09 Arvo Pärt. Shining in the silence. On the 70th birthday of Arvo Pärt
13 Victoria Borisova-Ollas. Before the Mountains were Born. The world première
24 Cristóbal Halffter. Don Quijote on tour in Spain
17 Johannes Maria Staud. The "new" Berenice in Heidelberg
Luciano Berio Boulez on Berio 80th anniversary of birth. Worklist pp. 44 - 47
newsletter 04/05 • autumn 2005
NEWS UE Music for Film — 4 COMPOSERS Berio — 5 Pärt — 9 Victoria Borisova-Ollas — 13 Haas — 15 Staud — 17 Rihm — 18 Boulez — 19 Panufnik — 20 Eichberg — 20 Birtwistle — 21 Bennett — 22 Cerha — 23 Furrer — 23 Halffter — 24 Sawer — 25 Feldman — 25 Weill — 26 Liebermann — 27 Krenek — 27 Szymanowski — 29 Kodály — 29 Schmidt — 31 Schreker — 31 Martin — 32 Korngold — 32 Shostakovich — 33 Marx — 33 Janácek — 34 Mahler — 35 Berg — 36
ANNIVERSARIES — 37 - 38 WORLD PREMIÈRES — 39
The Merchant of
NEW RELEASES — 40 -41
NEW ON CD — 42 - 43 WORKLIST Berio — 44 - 47 ACKNOWLEDGEMENTS — 48
Are we witnessing the decline of a particular area of the retail trade? Specifically, is the traditional music shop an endangered species? Fear not: the answer is no, because the many people who buy sheet music continue to exist. The great many people who are deeply interested in culture and who buy related products appreciate it if such "objects of desire" are carefully selected and appealingly presented by professionals. The retail trade is under pressure to change its ways in accordance with new market forces. Those retailers who grumble and resist such change will ultimately lose. However, those who are willing to try out new things, who recognise our consuming desire for culture and who know how to take advantage of our obsession with the internet will survive. To shop for culture is to feed a desire. Don't you agree? The Editors
from a variety of well-known films.
By the way, you can find many more very interesting compositions - perfect for all kinds of film genres - in the Universal Edition catalogue. Our film staff will gladly help you! Contact: email@example.com
for Film More than any other publisher of contemporary music, the catalogue of Universal Edition has been used in a great many worldfamous films to create unique soundtracks of the highest quality. A click on UE Music for Film will take you to our new film website, which includes integrated audio samples. Under Get the Right Music you will find an interesting selection of sound-clips that are perfectly suited for film music, each classified as either drama, suspense, comedy or action. You can also obtain a free copy of our CD sampler which features some of the most striking music
From an interview with companion and ally Pierre Boulez B.A. Varga: The last time I experienced you and Luciano Berio together was at a rehearsal for the world première of sur Incises on 31 August 1998 in Edinburgh. The way you sat next to each other made an impression of deep trust, as between people who’ve known each other for decades. Would you describe your relationship as having been a friendship? Pierre Boulez: Yes, it was in fact quite an unproblematic friendship. We didn’t always agree on everything - that would’ve been too much to ask. But we agreed on the
main things; that is to say, on the big picture. B.A. Varga: When you first conducted Berio’s Notturno, on tour with the London Symphony Orchestra, you gave an interview in which you spoke only of those characteristics of his music that were different from your own: that he was more extrovert, used more theatrical gestures in his music, and was interested in instrumental virtuosity - all of which you might value, but of which employment merely for its own sake is foreign to you. So you emphasized the differences. Pierre Boulez: I’d like to point out a further difference: I’ve now performed Mahler’s Second Symphony. [Boulez conducted the work several times in Berlin and Vienna, in
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March and May.] Whenever I conduct the Scherzo, I can’t help but think of Berio’s Sinfonia - which he created based on the former. I could never have done something similar. I admire that. Any number of people have worked with quotations or done parodies, but I’ve never succeeded at it: I’ve never had the distance, the humour, the sarcasm. Berio went about it very cleverly, integrating the quotations organically in the piece. I also make theatrical gestures, more now than I used to. Répons, Rituel and Dialogue de l’ombre double are such theatrical gestures. But there are no foreign elements. On the contrary: when I take one of my pieces, such as the Notations, then I encounter something of myself in them. I just put it in another context, and that gives it another meaning. B.A. Varga: Up until now, you have spoken about the differences between yourself and Berio. What do you have in common - indeed, do you have anything in common? Pierre Boulez: Yes. There was a period during which we both developed in a similar way. We recognized rather early on that the twelve-tone system was no longer any help, quite the contrary: we
wanted more freedom. We went our respective ways (I being even more consistent than he), but with a sort of discipline. After the founding of IRCAM, I invited him to participate. Unfortunately he was very busy, and unable to devote much time to us. Back then there were two general directions, I’d say. The one orientated towards theories, and both Berio and I felt that this was a dead end: a giant heap of purely theoretical considerations. We preferred the second route: concrete research on the relationship between electronics and instruments. This is important in light of the richness of instrumental material. You can reduce something, make comparisons, transform etc. Berio was on my side when it came to being against all the dead-end theoretical concepts back then. He was practical, like I was.
at a glance On 24 Oct 2005, Luciano Berio would have turned 80. The following is a selection of concerts taking place between September and December 2005 to mark his birthday: 17 - 21 October, Rome/I: Berio Festival at the Accademia Nazionale di Santa Cecilia: from 1999 Luciano Berio was responsible for the artistic direction of Rome’s Accademia Nazionale di Santa Cecilia. The Academy is to honour Berio with a one-week festival: 17 October, Berio / Bach Contrapunctus XIX from The Art of Fugue,
Stanze; Orchestra e Coro dell’Accademia Nazionale di Santa Cecilia, Andreas Schmidt, baritone, c. Daniel Kawka 17 and 18 October, A-Ronne; I burattini di Amy Luckenback 18 October, Folksongs, Sequenza VIII for violin, Sequenza V for trombone, Sequenza III for voice, Chemins II for viola and 9 instruments, Linea for 2 pianos, vibraphone and marimba; Ensemble Ictus 19 October, chamber music 21 October, “points on the curve to find”, Rendering; Orchestra dell’Accademia Nazionale di Santa Cecilia, Bruno Canino, piano, c. Pascal Rophé. 3 September, Concertgebouw Amsterdam/NL: Stanze (Dutch première) with Andreas Schmidt, baritone, and the Radio Filharmonisch Orkest Holland, c. Jaap van Zweden. 9 September, Concertgebouw Bruges/B: Sequenza VIII for violin, O King, Autre fois, Sequenza XIV for cello, Linea, Duetti, Quattro Canzoni Popolari, Sequenza V for trombone, Chemins II for viola and 9 instruments; London Sinfonietta, c. Diego Masson.
Shining in the silence In his famous book The Little Prince, French writer Antoine de SaintExupéry writes: I have always loved the desert. One sits on a desert sand dune, sees nothing, hears nothing. Yet through the silence something shines... The desert – or, loosely translated, perhaps tabula rasa(?) – is portrayed here as the great, albeit uninhabited framework which makes shining through the silence possible.
