choir (SATB) a cappella 4’ 1950Chöre für Doris No. 1/11 for mixed choir (SATB) a cappella 10’ 1950Dr. K-Sextett No. 28 for flute, bass clarinet, percussion 3’ 1969(tubular bells and vibraphone), piano, viola and celloFormel No. 1/6 for orchestra 12’57’’ 1951Fresco No. 29 for 4 orchestral groups approx. 5 hours 1969wall sounds for meditation Frühe Noten anthology 1950 - 1951(Choral · Chöre für Doris · 3 Lieder · Sonatine)Gruppen No. 6 for 3 orchestras 24’25’’ 1955 - 1957Klavierstücke 1–4 No. 2 for piano 8’ 1952-1953Klavierstück 5 No. 4 for piano 6’ 1954Klavierstück 6 No. 4 for piano 26’ 1954/1955Klavierstück 7 No. 4 for piano 7’ 1954/1955Klavierstück 8 No. 4 for piano 2’ 1954Klavierstück 9 No. 4 for piano 10’ 1954/1961Klavierstück 10 No. 4 for piano 23’ 1954/1961Klavierstück 11 No. 7 for piano 15’ 1956Kontra-Punkte No. 1 for 10 instruments 14’13’’ 1952-1953Kreuzspiel No. 1/7 for oboe, bass clarinet, piano and 11’30’’ 19513 percussionistsKurzwellen No. 25 for 6 players 50-65’ 19683 Lieder No. 1/10 for alto and chamber orchestra 19’26’’ 1950Mikrophonie I No. 15 minimum duration 22’ 1964for tam-tam, 2 microphones, 2 filters and potentiometers (6 players)Mikrophonie II No. 17 for choir (6S, 6B), 15’ 1965Hammond organ or synthesizer, 4 ring-modulators and tapeMixtur No. 16 for orchestra, sine-wave generators and 2 x 27’ 1964 ring modulatorsMixtur No. 16 1/2 for orchestra, sine-wave generators and 2 x 27’ 1967 ring modulators (small instrumentation)Oben und unten for instrumentalists ad lib. minimum duration 40’ 1968Theatre piece from No. 26 “Aus den 7 Tagen”

47

Originale No. 12 2/3 musical theatre with “Kontakte” 94’ 1961Plus minus No. 14 for variable instrumentation min. duration 35’ 1963Prozession No. 23 for 6 players (tam-tam, viola, min. duration 32’ 1967electronium or synthesizer, piano, microphonist, filter & level controller)Punkte No. 1/2 for orchestra 27’ 1952/1962/1993Refrain No. 11 for 3 players (pn and 3 wbl, vlc (or synth) 12’ 1959and 3 cymbales antiques, vib and 3 cow bells, 3 glockenspiel bars)Schlagtrio No. 1/3 for piano and 2 x 3 timpani 12’ - 24’ 1952/1974Solo No. 19 for melody instrument with feedback 10 - 19’ 1965/1966(1 players and 4 assistants)Sonatine No. 1/8 for violin and piano 10’ 1951Spiel No. 1/4 for orchestra 16’1’’ 1952Spiral No. 27 for one soloist with short-wave min. duration 90’ 1968receiverStimmung No. 24 for 6 vocalists (2 S, A, 2 T, B) ca. 75’ 1967Stimmung No. 24 1/2 “Paris version” ca. 75’ 1967for 6 vocalists (2 S, A, 2 T, B)Stop No. 18 for orchestra 20’ 1965Stop No. 18 1/2 “Paris version” for 18 players in 6 groups 20’36’’ 1969Telemusik No. 20 for electronics 18’ 1966Zeitmaße No. 5 for 5 woodwinds 15’ 1955-1956Zyklus No. 9 for one percussionist 12 - 16’ 1959

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

The complete list of all works by Stockhausen is available at:www.stockhausen.org

stockhausenworklistst

UNIVERSAL EDITION

Austria: P O 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 7BBtel +44-20-7437-6880, fax +44-20-7292-9173.

USA: European American Music Distributors LLC254 West 31st Street, 15th Floor, New York, NY 10001-2813

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

W eb: 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 Dürr and Nick CuttsDesign: Egger & Lerch, Vienna

Photo Credits: Eric Marinitsch (8), Matt Stuart, Jonathan Irons,Keith Saunders, Eva Smirzitz, www.marsyas.biz, Theater Kiel /Olaf Struck, UE-Archiv (6), Imre Varga, Teatro alla Scala / E. Pam-polini, Spoleto Festival / Marc Vanappelghem, Respighi Archive,Teatro Lirico di Cagliari / Priamo Tolu, Milkenarchive / ImogenCunningham, MDR-Sinfonieorchester, Salzburger Festspiele /Bernd Uhlig, Volkswagenbank Residence, Wiener Festwochen /Ros Ribas, Allison Bedford, Festspiele Erl, Kathinka Pasveer;CDs: Columna Música, CPO / JPC (2), Harmonia Mundi.DVR: 0836702

48

thema