What makes the desert beautiful, said the Little Prince, is that somewhere it hides a well. Arvo Pärt’s longing for the purity of sound and his wish at least to come close to it with his “Tintinnabuli” style bears a lot of similarities to this search for the well in the desert. As does the belief that shining through the silence is only possible through the employment of reduced means and personal restraint, an idea that is common to both artists. It is touching to regard SaintExupéry’s drawing at the end of his book, with the two simple lines representing the desert below and the small, pointy star above; it is likewise telling to hear the words
in which Pärt describes his Tintinnabuli style: “Tintinnabuli” – the astonishing, radical act of retreat into voluntary poverty: the holy men left behind all their riches and went into the wasteland. In the same way, the modern composer may also seek to leave behind him the whole modern arsenal and rescue himself by way of naked monody, taking with him only that which is necessary – the triad, and nothing else. For experienced professional musicians, an encounter with Pärt can have a cleansing effect on the fundamental way in which they deal with music. Pärt’s almost ritualistic use of scales and triads, and the naturalness with which these are laid out in innocent nakedness, quietly invite one to adopt a different approach to listening, and to hear the seemingly familiar in a new way: hence a scale, carelessly
disregarded thousands of times before, can all at once lead to the conscious experience of rising and falling, and the poor old triad, abused by supermarkets and pop music – and long buried by historians – is restored as the crowning element of sound in which all three individual tones give up their individuality in favour of the ideal, higher common aim. For a musician of the Middle Ages or the Renaissance, such reverence in the face of musical phenomena may have been taken for granted. In our day – about which Nelly Sachs comments: we have long since forgotten how to listen – it is no less than the rediscovery of a musical axiom. I can well imagine that, for many musicians, an encounter with Pärt’s music can lead to an altogether more conscientious and affectionate relationship with music as a whole. And is there anything more beautiful that could be said of a contemporary composer? What makes the desert beautiful, said the Little Prince, is that somewhere it hides a well. Andreas Peer Kähler
at a glance A selection of the numerous concerts taking place from September to December 2005 to celebrate the 70th birthday of Arvo Pärt: 2 - 3 Sep, Kawaguchi/Kamakuras/ Japan: Fratres, Orient & Occident. Tallinn Chamber Orchestra (TCO), c. Eri Klas. 9 & 11 Sep, Viinistu/EE and Stockholm/S: Te Deum, Berliner Messe. TCO, Swedish Radio Choir, c. Tõnu Kaljuste (live EBU radio broadcast). 11 - 28 September, Estonia: Arvo Pärt Festival - 4 programmes in 9 concerts, to take place all over Estonia, Estonian Philharmonic Chamber Choir (EPCC), Theatre of Voices, c. Paul Hillier. Details at www.partfestival.com 27 Sep, Tallinn/EE: Tabula Rasa. Gidon Kremer, Kremerata Baltica. 20 - 21 October, Budapest/H: Pärt Festival: Berliner Messe, Orient & Occident, Silouans Song, Te Deum. TCO, EPCC, c. Tõnu Kaljuste. 25 October, Ljubljana/SLO: Arbos, Cantus in Memory of Benjamin Britten, Como cierva sedienta, Summa. SO of RTV Slovenia, c. Karmin Silec.
Lamentate available as a study score and CD Just in time for Arvo Pärt’s birthday, ECM is releasing a new CD: Lamentate, with the SWR RSO Stuttgart under Andrey Boreyko and with pianist Alexei Lubimov. Lamentate, composed in 2003, pays homage to the artist Anish Kapoor and his monumental sculpture Marsyas, which was unveiled and first exhibited at Tate Modern, London. The score is available both from music dealers and online at our web shop www.universaledition.com as a printed edition, or as a digital print from www.SheetMusicNow.com
Before the Mountains were Born On 13 and 14 October 2005, Victoria Borisova-Ollas’ first UE work will receive its première in Stuttgart. This is what she writes about her work: The title of the piece, Before the Mountains were Born, comes from Psalm 90. Many beautiful pictures came into my mind whilst reading this psalm. I pursued my reminiscences of all those "frescoes" whilst composing the piece. When the RSO Stuttgart approached me for a new piece, featuring their amazing woodwind section, I felt the time ripe for the use of my third favourite psalm (my works Wings of the Wind and Kingdom of Silence have featured my first two
favourites, Psalms 104 and 94). Being less descriptive than Psalm 104, it gives little opportunity for music and text to work hand-inhand, scene by scene. It is a persistent prayer: the fleeting thoughts of a human being appealing to the superior power. The work does not begin as a "standard" concerto. The soloists – flute, oboe, clarinet and bassoon – start playing within the woodwind group. They then proceed one after another towards their soloist stands at the front of the orchestra. After their virtuoso "cadenzas", the reverse process begins. Towards the end they begin to join the woodwind section "musically" again. Before the Mountains were Born is dedicated to the conductor - Andrey Boreyko. Info: www.swr.de
9/9/05-25/9/05 schwaz/tirol www.klangspuren.at main sponsor: swarovski kristallwelten fr 9.9. TIROLER SYMPHONIEORCHESTER INNSBRUCK · BLÄSERENSEMBLE DER SWAROVSKI MUSIK WATTENS · JAZZORCHESTER TIROL · DIRIGENT · OLARI ELTS · CELLO · LUCAS FELS · GITARRE · RIHO SIBUL · Wielecki · UA · G.F.Haas · ÖE · Lutoslawski · Erkki-Sven Tüür sa 10.9. WINDKRAFT – KAPELLE FÜR NEUE MUSIK · DIRIGENT · KASPER DE ROO · SAXOPHON · MARCUS WEISS · SWAROVSKI MUSIK WATTENS · J. M. Staud · UA · Ch. Dienz · UA · Xenakis · Ewa Trebacz · UA so 11.9. TADEUSZ WIELECKI · JOANNA WOZNY · REINHARD SCHULZ · GESPRÄCH · GITARREN MICHAEL UND MARTIN ÖTTL · GUNTER SCHNEIDER · THE NEXT STEP · Th. Amann · UA · Joanna Wozny · UA · Furrer · Lutoslawski · Haimo Wisser so 11.9. GUNTER SCHNEIDER HÖRT HELMUT LACHENMANN · ENSEMBLE MODERN · DIRIGENT · BRAD LUBMAN · Lachenmann · Nono · Bernhard Gander · UA mo 12.9. HELMUT LACHENMANN · ROLAND DIRY · GESPRÄCH · GITARREN · BARBARA ROMEN · GUNTER SCHNEIDER · Helmut Lachenmann di 13.9. IEMA-ABSCHLUSSKONZERT · Helmut Lachenmann mi 14.9. PIERRE-LAURENT AIMARD · TAMARA STEFANOVICH · Pierre Boulez fr 16.9. 45 LEHRLINGE · THE NEXT STEP · DJ WAZ EXP · ALEX MAYER · Firmenremixes · CD-Präsentation · MARTIN PHILADELPHY · RAOUL BJÖRKENHEIM · B. STANGL · M. SIEWERT · CH. DIENZ · D. HAMPL · L. LIGETI · Paint sa 17.9. WOLFGANG MITTERER · PRÄPARIERTES KLAVIER UND ELECTRONICS · BARITON · GEORG NIGL · Wolfgang Mitterer so 18.9. LESUNG · AMANDA AIZPURIETE · NEUE VOCALSOLISTEN STUTTGART · A. Dohmen · G. F. Haas · UA · G. E. Winkler · UA · F. Zeller · B. Breit · UA di 20.9. GUITAR UNLIMITED · GITARREN · GUNTER SCHNEIDER · MAGNUS ANDERSSON · WERNER RADITSCHNIG · BURKHARD STANGL · FLORIAN KMET · TETUZI AKIYAMA mi 21.9. GEORG FRIEDRICH HAAS HÖRT LUIGI NONO · ARDITTI QUARTET · Luigi Nono · G. F. Haas · Lachenmann do 22.9. LESUNG · ANDRZEJ STASIUK · CELLO · ANDRZEJ BAUER · SCHLAGWERK · THE NEXT STEP · E. Trebacz · C. Duchnowski · UA · M. Talma-Sutt fr 23.9. RIGAS KAMERMUZIKI · DIRIGENT · NORMUNDS SNE · GITARRE · TERJE RYPDAL · Gundega Smite · UA · Eriks Esenvalds · Michal Talma-Sutt · UA · Terje Rypdal sa 24.9. ENSEMBLE RECHERCHE · SÄNGER · DEJAN TRKULJA · G. F. Haas · P. Jakober · UA · S. Kajkut · UA · Ch. F. Schiller · UA so 25.9. GEORG FRIEDRICH HAAS · RAOUL SCHROTT · GESPRÄCH · LETTISCHER RADIO-CHOR · QUINTETT RIGAS KAMERMUZIKI · SCHLAGWERK · THE NEXT STEP · DIRIGENT · KASPARS PUTNINS · BASSTUBA · TOM WALSH · Lachenmann · A. Dzenitis · E. Esenvalds · UA · G.F. Haas · M. Einfelde Information: T +43 5242 73582 · F -20 · firstname.lastname@example.org · Klangspurengasse 1/Ullreichstraße 8a · A 6130 Schwaz
Haas Nacht Oper Frankfurt 2005 HAAS
International The German territorial première of the chamber opera Nacht by Georg Friedrich Haas, in a new production at the Frankfurt Opera, elicited exceedingly positive reactions: darkly staged music…, floating sonic tapestries…, not quite real, sometimes slumbering, sometimes exploding into streams of consciousness… (Bayern 4) A ‘night’ which the composer fills with a positively sensual sounding, filigree music full of pulsating overtones, which lays itself like a dark cloak over the cascade of sung and spoken words of Hölderlin. (Gerd Döring) The festival Klangspuren in Schwaz/A will be dedicating an extensive portrait series to the composer, including the world première of the choral work
3 Liebesgedichte (Neue Vocalsolisten Stuttgart, 18 September), the Austrian territorial première of his Concerto for Cello and Orchestra (Olari Elts conducts the Tirol SO with soloist Lucas Fels, 9 Sep), and performances of the works Blumenstück (29 September), Nach-Ruf … ent-gleitend… (24 Sep), the String Quartet No. 2 (Arditti Quartet, 21 September) and tria ex uno (24 September). Information: www.klangspuren.at The Warsaw Autumn Festival has programmed the Polish premières of Monodie (18 September) and In iij. Noct. (Kairos Quartet, 21 September). This 3rd String Quartet, a piece that must be played in total darkness, aroused the interest of the Lucerne Academy (headed by Pierre Boulez). (Swiss première by participants of the Lucerne Academy on 3 September). Klangforum Wien will be taking Nach-Ruf … ent-gleitend…, de terrae fine and tria ex uno on their Japanese tour (territorial premières from 3 – 6 September).
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Apeiron success in Berlin Sir Simon Rattle and the Berlin Philharmonic played the work they had commissioned, Apeiron, three times at the sold-out great hall of the Philharmonie - to cries of “bravo” and enthusiastic ovation from the audience. According to critic Klaus Geitel in Die Welt, the première earned unanimous, stormily loud applause. Scored for 101 musicians and lasting around 20 minutes, Apeiron pays homage to the sound of the orchestra, says Margarete Zander, who spoke with the composer before the première. Above all, Staud displays excellent mastery of the orchestra, according to Geitel. He knows what sounds effective and surprising when put together … but that what one has to say must also be comprehensible and gripping, even in the face of all artifice. And over long stretches, Staud achieves this perfectly…
The theatre in Heidelberg (opera director: Bernd Feuchtner) will be mounting its own production of Berenice in a new version. Noam Zur will conduct this staging by director Christian Spuck. Première: 5 November. There will also be two world premières within a short space of time: on 9 September, the solo violin piece Towards a Brighter Hue will be played by participants of the ARD competition in Munich (and on 13 September, Irvine Arditti will play the work’s Italian première at Parma’s Traiettorie Festival). For Klangspuren, Staud is composing Violent Incidents for saxophone (Marcus Weiss), winds and percussion (Windkraft Tirol, c. Kasper de Roo, première: 10 September, www.klangspuren.at.
Report from the workshop New pieces are being created, while existing pieces by Wolfgang Rihm are being selected - aleatorically, so to speak - and programmed from Warsaw to Venice. One particular work in progress, commissioned by Leipzig’s Gewandhausorchester, is Verwandlung 2, which will be premièred on 2 Sep by new chief conductor Riccardo Chailly. Verwandlung is the title of an orchestral work dating from 2002 - and the title of this new piece suggests the possible expansion into a cycle. Likewise, immediately following the première of Eine Stimme in Strasbourg in 2004, the festival Musica asked for an additional piece for the same resources. The composer in fact decided
to compose a trilogy: Eine Stimme 1–3 premières on 30 Sep. Prior to that, Rüdiger Bohn will conduct Pol. Kolchis. Nucleus at the Warsaw Autumn Festival on 18 Sep; and on the same day, Alexander Lonquich plays Klavierstück Nr. 5 in Düsseldorf. Ensemble Modern under Brad Lubman will take Gejagte Form on tour to Alicante (27 Sep), and the Venice Biennale has invited the Berlin Contemporary Opera to mount Italy’s first performance of the experimental music theatre piece Séraphin, staged by Sabrina Hölzer and conducted by Rüdiger Bohn (8 Oct). Martin Schläpfer has choreographed the piano work Auf einem anderen Blatt, which will be premièred at the Staatstheater Mainz on 9 Nov. The ensemble ECHO under Konstantia Gourzi will perform Sotto voce, Notturno for piano and small orchestra on 29 Nov in the chamber music hall of the Berliner Philharmonie (soloist: Michael Endres).
Further festival tributes Musica in Strasbourg, the Warsaw Autumn Festival, Klangspuren Schwaz, the Lucerne Festival, Musikfest Berlin, Festival de Alicante, the Jerusalem International Chamber Music Festival, ZaterdagMatinee in Amsterdam - all are honouring the 80th birthday of Pierre Boulez. These celebrations will also include two territorial premières: Poland will discover Notations for orchestra and Répons, with Christopher Lyndon-Gee and the Polish National RSO on 21 September; soloists from EIC will join the Orchester der Neuen Musik under Franz-Xavier Roth (23 Septenber). Jörg Widmann appears on 26 October in Essen with Dialogue de l’ombre double
(with the experimental studio of the SWR), while Strasbourg has invited Peter Eötvös to lead the Orchestre Philharmonique de Radio France in Figures - Doubles Prismes on 8 October. George Benjamin will conduct Notations (SWR SO, on 23 September), and Simon Rattle will follow suit with the Berlin Philharmonic (Lucerne, 2 September). He has also invited Pierre Boulez to do the sound direction in a performance of Répons involving soloists from EIC and members of the Berlin Philharmonic in Berlin (22 October). Kent Nagano will conduct Rituel with his orchestra, the Deutsches SO, in Berlin (12 Oct) and Cologne (15 Oct), Mark Wigglesworth will conduct the same piece in Amsterdam (1 Oct), and the Joven Orquesta Nacional de España under Gloria Isabel Ramos will perform it in Madrid on 20 Sep. Furthermore, Daniel Barenboim has programmed Mémoriale in Jerusalem (4 Sep).
a new Beastly Tale... Following on from the success of Abraham comes The Hare and the Tortoise, Roxanna Panufnik’s third setting of one of Vikram Seth’s hilarious Beastly Tales from Here and There. Commissioned by the City of London Sinfonia, the première takes place on 25 September at the Windsor Festival. Sian Edwards will conduct and the soloists will be Patricia Rozario, Yvonne Howard and Roderick Williams. A BBC Invitation Concert performance (26 September) will also be broadcast live on Radio 3. The first two Beastly Tale settings, The Crocodile and the Monkey and The Frog and the Nightingale were very well received, with The Times writing that Panufnik’s illustrative flourishes captured the ear. This new 30’ work is racy and wickedly funny, and all three Tales, together presenting an ideal opportunity for the stage, will be released on EMI next spring.
Roxanna Panufnik EICHBERG
For today’s virtuoso cellist The 24th Caprice by Paganini is one of the most arranged and paraphrased themes in music history composers from Brahms and Liszt to Rachmaninoff and Lutoslawski have utilised its thematic material in their own works. Now, Søren Nils Eichberg has transported it into contemporary musical language with his Cello Variations, in which he comments on both the principle of Paganini’s hyper-virtuosity and the theme itself. Eichberg’s Paganini variations will be performed as an obligatory work at the 2005 ARD Music Competition (7 Sep).
panufnik / eichberg
Gawain’s Journey in Holland On 22 October Alexander Liebreich will conduct the Noord Nederlands Orkest in the Dutch première of Harrison Birtwistle’s Gawain’s Journey, as part of the Groningen Festival. The 25’ work is derived from Birtwistle’s second largescale opera, Gawain, although the concert work is not simply a concentrated version of the narrative of the stage work. Rather, the extracts chosen and combined to create Gawain’s Journey do not necessarily follow the opera’s chronology, and thus emphasise the inherent structural strength of the music all the more. Nevertheless, the ending of the concert work, which also comprises the very end of the opera, does portray Morgan Le Fay’s realisation that Gawain’s journey has been one of self-discovery: her nephew’s eyes have been opened, metaphorically, to all that is at fault in the court of King Arthur. First performed in Vienna fourteen years ago by Elgar Howarth (who compiled the work and who conducted the opera at Covent Garden) with the English Northern Philharmonia, after a performance of Gawain’s Journey at the 1991 Huddersfield Festival, Paul Griffiths wrote in The Times that
In this form the power, the massive weight of the music is irresistable, whilst Gerald Larner wrote in The Guardian that the work is a dramatic concert piece and a bruising but exhilarating experience for the audience. David Fanning, in The Independent, wrote that the work could do for Gawain what Berg’s Three Fragments did for Wozzeck.
Bennett Mines of Sulphur Glimmerglass Opera 2004 BENNETT
In performance and on recording Richard Rodney Bennett’s opera The Mines of Sulphur (recently released on Chandos Records) bows at the New York City Opera on 23 October following its smash success last season at Glimmerglass Opera. The composer spoke about his work recently in New York. What do you think has made your opera so appealing to current audiences and how did you first come to set the story? It’s a very accessible piece and a work that singers love to sing. Its
dark, lyrical, and atonal qualities were in keeping with how I was feeling about music at that time. Your mother was a composer and pianist. Did she actively encourage composition when you were a child? In fact, she was horrified when I became Boulez’s pupil but understood that just as Debussy and Ravel were so important to her as a student, Boulez was equally important to me. Would you count Boulez as one of your most important influences? Are there others? He was a healthy influence. If you emerged your own person, with your own voice, you were a true composer. Henze was a great influence. He had broken away from the “correct” avant-garde which I suppose is what I did as well. You’re a great jazz pianist and cabaret performer. Has this music filtered into your writing of concert music? I’m most interested in jazz singers. That kind of flexibility of the voice is crucial to what I do. I was interested to read a few years ago that Dutilleux has a passionate admiration for Sarah Vaughan. Do you have a favourite food? Yes, Indian!
Birthday tribute The Vienna Konzerthaus is to honour Austrian composer Friedrich Cerha on the occasion of his 80th birthday (17 February 2006) with a “Friedrich Cerha Portrait” spread across the entire season. It begins in November at the Wien Modern Festival: on 22 Nov, the Arditti Quartet will play the String Quartet No. 4 (2001), and on 25 November Johannes Kalitzke will conduct Fasce (1959/74) with the Vienna RSO. The years 1959 and 1960 were decisive for my compositional development, states the composer. They were a time of feverish planning, conception, conquering - and also rejecting, he writes in his book “Schriften: ein Netzwerk”. The title Fasce (to bind) refers to the fact that the individual instrumental event is always integrated into a group occurrence, which is in turn part of a larger process.
Orchestral music After a rather long dormant period, Beat Furrer’s Chiaroscuro (1983/86) will now be heard twice: on 11 November at Wien Modern (Vienna
RSO/Olari Elts) and on 18 November in Frankfurt (Hessian RSO/Sian Edwards). Elts will also conduct Madrigal (1992). The composer himself will direct a performance of Nuun (for two pianos and ensemble) with Klangforum Wien in Graz on 29 October, and soloists from EIC will play …cold and calm and moving (1992) for flute, harp, violin, viola and cello in Paris on 9 October 2005.
cerha / furrer
Don Quijote – hero and myth Cervantes’ Don Quixote, one of the truly great works of international literature, turns 400 years old this year. Cristóbal Halffter introduces his own personal relationship to the author and the work in his opera Don Quijote: In each of my pieces I present a part of my life! Much like Cervantes, Halffter - as an observer and critic of his own time - strives to create beauty in spite of everything. Thus, the novel’s central conflict between ideals and reality is equally present in the music. On the opera fragment La del alba sería, Halffter comments: The hero comes from nature, but the myth arises from the fantasy of humans: - … presenting these two symbolised values and analysing their validity in our time, that is … the true nature ... of my work. Just how capably Halffter’s music plays with the irrational and the rational is also in evidence following the success of his latest work Cuatro piezas para orquesta. He is celebrated as …a master and a mature governor of notes, doyenne of a musical language capable of making its own case and communicating emotions…
Halffter Don Quijote Teatro Real Madrid 2000
Halffter himself will conduct Don Quijote with the Orquesta Sinfónica de Madrid on 16 September in Valladolid, on 17 September in Léon and on 25 September 2005 in Salamanca. Conductor Pedro Halffter and the Berliner Sinfonieorchester will perform the reworked version of La del alba sería in its first performance without choir at the Berlin Konzerthaus (30 September to 2 October 2005).
From Morning to Midnight Suite David Sawer’s From Morning to Midnight, an opera highly acclaimed when it opened at English National Opera in 2001, and for which the composer received an Olivier Award nomination, has now given life to a new orchestral suite. Lasting approximately 25’, the suite is being recorded in mid-September by Martyn Brabbins and the BBCSO for an NMC portrait CD of the composer. (Other works on this disc will be Tiroirs and The Memory of Water, both performed by BCMG, Songs of Love and War and the greatest happiness principle.)
David Sawer From Morning to Midnight, ENO 2001
The new suite makes use of much of the opera’s finely honed orchestral writing, from the machinelike opening of the bank scene to the velodrome scene, with all its nail-biting excitement and noise. Orchestras can perform this new work from October onwards, and it is expected that the NMC CD will be released in 2006. FELDMAN
Biennale di Venezia On 7 and 8 October Bradley Lubman will conduct MusikFabrik NRW in 2 performances of Morton Feldman’s For Samuel Beckett. Dating from 1987, the last year of his life, the work was commissioned by the Holland Festival and arose from the relationship Feldman had established with Samuel Beckett, which led to both the 1976 choral work Elemental Procedures and the opera (or, more precisely, monodrama) Neither. Some hold the view that For Samuel Beckett may reflect in music Beckett’s own writing process.
sawer / feldman
Weill The Threepenny Opera, Lotte Lenya WEILL
The original Mackie Messer and its genesis Without a doubt, The Threepenny Opera by Kurt Weill is one of the greatest theatrical successes of the 20th century. Weill always created his stage works with performances in mind, making adaptations as required. This resulted, of course, in a multitude of versions, some of which represented lasting changes to the works, others of which were only temporary solutions for performance problems that had arisen along the way. The Critical Edition of the Threepenny Opera, available since the year 2000, now allows one to understand these discrepancies once and for all. Users are offered historically valid inter-
pretative possibilities, meaning that a variety of performance issues may be carefully decided. The Critical Edition is currently available as a conducting score (Series I, Vol. 5) and a piano reduction (UE 31544). A study score is currently in preparation. Of course there is also the handwritten score by Weill, which represents the original work and was the basis for the world première on 31 August 1928. This wonderful score - which emanates the spirit of the 1920s and contains handwritten notes by Leonard Bernstein and Marc Blitzstein - is part of the Kurt Weill Critical Edition and also available in shops as a 4-colour facsimile volume … it’s an ideal gift for any Weill aficionado (Series IV, Vol. 1).
Die Schule der Frauen in Switzerland Rolf Liebermann’s Die Schule der Frauen is based on Molière's comedy L'Ecole des femmes (1662), in which he advocates a moderate form of emancipation for young women and the right to marry for love - demands which caused intense controversy at the time. In 1955 the work was first performed as a one-act opera in the US, and in 1957 the world première of the three-act 'opera buffa' took place (libretto: Heinrich Strobel) with a star-studded cast (Walter Berry, Kurt Böhme, Anneliese Rothenberger, Nicolai Gedda, Christa Ludwig; Vienna Philharmonic under George Szell, stage direction by Oscar Fritz Schuh, scenery and costumes by Caspar Neher) at the Salzburg Festival, resulting in triumphant curtain calls (more than 67!). The composer's ironic playing with classical music, his sophisticated, sparkling music, at once entertaining and dodecaphonic, and the first-class cast could not fail to have their effect on Salzburg audiences. (Max Nyffeler) From 16 September Theater BielSolothurn presents a new production: the young team of director
Rainer Holzapfel and conductor Harald Siegel is taking a critical approach to the piece, with exciting perspectives! Information: www.theater-biel.ch
From the Austrian Alps At the age of 29, Ernst Krenek composed one of his most popular works: Acht Lieder aus dem Reisebuch aus den österreichischen Alpen, a 75-minute song cycle reminiscent of Schubert and based on several ironic, lyrical and pathetic texts. At the age of 73, he arranged a version for medium voice and orchestra which will be performed in September at WDR Cologne with Israel Yinon and the Nordwestdeutsche Philharmonie, and then again in the Netherlands in November, when Yakov Kreizberg will conduct the Nederlands Philharmonisch Orkest on 13, 14 and 15 November, with soloist Wolfgang Holzmair.
liebermann / krenek
Dionysus – an eternal legend Karol Szymanowski’s opera King Roger may be set in the early Middle Ages and make use of the historic figure of the Norman king Roger II, who ruled Sicily during the 12th century, but the material is really about the legend of Dionysus the heathen cult of freedom, beauty and sensual pleasures in conflict with the existing, Christian order which was omnipresent in fin-desiècle art. In 1914 Szymanowski undertook a journey to Italy, Sicily and North Africa, a journey that was to play a crucial role in his artistic development. His works exude the multi-layered impressions of this journey, which ended in Paris, by then dominated by impressionism. The Teatro Massimo in
Palermo has programmed King Roger – a mixture of opera, oratorio and mystery play – for 1 November 2005. On location, as it were…
Marosszék Dances The story of these evergreen dances has its beginning in Dresden: Fritz Busch conducted the Sächsische Staatskapelle in the world première of Zoltán Kodály’s Marosszéker Tänze on 28 Nov 1930; the Hungarian première in Budapest occurred three days later. The Staatskapelle has now invited Iván Fischer to perform the dances once more, and this concert will take place on 9 Oct 2005. Kodály’s oeuvre is an indispensable part of standard concert repertoire.
Szymanowski King Roger De Nederlandse Opera, 2000
Apocalypse now: Franz Schmidt's musical setting of the Revelation to John opens the 2005-06 Tonkünstler season. Under the baton of principal conductor Kristjan Järvi, the orchestra is joined by the Wiener Singverein and a topnotch ensemble of soloists in this oratorio by the important Austrian composer.
The Book of the Seven Seals Vienna Singverein · Johannes Chum · Robert Holl · Sandra Trattnigg · Michelle Breedt · Nikolai Schukoff · Manfred Hemm · Kristjan Järvi conductor FRANZ SCHMIDT «Das Buch mit sieben Siegeln». Oratorium für Soli, Chor, Orgel und Orchester Do 29.9.05, 19.30 Uhr | Wien Musikverein So 2.10.05, 16 Uhr | Wien Musikverein Mo 3.10.05, 19.30 | St. Pölten Festspielhaus www.tonkunstler.at
St. Pölten with the Tonkünstler-Orchester of Lower Austria under Kristian Järvi. Schmidt’s Symphony No. 4 will be performed by the Berlin SO under Roberto Paternostro from 24 to 26 November at the Berlin Konzerthaus.
The power of
Of life eternal
In the late 1930s, Franz Schmidt was viewed as one of the most important composers of the “Ostmark”, as the Nazis called Austria. He set himself apart from his peers with his very personal tonal language, fusing baroque roots with late-romantic sounds and re-defining them for a twentieth-century consciousness. Critics dubbed him “the new Bruckner” because of the expressivity and beauty of his symphonic works. Schmidt’s setting of the Apocalypse according to St. John, Das Buch mit sieben Siegeln, remains a gripping modern oratorio, and it can be heard on 29 September and 2 October at the Musikverein in Vienna, as well as on 3 October at the Festspielhaus
In 1923, Franz Schreker composed the two piano songs Vom ewigen Leben, based on nature- and deathrelated poems by Walt Whitman, and he orchestrated them in 1927. Schreker’s gentle composition, reminiscent of chamber music despite its large forces, will be performed on 14 October in Paris, with Armin Jordan conducting the Orchestre Philharmonique de Radio France. Das Vorspiel zu einem Drama (Die Gezeichneten) will be performed by the Berlin Philharmonic under Markus Stenz on 1 and 2 October and by the Bamberger SO under Michael Gielen on 26 and 27 November 2005.
schmidt / schreker
O Lord, how I fear death In 1943, Frank Martin composed his Sechs Monologe aus Jedermann, that ‘piece on the death of a rich man’ by Hugo von Hofmannsthal, which has stood at the centre of the Salzburg Festival for decades. The psychological and religious development of the main character, running from an elemental terror of death to complete submission to his belief in forgiveness captivated Martin. The work will be heard on 28 October in Cottbus/G: Philharmonisches Orchester, c. Markus Poschner, Volker Maria Rabe, baritone. In the course of the commemorations marking the end of the Second World War, Martin’s oratorio In terra pax was performed in many German towns. Further concerts follow in autumn (Rostock, Lich/D).
Korngold ERICH KORNGOLD (1897-1957)
Early successes At the tender age of eleven, Erich Wolfgang Korngold made considerable waves by composing the pantomime ballet Der Schneemann. The work was performed in 1910 at the Vienna Court Opera, in an instrumentation by Alexander Zemlinsky, who also used the work to create a Vorspiel, Serenade und Walzerzwischenspiel for orchestra, which will be performed by the Tonkünstler-Orchester under Stephan Tetzlaff in Baden, Grafenegg, Vienna and St. Pölten on 25, 26, 27 and 28 November. www.tonkuenstler.at
martin / korngold
JOSEPH MARX (1882 - 1964)
Autumn Symphony in Graz SHOSTAKOVICH
Mariinsky Theatre to appear in Paris A gala benefit evening on 6 November at the Opéra National de Paris, in aid of the Mariinsky Theatre, opens a series of guest appearances by the world-famous but cash-strapped - opera house of St. Petersburg (also known as the Kirov). Valery Gergiev will travel from St. Petersburg to Paris with the soloists, the choir and the orchestra to present multiple performances of Dimitri Shostakovich’s Nos (The Nose) in a production by Yuri Alexandrov. This ingenious, grotesque operatic work is based on the synonymous, socially critical story by Nikolai Gogol, which fell victim to the Czar’s censors in 1835. Performances on 14, 15, 17, 18 and 19 November 2005.
In sparkling colours and wide brush-strokes, and equipped with the magnificent orchestral palette of his day, Graz composer Joseph Marx portrayed the Austrian autumn as he experienced it in southern Styria in 1922. Eine Herbstsymphonie, a gigantic, large-scale symphony lasting 90 min, has long been forgotten (last performance 1927), but Michael Swierczewski will soon help it to its long overdue resurrection. Grosses Orchester Graz, c. Michael Swierczewski, 24 & 25 Oct 2005, Stefaniensaal, Graz.
shostakovich / marx
The fascination of Janácek, in Berlin When the new Musikfest Berlin opens at the end of this summer, the music of Eastern Europe will be featuring very prominently. A name that appears repeatedly in the published festival programme is that of Leos Janácek, and he will, in fact, be the festival’s most performed composer. The Janácek revival long in evidence at opera houses and concert halls worldwide would seem to be solidly confirmed by Berlin. The festival’s climax is surely the concert performance of Janácek’s tragic opera Jenufa, which will be given by the Berlin Philharmonic and the Berlin Radio
Choir under Sir Simon Rattle on 10 and 12 September. No less exciting a musical event is the performance of the composer’s only recently revived first opera Sárka, in a concert performance by the Berlin RSO and the Czech Philharmonic Choir of Brno under Marek Janowski (3 September). On 8 September the SWR Sinfonieorchester of BadenBaden and Freiburg, under Sylvain Cambreling, will perform the famous Sinfonietta, which, with its emphasis on virtuosity places extremely high demands on the orchestra and has long been viewed as Janácek’s main symphonic work. On 2 September Belmont Prize winner Carolin Anne Widmann will interpret the Sonata for violin and piano, and on 6 September the first two string quartets (Kreuzer Sonata and Intimate Letters) by Janácek will be performed by the Skampa Quartet.
New scores The many years of intensive work that Rudolf Barshai invested in the reconstruction and orchestration of Gustav Mahler’s Symphony No. 10 have paid off: the 10th Symphony is now available for sale and hire (study score UE 31504, orchestral material for hire). Barshai’s aim was to get as close as possible to Mahler’s intentions, and the completed 10th Symphony encompasses both the sonority and energy which is characteristic of the music and the fluidity of the overall concept. The crucial points were to resolve disputed passages such as unclear indications or implausible harmonic formations and to reconstruct the 5th movement (which only existed as Mahler's fairly incomplete draft) on the strength of hitherto unknown sketches.
the 2nd Symphony, has carefully reviewed all the available sources and incorporated approximately 500 corrections. After the CD recording with the Vienna Philharmonic the first public performance will take place in London on 18th October 2005. Gilbert Kaplan will conduct the Royal Philharmonic Orchestra at the Royal Albert Hall.
The completion of another Mahler project is imminent: the new critical edition of Mahler's Symphony No. 2, which has been realised in participation with the Kaplan Foundation, should be available in spring 2006. The new score will be published as a volume of the Critical Edition of the International Gustav Mahler Society in Vienna. Renate Stark-Voit, a Mahler expert, in co-operation with Gilbert Kaplan, who owns the manuscript score of
Out of copyright, but timeless Even just a generation after his death on 24 December 1935, Alban Berg was already established as a modern classic. Despite his works having experienced extremely controversial receptions during his lifetime - his Orchesterlieder of 1913 sparked off one of the most intense of the famous Viennese concert scandals - he is unanimously regarded today as one of the great composers of the 20th century. Even in an atonal musical language, Berg
Berg Lulu StaatstheaterStuttgart 1966
sought out subliminal tonal relationships, melodic richness and ambiguous forms, a quality to which his great stage works Wozzeck and Lulu, as well as the Violin Concerto and the Lyric Suite bear unparalleled testament. It is probably a unique occurrence for a composer of challenging music to be represented in present-day musical life by around half of his oeuvre. This year will see the 70th anniversary of his death, and at the end of the year copyright on his works expires in several countries. Berg’s oeuvre has remained popular to this day: it has become timeless and is among the cornerstones of the concert repertoire. And national premières still occur: at the Athens Concert Hall, one of the largest performance venues in Greece, the 2-act version of Lulu will have its Greek stage première. Dates: 19, 21 and 25 October 2005, Prague Radio Orchestra, c. Nikos Tsouchlos. Information: www.megaron.gr
2005 100th 80th 80th 80th 75th 60th 70th 80th 100th
Anniversary Anniversary Anniversary Birthday Birthday Birthday Birthday Birthday Anniversary
Theodor Berger * 18 May 1905 Luciano Berio * 24 October 1925 Cathy Berberian * 04 July 1925 Pierre Boulez * 26 March 1925 Cristóbal Halffter * 24 March 1930 Vic Hoyland * 11 December 1945 Arvo Pärt * 11 September 1935 Gunther Schuller * 22 November 1925 Eric Zeisl * 18 May 1905
Birthday Anniversary Birthday Anniv. of Death Anniversary Birthday Birthday Anniv. of Death Birthday Anniversary Birthday Birthday Birthday Anniversary Birthday Anniversary Anniversary Birthday
Gilbert Amy * 29 August 1936 Béla Bartók * 25 March 1881 Richard Rodney Bennett * 29 March 1936 Bertolt Brecht † 14 August 1956 Earle Brown * 26 December 1926 Francis Burt * 28 April 1926 Friedrich Cerha * 17 February 1926 Gottfried von Einem † 12 July 1996 Michael Finnissy * 17 March 1946 Morton Feldman * 11 January 1926 Mauricio Kagel * 24 December 1931 Ladislav Kupkovic * 17 March 1936 György Kurtág * 19 February 1926 Wolfgang Amadeus Mozart * 27 Jan 1756 Steve Reich * 03 October 1936 Dmitri Shostakovish * 25 Sep 1906 Karl Weigl * 06 February 1881 Hans Zender * 22 November 1936
2006 70th 125th 70th 50th 80th 80th 80th 10th 60th 80th 75th 70th 80th 250th 70th 100th 125th 70th
2007 75th 70th 20th 80th 125th 125th 125th 70th 60th 50th 50th 125th 70th 50th
Anniv. of Death Birthday Anniv. of Death Birthday Anniversary Anniversary Anniversary Birthday Birthday Birthday Anniv. of Death Anniversary Anniv. of Death Birthday
Eugen d'Albert † 03 March 1932 David Bedford * 04 August 1937 Morton Feldman † 03 September 1987 Michael Gielen * 20 July 1927 Zoltán Kodály * 16 December 1882 Gian Francesco Malipiero * 18 March 1882 Joseph Marx * 11 May 1882 Gösta Neuwirth * 06 January 1937 Paul Patterson * 15 June 1947 Thomas Daniel Schlee * 26 October 1957 Othmar Schoeck † 08 March 1957 Karol Szymanowski * 06 October 1882 Karol Szymanowski † 29 March 1937 Julian Yu * 02 September 1957
Anniv. of Death Anniversary Birthday Anniversary Anniversary Birthday Birthday Birthday Anniv. of Death Birthday Anniversary
Cathy Berberian † 06 March 1983 Gottfried von Einem * 24 January 1918 Zygmunt Krauze * 19 September 1938 Gerhard Lampersberg * 05 July 1928 Olivier Messiaen * 10 December 1908 Nigel Osborne * 23 June 1948 Peter Ruzicka * 03 July 1948 Tona Scherchen * 12 March 1938 Max von Schillings † 24 July 1933 Karlheinz Stockhausen * 22 August 1928 Eugen Suchon * 25 September 1908
2008 25th 90th 70th 80th 100th 60th 60th 70th 75th 80th 100th
VICTORIA BORISOVA-OLLAS Before the Mountains Were Born for wind quartet and orchestra, RSO Stuttgart, c. Andrey Boreyko 12 October 2005 · Beethovenhalle Stuttgart/D SØREN NILS EICHBERG Variationen über ein Thema von Niccolo Paganini for cello semi -finalists of the ARD Music Competition 07 September 2005 · Munich/D GEORG FRIEDRICH HAAS 3 Liebesgedichte nach Texten von August Stramm for 6 voices (S, MS, A, T, Bar, B), Neue Vocalsolisten Stuttgart 18 September 2005 · Klangspuren Schwaz, St. Martin, Schwaz/A ROXANNA PANUFNIK The Hare and the Tortoise for soprano, mezzosoprano, baritone and orchestra, Patricia Rozario, Yvonne Howard und Roderick Williams, City of London Sinfonia, c. Sian Edwards 25 September 2005 · Windsor Festival/GB WOLFGANG RIHM Verwandlung 2 Music for orchestra Gewandhausorchester, c. Riccardo Chailly 02 September 2005 · Gewandhaus Leipzig/D Stimme 1 - 3 for soprano and ensemble Francoise Kubler, S, Les Percussions de Strasbourg / Accroche Note, c. Luca Pfaff 30 September 2005 · Festival Musica, Strasbourg/F JOHANNES MARIA STAUD Towards a Brighter Hue for violin semi -finalists of the ARD Music Competition 09 September 2005 · Prinzregententheater Munich /D Violent Incidents for saxophone solo, wind ensemble and percussion Marcus Weiss, sax, Windkraft Tirol, c. Kaspar de Roo 10 September 2005 · Klangspuren Schwaz, Tennishalle, Schwaz/A
GUSTAV MAHLER / RUDOLF BARSHAI Symphony No. 10 for orchestra Study score UE 31504 MIKE CORNICK Tea for Two light-hearted duets for piano UE 21299 MIKE CORNICK 30 Easy Piano Studies UE 21298 RICHARD GRAF (ED.) World Music junior – Play along Christmas Saxophone – for saxophone (b flat/e flat) (piano, guitar ad. lib.) + CD UE 32695 Trumpet – for trumpet (piano, guitar ad. lib.) with CD UE 32696 ERNST KRENEK Sonata No. 4 for piano UE 33076 ARVO PÄRT Da pacem domine for choir SATB or soloists UE 32941 ARVO PÄRT Lamentate for piano and orchestra Study score UE 32667 also as download on: www.universaledition.com/downloads JAMES RAE Introducing Clarinet - Duets UE 21310 ERIK SATIE 3 Gymnopédies for flute and piano UE 32988 ARNOLD SCHÖNBERG Presto for string quartet Score and parts UE 33011
PETER ROGGENKAMP (ED.)
Sounds New 19 easy piano pieces UE 33000
Music of our time Sounds New is a collection of works for solo piano from the masters of the 20th and 21st centuries. Selected for the young and with young hands in mind, these pieces are also suitable for older students and adults wishing to approach new music via this easier material. The technical levels match books II and III of Bartók’s Mikrokosmos. The pieces are presented chronologically according to the birth dates of the composers who include: Béla Bartók, Anton Webern, Jenö Takács, György Kurtág, Friedrich Cerha, Anthony Hedges, Arvo Pärt, Peter Roggenkamp, Richard Rodney Bennett, Ian Wilson, Roxanna Panufnik and Johnannes Maria Staud. Works from these last three young composers were especially written for this collection along with a piece from the editor himself, Peter Roggenkamp.
Explanations of markings and notation along with performance tips are included with each piece. This is truly a wonderful resource of piano works from the modern masters.
HUGO ALFVÉN Symphony No. 4 Arndis Halla, Johann Valdimarsson Iceland SO, c. Niklas Willén Naxos 8.557284 ALBAN BERG Lulu Suite Eva Brink, Nürnberger Symphoniker c. Othmar M.F. Mága, Günter Neidlinger, Zsolt Déaky Colosseum COL 9033.2 ALBAN BERG Sonate ARNOLD SCHÖNBERG Klavierstücke FRANZ SCHREKER Kammersymphonie for piano arranged by Ignaz Strasfogel; Emma Schmidt, pn Antes Edition BM-CD 14.9007 LUCIANO BERIO Epifanie, Coro Cathy Berberian, ORF-Choir and SO, c. Leif Segerstam Orfeo C 626041 B PIERRE BOULEZ Rituel, Notations I-IV and VII GUSTAV MAHLER Symphony No. 9 SWR-Sinfonieorchester, c. Michael Gielen Hänssler/Naxos 2 CD 93.098 GUSTAV MAHLER / ARNOLD SCHÖNBERG Das Lied von der Erde Robert Dean Smith, Ivan Paley, Stephan Matthias Lademann Telos/Klassik-Center 1002 JOSEPH MARX Alt-Wiener Serenaden Bochumer Symphoniker, c. Steven Sloane ASV / Codaex CD 1158 WOLFGANG RIHM Drängender Walzer ROLF LIEBERMANN Furioso Philharmonisches Staatsorchester Hamburg c. Ingo Metzmacher Sony Music (distr.) SXP 130082 WOLFGANG RIHM Erscheinung, Skizze über Schubert Peter Selwyn, pn, Bamberger Symphoniker, c. Jonathan Nott CD TUDOR 7132 WOLFGANG RIHM String Quartets Vol. 3 Minguet Quartett col legno WWE 1 CD 20213 FRANZ SCHMIDT Symphony No. 1 - 4 MDR- Sinfonieorchester, c. Fabio Luisi Querstand MDR Edition 8-11 (VKJK 0503 - 0506)
new on cd
LUCIANO BERIO Rendering, Stanze, Orchestre de Paris, c. Ch. Eschenbach, D. Henschel, French Army Chorus Ondine ODE 1059-2
ARVO PÄRT Lamentate, Da pacem Domine Hilliard Ensemble, A. Lubimov, SWR Stuttgart RSO, c. Andrey Boreyko ECM New Series 1930 CD 4763048
WOLFGANG RIHM Canzone per sonare, Cuts and Dissolves M. Svoboda, OS de la Monnaie, c. Kazushi Ono Warner Classics 2564 60244-1
R. R. BENNETT The Mines of Sulphur Glimmerglass Opera Orchestra, c. Stewart Robertson, Irmiter, Clayton Chandos Records CHSA 5036 (2CDs)
ALFRED SCHNITTKE Seid nüchtern und wachet BACH / WEBERN Ricercare Marina Prudenskaja, Matthias Koch, Justin Lavender, Andreas Schmidt, Carl-Philipp-Emanuel-Bach-Chor, Hamburger Symphoniker, c. Andrey Boreyko Berlin / Edel CD 0017762 OTHMAR SCHOECK Suite op. 59 Südwestdeutsches Kammerorchester Pforzheim c. Vladislav Czarnecki ebs records 6145 ANTON WEBERN Symphonie op. 21, 3 Lieder op. 18, Streichtrio op. 20, Quartett op. 22, 6 Stücke op. 6, Konzert op. 24 Jennifer Welch-Babidge, 20th Century Classics Ensemble Philharmonia Orchestra, c. Robert Craft Naxos D 8.557530
new on cd
Luciano Berio Worklist (a selection) MUSIC THEATRE Compass ballet 45’ 1994 Laborintus II for voices, instruments and tape 35’ 1965 Monteverdi - Il Combattimento di Tancredi e Clorinda 25’ 1624 /1966 for soprano, tenor, baritone, cembalo and strings (arrang.) Opera music theatre 90’ 1969-1970/1977 Passaggio messa in scena 35’ 1961-1962 Per la dolce memoria di quel giorno ballet 80’ 1974 Un Re In Ascolto azione musicale in due parti 90’ 1979-1982 La vera storia opera in 2 acts 120’ 1981 VOCAL MUSIC a - ronne for 8 singers (2 versions) 32’ 1974-1975 Agnus for 2 sopranos, 3 clarinets and obligato electric organ 5’ 1971 Air from "Opera" for soprano + orchestra (or 4 instruments) 7’ 1969/1970 E vó Sicilian lullaby from "Opera" for soprano and instruments 4’ 1972 Altra voce for alto flute, mezzosoprano and live electronics 10 - 12’ 1999 Berio Family Album 29’ 1947 Calmo for mezzosoprano and 22 instruments 20’ 1989 Canticum novissimi testamenti ballata for 4 clarinets, 18’ 1989-1991 saxophon quartet and 8 voices 4 Canzoni popolari for voice and piano 12’ 1946-1947 Circles for female voice, harp and 2 percussionists 20’ 1960 Coro for 40 voices and instruments 60’ 1975-1976 Cries of London for 8 voices 12’ 1974-1976 de Falla - 7 Canciones populares españolas 18’ 1922/1978 for mezzosoprano and orchestra (arrang.) E si fussi pisci Sicilian love song for mixed choir a cappella 2’ 2002 El mar la mar for soprano, mezzosoprano and 7 instruments 12’ 1952 Epiphanies for female voice and orchestra 30’ 1991 Folk Songs for mezzosoprano + 7 instruments (or orchestra) 23’ 1964/1973 Lennon/McCartney - Beatles Songs for voice 8’ 1965/1967/1995 and instruments (Michelle I, II, Ticket to Ride, Yesterday; arrang.) Mahler - 5 Early Songs and 6 Early Songs 13’and 22’ vor 1892/1986/1987 for baritone and orchestra (songs from "Des Knaben Wunderhorn"; arrang.) Ofanìm for 2 children’s choirs, 2 instrumental groups, 30’ 1988-1997 female voice and live electronics O King for mezzosoprano and 5 players 5’ 1968 Opus Number Zoo children's play for wind quintet 7’ 1951/1970
continuation VOCAL MUSIC Recital 1 for mezzosoprano and 17 instrumentalists 35’ 1972 Sequenza III for female voice 8’ 1966 Sinfonia for 8 voices and orchestra 35’ 1968 Stanze for baritone, 3 small male choirs and orchestra 25’ 2003 Verdi - 8 Romanze for tenor and orchestra (arrang.) 25’ 1991 Weill - Ballade von der sexuellen Hörigkeit from 3’/5’ 1928/1972/1993 "Die Dreigroschenoper", Le Grand Lustucru from "Marie Galante", Surabaya Johnny from “Happy End” for alto (mezzo) + ensemble; arrang. ELECTRONIC MUSIC (Full information on www.universaledition.com) a - ronne, Chants parallèles, Diario immaginario, Momenti and Visage ORCHESTRA Accordo for 4 wind orchestras Bach - Contrapunctus 19 for 23 players (arrang.) 8’ Bewegung for orchestra 14’ Boccherini / Berio - Quattro versioni originali della Ritirata Notturna di Madrid di L. Boccherini for orchestra (arrang.) Chemins IIb for orchestra Continuo for orchestra 20’ Eindrücke for orchestra 11’ Ekphrasis (Continuo II) for orchestra Encore for orchestra 5’ Entrata for orchestra Fanfara for orchestra Festum for orchestra Formazioni for orchestra 20’ Notturno for string orchestra 26’ Re-Call for 23 instruments Requies for chamber orchestra 17’ Schubert / Berio - Rendering for orchestra (arrang.)
30’ 1981 1750/2001 1971/1984 8’ 1975 11’ 1970 1989-1991 1973-1974 30’ 1996 1978/1981 3’ 1980 2’ 1982 2’ 1989 1985-1987 1993/1995 4’ 1995 1983-1984 35’ 1990
SOLO INSTRUMENTS WITH ORCHESTRA Alternatim for clarinet, viola and orchestra 30’ 1997 Brahms - Opus 120 Nr. 1 for clarinet (or viola) + orchestra 25’ 1894/1990 Chemins I (su Sequenza II) for harp and orchestra 12’ 1965 Chemins II (su Sequenza VI) for viola and 9 instruments 12’ 1967 Chemins IIc for bass clarinet and orchestra 11’ 1972 Chemins III (su Chemins II) for viola and orchestra 15’ 1968/1973 Chemins IV (su Sequenza VII) for oboe (sax) and 11 strings 10’ 1975/2000
continuation SOLO INSTRUMENTS WITH ORCHESTRA Chemins V (su Sequenza XI) for guitar and chamber orchestra 20’ 1992 Concertino for clarinet, violin, harp, celeste and strings 11’ 1951/1970 Concerto for 2 pianos and orchestra 25’ 1972-1973 Concerto II (echoing curves) for piano and 2 instr. groups 25’ 1988-1989 Corale (su Sequenza VIII) for violin, 2 horns and strings 15’ 1981 Kol od (Chemins VI) for trumpet and chamber orchestra 20’ 1996 "points on the curve to find ..." for piano and 22 instrumentalists 16’ 1974 Récit (Chemins VII) for alto sax and orchestra (sax ensemble) 15’ 1996 Ritorno degli snovidenia for cello and 30 instruments 19’ 1976-1977 SOLO for trombone and orchestra 22’ 1999-2000 Tempi concertati for flute, violin, 2 pianos and other instr. 16’ 1958-1959 Voci (Folk Songs II) for viola and 2 instrumental groups 30’ 1984 Variazioni Nr. 2 from "Divertimento für Mozart" 3’ 1956 CHAMBER MUSIC Call (St. Louis-Fanfare) for 5 wind players Différences for 5 instruments and tape Duetti per due Violini for 2 violins (2 further scores) Glosse for string quartet Korót for 8 cellos Linea for 2 pianos, vibraphone and marimba Memory for electric piano and electric cembalo Musica Leggera for flute, viola, cello and tabor Naturale for viola, percussion and tape Notturno (Quartetto III) for string quartet Opus Number Zoo children's play for wind quintet Ricorrenze for flute, oboe, clarinet in B flat, horn + bassoon Sincronie for string quartet Wasserklavier for 2 pianos (original version) SOLO INSTRUMENTS 6 Encores for piano (Brin 1’ 30, Leaf 2’, Wasserklavier 2’, Erdenklavier 2’, Luftklavier 2’, Feuerklavier 2’) Fa - Si for organ
4’ 1985 17’ 1958-1959 70’ 1979-1983 6’ 1997 9’ 1998 15’ 1973 13’ 1970/1973 5’ 1974 20’ 1985 26’ 1993 7’ 1951/1970 15’ 1985-1987 15’ 1964 2’ 1965
12' 1965-1990 6’ 1975
continuation SOLO INSTRUMENTS Gesti for treble recorder 7’ 1966 Gute Nacht - Good Night for trumpet 1’ 1986 Lied for clarinet 4’ 1983 Les mots sont allés... "Recitativo" for cello 3’ 1979 Petite Suite from "Berio Family Album" for piano 20’ 1947 Psy for double bass 2’ 1989 Rounds for cembalo (or piano) 4’ 1965/1967 Sequenza I for flute 6’ 1958 Sequenza II for harp 7’ 1963 Sequenza IV for piano 9’ 1965 Sequenza V for trombone 8’ 1966 Sequenza VI for viola 8’ 1987 Sequenza VIIa for oboe, arrang. by Jacquile Leclair 10’ 1969/2000 Sequenza VIIb for soprano saxophone, arr. by C. Delangle 10’ 1969/1993 Sequenza VIII for violin 15’ 1976 Sequenza IXa for clarinet 13’ 1980 Sequenza IXb for alto saxophone 13’ 1980 Sequenza IXc for bass clarinet in B flat, arr. by Rocco Parisi 13’ 1980/1998 Sequenza X for trumpet in C (and piano resonances) 10’ 1984 Sequenza XI for guitar 14’ 1988 Sequenza XII for bassoon 19’ 1997 Sequenza XIII (Chanson) for accordion 12’ 1995 Sequenza XIV for cello 13’ 2002 Sequenza XIV version f. double bass by Stefano Scodanibbio 14’ 2002/2004 Sonata for piano 26’ 2001 Complete worklist available on www.universaledition.com
UNIVERSAL EDITION A-1015 Vienna, PO Box 3, Austria tel +43-1-337 23 - 0, fax +43-1-337 23 - 400 48 Great Marlborough Street, London W1F 7BB, GB, tel +44-20-7437-6880, fax +44-20-7437-6115 Web: www.universaledition.com Editors: Angelika Dworak and Eric Marinitsch Contributors: Bálint András Varga, Eric Marinitsch, Angelika Dworak, Rebecca Dawson, Marion Hermann, Norman Ryan, Andreas Peer Kähler Design: Egger & Lerch, Vienna Photo Credits: Eric Marinitsch (10), Mats Lundqvist, Oper Frankfurt / Wolf-Dieter Gericke, Keith Saunders/Arena PAL, Eva Smirzitz, Glimmerglass Opera / George Mott, Frank Helmrich, Teatro Real / Javier del Real, ENO / Neil Libbert / Stewart Laing, set design, Tobis-Warner, De Nederlandse Opera / Hermann & Clärchen Baus, UE Archiv, Janácek Museum Brno, Staatstheater Stuttgart, Charlotte TillBorchardt, Alfred Schlee; CDs: Ondine, ECM, Warner Classics, Chandos Records.